Month: June 2020

Most shows have a creative decline after four, maybe five seasons, assuming they even make it that long. But not It’s Always Sunny in Philadelphia. The FXX comedy, starring Rob McElhenney, Glenn Howerton, Charlie Day, Kaitlin Olson, and Danny DeVito, has been very good to great for 14 seasons, and counting. How is that possible? An ability to adapt over the years helps, like tweaking Dee’s role in The Gang, as does, as McElhenney explained in a recent roundtable interview with the Hollywood Reporter, surrounding yourself with voices that are different (younger, more diverse) than yours.

“In my writers room right now on Sunny, I have people who were not allowed to watch the show when it first aired. That’s the truth! I will go out and find 20-, 21-, 22-year-old people with all different backgrounds, and it’s not from some altruistic or pandering point of view, it’s that it’s going to make the show better, and I don’t want to be a dinosaur,” McElhenney said. “I want them to help guide me and show me what’s not only funny but what’s relevant, what’s changing, how is it changing, and how can we continue to be on the cutting edge.” The Mythic Quest co-creator, who’s lived a fascinating life, also shared an enlightening story about one of his first on-set encounters with DeVito:

“For me, I remember Danny DeVito came on in the second season of [It’s Always Sunny], which was 13 years ago, and he’s a comedic icon and a hero of mine, and [he asked me] at one point on set, ‘How do you want me to say it?’ And I said, ‘Well, just say it whatever way you think is funniest.’ And he said, ‘No, I want you to tell me what’s funny.’ And I remember going, ‘You want me to tell you what’s funny?’ He’s like, ‘Yeah, you’re the young person, and the reason I signed on to this show was because I want to stay fresh and relevant, and if I don’t, then I’m just going to become a dinosaur.’ That was a real learning experience for me.”

Don’t be like Grampa Simpson…

… but do be like Danny DeVito. This is true for most things in life.

(Via the Hollywood Reporter)

This week, several big-name pop musicians shared new music that earned the best new pop label. Selena Gomez remixed Trevor Daniel’s recent hit, Blackpink returned with their first piece of new music in over a year, and Charlie Puth further proved his talent for writing feel-good pop tunes.

Each week, Uproxx rounds up the best new pop music. Listen up.

Selena Gomez, Trevor Daniel — “Past Life”

This week, Selena Gomez served up a remix that was sure to earn Uproxx best new pop stamp of approval. “When I heard the song the first time, I loved the fact that it was kind of like a story about all the things that we tend to hold onto and the patterns that we have,” Gomez said in a statement. “And I’m very, very vocal about my personal experiences making decisions that aren’t necessarily healthy for me.”

Blackpink — “How You Like That”

Last April, Blackpink dropped Kill This Love EP just ahead of their Coachella set and haven’t released any music since — until this week. The K-pop group returned with “How You Like That.” Fans were so excited that they broke the record for the biggest video premiere ever on YouTube, with an impressive 1.65 million people tuning in concurrently.

Charlie Puth — “Girlfriend”

Over the course of his career, Charlie Puth has proved a knack for writing buoyant pop tunes, and his new single “Girlfriend” is no different. In a statement alongside the single’s release, Puth said “Girlfriend” is one of his favorite tracks he’s ever written: “I think this is like one of my favorite songs I’ve ever made, and one that I’ve been sitting on for a really long time and just kind of perfecting the production and the vocal production over the year. I truly love this song more than anything.”

Lauv — “Dishes”

Lauv shared his emotive debut album, How I’m Feeling, just a few months ago. But the singer didn’t let much time pass before shared another EP, including the lighthearted track “Dishes.” Lauv has proved prolific in his time in quarantine, writing and producing the entire EP within just a few months at home.

Jessie Ware — “Soul Control”

Jessie Ware debuted her irresistible album What’s Your Pleasure? this week, and with it arrived the show-stopping tune “Soul Control.” The single opens with clapping beat and rubbery keys before a funky bass guitar takes over. With her breathy vocals, Ware sings of the euphoria of dancefloor attraction.

