Tuesday, June 18, 2024

Nasty Habit

Killer Nun (Trailer)
Giulio Berruti, 1979

Swedish bombshell Anita Ekberg frolicking in the Trevi fountain in Federico Fellini's La Dolce Vita (1960) might be peak cinema to snobbish cinephiles, but she'll be remembered as a drug addicted, dentures-stomping, horny nun in Giulio Berruti's nunsploitation/giallo and one time video nasty, Killer Nun (1979) by film degenerates like myself. At the risk of offending both sides of the kino taste spectrum, I can't say I'm a fan of either of those films. However, one particular track featured on Killer Nun by composer Alessandro Alessandroni has been a fave of mine for many years; which at least makes it somewhat redeemable.

Alessandro Alessandroni - Suor Omicidi, Seq. 4
 Killer Nun/The Strangler of Vienna/Lady Frankenstein compilation, 1999
 

Something about Suor Omicidi, Seq. 4's jangly acoustic guitar strumming away while the sounds of an ominous choral build in the background, concluding with a manic church organ, really does it for me. Little wonder it’s amongst my favourite giallo tracks of all time.

Killer Nun's soundtrack didn't get a vinyl release until twenty years later. The tracks finally appeared in an Alessandroni compilation containing two other scores of his: Lady Frankenstein (1971) and The Strangler of Vienna (1971). The latter, I have yet to see.

Lady Frankenstein (Trailer)
Mel Welles & Aureliano Luppi, 1971
 

From Orson Welles to Mel Welles; you know Joseph Cotten's career hit an even greater decline than Anita Ekberg's when he went from Citizen Kane (1941), Shadow of a Doubt (1943) and The Third Man (1949) to Italian horror Lady Frankenstein; a far cry from his classic earlier body of work. Far more entertaining than Killer Nun and La Dolce Vita, though.

Wednesday, June 12, 2024

Highest Rated Films of the 21st Century

When it comes to film reviews, Letterboxd is a reprehensible social platform for hive-minded narcissists. Not even worth posting a review there. But it does happen to be a useful site for grading and logging films when compiling miscellaneous lists. Handy for anyone running a film blog.

Here's a list of your humble curator's highest scoring films from the 21st century (minimum of ★★★★½ out of ★★★★★) logged onto Letterboxd:

American Psycho (Mary Harron, 2000)
Battle Royale (Kinji Fukasaku, 2000)
Sexy Beast (Jonathan Glazer, 2000)
Shadow of the Vampire (E. Elias Merhige, 2000)
Mulholland Drive (David Lynch, 2001)
Training Day (Antoine Fuqua, 2001)
28 Days Later (Danny Boyle, 2002)
City of God (Fernando Meirelles, 2002)
Ju-on: The Grudge (Takashi Shimizu, 2002) 
Oldboy (Park Chan-wook, 2003)
Kill Bill: Volume 1 (Quentin Tarantino, 2003)
The Descent (Neil Marshall, 2005)
Apocalypto (Mel Gibson, 2006)
Children of Men (Alfonso Cuarón, 2006)
Pan's Labyrinth (Guillermo del Toro, 2006)
[REC] (Jaume Balagueró & Paco Plaza, 2007)
Hot Fuzz (Edgar Wright, 2007)
Love Exposure (Sion Sono, 2008)
Bronson (Nicolas Winding Refn, 2008)
Let the Right One In (Tomas Alfredson, 2008)
Martyrs (Pascal Laugier, 2008)
Bad Lieutenant: Port of Call – New Orleans (Werner Herzog, 2009)
The House of the Devil (Ti West, 2009)
Triangle (Christopher Smith, 2009) 
13 Assassins (Takashi Miike, 2010)
Black Swan (Darren Aronofsky, 2010)
I Saw the Devil (Kim Jee-woon, 2010)
Troll Hunter (André Øvredal, 2010)
Toy Story 3 (Lee Unrich, 2010)
Drive (Nicolas Winding Refn, 2011)
The Raid (Gareth Evans, 2011)
The Skin I Live In (Pedro Almodóvar, 2011)
Berberian Sound Studio (Peter Strickland, 2012)
Dredd (Pete Travis & Alex Garland, 2012)
The Wolf of Wall Street (Martin Scorsese, 2013)
Under the Skin (Jonathan Glazer, 2013)
It Follows (David Robert Green, 2014)
The Raid 2 (Gareth Evans, 2014)
The Babadook (Jennifer Kent, 2014)
Mad Max: Fury Road (George Miller, 2015)
The Witch (Robert Eggers, 2015)
The Neon Demon (Nicolas Winding Refn, 2016)
Train to Busan (Yeon Sang-ho, 2016)
Brawl in Cell Block 99 (S. Craig Zahler, 2017)
The House That Jack Built (Lars Von Trier, 2018)
Hereditary (Ari Aster, 2018)
Mandy (Panos Cosmatos, 2018)
The Irishman (Martin Scorsese, 2019)
The Lighthouse (Robert Eggers, 2019)
Parasite (Bong Joon-ho, 2019)
Dinner in America (Adam Rehmeier, 2020)
Benedetta (Paul Verhoeven, 2021)
Mad God (Phil Tippett, 2021)
The Northman (Robert Eggers, 2022)
The Zone of Interest (Jonathan Glazer, 2023)

