2021 has come and gone, and i dare say it was a fucking relief compared to the previous year. Yes, it was still a bit shit in parts, but overall, vaccination rates are up, restrictions are down, that awful man is no longer president of the United States, and povertyâs probably down again i donât know i haven't checked. Here are some of the things that made me happy last year (in no particular order).
Music
Iâm not usually the EDM type â too much meaningless soulless wub-wub for my taste â but Porter Robinsonâs Nurture brings some much-needed heart to the genre. So much of it resonated with me and helped me get through some tough times, be it âGet Your Wishâsâ finding a reason to keep moving forward, âMirrorâsâ teardown of anxious thoughts, or âMusicianâsâ struggles with creativity. Cheers, Mr Robinson.
Iâm a Geordie boygirl born and raised, so i was predisposed to enjoy the new Sam Fender record, Seventeen Going Underâ thereâs a reason heâs already done two sold-out arena shows in Newcastle, after all. This album was the perfect companion to my walks throughout the region (more on those later); representing the north-east in all its many facets, from deprivation and government neglect to a proud history and modern culture.
âAyeâ is like a supercharged, upgraded version of the frankly embarrassing âWhite Privilegeâ from his last album â think that âDaniel vs the cooler Danielâ meme; âSpit of Youâ brings me back to memories of my family in the Netherlands, and makes me wish iâd appreciated them more; Not to mention the final track, âThe Dying Lightâ, which shows Mr Fender at his most Springsteen, tugging at heartstrings with a soaring anti-suicide power-ballad.
Wolf Aliceâs third record, Blue Weekend, shows them at their anthemic, genre-fluid best. It opens with âThe Beachâ, which soars to highs so high youâd think theyâd never top them â but the quality is so consistent throughout that itâs hard for me to pick out just a few. âHow Can I Make It OK?â is an enchanting throwback about feeling unable to care for a loved one; towards the back of the album, the thrashing âPlay the Greatest Hitsâ and emotional âThe Last Man on Earthâ feel completely at home together, despite only having a single track between them.
Some honourable mentions go to Chvrches, Silk Sonic, and Will Wood, all of whom have produced some bloody brilliant music in the past year.
Film and television
It might not have been the best film of the year â or even the best superhero film of the year, for that matter â but my pick for my favourite film this year can hardly go to anything other than James Gunnâs The Suicide Squad, simply by the merit of being the first film i saw in cinemas since Ăe Before Times. Itâs raucous, gorey fun which i wouldnât have experienced any other way.
Independent of viewing-place â and you know this is true because i watched it on my computer â iâd say the best film of the past year would have to be Censor, a stylish indie horror from first-time director Prano Bailey-Bond. Set in the shadow of the âvideo nastyâ panic, this moody mystery takes its time â but itâs worth every second.
Shawn Levyâs Free Guy was unapologetically shlocky, but i had fun with it, even if i did roll my eyes when that scene at the end happened (yi kna the one). I enjoyed Pig, with Nicolas Cage â check out the restaurant scene. Dune was the most gorgeous thing iâve ever had the privilege of seeing on the big screen. The French Dispatch is Wes Anderson at his Andersonianest, and youâll either love it or hate it â one thing we can all agree on, though, is that Jeffrey Wright should be the voice of every audiobook. Capping off the year was Spider-Man: No Way Home; of which, despite me having never seen any of his films, Andrew Garfield was absolutely the best part.Îą
I didnât watch much TV this year, but what i did watch i rather enjoyed. Inside â9 was the absolute highlight; a distressingly bingeable horror-comedy-drama-thing anthology series with big names and bigger twists. So hard to pick, but my favourite episodes, if you want to start somewhere, are âThe Riddle of the Sphinxâ, âThe Devil of Christmasâ, âA Quiet Night Inâ, and the delightfully meta live special.
Dark is a brilliant German time-travel twisty-mystery with a ridiculously talented casting department and (thank the heavens) an actually satisfying conclusion that keeps you going all along the ride. Go in blind â youâll regret it if you donât!
I finally got around to watching Chernobyl, too, and it was just as good as everyone said it was. More effective horror than anything James Wanâs ever made, thatâs for sure!
The âreal worldâ
On the last day of 2020, i wrote up some predictions for 2021 â and one of them was that live sports and concerts would remain off limits until at least 2022. How happy i was to be proven wrong when i got dragged to an Elbow gig one September night. Guy Garvey, methinks, is one of the unsung heroes of Brit-pop/rock â so many artists have taken after Elbow, but they have a comparatively diminutive presence in the popular conscience compared to your Blurs, Oases, and Radioheads.
In more physical terms, this was the year i started (long December nights have gotten in the way of finishing it) my project to walk the Blyth and Tyne railway before it reopens, which has given me a fascinating look at the current fabric of this urbanised corner of Northumberland. I havenât much more to say on that except that itâs been so, so lovely being able once more to get out and about more often â and ticking something off my bucket list too!
Well, thatâs your lot. Iâve had a nice enough 2021 â i hope yours has been too.