In season two of the HBO Max comedy-mystery, Cuoco’s Cassie is sober and getting her life together. “I’m still a flight attendant and I’ve been making better choices. I moved to Los Angeles. I met this great guy. Picked up a part-time job. I kind of feel like I’m turning into this whole new person,” she says in an Alcoholics Anonymous meeting in the trailer above. What she conveniently left out of her story is that she’s a CIA assist who’s “living in a John le Carré spy novel,” as her friend Annie (Zosia Mamet) puts it. Cassie also has a new voice in her “Mind Palace” this season: her own.
Here’s more:
Cassie Bowden (Kaley Cuoco) is living her best sober life in Los Angeles while moonlighting as a CIA asset in her spare time. But when an overseas assignment leads her to inadvertently witness a murder, she becomes entangled in another international intrigue.
The Flight Attendant returns to HBO Max on Thursday, April 21.
The world would be a much better place if humans weren’t so … human. We all fall short of perfection. Common sense is, sadly, not too common. And there’s one guy out there who always manages to screw things up when things start getting good.
Call it Murphy’s law. Call it the great “reason we can’t have nice things.” Call it entropy. It feels like a whole lot of pain could be avoided if we all had just a little bit more sense.
But what if there was one rule that we all agreed to follow to make everyone’s life better? What would this magical rule be?
A Reddit user who goes by the name P4insplatter came to this realization and asked the AskReddit subforum, “What simple rule would fix the world if everyone actually followed it?” They received dozens of simple rules that if everyone got behind would make the world drastically better.
It’s no shock that most of them felt like a variation of the Golden Rule. It’s funny that a lot of folks believe the world would seriously improve if we could just abide by a simple saying that we all learned in kindergarten.
Also known as the “ethics of reciprocity,” the Golden Rule is so innate to humans that versions of it have been found in religions and cultures throughout the world.
Here are 17 of the best responses to P4insplatter’s simple, but world-altering question.
1. Let go
“Let go or be dragged” an old zen proverb I heard at a meditation class. Really changed the way I let myself worry about things.” — civagigi
2. Simple, but true
“Don’t be a dick.” — WuTangLAN93
3. The Golden Rule
“Treat others how you want to be treated.” — AlbanyGuy1973
4. It starts with you
“I read somewhere that if you want to change the world, you have to change the community, to change the community change your relationships, and to change your relationships change yourself.” — cagibaxii
5. Simple Earth math
“Don’t use more resources than what the Earth is capable of renewing.” — DaethSpiral321
6. Bill and Ted’s rule
“Be excellent to each other.” — pnotar
7. The law of Lebowski
“Fuck it, Dude. Let’s go bowling.” — Bonhomme7h
8. Signal
“Use your turn signal(s) properly.” — futilelord
9. The principle of non-agression
“Simple, the non-aggression principle. You don’t do, initiate or threat any harm unto others, unless acting in true self defense.” — ufrag
10. It works for everything
“Leave it better than you found it.” — Narcoid
11. Generosity and humility
“Be generous and humble. Being generous and kind encourages us to perceive others in a more positive light and fosters a sense of community. Humility teaches you to improve and make a positive impact on the world.” — SuvenPan
12. STFU
“If you are not educated on the subject, sit down and stfu. Let the experts with years of education and experience talk.” — Ch3m1cal420
13. Fairness first
“Everyone gets a chance at one [thing] before anyone gets seconds.” — ehsteve23
14. Permanent daylight
“Obviously making daylight savings permanent.” — ObviousINstruction18
15. Two ears, one mouth
“Listen more, talk less.” — TryToHelpPeople
16. Turn off the lights
“All empty buildings should not have any lights/ac/heating on at night or after business hours depending on the nature of the work. their ac/heating and lights if necessary should only be turned on before the start of the day. This will not only help with energy costs but also with light pollution.” — hadrainsgate
17. Don’t tread on anyone
“You cannot do ANYTHING without consent.” — DeepCompote
It’s quite possible, maybe even advisable, to design a Scotland trip entirely around whisky. That’s just as true for the Scotch newbie as it is for the serious connoisseur. And while plenty of distilleries go back literal centuries, there are also young upstarts changing the game while challenging long-held ideas about what whisky can be. Visit both and you’ll leave with a better understanding of the spirit’s heritage and its next-gen.
When exploring Scotland with a special emphasis on whisky, you’ll naturally want to see a mix of distilleries, but don’t sleep on the whisky bars. Do you want to try an old empire whisky club with mustachioed gentlemen in plaid kilts? Prefer a bar where the cool kids curate the best Scotland has to offer? Both are on the table. Take a tip from a pro: seek out a few whisky bars that offer oyster pairings. You won’t be disappointed
To help you plan the ultimate whisky-centric trip and parse all Scotland’s scene has to offer, we’re highlighting eight stops that bring together whisky’s rich past and its bright future. Four entries are distilleries and the other four are whisky bars. All of them exemplify the rich craft and attention to detail that turned Scotch whisky into one of the most beloved and acclaimed spirits in human history.
It should go without saying that even a list this extensive barely scratches the surface of all the great places to enjoy whisky in Scotland. But it’s definitely a great place to dive in!
1820 Bar Johnnie Walker Princess Street, Edinburgh
Zach Johnston
While I’d highly recommend going on the Johnnie Walker Experience at Princess Street in Edinburgh, you don’t have to if you’re not that into Johnnie Walker. What we do insist is that you hit up their rooftop bar.
This bar kind of has it all. The food menu is dialed in, and really highlights Scotland’s best offerings. There’s an excellent selection of Scottish root vegetable plates along with Scottish cheese and, of course, plenty of seafood offerings. And don’t sleep on the beef cheek and truffle doughnuts. Imagine a soft doughnut stuffed with braised beef cheek and grated truffle, with a killer, mustard-y dipping sauce. It’s the perfect accompaniment to a fine whisky — or a cocktail.
Before we get to the whisky, there’s the view. I know, it’s a rooftop bar so the view part should be pretty self-explanatory, but it truly is extraordinary. Basically, you’re looking right at Edinburgh Castle and down Princess Street. Then you can swing around the corner and see the rest of the city all the way to the sea. On a sunny day, it offers every vista you could want.