Dada Debaser Notes:

  • For the record, I couldn't be arsed to include the ★★★★ movies as originally intended since it would have been 246 entries rather than the 55 above. Ain't nobody got time for that!
  • Worked with release dates according to Letterboxd rather than when they came out in my region to avoid a massive headache.
  • Most of the entries were rated prior to a six year hiatus from Letterboxd (from 2016 to 2022). The cool part is how their ratings are largely unchanged.
  • Unapologetic about the overall horror bias. 
  • Some critically revered films that didn't make the cut were either rated lower than the minimum requirement, or were just shite. Make your own damned list if you don't see picks you expected!

Thursday, June 6, 2024

Walk With Me

In a Violent Nature (Trailer)
Chris Nash, 2024
 

After all these years, why do film release dates still differ depending on country? So much for globalisation. The latest example is In a Violent Nature (2024) not hitting my corner of the world until another month after the U.S.A..

It's as clear as Crystal Lake that slasher fans want another Friday the 13th film, but the film rights seem to be up in the air. Until that mess is sorted out, Chris Nash's In a Violent Nature serves as an adequate alternative.

Other than the obvious Friday the 13th vibes, the other draw of the film is it following in the point of view of its Jason Voorhees styled killer. The downright creepy clip of him observing two potential victims across the otherside of a lake and walking toweard them is what really sold me on the film:

In a Violent Nature (Lake Scene)
Chris Nash, 2024
 

Tuesday, June 4, 2024

Picks of 2004

Greece winning the UEFA European Championship wasn't the only shocker of 2004. A number of films released that year genuinely surprised me. As a staunch opponent of films dear to me getting the remake treatment, who would have thought Zac Snyder's Dawn of the Dead would have been great. Don't get it twisted, anyone who prefers the remake over the original still deserves to be put in stocks and shamed.

Way too many blindspots in 2004 for your host, along with films which were enjoyable at the time, but scarcely remembered, hence left off.

The Aviator (Martin Scorsese)

Calvaire (Fabrice Du Welz)

Creep (Christopher Smith)

Dawn of the Dead (Zac Snyder)

Dead Man's Shoes (Shane Meadows)

The Incredibles (Brad Bird)

Kill Bill: Volume 2 (Quentin Tarantino)

Kung Fu Hustle (Stephen Chow)

Man on Fire (Tony Scott)

Mean Girls (Mark Waters)

Pusher II (Nicolas Winding Refn)

Shaun of the Dead (Edgar Wright)

Spartan (David Mamet)

Team America: World Police (Trey Parker)

Dumplings (Fruit Chan)

The Village (M. Night Shamalamadingdong)

Unpopular Opinions: 

Never fell under the spell of Eternal Sunshine of the Spotless Mind. Not sure how anyone could fall in love with Kate Winslet in the first place let alone be so heartbroken after breaking up with her you'd want your memories of the relationship erased from your mind.

Regarding the second chapter in Tarantino's Kill Bill saga, there's a lot that I like and a lot that I don't. It is a good film, but it's the turning point for me where his indulgences would really become irksome from this point onward.

Simon Pegg owes his entire success to Edgar Wright. Much prefer Hot Fuzz (2007) in the Three Flavours Cornetto trilogy, but won't front on Shaun of the Dead being a good film. Pegg is less of a whiny and annoying manchild in the second one.

