As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties. On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday. On Mastodon, I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, at 10 pm et, I will be hosting #FridayNightFlix! The movie? 1985’s Legend!
If you want to join us this Friday, just hop onto twitter, find Legend on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! I’ll be there happily tweeting. It’s a friendly group and welcoming of newcomers so don’t be shy.
“Information High,” by Yoko Kanno for Macross Plus, is a track that’s as electrifying as it is fitting for the anime’s sleek, futuristic vibe. From the moment it kicks in, you get caught up in its propulsive beat and layered electronic sounds that perfectly capture the sense of speed and technological buzz that define the series. It doesn’t just sit in the background but actively drives the energy forward, mirroring the fast-paced aerial dogfights and the intense emotions swirling underneath the sci-fi setting. There’s a hypnotic quality to it — like the perfect soundtrack for a world where human experience and digital overload collide.
What really strikes about “Information High” is how it balances mechanical precision with a playful, almost funky undertone. It’s not simply cold or robotic; Kanno brings in just enough warmth and groove to humanize the electronic pulse, making the song feel alive and vibrant rather than sterile. This duality works beautifully with Macross Plus’s themes—characters caught between their human desires and the artificial worlds they navigate. The track feels like a bridge between those realities, capturing both the exhilaration and the subtle unease of living in an over-connected, data-saturated future.
Beyond its role as a background piece, “Information High” stands on its own as a distinctive expression of Kanno’s genius. It’s got that catchy, infectious energy that sticks with you, yet never feels repetitive or shallow. It’s clear that Kanno tailored this song to complement not just the visuals but the emotional currents of the show, subtly enhancing moments without overpowering them. For anyone familiar with Kanno’s work, this track is a perfect example of her skill in blending genres and moods into a cohesive whole that elevates the experience of the anime itself.
Information High
You know how to get eternal life In the center of the lightning-speed waltz Feel your soul cut by a rusty knife As you head down for the self-destructive edge
Our satori is just floating in the core Where we can spiritually go through the door We’ll know how to get eternal life While we catch the pulse from unknown satellites
If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we are really free To fly high In space
We know how to get eternal high In the center of the lightning-speed waltz See our soul struggling to survive As we head down for the self-destructive edge
Sayonara to intrusive noise No more childish play and no more toys We know how to get eternal life While we feel and sense mother nature’s strong might
If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we are really free To fly high In space
If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we’ll feel the info high If we get the transient facts Then we are really free To fly high In space
“Life without pain isn’t real life!” — Isamu Dyson
Macross Plus is a landmark anime OVA series from 1994 that continues to resonate with both newcomers and longtime fans of the genre. It stands out within the larger Macross franchise—one of the most influential in anime history—that includes various series beginning with the original Super Dimension Fortress Macross in the early 1980s. While Macross Plus is just one of several entries under this umbrella, it serves as a crucial bridge between the earlier incarnation of the series produced during the 1980s and the more modern take that the franchise would eventually develop in the late 1990s and into the 2000s. This OVA represents a stylistic and thematic evolution that helped transition the series from its original space opera roots into a more mature, complex narrative form that appeals to contemporary audiences.
Set decades after the destructive war between humanity and the alien Zentradi featured in the original series, Macross Plus takes place in the year 2040 where the UN Spacy conducts flight trials on a remote planet to select the next generation of Variable Fighters. The story revolves around Isamu Dyson, a cocky and passionate pilot; Guld Goa Bowman, his calm and talented rival who is revealed to be a Zentradi/human hybrid; and Myung Fang Lone, a woman emotionally entangled with both men and managing the artificially intelligent holographic idol Sharon Apple. The narrative explores themes of rivalry, friendship, human connection, and emotional tension with nuance and depth, distinguishing it within the franchise and offering a compelling experience for both newcomers and longtime fans.
Viewers can experience Macross Plus either as a four-episode OVA or through the re-edited movie version titled Macross Plus: Movie Edition. The movie version condenses the original four episodes into a much shorter runtime, around 115 minutes, with certain scenes expanded, some new scenes added, and others shortened or removed entirely. While the movie includes roughly 20 minutes of new or alternate footage, it retains much of the OVA’s original material. The film format emphasizes a more cinematic presentation and features a widescreen format, contrasting the original OVA’s 1.37 aspect ratio. However, while the movie streamlines some narrative aspects and adds a few striking sequences, some fans feel the OVA’s longer runtime allows for richer character development and storytelling depth. Both versions have their merits, with many recommending watching the OVA first to appreciate the fuller experience before exploring the movie edition.