Then, of course, there’s the whisky. The whisky menu at 1820 touches on every major Diageo distillery (over a dozen of them) by region. Then the whisky list goes well beyond the core lineup to cover special limited releases that don’t leave Scotland, to whiskies that are 20, 30, 40, 50 years old or older. Some of those pours will set you back hundreds of dollars, but there are few other places where you’ll find such a deep bench of dusty whisky bottles available for your drinking pleasure.
Pro tip: Ask the bartender if there’s anything that just came in and isn’t on the menu yet. You might find a true gem.
Is This The Bar For You?
If you’re looking for a hip and trendy place to mingle with locals and tourists over bespoke dishes and trendy cocktails with the best view in town, then for sure. But it’s also a great spot if you’re looking to find super hard-to-find drams that might not be at any other bar in the world. That’s a win-win.
If you’re in Glasgow and looking for the one whisky bar that epitomizes the best Scotland has to offer in a pub setting, then you owe it to yourself to spend some time in The Pot Still. The pub is right in the center of the city, within walking distance of tons of hotels, restaurants, shopping, and clubs in the midst of a bustling street front. Inside, it’s a quiet sanctuary for whisky lovers during the day that at night becomes a packed club where whisky and beer lovers alike can meet up and enjoy a great dram before late-night kicks in.
The prime time to drop in is in the early to late afternoon when you can chat with the barmen about the vast collection of whiskies they stock. In fact, if you can’t make it out to any distilleries, you might learn just as much from the dude with the long ginger beard behind the bar as from any distillery tour guide.
The added beauty of the pub is the crowd. This truly feels like a local hangout, even in the bustling heart of the city. If you find yourself there alone, it won’t be long before someone strikes up a conversation. Before you know it, you’ll be getting even more whisky recommendations, and maybe even a bar recommendation or two around town.
Oh, and don’t forget to grab a Scottish pie from the warmer on the bar while you’re there. It’s the perfect snack to soak up some of that whisky you’ll be drinking.
Is This The Bar For You?
Yes is the simple answer. This is a bar for everyone, it’s a pub after all. It’ll skew a little older during the afternoon but you’ll also be able to chat with folks behind the bar about whisky at length. Every evening this turns into a party spot and it’ll be packed with a much younger crowd looking for a good whisky before the party starts at the club.
Bowmore Hotel, across the street from the Bowmore Distillery (which is 100 percent worth touring), has one of the best whisky bars in the country, let alone Islay. Lucci’s Whisky Bar is one of those bucket list bars if you’re a whisky lover. The bar stocks over 700 Scotch whiskies, mostly from Islay. You can get lost here.
Here’s the play: roll in and ask for Peter. He’ll be your whisky guide. Have a nice chat and go over what you like to eat and drink. He’ll take a moment, and maybe pop in the backroom. Then he’ll bring you a whisky pour that matches your palate so well it’ll blow your socks off.
As with all the whisky bars on this list, the people working behind the bar are human encyclopedias. You’ll learn more chatting with Peter for half an hour then you would in a week of reading, assuming you can remember any of it the next day.
Is This The Bar For You?
If you’re in Islay, it’s almost crazy not to stop here. This is a bar for whisky lovers. You can go deep here. You’ll also likely meet other whisky tourists on the island doing a very similar tour to you, which means you might make some new friends along the way.
The Balmoral is one of the swankiest hotels in Scotland. Naturally, the whisky bar in the Balmoral is a must-stop. You’ll want to book an experience with Cameron Ewen, the bar’s Senior Whisky Advisor (though there are several “whisky ambassadors” working at SCOTCH that’ll provide an amazing experience as well).
The vibe of this place is old-school “club” from a bygone era, with 500 whiskies at your disposal. You could spend a year here and not get to the end of it all. Moreover, the knowledge of the staff, and especially Ewen, is astounding. If there was a Ph.D. in whisky, Ewen would have it. His knowledge of everything from the terroir to the shape of the glass in your hand is precise, engaging, and always comes with a convivial smile and laugh.
It’s another place you might leave a little too tipsy to remember everything you just learned. Still, you’ll have had one of the greatest whisky bar experiences there is in Edinburgh. You’ll also be a little poorer too. Pours are not cheap here and there’s a private club behind the scenes in case you want to drop even more cash for whisky status.
Is This The Bar For You?
Did you pack a suit or semi-posh evening wear? No? Then this might be a little too high brow for you. While I feel comfortable in a place like this since I’m in the whisky industry, I can see it being a little too high end for the casual whisky drinker, much less the average tourist. That said, you will not find an atmosphere or whisky list like this anywhere else. This is truly a church of all things whisky.
Kilchoman Distillery is the new kid on the block on Islay. The distillery — which is attached to a farm and a stone’s throw from one of Islay’s best beaches — was the first distillery built on Islay in nearly 100 years. Opened back in 2005, Kilchoman is a self-contained facility pushing the boundaries of lightly-peated malt with every new release.
It’s also remote. The distillery is perched on a small hill on the far western side of the island, down a dirt road that’s completely surrounded by farm and wild land. Luckily, there are few roads on Islay and small signs pointing the way, so it’ll be hard to get lost. Still, you’ll have to want to go out to this distillery as it’s not on the way to anything.
Once there, you’ll be treated to a family-run experience. The welcome center has an airy open format that’s flooded with natural light. Locally made crafts mingle with bespoke bottles of Kilchoman’s limited edition and unique whiskies. A long bar runs the length of the building where you can taste the core line and limited editions (for about $2 a pour). There’s also a cafe on-site that offers oysters, chowder, and some of the best home-baked bread I’ve smelled in a while.
As someone who’s been dozens and dozens of distillery tours, none were quite as easy-going and personal as Kilchmonan. There was no rush between the malting floor, still house, or barrel house, and it was more like a long chat with an old friend while you wander through a small-time distillery operation run by friends and family.
Is This The Distillery For You?
Absolutely. It’s small, educational, and you might get a chance to pet a sheep on the farm. This is the sort of remote distillery that’s perfect for a lunch stop even if you don’t care that much about whisky. Though the people at Kilchoman are so engaging and nice, you might just care more about whisky by the time you leave.
The Glen Ord Distillery is the perfect blend of old and new. The facade of the distillery is built from an old row of rock houses dating back to the 1800s. The distillery behind that is a state-of-the-art facility pumping out some of the most sought-after whisky in the game: The Singleton of Glen Ord.