Friday, May 31, 2024

Viewings: May 2024

Gutted I didn't manage to see George Miller's Furiosa: A Mad Max Saga (2024) this month; glad I watched Love Lies Bleeding and Eyes of Fire, though. Both of those films were my fave first time viewings throughout May.

A far more erroneous act committed by your host was not having time to watch a single episode of any of the Gerry Anderson shows that have been streaming on YouTube recently.


Film:

The Black Cat (Edgar G. Ulmer, 1934)

The Raven (Lew Landers PKA Louis Friedlander, 1935)

The Quiet Man (John Ford, 1952)

Crypt of the Living Dead AKA Hannah, Queen of the Vampires (Julio Salvador & Ray Danton, 1973)

The Education of Sonny Carson (Michael Campus, 1974)*

The Decline of Western Civilisation (Penelope Spheeris, 1981)*

Eyes of Fire (Avery Crounse, 1983)*

The Decline of Western Civilisation Part II: The Metal Years (Penelope Spheeris, 1988)*

The Last Slumber Party (Stephen Tyler, 1988)*

The Decline of Western Civilisation Part III (Penelope Spheeris, 1998)*

28 Days Later (Danny Boyle, 2002)

Haute Tension AKA Switchblade Romance (Alexandre Aja, 2003)

Abigail (Matt Bettinelli-Olpin & Tyler Gillett, 2024)*

Civil War (Alex Garland, 2024)*

Dune: Part Two (Denis Villeneuve, 2024)*

Infested (Sébastien Vaniček, 2023/2024)*

Love Lies Bleeding (Rose Glass, 2024)*


Television:

Dead Set - Series One (Yann Demange, 2008)

Doctor Who - New Episodes (Sydney Newman, 1963 - 2024)*

The Emirates FA Cup Final 2024*

Mastermind - Episode 31 (Bill Wright, 2023/2024)*


*First time viewings.


Dada Debaser Notes:

  • Thought Villeneuve's Dune: Part One (2021) was decent a few years back, but the new one is a snoozefest. Nodded off a couple of times while plodding through it.
  • Alex Garland's Civil War managed to piss off both sides of America's political divide, but much like his previous effort, I'm in the minority who didn't hate it. Most creative use of a De La Soul song since Spider-Man: No Way Home (2021).
  • French spider horror Infested ought to have been called ACABnophobia after its urban social commentary consumed so much time in the film.
  • Found out the guy who played Wolfe, leader of the Hawks (AKA Tomahawks), in The Education of Sonny Carson was the actual leader of the said NYC gang. His second-in-command is played by Roger Hill, better known for Cyrus from The Warriors (1979). Can you dig it?
  • Boris Karloff's swanky Art Deco crib in The Black Cat might have made it onto my dream homes if it wasn't built on a massive pile of dynamite.
  • Crazy how Spheeris's film trilogy has this unapologetically decadent and hedonistic feature on LA's Hair Metal scene sandwiched between two thoroughly depressing spotlights on Punk bands and its homeless young fans. Massive contrasts. Highlight of the entire trilogy for me was Ozzy Osboure cooking breakfast:
The Decline of Western Civilisation Part II: The Metal Years (Ozzy Scenes)
Penelope Spheeris, 1988

Other Media: Patience paid off and grabbed 40 Years of Scream! cheaper than its RRP. Loved reading a bunch of old strips like ‘Sea Beast’ and ‘Tales from the Grave’ again.

Wednesday, May 29, 2024

Witness the Fitness

Shamefully jackin' Ashton's decades long People You Fancy but Shouldn't. Let’s discuss peak fitness eras of various stars involved in film and television. Kicking this series off with...

Julia Sawalha

As a young 'un, Julia Sawalha came into this boy's life when she was cast as Lynda Day, the cute girl next door editor of the Junior Gazette on the classic kids show Press Gang (1989 - 1993). However, it wasn't until she got glammed up as the barmaid Veronica Head in her one-off appearance on the BBC sitcom Bottom (1991 - 1995) that she officially was considered as smokin' hot.

Sadly, Sawalha is better known for playing the frumpy daughter Saffron in another BBC sitcom Absolutely Fabulous (1992 - 2012). Won't pretend I was ever a fan of it, as it wasn't really my cup of tea, and looking like a bookish geek did her no real favours. Thus, Sawalha's peak fitness era will always be that one time she played Veronica Head.

