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Los Angeles Times
16-05-2025
- Entertainment
- Los Angeles Times
Why David Fincher turned the Red Hot Chili Peppers into string puppets
Chad Smith remembers the night in 2003 when the Red Hot Chili Peppers played for an audience of 80,000 or so amid the rolling hills of the Irish countryside. After a somewhat fallow period in the mid-'90s, the veteran Los Angeles alt-rock band resurged with 1999's eight-times-platinum 'Californication' and its 2002 follow-up, 'By the Way,' which spawned the chart-topping single 'Can't Stop.' To mark the moment, the Chili Peppers brought a crew to document their performance at Slane Castle, where they headlined a full day of music that also included sets by Foo Fighters and Queens of the Stone Age, for an eventual concert movie. 'Everything's filmed now, but back then it was a big shoot,' Smith, the band's drummer, recently recalled. 'You can get a little self-conscious. At the beginning, I f— something up — nothing nobody would know, but we would know — and Flea kind of looked at me,' he said of the Chili Peppers' bassist. 'We gave each other this 'Oh s—' look. We laughed it off, and I don't think I thought about it after that because the crowd was so engaged. The energy was incredible.' Twenty-two years later, the Chili Peppers are bringing that 2003 gig to screens again — only this time they're string puppets. 'Can't Stop' is director David Fincher's re-creation of the band's rendition of that tune at Slane Castle. Part of the just-released fourth season of the Emmy-winning Netflix anthology series 'Love, Death + Robots,' the animated short film depicts the Chili Peppers — Smith, Flea, singer Anthony Kiedis and guitarist John Frusciante — as dangling marionettes onstage before a veritable sea of the same. As the band rides the song's slinky punk-funk groove, we see Flea bust out some of his signature moves and Kiedis swipe a fan's cellphone for a selfie; at one point, a group of women in the crowd even flash their breasts at the frontman. The puppets aren't real — the entire six-minute episode was computer-generated. But the way they move looks astoundingly lifelike, not least when one fan's lighter accidentally sets another fan's wires on fire. So why did Fincher, the A-list filmmaker behind 'Fight Club' and 'The Social Network,' put his considerable resources to work to make 'Can't Stop'? 'A perfectly reasonable inquiry,' the director said with a laugh. 'First and foremost, I'll say I've always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there's just stuff you want to see.' Fincher, 62, grew up loving Gerry Anderson's 'Thunderbirds' series featuring his so-called Supermarionation style of puppetry enhanced by electronics. But the Chili Peppers project also represents a return to Fincher's roots in music video: Before he made his feature debut with 1992's 'Alien 3,' he directed era-defining clips including Paula Abdul's 'Straight Up,' Madonna's 'Express Yourself' and 'Vogue' and George Michael's 'Freedom! '90.' (Fincher's last big music video gig was Justin Timberlake's 'Suit & Tie' in 2013.) In addition to 'Thunderbirds,' he wanted 'Can't Stop' to evoke the '80s work of early MTV auteurs like Wayne Isham and Russell Mulcahy — 'that throw 24 cameras at Duran Duran aesthetic,' as he put it. Fincher said he knew his puppet concept would require 'a band you can identify just from their movement,' which seems like a fair way to describe the Chili Peppers. He recalled first encountering the band around 1983 — 'I think it was with Martha Davis at the Palladium?' he said — and was struck by a sense of mischief that reminded him of the 'elfin villains' from the old Rankin/Bass TV specials. 'I feel like Finch got the spirit of me,' said Flea, 62, who's known the director socially for years. The bassist remembered discussing 'Can't Stop' with Fincher at a mutual friend's house before they shot it: 'I was talking about how I still jump around onstage and my body still works really good. But I used to dive and do a somersault while I was playing bass — like dive onto my head. And now I'm scared to do it.' He laughed. 'Some old man thing had happened where I'm scared to dive onto my face now. Finch went, 'Well, Puppet Flea can do it.'' After doing a day of motion capture with the band at a studio in the Valley, Fincher and a crew of animators from Culver City's Blur Studio spent about 13 months working on 'Can't Stop.' Fincher said the hard part was giving the marionettes a feeling of suspension. 'With the mo cap, you're capturing the action of a character who has self-determination,' he said, referring to a human Chili Pepper, 'then you're applying that to an object that has no self-determination,' meaning a puppet controlled by an unseen handler. 'It's so much trickier than it looks. But that was kind of the fun, you know? I mean, not for me,' he added with a laugh. Asked if the production involved any use of AI, Fincher said it didn't. 