What I love about the distillery tour is that you’re lured in by this old-school Scotland feel of those row houses, then on the inside it feels like you’re in a pub museum, devoted to great whisky from The Singleton (and other Highland brands from Diageo). The gift shop is full of bottles that range into the 30-40-year-old age range, meaning you can pick up a true one-of-a-kind whisky to take home.
Then there’s the actual distillery. The whole facility was doubled in 2014 to handle the whisky boom (especially in the East Asian market). As you walk through the halls of stills and barrels, you’re met with a sort of awe at the size and efficiency of the whole place. Rows of pot stills line walls backlit by windows (again, allowing in all that natural light), giving it the feel of a post-modern cathedral dedicated to whisky. It’s enough to make you want to kneel at the altar, if there was one amidst the spirit safe and washbacks.
Is This The Distillery For You?
This is the closest to a big-time whisky operation like you might see in Kentucky or Tennessee. That said, it has a deeply Scottish character and you can feel the history. That’s countered by a factory-like tour which might be boring for some or exciting for others.
You can find The Singleton of Glen Ord Distillery here.
Springbank Distillery, Campbeltown
Zach Johnston
Sometimes you have to go to the end of the road to find the sweet spot. Okay, Campbeltown isn’t technically the end of the road, but it’s very close to it on the peninsula of Kintyre. There, you’ll find a small town — the sort that still has family-owned hardware and toy stores — with a small distillery that has excited whisky lovers the world over, Springbank.
I’m not going to lie, Springbank is a whisky nerd’s distillery and brand. Its footprint isn’t huge in the U.S., yet. Springbank is one of those brands people seek out because it’s so unique (Springbank is one of only three distilleries left in the area) and each release is a banger. When I rolled up to the distillery, there was a line of whisky heads wrapping around the block waiting for the latest limited edition release.
Like most distilleries in Scotland, Springbank opened and closed several times throughout the 20th century. When you take the tour, the strain is still evident in the eras of machines and tools present. That boom-and-bust history is the throughline of the distillery tour. You see the decades of marks on the side of the grist mill where a broom was used to keep the grain flowing. The stills feel like they’re built into centuries-old brick walls, because, well, they kind of are. The whole place feels lived in and alive in a microbiome that helps make Springbank so unique and beloved.
Is This The Distillery For You?
This distillery bridges perfect gap, of being exciting for whisky nerds while also being small and unique enough to engage the passive tourist. It’s a small tour of a compact campus, so you won’t get lost on a factory floor here. There’s a real charisma to the place that transcends whisky.
A trip to Skye is essential on any Scottish tour. The island is full of natural wonders, from amazing rocky mountain outcrops to wind-swept cliffs over the sea to miles-long white sand beaches. It’s also home to one of the most-beloved distilleries on the planet.
Talisker, nestled right on the beach, is an old-school distillery making some of the most sought-after whiskies right now. The tour of the facility is a gentle walk through the history of a whisky touched by the sea. The highlight is the old outdoor cooling tanks for the stills fed by seawater. Then there’s the old warehouse, where you’ll feel the alchemy from centuries of molds and wood melding with the sea, oak, and whisky to create something unique and delicious.
But it doesn’t stop there. No trip to Talisker is complete without a trip to the Oyster Shed. Just above the distillery, you’ll find a small seafood shed with a patio on the side, where you’ll be able to score dozens of fresh oysters to eat with your newly purchased Talisker. The Oyster Shed also does fish and chip variations, excellent cold and hot smoked salmon, and pretty much every other combo of fresh seafood you can imagine. It’s the perfect cap to a trip to one of the most beloved distilleries in Scotland (and maybe the world.).
Is This The Distillery For You?
If I were to recommend only one distillery in all of Scotland to visit, this would be it. The tour is even-keeled and interesting to outsiders thanks to the amazing tour guides, history, and location. You also get the amazing seafood experience right above the distillery that adds a great layer to the place. Even if you don’t adore the whisky, there’s still enough of a unique vibe and food experience to carry you through.
You can find Talisker here and the Oyster Shed here.
Honorable mentions:
Ardbeg Distillery, Islay— One of the best tours on Islay with a newly expanded state-of-the-art distillery amongst the old seaside town/distillery.
The Malt Room, Inverness — A great whisky bar in the Highlands hidden behind a nondescript storefront with a massive selection of Scotch and a young crew directing and curating the vibe and cellar.
Lagavulin Distillery, Islay — Nick Offerman’s favorite distillery is everything you want in a seaside distillery experience — great tastings in the barrel rooms, a cool and informative tour, and a gift shop with limited edition bottles you can’t get anywhere else.
Oban Distillery, Oban — This distillery predates the town that sprang up around it and is a truly small-time operation with just seven people making the iconic whisky right next to the sea.
The Golden State Warriors saw Steph Curry go down with an injury on Wednesday night during the team’s 110-88 loss to the Boston Celtics. Marcus Smart dove for a loose ball during the second quarter of action and rolled up on Curry’s left leg, which drew the ire of Warriors coach Steve Kerr.
There was a whole lot of concern among the team about the health of their superstar guard with the playoffs right around the corner, and according to Shams Charania of The Athletic, Curry got some good news and some bad news. While he is going to be sidelined indefinitely with a sprain in his foot, he did manage to avoid any sort of major structural injury.
Warriors star Stephen Curry has been diagnosed with a sprained ligament in left foot that will sideline him indefinitely, sources tell @TheAthletic@Stadium. X-rays on the foot returned negative Wednesday night – meaning no fracture or major damage, a sigh of relief.
“I thought it was a dangerous play,” Kerr said after the game, per Kendra Andrews of ESPN. “I thought Marcus dove into Steph, and that’s what I was upset about. A lot of respect for Marcus. He’s a hell of a player, a gamer, a competitor. I coached him in the World Cup a few summers ago. We talked after the game and we’re good. But I thought it was a dangerous play.”
Smart defended himself by saying he dove for the ball in an attempt to make a play, and said it was unfortunate that Curry got hurt in the process. The Warriors are 47-23 on the year, putting them in third place in the Western Conference with a 3.5-game lead on the fourth and fifth seeds.