Arca — “KLK” Feat. Rosalía

Venezuelan producer Arca shared her record Kick I this week. The record is an ode to her experimental type of music and her collaboration with Rosalía is no different. The hypnotic tune expertly layers jarring, samples with contemporary pop sensibilities.

Dominic Fike — “Chicken Tenders”

After garnering a large fan base from his self-released EP and a handful of singles, Dominic Fike is gearing up for his major-label debut album. This week, Fike shared the sultry album lead “Chicken Tenders.” The lush single details a particularly passionate night in his hotel room.

Shay Lia — “All Up To You”

Montreal-based songwriter Shay Lia shared the effervescent number “All Up To You” this week. In a statement, the singer said she wanted the single to bring universal joy: “I wanted to create something positive for people to dance to in these crazy times. I wanted to feel reminded that we’re stronger than we think. I believe in the powers of words and music and I love creating inspirational songs full of warmth and joyful energy for everyone of any age to enjoy.”

Alec Wigdahl — “Lipstick”

Following his breakout hit “Cologne,” Alec Wigdahl returns with the swooning single “Lipstick.” “I love the kind of songs that are incredibly specific to the artist’s life, but when you listen it hits you right in the chest — almost like it’s happening to you,” Wigdahl said in a statement alongside the single’s release. “In my own music I try to be as personal and vulnerable as I possibly can, so that everyone can feel like the song was made for them. I want them to feel like I’m narrating their story at the same time that I’m narrating mine.”

Brevin Kim — “I Need Water”

Boston-based sibling duo Brevin Kim returned this week with the hard-hitting effort “I Need Water” as a preview for their upcoming music. On the experimental single, quick-tempo beat simmers underneath the brothers’ layered lyrical delivery.

Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Netflix’s commitment to epic-feeling series continues with Cursed, an adaptation of Frank Miller and Tom Wheeler’s bestselling novel, which reimagines the Authurian legend. In this realm, the classically-accepted worlds of Merlin and Arthur get spun on their heads when a young woman, Nimue, is destined to become the Lady of the Lake. The first season includes a war on magic, infused with a coming of age story, and this trailer promises an expansive feast for the eyes on the small screen.

Actually, the trailer looks absolutely stunning with lush forest sets and battle scenes aplenty. Central to all of that is Excalibur, which changes course from the legend to choose a queen. Not only is Nimue the Lady of the Lake in this series, but she collects a few other titles, all of which should thrill viewers. Hopefully, we’ll get lots of winks and nods and convincing swordfighting akin to the Henry Cavill-starring The Witcher.

From the official show synopsis:

Cursed is a re-imagination of the Arthurian legend, told through the eyes of Nimue, a young woman with a mysterious gift who is destined to become the powerful (and tragic) Lady of the Lake. After her mother’s death, she finds an unexpected partner in Arthur, a humble mercenary, in a quest to find Merlin and deliver an ancient sword. Over the course of her journey, Nimue will become a symbol of courage and rebellion against the terrifying Red Paladins, and their complicit King Uther. Cursed is a coming-of-age story whose themes are familiar to our own time: the obliteration of the natural world, religious terror, senseless war, and finding the courage to lead in the face of the impossible.

Netflix’s Cursed will stream on July 17.

It was announced in April that several artists would be selling face masks to benefit coronavirus-related charities. The Weeknd was among those artists, and the “XO” masks have sold well. The Weeknd has personally matched the money raised by the masks, so it has been announced the he has donated half a million dollars to his hometown Scarborough Health Network (SHN), and another half million to MusiCares.

The Weeknd said in a press release, “I was raised in Scarborough and felt it was important to give back to the community that raised me during the hard times of this pandemic.”

SHN’s Dr. Elaine Yeung also said, “Like The Weeknd, many of my fellow frontline workers either come from Scarborough or call this community home. It is amazing to see one of our own on the world stage, giving back during our community’s time of need; generous support like this inspires us to keep going. This gift represents Scarborough’s incredible spirit and collective passion for shaping a brighter, healthier future.”