'It's Blur — it's a point of pride for them,' he said. But he also shrugged off the idea that that question has become a kind of purity test for filmmakers. 'For the next couple of months, maybe it'll be an interesting sort of gotcha,' he said. 'But I can't imagine 10 years from now that people will have the same [view]. Nonlinear editing changed the world for about six weeks, and then we all took it for granted. 'I don't look at it as necessarily cheating at this point,' he continued. 'I think there are a lot of things that AI can do — matte edges and roto work and that kind of stuff. I don't think that's going to fundamentally ruin what is intimate and personal about filmmaking, which is that we're playing dress-up and hoping not to be caught out.' As he reportedly works on an English-language version of 'Squid Game' and a sequel to Quentin Tarantino's 'Once Upon a Time … in Hollywood,' did making 'Can't Stop' lead Fincher to ponder the state of the music video now that MTV is no longer in the business of showcasing the form? 'Well, the audience that MTV aggregated — in retrospect, that was time and a place,' he said. 'Remember, the Beatles were making music videos — they just called it 'Help!' There was no invention at all on MTV's part. 'What I do miss about that — and I don't think we'll ever see it again — was that I was 22 years old and I would sketch on a napkin: This is kind of the idea of what we want to do. And four days later, $125,000 would be sent to the company that you were working with and you'd go off and make a video. You'd shoot the thing in a week, and then it would be on the air three weeks after that. 'You make a television commercial now and there's quite literally 19 people in folding chairs, all with their own 100-inch monitor in the back. The world has changed.' He laughed. 'I started my professional career asking for forgiveness rather than permission, and it's been very difficult to go the other direction.'
San Francisco Chronicle
15-05-2025
- Entertainment
- San Francisco Chronicle
Bay Area radio station petitions for return of Red Hot Chili Peppers' NSFW ‘junk socks'
Bay Area alternative rock station Live 105 has launched a petition urging the Red Hot Chili Peppers to once again strip down onstage in nothing but 'strategically placed socks.' A callback to the Los Angeles rock band's early days, during which they performed onstage nearly naked wearing nothing but white tube socks over their genitals, the effort is being spearheaded by the station's morning show host Marci Wiser. 'Sign this petition and let the Peppers know that we, the fans, demand a nostalgic nod to their most iconic (and arguably most exposed) era,' she wrote on where the petition was posted Wednesday, May 14. 'Whether they opt for the classic single sock, the daring double-sock, or perhaps even a festive holiday-themed sock for special occasions, the message is clear: Bring Back the Junk Socks!' The petition does not state in what capacity Wiser wants the band to wear socks, but the Chronicle has reached out to Live 105 for comment. As of Wednesday afternoon, the petition has 13 signatures. Red Hot Chili Peppers — whose current lineup consists of frontman Anthony Kiedis, guitarist John Frusciante, drummer Chad Smith and bassist Flea — retired the schtick in the early 2000s but originally became known for their racy, sock-clad ensembles when they were on the rise in the 1980s and '90s. While the 'Californiacation' band is still active, they now perform fully clothed. Kiedis is set to make an appearance at BottleRock Napa Valley 's William Sonoma Culinary Stage over Memorial Day weekend, and only time will tell if Live 105's petition will make any impact on his festival attire. 'Frankly, in these trying times, a glimpse of Anthony's sock-clad… ahem… lower extremities would be more therapeutic than a truckload of mindfulness apps,' Wiser wrote. 'It's a reminder that life can be absurd, hilarious, and gloriously uninhibited. It's the punk rock equivalent of a giggle fit.' Flea reflected on the impact of the stunt during a 2019 interview with GQ, nearly two decades after the band gave it up, revealing that while it was a fun move in the '90s, it has also felt like it's held them back. 'We put socks on our dicks, and we're never going to outrun it,' he said. 'People are always going to think of that. … I've often felt misunderstood by people who don't know me and assume that I'm just a raving lunatic or shirtless dumbo jumping around slapping a bass.' Nonetheless, the move seems to still be cherished among fans like Wiser, who are fiending for another glimpse. 'Let's make this happen,' Wiser wrote. 'For the sake of laughter. For the sake of nostalgia. For the sake of seeing Flea try to play bass while simultaneously trying to keep the sock on.'