“It’s a whole war going on in Ukraine & hate posts surrounding it that add fuel to the fire,” Game argued. “+ Africans being violated & barred from crossing borders to safety with racists comments/content attached…. and y’all zero’d in on Ye’s posts about the protection of his children, his fatherhood & him speaking his truth in defense to the coonery displayed by other verified users on this app that further complicate his situation in regards to his family.”
Okay. So.
Good points were made. Game is right: Instagram lets a lot of stuff slide. As anyone following any major sports account can attest, bots are rampant, a lot of quasi-racism gets by the filter, comments are filled with bullies and trolls, and heaven forbid you accidentally “like” the wrong post and screw up the algorithm — you might find yourself in QAnon territory by the end of your lunch break.
But!
Come on, now. Is this the behavior we’re going to bat for? Kanye spent several weeks calling that man “Skete,” and crowing about chasing him off the app while spreading Breitbart propaganda posts. Kim Kardashian, bless her oblivious, narcissistic little heart, has been desperately trying to get Ye to chill out lying about not seeing his kids. Trevor Noah’s big offense was expressing his concerns about the situation in an empathetic monologue on his show (Trevor was really nice about his response too). Kanye needs someone near him to risk getting the Big Sean treatment and tell him about himself, not defend him when he finally faces consequences for his own reckless actions. Also, there’s a strong chance that he’ll be unsuspended by the time most folks read this, and equally likely he’ll be right back at his old shenanigans by the weekend.
One good thing may come of this, though: As French Montana said, now that Kanye’s been offended by Instagram, it’s a safe bet he’ll have his own social media platform ready to rollout by this time next year. He’ll be easier to ignore then.
The last we heard from Dan Bejar, it was early 2020 and he was touring behind a spooky and prescient Destroyer album, Have We Met. A sinister work rife with apocalyptic warnings about the future, the album hit almost too close to home when, just over one month after it was released, the world was forced to shut down due to Covid-19.
If the Vancouver native earned some credibility as an oracle on the last Destroyer LP, his latest effort, Labyrinthitis (due out March 25) points in a more upbeat direction. While the lyrics contain some of the darkest lines of Bejar’s career — so dark that Bejar talks about “the singer” on this record in the third person — the music grooves hard, drawing on an unlikely but somehow compatible combination of influences drawn from techno and rave cultures as well as gloomily catchy ’80s English alt-rock bands like New Order and The Cure. It’s similar to the musical palettes utilized on Have We Met and 2017’s Ken — Bejar considers Labyrinthitis the concluding part of a trilogy with those records — but on the new album there’s a greater feeling of exuberance. It surely is the most danceable music Destroyer has yet made.
Bejar’s latest musical direction is informed, in part, by his desire to get back on the road after a two-year break. The physicality of these songs — which, at one point in our interview, he likened (I think seriously) to the German industrial act Rammstein — ought to really pay off in a concert setting. But even on record, Labyrinthitis is yet another example of Bejar’s consistent ability (exhibited over the course of more than 25 years) to make excellent new music that doesn’t repeat what he’s done in the past. Six months shy of his 50th birthday, he remains one of indie’s most interesting, vital, and unique voices.
He’s also, despite his dour image, a very funny conversationalist, which I discovered yet again when we connected recently over Zoom to talk about Labyrinthitis, Van Morrison’s bonkers Covid era phase, whether he should make a bluesy Americana record, and his grumpy reputation.
Pitchfork once called you indie rock’s most lovable curmudgeon. Do you take that as a compliment?
[Pauses] No, I don’t.
Why do you think you are considered a curmudgeon? I’ve interviewed you before, and I don’t really feel like you are. I think you’re a pretty funny guy actually, but where do you think that perception comes from?
I don’t know. Maybe it has different meanings to different generations. It could even have a different meaning to an American person versus an English person, or someone in between like a Canadian person.
I don’t see myself as grumpy. Maybe that’s what I am, or that’s how I come off, which is unfortunate. I think there was a time when I was younger that I got off on being critical of things and trying to voice that in a poetic way, in a way that didn’t usually show up in rock songs. But I’m not sure it was any more than, say, a Mott The Hoople song.
I would say I’ve noticed there’s a general posi — to use the language of the kids — like a posi vibe out there on the internet and in media in general. So maybe I don’t fit in, or maybe it just stands out like that. Maybe I’m negative. I don’t know.
To be fair, they did also say “lovable.”
I don’t see being negative and being curmudgeonly as being the same thing. Curmudgeonly is more like those two dudes in the Muppets up in the balcony.
I think you’re right that there has been a shift to a kind of sanctioned positivity, especially about mainstream culture. Whereas in the past, making fun of mainstream culture made you discerning, rather than curmudgeonly.
I have a lot of what would still be seen as kind of ’90s stances or hangups, which I guess would be seen as curmudgeonly. But to me they’re just what me and my scene took for granted as being normal ways of looking at the world, and maybe it’s really outdated and actually maybe there is shit wrong with it. But it’s kind of the natural place that I come from, you know?
At this point in your life, do you feel pressure or an obligation to keep up? Do you follow the news closely? Do you try to watch the most zeitgeist-y movies or television shows?
I’ve always been really into discovering new music, new movies, new books, to the point where if I don’t find something that speaks to me out there, I get kind of depressed. But there’s a slew records that just came out. For instance, there’s this movie that is getting a lot of attention that came out last year called Drive My Car. I saw it a month or two ago and the soundtrack came out recently, and I feel like I’ve been playing it every single day. I love it. Aside from that, the Cate Le Bon record that just came out, it’s really good.
I really didn’t start looking at the news until around March 13, 2020. And then, like everyone, I started being slightly obsessive about it. I’m coming out of that a little bit.
Your new album is called Labyrinthitis, which I assumed at first was a made-up word. But then I Googled it and learned that it’s a term for an inflammation of the inner ear. Why did you name your album after an inflammation of the inner ear?
I was in a bit of a health spiral. I was suffering at one point last year from what I thought was a really aggravated case of tinnitus, to the point where my ears were ringing badly. I couldn’t really listen to music. I wasn’t really reading. It even affected my vision. I would get bouts of vertigo, which I still seem to be having a little bit.
I was like, “What the fuck is this?” And I looked it up, and I remember looking at the word and being like, “This seems fake.” It seemed like a word that Kafka would make up, an invented affliction.