Meanwhile, The Weeknd’s After Hours was recently named to the longlist for this year’s Polaris Prize, one of Canada’s top honors in music. He also recently unveiled a new set of rescheduled tour dates.

Welcome to another installment of Ask A Music Critic! And thanks to everyone who has sent me questions. Please keep them coming at [email protected].

I’m a crazy person and think that Some Loud Thunder is not only better than Clap Your Hands Say Yeah’s debut — hey, remember them? — but one of my favorite albums of the ’00s. That’s for another debate, which I’d likely lose, but I’m wondering what your favorite “career-killer follow-up” albums are. And if there’s a good album title we can use to name this “career-killer better than the debut” effect. — David from Atlanta

How about Congratulations-core?

I refer to my favorite “career-killer follow-up” album, the 2010 LP by MGMT that essentially transformed them from the kings of late-aughts dorm-room indie-pop — it can’t be overstated how popular songs like “Kids” and “Electric Feel” still are — to a weird outsider psych outfit who never regained the mainstream popularity they once had. I’ve long been a bit obsessed with Congratulations, so much so that I wrote my 10th-anniversary appreciation of the record three years early. The following year, when I interviewed MGMT for an article about their (pretty good!) 2018 album Little Dark Age, I kept asking questions about the excessive “true California ’70s” lifestyle they enjoyed during the making of Congratulations. (I later put it in my top 10 favorite albums of the 2010s.)

Congratulations arrived at a moment when the indie wave of the aughts was about to crash against the critical vogue of poptimism and the commercial consolidation around massive pop stars that has defined the corporate and homogenized streaming era. What I love about Congratulations is that MGMT steered into the crash. Instead of chasing more hits, MGMT pursued an idiosyncratic (and to some degree self-destructive) muse that crippled their pop fortunes but in the long run made them a more interesting (though also significantly niche-ier) band.

While I don’t agree with you assessment of Some Loud Thunder — my main memory of that record is reviewing it and thinking my promo stream was malfunctioning and then realizing it was supposed to sound like that — I understand where you’re coming from. Congratulations-core albums need defending, which makes us defenders love them even more than we already do, because minor cultural injustices rile up tremendous passion in the hearts of us music nerds. It’s the same reason I love Soup, the second album by the ’90s jam-grunge band Blind Melon, the one they made after their self-titled debut sold millions on the strength of their one hit, “No Rain.” Like Congratulations, Soup is the act of a band determined to move in the opposite direction from alt-rock radio success, by making something stranger, less accessible, and (I would argue) deeper and more ambitious.

The relative failure of Soup was complicated by the death of Shannon Hoon, which occurred no long after the album was released. Had he lived, perhaps Soup would have done for Blind Melon what, say, The Bends did for Radiohead. Lest we all forget, Radiohead was also a one-hit-wonder for a few years after the success of “Creep” — until The Bends arrived as the stranger, less accessible but ultimately deeper and more ambitious followup that proved to be a great success and set Radiohead on the path to glory. The same could be said of the Beastie Boys’ Paul’s Boutique, an album that actually was a failure for a few years after it bombed commercially in the wake of Licensed To Ill, only to be later revived critically as a work of incredible invention and foresight.

But enough about that. We’re here to toast the failures. We love you Congratulations, Soup, and (why not?) Some Loud Thunder. Thanks for bombing in such lovable, endlessly defensible ways.

I know you’re a big fan of Bob Dylan’s new album, and his later work as a whole. I’ve been enjoying his new album a lot, too. His voice is rough and he sounds old, but I think it suits the music he’s making very well. He sounds like a weird, old mystic playing with a band of incredibly talented miscreants in a rundown backwoods bar in the mountains. However, my 65-year-old dad can’t get into it. He can’t get past his voice at all. He’s been a fan of Dylan since the early ’60s and has had a hard time getting into his more recent work because of his voice. He’s said that some of his friends around his age have expressed similar feelings. I’m wondering if this is something that you’ve heard from people in that same age range and/or if you think it’s a trend from people who listened to Dylan when he was in his prime? Are these people just afraid to get old and don’t like that Bob seems very comfortable embracing his age? — Eric from Cleveland

Hey Eric, I think what you’re describing is a fairly common phenomenon. When it comes to Dylan specifically, I think it’s often true that younger fans appreciate his older work more than the boomers who grew up with him. And I think that has a lot to do with when each group came in with Dylan, and how that affects perception.