Time of India
09-05-2025
- Business
- Time of India
Skullcandy Crusher ANC 2 review: When bass takes centre stage
Rating: 3.5/5 'The only thing better than a great bassline is a bassline you can feel' – Michael Peter Balzary (aka Flea, bassist at Red Hot Chilli Peppers). Flea's sentiment on the power of bass resonates perfectly with Skullcandy 's mission to deliver bold, bass-heavy audio experiences. The Crusher ANC 2 claims to follow this philosophy, while taking it to a new dimension. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Play this game for 3 minutes, if you own a mouse Undo Not just about sound, the Crusher ANC 2 boasts features like active noise cancellation (ANC), personalised sound, and the signature adjustable bass slider, all promising an immersive listening experience. Operation Sindoor PM Modi meets NSA, chiefs of armed forces amid spike in tensions with Pak India's air defence systems shoot down Pak drones in J&K, Punjab & Rajasthan Several airports in India to be closed till May 15 - check list Available globally since 2023, these headphones have now made their way to India. Priced at Rs 64,999 in India, the Crusher ANC 2 combines premium features with Skullcandy's distinct bass-centric approach. We dedicated days to rigorously testing the Crusher ANC 2 across various scenarios, from lengthy commutes and demanding workouts to relaxing with cherished music and films. But does the experience truly live up to the anticipation? Here's a detailed account of our experience with these wireless headphones:. Design Much like Skullcandy's commitment to a recognisable design language, the Skullcandy Crusher ANC 2 , in its White variant (which we got for testing), presented a refined and minimal aesthetic from the first look we took at it. The matte white finish, along with the subtle orange of the power button, struck us as understated yet modern, one that felt quite appealing for daily use. While constructed from a textured plastic, the build seemed decent enough to inspire confidence in its durability. During our regular commutes, the comfort offered by these headphones was noteworthy. The memory foam ear pads and the fabric-lined padded headband, provided ample cushioning, resulting in a generally satisfactory experience. The design proved its worth in practical scenarios as well. The headphones folded neatly into the bundled pouch, which itself featured a textured exterior that felt both durable and stylish and was a lifesaver during our travels. Despite the Crusher ANC 2 registering a weight of 332g, the distribution felt well-managed; for a couple of hours of continuous music streaming, the extra weight was hardly noticeable. However, during longer listening sessions during a long-haul flight, the clamping pressure began to make its presence felt. Audio performance, ANC and more Let's dive into what makes the Crusher ANC 2 unique—its bass. Crank the adjustable slider up, and Kendrick Lamar's 'HUMBLE.' on your commute feels like a live show in your head, each kick drum hitting you squarely in the chest. On the highest level, the bass is so intense that it almost gave us a face massage (and a headache) as we tried listening to the whole of Lamar's new album GNX at a go. It's immersive, punchy, and tailor-made for hip-hop, EDM, and rock. Slide it down, though, and the bass nearly disappears—perfect for listeners craving a flatter, more balanced sound. That level of control is a major win for anyone who wants to fine-tune their audio. But there's a trade-off: the mids and highs sometimes play second fiddle to the low end. We noticed this when streaming Billie Eilish's 'When the Party's Over'—her airy vocals got lost behind the thumping bass at higher volumes. If you're after pristine clarity across the board, these may not be your go-to; they're built for bass lovers first and foremost. On the ANC front, the Crusher ANC 2 does a solid job cutting constant low-frequency noise—think aeroplane engines or city traffic. During a recent Metro ride, background chatter and wheels-on-rail hum vanished, letting me focus on my playlist. Yet sudden sounds—like station announcements or a dropped coffee cup—still poke through. It's practical for most everyday scenarios, but won't match the near-silence of top-tier noise-cancellers from rival brands. The SkullIQ app enhances customization options, allowing us to fine-tune the EQ. Adjusting the mids for acoustic tracks like Ed Sheeran's Shape of You made a dramatic difference, transforming the listening experience. The app also allowed us to track the headphones, check battery levels in real time, and adjust ANC intensity. For audiophiles who love tweaking, it's a handy companion. Beyond audio, the Crusher ANC 2 supports Bluetooth multipoint—perfect for hopping from a Google Meet call