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Brian Flores

The Lost Boys

May 1, 2026

Despite the revisions—1980s’ Republicans become a dull running joke—"The Lost Boys" is, like its source, a banal, comic‑book‑level depiction of family dysfunction and B‑movie vampire‑thriller shallowness. Amped up to supersonic levels with loud, uninspired rock music by The Rescues, whose lyrics are often indecipherable, it seems even more inane in its new guise. Even the ballads can’t resist morphing into tear‑the‑house‑down anthems, no matter their underlying emotional simplicity, as in Lucy’s paean to her son, “Michael.” [more]

Oratorio for Living Things

October 20, 2025

To describe "Oratorio" is to flirt with the inadequacy of language. It is a musical work—a sung-through piece in the formal lineage of the oratorio, that 17th-century form that eschews staging and dialogue in favor of spiritual rumination through voice. Think Handel’s "Messiah," and then think again—"Oratorio for Living Things" shares the same bones, but not the flesh. Christian, ever the aural alchemist, reclaims and “rewilds” the form, unbinding it from its ecclesiastical constraints and infusing it with a heady blend of the sacred, the scientific, and the speculative. [more]