The singer's latest single carries an infectious groove, and the accompanying visuals add a layer of fitting space-age radiance.
We love it when artists color a familiar story with something new—in this case, literally.
"Gravity" is the latest music video from Ralph—the mononym project of Toronto singer Raffa Weyman—and the single itself is a bouncing ode to destabilizing love. She's embracing a quintessential pop theme, wondering aloud if this new someone she's found will be a repeat of bad history, even while she enjoys being pulled out of orbit. Ralph's breathless voice conveys want and worry with a pirouetting ease, as the looping piano stabs and disco beat keep the track pulsing with life. It's catchy as hell, but it's the accompanying visuals that bring an idiosyncratic edge to the warm pop of "Gravity."
Animated by fellow Torontonite artist Amika Cooper, the video rockets Ralph's desire into space, combining paper-doll-like figures with a sparkling cosmic landscape. The deceptively-textured visuals complement the track's vibrant sound, with an element of kitsch mixed in: A robot dog and a magic 8-ball encourage Ralph to chase the feeling, while floating disembodied hands twirl to the song's rhythm. The video is certainly trippy, but it finds its beauty in centering Ralph as its subject and muse. Cooper takes the irrepressible groove of "Gravity" seriously, and she ensures the song's pure emotion seems to spill right out of Ralph's vocals.
It's a collaboration that feels effortless in its joy, mainlining the simple power of the track's radiant pop into its graphics. Ralph carries an infectious groove on "Gravity," and the music video's dazzling warmth carries the track perfectly in turn.
Ralph - Gravity youtu.be
The classic He-Man meme video stands the test of time as an iconic example of queer-coded art.
In December of 2005, Brokeback Mountain shifted queer-coded cinema into the mainstream.
Prior to 2005, "New Queer Cinema"––a term coined by film scholar B. Ruby Rich in Sight & Sound to define the queer-themed independent film movement, which focused on rejecting heteronormativity and concentrated on LGBTQ protagonists––existed on the fringe of the film world. It's worth noting that while the movement primarily refers to the boom in independent LGBTQ films from 1992 onwards, queer cinema existed for many years prior, albeit without a proper name. But regardless of nomenclature, New Queer Cinema was typically designated for niche audiences, relegated to arthouse showings at best.
There's a big problem with the trailer for Morbius, Sony's upcoming Marvel outing that is definitely not part of the Marvel Cinematic Universe even though it has Michael Keaton reprising his role as Vulture (please let us keep our license, Disney!).
See if you can spot it.
MORBIUS - Teaser Trailer www.youtube.com
If you answered, "Sampling Beethoven's 'Für Elise' to line up with blue-tinted action shots is the absolute lowest effort, brain-dead attempt to signify 'gothic vampire movie' in the entire history of movie trailers," you're correct, but that's still not the biggest problem with Morbius. No, the biggest problem is that Morbius is played by Jared Leto.