All Destroyer titles are usually me just liking the look of the word. Kaputt was the same way, really independent of its meaning. But increasingly with this record, as we worked on it, I found it more and more disorienting and confusing to me. I felt myself lost inside of it, and I thought that fit well with a word which, when you first look at it, could mean someone who’s addicted to mazes, or someone who chronically takes the wrong turn. Like chronic disorientation. It’s an aggro-disease title that reminded me of Tool or System of a Down. I thought there’d be a couple of songs on the album that might go in that direction. But that wasn’t really the case. There is one that kind of reminds me of Rammstein a little bit.
Which song reminds you of Rammstein?
“Tintoretto, It’s for You.” That seems like very much John Collins running away with a song and me being excited by the momentum of his vision.
But I liked the sound of Labyrinthitis. It could be a prog-metal title, or it could be questionable ’90s electronica, or it could jazz fusion. It seemed to span all these questionable forms, which I like the idea of dabbling in, at least on a words level.
It’s interesting that you were going through some health issues while making this album, because I feel like it’s one of your most physical records. The songs really groove to the point where you can actually dance to them.
I really don’t want to play up anything that I was going through because it was a phase and it happened pretty late in the day. The initial conversations I had with John when we first talked about doing a record again — which really came out of nowhere, I wasn’t expecting to do another one with him — was about doing a full-on techno record. Just have a 4/4 beat that runs through Side A, and then another 4/4 beat that runs through Side B. We didn’t do that, but there was a notion to keep the songs fast, and to keep the production in your face. It’s a lot less minimal than Have We Met. There’s really very little downtime. That was the idea from day one — keep things jarring, and to a certain extent, cartoonish.
Why did you initially want to make a techno record?
For a really long time, I’ve thought that a steady beat was my best accompaniment as a singer. Just to have a basic slamming beat with some kind of bass that’s really present in your face, and some sound effects, and me crooning along seems like an easy recipe. But neither one of us listen to techno music and it’s actually a lot harder to do than just saying it out loud, or saying it in a text or an email.
The album also has a New Order/The Cure vibe.
That music is definitely stuff that’s coursing through me, and it’s come out in the last three albums. They’re probably of a piece — Ken, Have We Met, and Labyrinthitis. It just so happened that I landed on John Hughes soundtracks and things like that. And for John, he really liked the idea of going into Art of Noise territory, and the kind of stuff that Trevor Horn would do when it came to arrangements.
I will say — I don’t know if I say this with every album — but I will say this record is the most distant from what our starting point was. Some of the songs, I don’t exactly know where they come from.
Getty Image
I don’t know if “optimistic” is the right word, but Labyrinthitis certainly seems more upbeat than Have We Met.
Have We Met had a strict mandate. The main mantra was keep it dark, keep it depressing, and be more depressing.
For this one, it was more Spike Jones, more Carl Stalling. Just more absurdist and more aggro. That being said, I find it to be maybe the darkest Destroyer record when I listen to it as a whole. The singer seems to be at least 60 percent of the time singing from the vantage point of a petty villain, or an evil sidekick. Just not a likable person. Someone who insults children and points at people and revels in their pain. That’s a strange character to sing from. I feel like that’s a kind of a persona that’s creeped into Destroyer songs in the past, in lines here and there, but it has never been so sustained as on this album.
It’s definitely dark, but there’s an exuberance to it. You see villains on-screen and there’s usually something electric about their presence. Labyrinthitis has that same vibe.
I find the exuberance mixed with what I’m actually saying to be even more disconcerting. Like the song “Suffer,” it’s about suffering, murder, terrible acts. But the music has this mid-’90s Glastonbury vibe, which is unsettling to me. It almost makes what I’m saying, instead of cautionary, downright immoral. Like an immoral song. As opposed to a song like “Kinda Dark” off Have We Met, which was foreboding and kind of nightmarish, but also the music reflected that. It wasn’t a party anthem about terrible shit.
Before you talked about “the singer” on this record in the third person. Do you normally separate yourself from what you’re doing on Destroyer records? Or is this record a unique case?
It’s hard to say. Definitely there are songs where I feel like I’m assuming a voice, by collecting a certain style of words or collecting a certain group of images that I take on. I sing it from a kind of persona I don’t totally recognize as myself. Maybe I’m doing that more and more, which is kind of disconcerting.
The first song [“It’s In Your Heart Now”] is kind of dreamy and in a lot of ways very heartfelt. And the last song [“The Last Song”] is supposed to be a tonic, like a palate cleanser, even though it’s really solemn. In between is all this stuff that is more like what we were talking about. Like characters in a crumbling world. The second to last song is filled with autobiographical stuff, probably moreso than any song I’ve ever written. But I don’t know if that makes it necessarily personal.
You’re referring to “The States.”
It’s very much about being stuck at some bus station in the middle of nowhere, lying your way across the border, packing your bags and splitting from Montreal, packing your bags and splitting for Spain, thinking that your life will somehow be different but it’s not.
You were in the middle of a tour when Covid hit. How did you feel about being on lockdown?
Every year I become more hermetic and so I was like, “Oh, I can do this standing on my head.” But I probably was accumulating anxiety in ways that I didn’t know. You know, just thinking about sickness more than I ever have, thinking about things that I’m really attached to that I could never do or see again. Just the world all of a sudden becoming a very strange and disorienting place, which is something I’ve always liked to write about. In a lot of ways, Have We Met scans as a Covid record way more than this one. Even thought it was written and made before I knew what Covid was.
To be crass and superficial about it — considering the kind of loss of life and just the amount of pain that the last two years has caused — in Destroyer world, the tour was going really well. Probably our best tour. I haven’t been in a room with those guys for two years now. That part was a drag. I started to wonder if I’d ever see a live show again, let alone play one. The more the world dabbled in normalcy in opening up, I was like, “Who the fuck cares?” If I can’t wander into a random bar and see a bunch of people making noise up on a stage, the world doesn’t interest me that much. I don’t care if you can go play racketball or whatever.
I was starting to become really embittered at that idea. I hope the singer —I will refer to that person on Labyrinthitis as “the singer” — doesn’t come across as too embittered because that can come off as curmudgeonly.
The physicality of this record suggests to me that you made it with the hope of playing these songs live in front of an audience.
I wasn’t interested in making a record that reflected any kind of solitary existence. I don’t think the record sounds like someone really embracing society, but it definitely embraces cacophony and I’m ready for volume, even though it might make me fall down. I think I was really fetishizing those things.