In my book Twilight Of The Gods – sorry for the shameless plug here, but I swear it’s pertinent — I wrote about how Gen-Xers, millennials, and now zoomers who tune into classic-rockers tend to appreciate different things than the original audiences for those artists. I was writing specifically about lesser-regarded albums in their day that wound up benefitting from revisionism via younger critics. Examples include Paul McCartney’s early post-Beatles solo albums like McCartney and Ram, or Bob Dylan’s Christian-era records.

The reason this happens (I think) is that for younger audiences, they’re taking in the totality of the artist’s work over the course of many decades all at once, which obviously gives them a different perspective. That younger listener can hear The Beatles and “Uncle Albert/Admiral Halsey” at the exact same time, which puts that music roughly on the same level. Whereas the older listener who heard that music in real time is shaped by hearing The Beatles at one point in their life, and Ram in another. Not only has the music changed, but (more importantly) the listener has also changed. The Beatles might have had a very significant place in that person’s personal history, which will inevitably influence how they hear the later work. Meanwhile, the younger listener doesn’t experience the music like that. That person might go through a heavy McCartney binge in one week, and take in 50 years of music in a matter of days. The music changes, but that younger listener basically stays the same.

I think that might explain why your dad doesn’t like Rough And Rowdy Ways. He’s been listening to Dylan for most of his life. When he first heard Dylan, the music would have probably been much fresher and exciting for him, because he was younger. Whereas now, he’s heard so much Dylan in his life (and at some many different points in his life) that he can’t help but compare then to now. And then often has a kind of home-field advantage as you get older, because it’s what you know and have appreciated the longest. You have an idea in your head of what Dylan should sound like, and any deviation from that seems wrong.

Or … he might just hate the sound of old Bob’s voice!

Over the last ten years, I (27, male) have engaged in a musical debate with my mother (61) which has reached alarming levels of cognitive distance. The debate is this: My mom is convinced that the 1996 song “One Headlight” is a late-career highlight of The Band’s Robbie Robertson’s solo career. Most ’90s Adult Contemporary-heads will know that “One Headlight” is written and performed by The Wallflowers, featuring Jakob Dylan. Despite my efforts to show her the music video, album credits, and other formal documentation, she still insists the song is performed by Robbie Robertson, and not The Wallflowers. She claims that Robertson performed the song on a January 17, 1992 episode of Saturday Night Live (Setlist.fm lists his performances as “Go Back to Your Woods,” and “The Weight”), four years before the release of “One Headlight.” I acknowledge Jakob Dylan, the song’s true architect, is the son of Robertson’s collaborator Bob Dylan. How do I approach a musical debate that has no factual basis, other than a few loose cross- generational threads? It has become problematic for us to debate the cultural connectivity of the 1960s to the 1990s without resorting to verbal and physical violence. — Davin from Brooklyn

First of all, this is my favorite question in the history of the “Ask A Music Critic” column. Thank you for your service, Davin.

Before I answer your question, I must tell you that I have a similar story. For years, my mother-in-law has asked me to identify a song from the ’70s in which a group of female vocalists sing the words “dance, dance, dance” in the chorus. She has sung the chorus for me, and explained that it is a “disco-type” song. She’s even sung the rhythm part, which (according to her) goes like this: “do-do-do-de-do.”

Right away, I suggested that the song is probably “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah),” the first single and subsequent hit by the legendary disco band Chic. After all, the chorus is literally “dance, dance, dance,” it features prominent female voices, and it’s a quintessential disco song. But my mother-in-law insists it’s not this song. And then she’ll sing me the song in her head, and she’ll sound more or less like Chic’s “Dance, Dance, Dance.” And this just goes round and round. I happen to think this whole ongoing family argument is hilarious, but it so annoys my wife that she gets physically angry with me whenever I sing “dance, dance, dance” in my mother-in-law’s voice.