on the laptop to binge-watching Ted Lasso on Apple TV+ without missing a beat. Occasional dropouts happen in crowded Wi-Fi zones, but connectivity stays rock-solid within a 30-foot range. Battery Boasting a claimed battery life of up to 40 hours with ANC enabled, the Skullcandy Crusher ANC 2 positions itself as a strong contender. Our experience with the headphones corroborated this claim; during a long weekend trip from Gurugram to Jaipur, the Crusher ANC 2 comfortably lasted the entire journey, providing continuous playback without needing a power-up. The inclusion of rapid charging proved to be a genuine lifesaver. On one particular morning, while rushing to catch the Delhi Metro, a mere 10-minute charge provided a surprisingly generous 4 hours of playback, a feature that undoubtedly adds to the overall convenience. Verdict The SkullCandy Crusher ANC 2 lives up to its name by delivering an earth-shaking experience that will thrill bass enthusiasts and casual listeners alike. Priced competitively at Rs 64,999, it pairs a massive low-end punch, thanks to the signature adjustable bass slider, a respectable battery life with ANC on, and a handy rapid-charging feature. The included SkullIQ app also welcomes flexibility, letting us tweak EQ settings, adjust noise-cancellation intensity, and even locate our headphones, all wrapped in a foldable, durable design that's comfortable for extended wear. However, this bass-first philosophy comes at the expense of midrange clarity and high-end detail—vocals and intricate instrument lines can feel buried once the bass slider is cranked up. The active noise cancellation performs adequately against constant hums but struggles with sudden, sharper sounds, falling short of top-tier ANC performance. And while connectivity is generally stable, occasional dropouts can occur in interference-heavy environments. Overall, if you live for powerful, thumping bass and crave long-lasting wireless freedom without breaking the bank, the Crusher ANC 2 is a compelling choice. But if you seek a more balanced sound signature or industry-leading noise cancellation, you may want to look elsewhere. AI Masterclass for Students. Upskill Young Ones Today!– Join Now
Daily Mirror
07-05-2025
- Entertainment
- Daily Mirror
Netflix's Love Death + Robots volume 4 full episode list, plot details and release timings
Here's everything you need to know about the latest season Netflix's popular anthology series is set to return with a new volume this month. The fourth instalment of Love, Death + Robots is on the horizon and fans are eager to dive into the latest collection of otherworldly tales. The upcoming season promises a diverse range of animation styles and genre-mixing stories from some of the industry's top writers and directors. Expectations are high for the new episodes, especially after the third season achieved a flawless 100% rating on Rotten Tomatoes. The show follows an anthology format similar to another Netflix success, Black Mirror, with each episode presenting a unique narrative. But what are the details of each episode? When will they be available on the platform? Who comprises the voice cast? Here's everything you need to know. When is Love, Death + Robots being released? All episodes are slated for simultaneous release. According to information provided by Netflix, the fourth volume will comprise 10 episodes, reports the Mirror US. They're all set to drop on May 15. For UK subscribers, new content typically becomes accessible from 8am on the release date. Who is in the Love, Death + Robots voice cast? The voice cast for the fourth volume of the animated series is impressively star-studded. It features renowned actors, YouTube celebrities, and rock legends. Here's a sneak peek at some of the voices fans can look forward to. The lineup includes the entire band Red Hot Chili Peppers, with Anthony Kiedis, Flea, John Frusciante, and Chad Smith all making appearances. Star Wars veteran John Boyega is slated to appear in one episode of Love, Death + Robots volume 4, while comedians Chris Parnell and John Oliver will feature in another. Rhys Darby, known for his role in Flight of the Conchords, will make a rare live-action appearance. YouTube sensation Mr Beast has been confirmed for a role, alongside Kevin Hart and Ted Lasso's Brett Goldstein. Dan Stevens is rumoured to lend his voice to the Devil in an episode that will also star Jim Broadbent. So, what can we expect from each episode in Love, Death + Robots volume 4? Can't Stop - Directed by renowned filmmaker and former music video director David Fincher, this episode offers a unique perspective on the Red Hot Chili Peppers' 2003 performance at Slane Castle, Ireland, reimagining band members as string-puppets. Close Encounters of the Mini Kind - This mini alien apocalypse pays homage to classic sci-fi tales of alien invasion and human folly, using tilt-shift techniques to give the end of the world an almost adorable appearance. Spider Rose - Set in the same cyberpunk universe as the third volume's episode Swarm. In a remote asteroid mining operation, a mourning Mechanist acquires a new companion and gets the opportunity to exact revenge on the Shaper assassin who murdered her husband. 