The record is kind of complicated. I actually don’t know how we’re going to do it, but I do know that the band has it in them to do it. I know that they’re hungry for it, so I’m pretty excited about it. I will say the last two years has made me realize how important the live experience is. Even if it is just us in a room by ourselves, playing music with people is increasingly more important to me. I think my rep was I was really shy about it, and I do still have anxiety around it. But I think about playing songs with people all the time.
I thought it was interesting that the documentary about the Have We Met tour seems to show every aspect of tour life except playing live. It seems like a deliberately boring film.
I didn’t have anything to do with the making of that movie. I think when [director David] Galloway first said that he wanted to do it, I was like, “Well, you have to stay out of the band’s face, so you can’t come backstage. And you can’t come on the bus, and you have to do it as if you were going to do it whether I said you could do it or not. It has to be a guerilla operation.” The only music in it is us trying to learn Lou Reed’s “Ecstasy” during a soundcheck, and I don’t even know if you see us.
The dramatic high point of the film is you eating a sandwich.
That’s the one staged thing. That was like, “We’re going to film you eating a sandwich. Are you cool with that?” I was like, “Okay, this I’m going to give to you.” And I ordered a Philly cheesesteak in Philadelphia and ate it.
The drama for me was, “Is he going to finish the Diet Coke or not?” And I think you left about a quarter of the Diet Coke in the bottle.
I definitely suffered for my art during that scene.
I know you’re a fan of Van Morrison, so I’m curious if you listened to his most recent album, Latest Record Project, Volume 1, and if you had any thoughts on it.
I haven’t listened to it. Aside from being blown away by the title, which struck me as magnificent, I’m trying not to be on the side of that guy right now. Just because I don’t know if it’s any good; surely it can’t be as good as Born to Sing: No Plan B. Also, if I put it on there are people in my house who would just unplug the stereo and throw it out the window, because, you know, fuck that guy. The last thing we need is more rich old men just spreading contempt in the world.
I will say, as someone who has heard it, that if you ignore the lyrics his voice sounds really good.
His vocals in his senior years, his senior discount years, they’re good. It’s undeniable.
As artists like Van Morrison and Bob Dylan have gotten older, they’ve leaned more into traditional music styles: blues, folk, country. You’ve never delved into that kind of music. Do you have any interest in ever experimenting with those ancient forms?
I think about it sometimes, but just as a way to get played on NPR, honestly. As someone now turning 50, as a mature musician, if I just keep on cranking out new wave art-rock records, I’ll probably be punished for it. It’s fun to plug myself, the few times I’ve done it, into uncanny situations. So I guess that would mean making a rockabilly record.
There are a couple of bluesy songs I’ve tried to write in the past, probably when I was deep under the spell of Bob Dylan or Van Morrison. It’d be kind of funny to steer into that. Every second that I don’t somehow turn this aging outfit into a roots or folk band is literally endangering the life of my daughter. I’m literally stealing food from her mouth. The sooner I do that, I’m sure the better. At least as far as American and U.K. music scenes are concerned. There’s no real path forward if I don’t somehow take on a gentle rootsy form of music. Unless I just go full U2, but you have to be a stadium act to do that.
I think you have another 10 years.
Age 60 is the new 50?
Exactly. At that point, however, you’ll have to start wearing a fedora on stage. But you’ll otherwise be grizzled enough to pull off a bluesy turn.
For me, the more feasible angle, and something I’ve kind of gotten into recently, which is not music I’ve listened to since I was a teenager, would be Tom Waits. “Tintoretto, It’s for You” really was supposed to be more like a Tom Waits song, just run through a distortion pedal. It ended up being something else. But if you actually isolate the vocal, and if you actually heard the original electric piano that I play, you’d be like, “Oh yeah, that’s kind of like Bejar doing Small Change or Blue Valentine.” It just kind of disappeared in our treatment of the song, but I might have my revenge on the band and do a bunch of songs like that, where they just have to play it in barfly mode.
All kidding aside: Do you see yourself still making records when you’re in your 70s?
I picture myself doing something, and I do like playing with a band, and I like recording music. I just feel like there’s stuff that I write that doesn’t get used because it makes no sense as song language. Maybe someday I’d like to steer into that. I just don’t really know-how. There’s also music that I tool around with that doesn’t come out as verse-chorus kind of songs. I don’t know what to do with that.
I’m still in this mode of singing, and thinking of myself as a singer-songwriter, which is good because I’m kind of traditional that way. But at the same time, it would be cool to bust out of that in a deranged, old man kind of way.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish shows available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
“Am I livestock?” Who among us hasn’t asked ourselves that question while grazing amongst the cubicles at work? But the workplace in Severance (a new Adam Scott starring and Ben Stiller produced Apple TV+ series) is a little different, running workers through a process that effectively breaks people in two with zero crossovers between their work life and non-work life. Sound ideal in a world where work stresses bleed into home life and Sunday scarys seem to always kneecap your weekend? Perhaps in some respects. Susan from HR probably LOVES the idea, seeing it as the ultimate NDA, but as the show is set to explore, it’s a less tidy experience that raises all kinds of questions about what happens when people are severed from the awful things they might be asked to do at work. Watch it on Apple TV Plus.
As if Julia Garner didn’t already rule the small screen in Ozark, we’re getting another heaping helping of her. This time, though, the tight corkscrew curls are hidden while Garner portrays Anna Delvey, a real-life Instagram “legend” and fake German heiress. In reality, Delvey was a master con artist who captivated New York’s social elite and ended up dragging the hell out of the American dream in the process. This Shondaland limited series follows the investigation into Anna’s misdeeds, along with how she stares down trial and keeps those lies alive, all as inspired by Jessica Pressler’s New York Magazine article that will get you primed. Watch it on Netflix.
While we all wait for the flagship series’ third season, this animated series will be kind-of canon and bring us backstories for some familiar faces and an array of new characters in outrageous, bloody, and violent scenarios with all of the gore and humor that we’re used to from this franchise. There’s plenty of Homelander and some of The Deep, and the voice cast is more than any comic book fan could hope for. Not only do we get to hear Antony Starr, Chase Crawford, Colby Minifie, and Elisabeth Shue but also Awkwafina, Don Cheadle, Kieran Culkin, Giancarlo Esposito, Justin Roiland, Seth Rogen, and Andy Samberg. Watch it on Amazon.