Back to your question: You’re wondering what you should do about a music-related argument that’s not even an argument, because you are unequivocally correct and the older loved one in your life is unequivocally mistaken. Here’s my advice: Tell your mom she’s right. Tell her that “One Headlight” is indeed by Robbie Robertson, and that it stands as one of his great late-career achievements. Apologize to her for insisting that it’s a song by The Wallflowers. And then tell this story to everybody that you know and make fun of your mom behind her back. That way, everybody wins.

What is the life of a music critic like, day to day? Do you ALWAYS have music playing? If so, does it drive your family insane? Also if so, what kind of set up are you using? Do you insist on only listening to vinyl while sitting in your most comfortable chair? Do you have speakers in every room in the house? Do you always have headphones on? Do you ever just yearn for silence? — Michael from Vancouver

I sit in a chair in my office and listen to music. Some days, I type a lot.

Yes.

It depends on what I’m playing.

My “set-up” is embarrassingly basic (from an audiophile’s perspective) but relatively inexpensive.

Vinyl is overrated! CDs, however, are properly rated.

No (unless it counts that I carry headphones pretty much everywhere).

Yes!

Yes but thankfully not very often. To do so would be an occupational hazard.

Kanye West hears the criticisms against him, but he won’t back down. That’s the message of his new single, “Wash Us In The Blood,” featuring Travis Scott, which he released today after teasing the new song in his return to Twitter earlier this week. The song is accompanied with a surrealist music video which incorporates CGI animation, social media video clips from recent protests against police brutality, and home movie footage from what looks like a church concert in the ’90s.

“Wash Us In The Blood” is prime latter-day Kanye, based around a gospel-inspired chant evoking the blood of Jesus, imagery that appears repeatedly in the Bible and in the music of Black American churches. Despite opening the video with images from protests against police brutality, it appears Kanye has a broader agenda, as both the lyrics and the video reference the social cost of gang culture, as well as Kanye’s prior comments on slavery. However, it sounds like Kanye expects some controversy, as he raps over the bridge, “They don’t want Kanye to be Kanye / They wanna sign a fake Kanye / They wanna sign a ‘Calm-ye.’” As the first single from Kanye’s upcoming album, God’s Country, it’s an intriguing glimpse at what’s to come.

If Kanye won’t calm down, at least he has plenty to keep himself busy. Earlier this week, he announced a 10-year partnership with The Gap, while Kid Cudi shared a teaser of the duo’s upcoming Kids See Ghosts animated sow.

Listen to Kanye West’s “Wash Us In The Blood” featuring Travis Scott above.

A rapper named Dela Wesst, who has over half a million TikTok followers, has accused Cardi B of stealing lyrics from her (for Offset’s “Clout” and Blueface’s “Thotiana (Remix)”). Cardi was having none of that.

Yesterday, Wesst shared a video in which she accuses Cardi of plagiarizing lyrics, avoiding the subject, and needlessly bringing her child into the conversation. Cardi decided to offer a lengthy response in the form of multiple tweets, starting with, “First of all you weird ass b*tch u been trying me for hot minute .You really cross the line when u stalkin my fans page and put this sh*t on a pic of me & my kid .SO YES THATS I’m bringing my kid.” The tweet included a screenshot of a post in which Wesst criticized Cardi and used a photo of her and Kulture.

Cardi then went on to outline the timeline of when she wrote her lyrics, saying they came before Wesst’s.

After making her points, Cardi said, “Sooooo stop WITH YOUR SH*T .Never Hurd about you b4 you started using my name for tic too .Stop chasing clout and chase a bag and a dentist like I DID SIS !”