400 Boys - Set in a post-apocalyptic city plagued by warring gangs, a new group, the 400 Boys, forces them to unite. This episode comes from Robert Valley, whose previous episode Ice bagged an Emmy. The Other Large Thing - From the imaginative mind of acclaimed author John Scalzi, comes a tale about a cat with ambitions of global domination. Aiding him in his quest is a newly acquired robotic butler (voiced by John Oliver) who possesses the ability to hack into the World Wide Web and is keen to assist his new master. Golgotha - The sole live-action instalment features Rhys Darby as a vicar who welcomes an envoy from an extraterrestrial race convinced their saviour has been reincarnated on earth... in the form of a dolphin. This episode is helmed by series creator Tim Miller. The Screaming of the Tyrannosaur - Set on a space station orbiting Jupiter, decadent nobles assemble to watch a savage spectacle of genetically enhanced gladiators riding dinosaurs. How Zeke Got Religion - The B-17 Flying Fortress Liberty Belle embarks on the strangest mission of World War Two: a trip into occupied France to bomb a church before the Nazis can awaken an ancient evil. Smart Appliances, Stupid Owners - From a disgruntled toothbrush to a stressed-out smart showerhead and a sentient toilet, various domestic appliances share stories of amusement, disdain, and astonishment about their human owners. For He Can Creep - In 1757 London, a poet locked away in a madhouse believes that Satan wants him to pen a verse that will bring about the end of the world. However, standing in the way of him and the Prince of Darkness is his feline companion, Jeoffry. This is based on Siobhan Carroll's short story.
Forbes
18-04-2025
- Entertainment
- Forbes
Red Hot Chili Peppers Make It To A Huge Milestone For The Very First Time
Red Hot Chili Peppers' Greatest Hits climbs on two U.K. lists and reaches 450 weeks on the Official ... More Albums chart — more than twice as long as any other release. (L-R) Bassist Flea, singer and songwriter Anthony Kiedis, guitarist Hillel Slovak (1962-1988) and drummer Cliff Martinez, of the American rock band The Red Hot Chili Peppers, pose for a group portrait on January 4, 1984 at The Stone in San Francisco, California. (Photo by) The Red Hot Chili Peppers are having quite the week across the pond. The rock band is making its presence felt with a pair of projects, both of which are performing well at the moment. As one returns, the other is enjoying reaching a special milestone. It seems that no matter how much time passes, one compilation from the group remains a must-play for fans across the United Kingdom. The Red Hot Chili Peppers can almost always be found on the charts in the U.K. with Greatest Hits, the simply-titled retrospective that features many of the band's most famous tracks. This frame, the compilation improves on both of the tallies where it regularly shows up. Greatest Hits rises on the Official Albums Streaming chart, lifting from No. 52 to No. 45. It also advances on the all-genre Official Albums ranking, moving up nine spaces to No. 51. That latter tally is focused on the most-consumed full-lengths and EPs in the country each week. As it holds on, Greatest Hits has now spent 450 weeks somewhere on the Official Albums chart. That's a remarkable feat that a relatively few titles have managed. It's also the first effort by Red Hot Chili Peppers to hit that number. While Greatest Hits leads the band's catalog in terms of longevity, it's not the only Red Hot Chili Peppers album with a strong showing over the years. Californication ranks as the second-longest-running effort, with 169 total weeks on the chart. Just behind it is Blood Sugar Sex Magik, which has now racked up 121 weeks on the tally. Speaking of Californication, that project is also back in the spotlight this week. While it doesn't appear on the Official Albums chart this time around, it's present once again on two other closely-watched rankings. The band's bestselling traditional release returns to both the Official Physical Albums chart (No. 91) and the Official Albums Sales roster (No. 97). Californication has already passed the one-year mark on each of those lists. In fact, it's spent several hundred weeks on the physical-only tally, which focuses solely on CD and vinyl sales, and just over a year on the all-encompassing purchase ranking.