Tuesday, May 28, 2024

Boyle's Lore

28 Days Later (Danny Boyle, 2002)

Although Danny Boyle's post-apocalyptic chiller 28 Days Later (2002) was technically not a zombie film, it undoubtedly spearheaded a revival in zombie cinema. The film would also pave the way for British horror finding its feet again after the wilderness that was the nineties. Thirdly, 28 Days Later would regain Boyle's reputation after his lacklustre film adaptation of Alex Garland's The Beach. Both Boyle and Garland would team-up and deliver what's arguably a modern British classic film, along with laying down the blueprint for zombie cinema in the twenty-first century.

In terms of its premise, Garland's story takes obvious inspiration from John Wyndham's The Day of the Triffids. The protagonist, bike courier Jim (a relatively unknown at the time Cillian Murphy) wakes from a coma in a deserted hospital following a cataclysmic event —  a major parallel. Alone and confused, Jim gradually assesses the severity of the situation whilst wondering the desolate streets and landmarks of London. The absense of a population in a vast city make these scenes completely rivetting viewing and have automatically become associated with the film ever since.

 

 

Like most post-apocalyptic films, 28 Days Later's protagonist realises he isn't quite alone once he encounters one of the Rage infected. It's a disturbing scene where Jim walks into a church with the words "REPENT THE END IS EXTREMELY FUCKING HIGH" scrawled on a wall, followed by the sight of a mass pile of corpses before an afflicted priest spasdmodically twitches towards the camera. Unlike zombies, the infected are living ghouls driven by rage. Originating from an outbreak of a lab virus during the film's prologue. A scientist warns a group of animal rights activists that the chimps they're freeing also carry mankind's doom. His words aren't heeded.

Jim isn't the only survivor in Blighted Blighty; the battle-hardened Selena (Naomie Harris) hasn't had the fortuity of sleeping through the horrifying outbreak. The machete wielding maiden does not hesitate in hacking to death her companion Mark (Noah Huntley) after he contracts the Rage virus. Selena's character development is like the ying to Jim's yang in terms of their character arcs. Chinks in her stoic armour appear with their potential romance.

 

With Jim coming to terms with the deaths of his parents and a new reality, he embraces a new family; as well as the aforementioned Selena, they find Frank (Brendan Gleeson), a cab driver living in his high rise flat, and his young daughter Hannah (Megan Burns). The bonds formed with these individuals becomes invaluable for Jim's well being as it's evident in the form of a nightmare where he fears losing them and feeling alone in the world again. While on guard duty, Frank wakes Jim and assures him not to worry and Jim responds with the line, "Thanks, Dad!"

Post-apocalyptic films tend to be on the depressing side, and while much of 28 Days Later abundantly offers the same nihilistic feeling, there are a few choice scenes that are a welcome break from its bleak tone. Boyle's homage to the shopping scene from Dawn of the Dead (1978) is a prime example. In another instance, after escaping his execution from a band of military renegades, Jim notices a plane flying high in the sky; suggesting the rest of the world isn't quite as doomed as suggested.

A common element in many a horror or disaster themed film is the secondary antagonist. In this case it consists of a squad of soldiers led by Major Henry West (Christopher Eccleston) introduced in the third act. Potential survivors of the outbreak are lured via a radio message and offered safety from the virus. In reality, the signal exists to gather women for the horny platoon. This callousness is forshadowed by Major West's cold logic bridging the the world of the past with the world of the new with a disturbing summation

"This is what I've seen in the four weeks since infection. People killing people. Which is much what I saw in the four weeks before infection, and the four weeks before that, and before that, and as far back as I care to remember. People killing people. Which to my mind, puts us in a state of normality right now."

Much of 28 Days Later was filmed with crude digital cameras. Perfect  for shooting familiar locations under strict conditions back then. However, the low resolution picture quality is something of an eye sore in our high definition era. It might put off some folk. It's something I became accustomed to after watching the ancient blu-ray I own of the film (in the wrong aspect ratio). Not sure if any later editions were blessed with an improved print, but this visual quality lends to some unexpected noughties charm. The soundtrack on the other hand, has aged remarkably well.