A pirate comedy starring Taika Waititi, Rhys Darby, Leslie Jones, and Hodor from Game of Thrones? Don’t mind if I do. Our Flag Means Death is about an 18th-century aristocrat (Darby) who gives up whatever aristocrats do to become a swashbuckler alongside Blackbeard (Waititi). If it’s anything like What We Do in the Shadows but with pirates, prepare to be… Hook-ed. Watch it on HBO Max.
Last season ended with winners and losers aplenty. And c’mon, you didn’t think that Villanelle and Eve would be able to get along in the long term, right? Imagine what domestic life would be like for these two. A former MI6 officer and an assassin who can’t give up the life (or the luxury trappings) are as ill-equipped for reality as Westley and Buttercup in The Princess Bride. Yet there’s no reason why they’ll be able to resist each other forever, but Eve is hellbent upon revenge this season while Villanelle desperately wants to prove that she’s not a “monster.” Good luck to both of them. Watch it on AMC Plus.
A podcast. A documentary. A book. And soon, a feature-length film. There’s a reason Hollywood can’t get enough of Elizabeth Holmes, the fraudster who scammed millions and left a black mark on Silicon Valley – one likely in the shape of a Steve Jobs-esque turtle neck. Con artists sell, especially when they’re young, white women promising inventions meant to save millions of lives, and Holmes’ story is bigger, ballsier, and more unbelievable than most. Hulu’s The Dropout does a good job of retracing the most important plot points: the creation of Theranos, the realization that Holmes’ at-home blood-testing concept wouldn’t work, the delusional sense of grandeur that pushed her to criminally defraud every from Bernie Madoff to Henry Kissinger and Walgreens, and the very public downfall that would follow. But what the show really excels at is digging under the skin of a megalomaniac in-training, tasking a top-of-her-game Amanda Seyfried with turning Holmes’ most incomprehensible actions into ones we can empathize with, balancing her hollow sense of ambition with the very real anxieties and societal pressures she faced as a 20-something woman trying to start her own company. The Dropout is a wild, bloody, drama-filled train that always feels like it’s teetering on the edge of the track … but that’s kind of what we want, right? Watch it on Hulu.
We are going back in time, again, this time to the 1970s, again, to see the dawn of an erotic magazine made specifically for women. That sounds fun. It also co-stars Jake Johnson from New Girl as a seedy pornographer who wears shirts unbuttoned halfway to his navel, which sounds… really fun. Worth a shot, at the very least. Watch it on HBO Max.
A second civil war breaks out in America and Manhattan becomes a demilitarized zone. A nurse played by Rosario Dawson becomes a national symbol of hope as she searches for her missing zone. Pretty validating for those of us who have always assumed the country will eventually tear itself apart and Rosario Dawson will be the only one who can bring it back together. Watch it on HBO Max.
Do you enjoy Big Mouth, the Netflix animated series where a bunch or horny teens are mentored and/or terrorized by teams of very literal fur-covered hormone monsters, some of whom are voiced by Nick Kroll and Maya Rudolph and David Thewlis? You probably do, because Big Mouth is awesome. And now it has this spinoff, which focuses exclusively on the hormone monsters working in their office behind the scenes. It’s a fun idea, made by people who are good at this. That’s all you can really ask for sometimes. Watch it on Netflix.
Jared Leto is doing his doing his Jared Leto thing in this biopic about the meteoric rise (and shocking downfall) of WeWork founder Adam Neumann. And by that we mean he’s wearing a ton of prosthetics, sporting an indiscernible European accent, and spouting off instantly iconic one-liners. Anne Hathaway’s here too, fighting for dominance in a patriarchal start-up world, but if anything got us to buy into the hype of this latest scammer-saga it’s Leto’s declaration: “I am a Golden Goose laying golden eggs!” No really, that is an actual line he says in the show. Watch it on Apple TV.
If you think about it, Winning Time (HBO’s new Adam McKay-produced series about the 1980s LA Lakers) has all the elements of a classic heist movie. Assembled by a larger than life fast talker with equally big ambitions (in this case, former Lakers owner Jerry Buss), a rag-tag group comes together, leaning on their exceptional and unique talents to paper over any personality conflicts that might arise while taking the thing (a whole mess of gold trophies) no one thought they’d ever get their hands on. This while having some wild misadventures along the way. We’re simplifying, of course, but the point is this should appeal to basketball fans and non-basketball fans alike, earning the right to be the most buzzed-about piece of basketball culture crossover content since The Last Dance helped us all stave off boredom for a few months by telling the story of another mismatched group of big personalities and champions. Watch it on HBO.
Each week our staff of film and TV experts surveys the entertainment landscape to select the ten best new/newish movies available for you to stream at home. We put a lot of thought into our selections, and our debates on what to include and what not to include can sometimes get a little heated and feelings may get hurt, but so be it, this is an important service for you, our readers. With that said, here are our selections for this week.
Benedict Cumberbatch gives a villainous performance for the ages in The Power of the Dog, the first film in 12 years from director Jane Campion. The western is expected (and deserves) to be an Oscars frontrunner, so hop on the horse-drawn bandwagon now. Watch it on Netflix.
Jennifer Lawrence is back in Don’t Look Up, Adam McKay’s apocalyptic satire about two low-level astronomers (J-Law and Leonardo DiCaprio) who try to warn everyone on Earth about an approaching comet — but no one seems to care. The ensemble cast also includes Meryl Streep, Jonah Hill, Ariana Grande, Timothée Chalamet, Cate Blanchett, and Tyler Perry. Maybe that’s why no one cares about the comet. They’re too busy looking at all those stars. Watch it on Netflix.
Jennifer Lopez and Owen Wilson star as a preposterously attractive couple who get together after her character — one half of a global sensation pop duo — discovers her lover and music partner has been stepping out. That’s right, it is rom-com time over here. Will they? Won’t they? Whose hair will look better in the pivotal scene that will probably take place in the driving rain? There’s one way to find out: Grab some popcorn and comfy pajamas and set up shop on the couch. Watch it on Peacock.