Wesst responded, “Starting a record in January does not mean you finished that record in January. I clearly wrote this the day before you debuted it the internet. I didn’t hear the section of the song THAT EVERYONE IS TALKING ABOUT. I am also not hearing by any ‘CLOUTS’ in the verse.” Cardi fired back, “jUsT cAUsE yOu sTArTED the song iN jAnUARy don’t mean you finished it THEN WTF IS THIS THEN B*TCH ! Sit down you weirdo clown .Talkin about you coulda dm me BITCH did you dm b4 you did like ten videos of me poppin sh*t? Or them 30 tweets about me talkin sh*t?”

When a Cardi fan pointed out that Wesst gained more followers during their exchange, Cardi noted, “Only people that follows her is people that hate me .You could me a murderer a KKK if you HATE CARDI B they will be on b*tches page like YOU SO AMAZING ,Queen ,talent,you so smart Same sh*t different person.”

Wesst answered, “You clearly were LISTENING TO RESPOND & not LISTENING TO COMPREHEND. The lyrics from CLOUT are almost IDENTICAL to my lyrics in Thotiana. So, you genuinely proved nothing to me.” Cardi responded, “You posted your lyrics on the other post it said February 6 my lyrics are from January 9th ..Goodbye sweety your DISTURB.Clout chase from somebody else.CLOWN now go do a video about THAT!”

Cardi then closed the proceedings, “That was fun! …I’m getting off the internet for a couple days see ya when I see yaaa …..BYEEEETAAAAAAAA.”

Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Much like Samuel L. Jackson, Will Ferrell has delivered many instantly-quotable lines over the years, including “It’s so damn hot, milk was a bad choice” from Anchorman: The Legend of Ron Burgundy, “So many activities!” from Step Brothers, and “You sit on a throne of lies!” from Elf (not to mention dozens of classic SNL sketches, including arguably the show’s most famous sketch). But the line he hears the most, shouted by the same strangers who tell SLJ to hold onto his butt, comes from a movie he’s barely in.

When asked about his appearance in Wedding Crashers (directed by David Dobkin, the same guy who did Netflix’s goofy, glorious Eurovision Song Contest: The Story of Fire Saga), specifically the line where he screams for his “Ma” to get him some meatloaf, Ferrell told CinemaBlend, “Who would have known that a one-day cameo would have led to one of the lines that has consistently been shouted at me more than any other line?” Just wait until he starts hearing “play Ja Ja Ding Dong!!!!!!!!!” wherever he goes.

Ferrell was also questioned about his involvement in Wedding Crashers 2, which has been in development since 2016. “It’s Wedding Crashers 2: Divorce Court. It’s going to be a drama, it’s going to be a courtroom drama,” he joked. Make room on our top-10 list!

(Via CinemaBlend)

The album art for Pop Smoke’s posthumous album was revealed yesterday. However, it didn’t take long for Smoke’s label to reconsider it and promise to make a change following widespread backlash.

Steven Victor, head of Victor Victor Worldwide, shared the cover on Instagram and wrote, “you were always shootings for the stars and aiming for the moon. everything we talked about is happening, the only thing is you’re not here in the flesh to see it all come together. you wanted Virgil to design your album cover and lead creative.. Virgil designed the album cover and led creative.. we love you and miss you more and more each day.”

Shortly after the cover was posted, it was widely ridiculed. The reactions on social media were not kind, and a petition to have the art changed currently has over 18,000 signatures. The petition, titled “Change Pop Smokes Album Artwork,” reads simply, “Virgil deadass was wild lazy with Pop Smokes Album cover and he needs to fix it.”

Victor caught wind of the backlash and promised the art would be changed, writing in a series of tweets, “H E A R D YOU. B R B. MAKING A CHANGE. POP WOULD LISTEN TO HIS FANS!”

For now, it remains to be seen what Abloh will come up with next, or if the new art will perhaps be made by somebody else.

Unsolved Mysteries ran for 14 years after launching (with pilot host Raymond Burr and Robert Stack following as full-time host and the face of the series) in 1987. In the process, the show danced from NBC to CBS, Lifetime, and Spike TV, and much of it now sits on streaming platforms (including the Stack episodes on Amazon Prime and a season over on Hulu) for the nostalgic taking. Those cold cases chilled and thrilled, depending upon context and whether a taste of the paranormal (as with segments like “Queen Mary Ghost Ship”) was involved, but the series consistently captivated the true crime-buff audience. Netflix is reviving the show, which should be an interesting experiment, given that their audience has recently inhaled true-crime fare like Making a Murderer, Mindhunter, and multiple Ted Bundy-focused entries.