Today, 28 Days Later has left behind a legacy which outshines its meh follow-up 28 Weeks Later (2007); it reinvigorated zombie cinema after George A. Romero had set the template. The film kick started fast zombies. They might have appeared as early as Umberto Lenzi's Nightmare City (1980), but it wasn't until the success of 28 Days Later that everyone else followed suit. It was a game changer. Its influence has not only spread to other acclaimed zombie films since then, such as Yeon Sang-ho's Train to Busan (2016), but its very DNA goes beyond the realm of cinema by extending to television, fashion and politics

With the news of Boyle, Garland and Murphy returning on 28 Years Later (2025), it will be interesting to see where the film will go and whether it will take inspiration from the spread of the COVID-19 global pandemic, which drew comparisons with the original film at the time.

Tuesday, May 21, 2024

The Wish List: Gogglebox Edition

Not done one of these wish lists in a long while and this is a good opportunity to shine some light on  a few vintage television shows I've been meaning to watch. Trouble is, they're either not available to stream or they're hard to cop on blu-ray. It would take forever noting every television series that I consider worthy of some blu-ray love, but the ones listed below always seem to be recurring in my mind the most.

Blake's 7 (Various, 1978 - 1981)

Considering how Terry Nation, the writer for some of the most revered episodes from the longest ever sci-fi series Doctor Who (1963 - 2024), is so universally praised by fans, it's a huge shame that his own BBC creation, Blake's 7 (1978 - 1981), isn't even available on iPlayer. Other than the Liberator spaceship which looks like it might have been kitbashed with a microphone, and the few clips online of Paul Darrow's anti-hero swagger as Kerr Avon, I can barely remember much of the series other than the very last notes of its theme reminding me a little of Boogie Down Productions' song Illegal Business. The downbeat last episode is still to this very day a controversial subject matter amongst its fans, but that only proves how seriously passionate they still are for a show which ended over forty years ago.

EDIT: Had no idea Terry Nation wrote the story for one of my favourite Hitchcockian thrillers And Soon the Darkness (1970) until making this post.

The Mad Death (Robert Young, 1983)

A rabies outbreak ocurring in the UK appeared to be a real threat back in the day. It was signicant enough for the government to issue warnings over it, including terrifying public information films throughout the seventies and eighties. The 1994 opening of the Channel Tunnel must have been pure fear for some viewers familiar with the BBC mini-series The Mad Death (1983) which aired a decade earlier. Based on a book by Nigel Slater (yes, the poncey food journo and presenter), the TV adaptation was a disturbing drama focused on a potential outbreak. Much like the classic made for television, nuclear holocaust film, Threads (1984), it did not hold back in shocking viewers. If the chilling opening titles weren't enough to leave you in a state of unease, then keep watching for scenes of a child being mauled by rabid dogs, foaming patients dying in their hospital beds, and the brutal culling of man's best friend. For a nation of pet lovers this was considerably shocking for prime time TV.

Hammer House of Mystery and Suspense (Various, 1984)

Kind of funny how so many Hammer fans have a fond memory for its first television outing Hammer House of Horror (1980), but another series repping the moniker, known as Hammer House of Mystery and Suspense (1984) is so largely obscure. That's no fault of their own as its ridiculously hard to find these days without shelling out serious money for an old tobacco tainted DVD collectionm on eBay. "In Possession" is the only episode I remember with some clarity as it contains one of the best twist endings I had ever witnessed in any medium (right up there with Charlton Heston finding the Statue of Liberty, in my opinion). It's too bad Network Releasing went under as this would have been the perfect accompaniment to their fine blu-ray release of Hammer House of Horror.

Dead Set (Yann Demange, 2008)

Dead Set was the brainchild of cultural satirist and Black Mirror creator, Charlie Brooker. Ingeniously captiialising on the popularity of the reality series Big Brother, the mini-series managed to buck the oversaturated landscape of the zombie renaissance by offering some hilarious British social commentary and some of the goriest scenes for a television series at the time. The irony of what's probably the last living humans on the planet are Big Brother housemates was part of its appeal. Dead Set also featured Davina McCall, a former presenter of Big Brother, being one of my fave zombies on screen. It's criminal how this was only ever released on DVD in its home country, but available on blu-ray in both Germany and Spain. Craving this like brains.

Sunday, May 19, 2024

Pulp Friction

Loves Lies Bleeding (Rose Glass, 2024)

As enjoyable as Rose Glass's directorial debut was, Saint Maud (2019) was a smart psychological thriller/horror, but way too depressing to revisit again anytime soon. Her latest film, Love Lies Bleeding (2024), is a lesbian neo noir drawing from various celebrated sources from genre cinema. It also happens to be a far more palatable effort defying the sophormore curse.