Zoe Kravitz plays a stay-at-home digital detective in this latest thriller from Steven Soderbergh who — with the help of her friendly A.I. sidekick Kimi — uncovers a string of murders she traces back to the company she works for. She then must venture out into a pandemic-ridden Seattle in search of the reason why. Honestly, we can’t relate. But, Kravitz is quickly becoming a bonafide action star and a Soderbergh script rarely disappoints. Watch it on HBO Max.
Let’s go straight to the official description of this one: “A man breaks into a tech billionaire’s empty vacation home, but things go sideways when the arrogant mogul and his wife arrive for a last-minute getaway.” Hmm. Intriguing. As is the cast, which features Jesse Plemons and Lily Collins and Jason Segel. We could tell you who plays the arrogant CEO and who plays the thief. You could look it up, too. But, really, either way would work just fine. Watch it on Netflix.
Well, guess what: It’s a remake of the 2003 classic with Steve Martin and Bonnie Hunt, which was itself a remake of a film from 1950, only this time is stars Zach Braff and Gabrielle Union as the flustered parents and can be found on Disney Plus, a service that did not even almost exist when the other versions came out. Which is fine. Time marches on. And this one is written and produced by Kenya Barris from Black-ish, which is also fine. Good, even. Round up the family and grab some snacks. Watch it on Disney Plus.
The only thing more terrifying than the haunted hallways of Ancaster College in this Amazon Prime flick is the real-life social justice issues it contends with – concepts like diversity-inclusion efforts and systemic racism that feel just as suffocating as the specter haunting these plush Ivy League corridors. In that way, Master is a lot like Get Out. It’s a horror movie with something important to say. It’s also led by the terrific yet underrated Regina Hall who proves she can carry a thriller as easy as anything else she’s done. If the thought of going back to school scares you now, just wait until you watch this thing. Watch it on Amazon Prime.
It’s not the easiest documentary to watch, but it’s an important one to witness. Evan Rachel Wood’s advocacy for sexual assault survivors, including her lobbying for The Phoenix Act in California, takes center stage. In addition, this two-parter takes a startling look at what led Wood to come forward in 2021 to name Marilyn Manson (real name Brian Warner) as her alleged abuser. Director Amy Berg takes an unflinching look at her subject matter while bringing visibility to survivors of domestic and sexual abuse. Watch it on HBO Max.
Ryan Reynolds plays Mark Ruffalo’s time-traveling son, so there’s a little MCU crossover there for you before Deadpool makes his possibly sooner than expected MCU return. They’re going to save the future, of course, and this film also has Ruffalo’s 13 Going On 30 co-star, Jennifer Garner, so there’s reteaming aplenty here. Expect both family drama and romance and drama across four dimensions. Watch it on Netflix.
Steven Spielberg brings the classic musical to the big and/or small screen, to the delight of both older fans and newer ones who get to experience it all for the first time. Get in there. Really let the experience wash over you. Sing along. Dance around your living room. Get in a knife fight with your sworn enemy. Okay, maybe not that last one. But the other ones, definitely. Watch it on Disney Plus.
In Domee Shi’s Turning Red, a boy band-loving teenage girl turns into a red panda whenever she experiences strong emotions, which as every parent of a teenager knows all too well, is often. Too often. It’s all the time, really. Turning Red is being called Pixar’s best movie in years, as it should. It’s about time red pandas got the cinematic showcase they deserve. Watch it on Disney Plus.
Deep Water is an erotic thriller that stars Ben Affleck and Ana de Armas as… honestly, what more do you need? It’s a “weird, wild mess” of a movie from the director of Fatal Attraction and Unfaithful, with a murder mystery, duplicitous characters, and Affleck as an alpha cuck. Deep Water is the kind of sleazy mainstream movie that rarely gets made anymore, so it feels like a sexy treat that it even exists (from Disney, no less). Break out your Ana de Armas cardboard cutout and make it a double feature with Basic Instinct.Watch it on Hulu.
The Boys star Karen Fukuhara has revealed that she was the victim of an apparent anti-Asian hate crime this week while walking outside of a cafe. According to a post on Fukuhara’s Instagram, the actress was “struck in the head by a man,” and the experience has prompted her to speak out on holding perpetrators accountable as well as raising awareness that these attacks are happening, often because of anti-Asian rhetoric spread during the pandemic.
“This sh*t needs to stop,” Fukuhara wrote. “Us women, Asians, the elderly need your help.”
After sharing her experience on Instagram, Fukuhara’s The Boys co-stars jumped into the comments to offer their support. Via Variety:
Chace Crawford wrote, “F this person!! Hope you’re ok this is awful.” Jack Quaid added “Karen thank you for sharing your experience. I’m sorry that happened to you. Love you. Here if you need anything.” Laz Alonso shared, “This pisses me off. Wish I was there….”
You can read part of Fukuhara’s post below:
Today I was struck in the head by a man (I’m physically fine) & this shit needs to stop. Us women, Asians, the elderly need your help…
I was walking to a cafe for some coffee and a man struck me in the back of my head. It came out of nowhere. We made no eye contact before, I wasn’t doing anything out of the ordinary. It came to my surprise and my hat flew off. By the time I looked back, he was a few feet away from me (he must have kept walking after hitting me). I thought about confronting him first but he started coming towards me and I didn’t think it was worth the risk. After a few seconds of staring at each other, and him yelling at me, he eventually walked away.
This is the first time I’ve been harmed physically, although racial slurs and hurtful actions have been directed to me in the past. I write this, because I’ve had conversations with multi-racial friends of mine that had no idea these hate crimes happen to everyday, regular people — people that they share meals with.
You can read the rest of Fukuhara’s post on Instagram.
Singer Jhene Aiko celebrated her 34th rotation around the sun yesterday. On her birthday, her boyfriend Big Sean sent her benedictions by way of Instagram, sharing pictures and video clips of the couple throughout the years.
“Happy Birthday to my best friend, my love, the most authentic, talented, healing, Creative, angelic person/Alien I know!,” said the “Bounce Back” rapper in the caption. “Im lucky to have you in my life and to be apart of yours, let’s change the world even more! I love you Efuru.
Aiko is an ardent Pisces, often referencing her birth date, the John 3:16 bible verse, and variations of the number “316” in her music. Her debut EP, Sail Out, contains a song called “3:16 A.M.” and on “W.A.Y.S.,” a cut from her Souled Out album, she opens the song singing “at 44 minutes ’til four, an angel walked up to my door.”
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