Clearly, Netflix has the audience for slightly heady, fully digestible crime fare, so it feels like a no-brainer to churn out some new Unsolved Mysteries, although there’s always a risk involved when one fiddles with nostalgia. To start, the streamer’s dropping a six-episode batch (with more to come) that’s landing on July 1, and the good news is that this update should satisfy fans of the original and newcomers alike.

That last group feels necessary to mention but maybe a little bit absurd. Do any viewers exist who are predisposed to enjoy this revival but who have never seen an episode of the original series? Well, probably not. What’s important, though, is that the show feels familiar but refreshed, given that not only the original creators (Cosgrove/Meurer Productions) are onboard but also the Stranger Things production company (21 Laps Entertainment). You might think that the latter credit would up the ante on the supernatural references, but that’s not the case. So far, this revival is maintaining a healthy variety of cases with at least one heel grinding into reality most of the time.

Then there’s the formula of the original series to consider. As always, the franchise is dealing with mysteries that remain, by their very definition, unsolved. And again, the show heavily focuses upon stories of missing loved ones and/or strange paranormal encounters, all explained by family members, detectives, and journalists. Yet some structural differences exist, which may or may not go too well with viewers:

(1) Each hour-ish-long episode deep-dives into one mystery rather than a breezy treatment of four (give or take one) of them.

(2) No hosts shall be found, which is a bit of a bummer; admittedly, one can’t imagine replacing Stack without inevitable criticism in the aftermath, so that gig may have been a hot potato for worthy candidates.

(3) Updated and polished production values mean that the revival looks better.

I didn’t mind the differences. Especially with the lack of a host, that shift doesn’t feel strange; it’s as if Robert Stack’s ghost is already looming over the revival. The opening titles even end with a silhouette of Stack, who’s practically lurking in the shadows.

Crucially as well, the show pointedly sticks with expressing the wish — at the end of each episode — that anyone with knowledge of these cases reaches out at Unsolved.com. Keeping that signature touch might prove even more useful in 2020 than it did in the 1990s. The original series featured updates on past episodes where tips led to solving crimes, so maybe we’ll see more of that happening now. At least, I am hoping that the interconnectedness of 2020 will make a difference because some of these mysteries have boggled minds for nearly a decade. And they’re all google-able, should anyone wish to go more in-depth, beyond what’s shown onscreen.

The six episodes being released this week should prove encouraging for anyone who doubts that a revival’s possible. There’s everything from a UFO-focused episode to a case where a husband flees from his home and disappears, with subsequent clues maybe suggesting the involvement of a certain secret fraternal organization in the U.S. There’s also — and this is the crown jewel of the debut — an installment that crosses the pond to explore the gruesome Dupont de Ligonnès murders, for which a French count (and prime suspect) remains on the run. Other episodes explore cases where a victim’s employer or various family members may have committed heinous crimes. Let’s just say that the show’s committed to providing something to satisfy every true-crime buff, even if most of these episodes revolve around murder.

As with the original, Unsolved Mysteries can be a heavy viewing experience at times. That could have presented a tough roadblock when Netflix’s primary objective is often to provide a binge-worthy product. It’s a tricky balance, to keep episodes “consumable” while doing long-ish dives into research, respecting victims’ families, and compelling an audience. Clues, testimonials, and pleas all enter the mix; all parties are frustrated at their lack of closure. It gets a wee bit sensational at times, which strikes a different tone than the revolutionary I’ll Be Gone In The Dark on HBO, but the target audience is the same. These stories will stick around in one’s mind, come bedtime, and they are addictive. Netflix’s objective is to keep people streaming into the next episode, and with the revived Unsolved Mysteries, they nailed that goal.

Netflix’s ‘Unsolved Mysteries’ revival will premiere six episodes on July 1.