Despite its heavy material and themes, Love Lies Bleeding has a darkly comic sense of humour woven within its tapestry. Despite its explicit sexual scenes, it exudes an archaic and simplistic pulp novel vibe which is welcomingly refreshing in modern cinema's convoluted and bloviated story telling. Whilst artistically surreal at times, Love Lies Bleeding is a welcome throwback to the neo-noir thrillers from eighties. Ultimately making this a surprising draw for me this year.


Set in a town in New Mexico, during the late 1980s, Love Lies Bleeding centres around the relationship between gym worker Lou (the piranha-jawed Kirsten Stewart) and body-building drifter Jackie (Katy O'Brian). Lou's circle consists of  her battered housewife sister Beth (Jenna Malone), her repugnantly abusive brother-in-law J.J. (Dave Franco) and her estranged, gun smuggling father Lou Sr. (Ed Harris) The nomadic Jackie appears to have no real ties, until later in the story, and is primarily driven by her obsessive desire to enter a body-building competion in Las Vegas. There's also the annoying Daisy, a young woman romantically pursuing Lou, who plays a more pivotal part as the story progresses.


Stylistially speaking, Love Lies Bleeding is mostly shot with a high contrast venee. It's a tried and tested effort harkening to the neon lit eighties. Simulteonously, it's an integral visual component in modern cinema thanks to throwback thrillers like Drive (2011) and Revenge (2017). If that's not enough, baby blue and hot pink are evidently worn in the film, whilst awful retro hair styles are in hilariously abundant. Pick of the bunch is Ed Harris with side hair extentions, reminding me of Matt Lucas's Andy Pipkin from Little Britain (2003 - 2006).

Glass utilises some choice cuts on the film's soundtrack which really compliment Clint Mansell's original score. A firm favourite is Nona Hendryx's Transformtion. An apt song when considering Jackie's arc in the film. 

The film's surreal Attack of the 50 Foot Woman style finale didn't bother me unlike some folk. Having already been familiar with Glass's prior film, Saint Maud, a WTF? style ending was likely to be on the cards. For what it's worth, the film does place various clues regarding Jackie's sense of reality. Sort of come to expect it with the obvious takes on The Incredible Hulk throughout the film. By comparison, it makes way more sense than Ari Astor's tediously over long, surreal odyssey Beau Is Afraid (2023), relying heavily on its wackiness to maintain interest. The problem with this process, by being so overutilised in a three hour film, it becomes boring. Back to this film review - a more relevant, but minor criticism for Glass's effort is sometimes it loses focus on its supporting characters. Its splicing of gritty thriller with transformative body horror works surprisingly well, but the expository dumps near the third act, make the script feel a little rushed and rough around the edges.

Overall, this was a surprisingly entertaining film and one that made me yearn for more small desert town thrillers in this vein. Glass is two for two for me.

Tuesday, May 14, 2024

It’s Ya Boi Francis!

Confession: I haven't watched anything helmed by Francis Ford Coppola since Dracula (1992) (incidentally, my mate Larry still owes me £3.50 for the ticket). Despite a series of commercial flops, Coppola's name still carries weight, however. Not many folk can get to brag about directing The Godfather I & II (1972 - 1974), The Conversation (1974) and Apocalypse Now (1979); effectively turning him into a titan in film circles.

Megalopolis (Trailer)
Francis Ford Coppola, 2024
 

Much like Phil Tippett perservering with his decades old insanity-fest, Mad God (2022), Coppola deserves equal respect for finally turning his passion project, Megalopolis (2024), which he started working on back in the early eighties apparently, into a reality. Too early to say whether his sci-fi epic will be a winner or not, but considering the equine looking Adam Driver is starring in the film, and the trailer hasn't made me want to wretch in disgust, it looks like the film might be worth peeping.

"Smash the like button!"
Another admirable aspect about Megalopolis, is the fact that Francis Ford Coppola has set up his own YouTube page to promote his latest artistic endeavour. His sub count has jumped significantly since the release of a preview clip from a few days ago. Fingers crossed he doesn't potentially start yelling, "Please like, comment and subscribe!" or having baked in promo ads for his wine in any future uploads.