Minimalist, awash in choruses of sunsets, Emily Keener’s newest record, “I Do Not Have To Be Good,” is an indie folk paradise. Paradise is a loose term; beneath the surface of its sonics is a lackadaisical rebellion for freedom.
At the onset of my quarantine, I leeched onto my family’s Netflix account in search of something mindless, but also something I’ve been meaning to see for a long time. And then “Ash vs Evil Dead” appeared in my life.
Despite the density of most nonfiction literature on wars, “D-Day Girls” reads with tactile smoothness and begins with intense character development of the prominent women focused on in Rose’s research and interviews.
It’s easy to get caught up in the negative, and music creates the kind of escape I need since I’m forbidden to leave my home.
“Calypso,” in its montage of quirky essays, is also possibly David Sedaris’ most emotional collection after “Dress Your Family in Corduroy and Denim” (2004).
A Netflix Original, and a bizarrely different role for Brie, “Horse Girl” works in conjunction with multi-layered metaphors, though most predominantly the mental health/illness of the main character, Sarah (Brie).