One of Macross Plus’s standout features is its animation quality, especially remarkable for a mid-1990s production. The series blends traditional hand-drawn artistry with pioneering computer graphics, particularly in its spectacular aerial dogfight sequences featuring transforming fighter jets. These dynamic battle scenes convey a vivid sense of speed and intensity, demonstrating a level of technical sophistication that remains impressive today. Though some fans note minor differences in character design from Haruhiko Mikimoto’s original work, the visual impact overall is striking and immersive, providing a thrilling experience for newcomers and a nostalgic appreciation for veteran viewers.
Integral to the anime’s atmosphere is its unforgettable soundtrack, composed by the legendary Yoko Kanno. Her wide-ranging score—from haunting melodies to energetic action themes—perfectly complements the show’s tonal shifts. While “Voices,” performed by Akino Arai, is the song most fans distinctly remember and cherish for encapsulating the emotional core of the series, the rest of the soundtrack stands out as excellent in its own right. Notably, the tracks tied to the Sharon Apple AI subplot add an additional layer of mood and narrative depth. The song “Information High,” performed by Sharon Apple, is particularly praised for its ethereal, electronic style that perfectly captures the AI’s hypnotic and otherworldly presence in the story. This track complements the themes of technology, identity, and artificial emotion explored through Sharon Apple’s character, enhancing the viewer’s immersion in the high-tech world of Macross Plus.
Another rarity in the anime world that Macross Plus represents is its highly regarded English-language dub. Unlike many anime dubs that face criticism, the Macross Plus English dub is considered excellent by fans and critics alike. One notable factor is the casting of a younger Bryan Cranston (before his Breaking Bad fame) as the voice of Isamu Dyson. His performance brings genuine energy and nuance to the role, contributing to the dub’s reputation as a quality adaptation worthy of both newcomers who prefer English audio and longtime fans who appreciate a well-executed dub.
A core thematic insight in Macross Plus lies in its exploration of technology, especially artificial intelligence, highlighting how even advanced AI must learn from humans as templates, inevitably influencing its behavior. Sharon Apple, the AI pop star and central figure of the subplot, cannot authentically generate emotion on her own. Instead, she relies on the emotional input provided by Myung Fang Lone, her producer and the emotional source behind Sharon’s performances. This dependency underlines a profound implication: true sentience and emotional authenticity in AI require imitation and absorption of human feelings, experience, and behavior. Consequently, Sharon’s increasingly autonomous actions become shaped by the complex and sometimes conflicted emotional landscape of the humans around her, illustrating how AI, while synthetic, is ultimately tied to the human condition and its imperfections. The series presents this relationship critically, showing both the potential and danger of AI learning and evolving from human templates, culminating in Sharon’s struggle to assert an identity that is both alien and deeply rooted in human emotions.
Importantly, Macross Plus is recognized as the first official sequel to the original Macross series by its creator Shoji Kawamori. The earlier Macross II was later retconned by Kawamori as an alternate reality or parallel world separate from the main timeline. This status cements Macross Plus as the canonical continuation of the original saga, reinforcing its significance within the franchise and its role in guiding Macross’s future directions.
The narrative structure—whether experienced as the OVA’s four episodes or the condensed movie version—strikes a balance between introspective character moments and exhilarating mech combat, keeping viewers engaged while allowing emotional depth to unfold. Though some supporting characters receive limited development and the antagonist can seem somewhat one-dimensional, these elements do not detract significantly from the memorable storytelling, animation, and thematic richness.
For newcomers, Macross Plus serves as a powerful introduction to anime that blends sophisticated storytelling, technical artistry, and philosophical inquiry. For veterans, it offers a compelling revisit to a milestone work that elegantly bridges the franchise’s classic roots and modern evolution.
Macross Plus holds a revered place within the Macross franchise and the wider anime landscape for several reasons. It was pioneering in its integration of traditional cel animation with early computer-generated imagery (CGI), setting a precedent for the increasing use of digital effects in anime. This blend allowed for its visually stunning aerial combat sequences which remain influential in mecha animation.
The series also marked the start of a significant collaboration between director Shinichirō Watanabe and composer Yoko Kanno, whose work on Macross Plus would lead to iconic projects such as Cowboy Bebop. The soundtrack’s genre-spanning style influenced how music could serve as a narrative force in anime, intertwining with story and character development rather than merely accompanying visuals.
Narratively, Macross Plus helped reaffirm the franchise’s thematic core—the interplay of love, war, and music—while pushing it toward more mature and psychological storytelling, expanding the appeal beyond traditional mecha fans. Its exploration of AI and human emotion was ahead of its time, posing philosophical questions still relevant in today’s discussions about technology and identity.
The excellent English dub, featuring talents like Bryan Cranston, contributed to its international acclaim, helping it become a gateway series for many Western viewers into the Macross universe and anime more broadly.
Its legacy continues not only through ongoing Macross installments but also in manga adaptations and video game tie-ins, as well as in inspiring countless mecha and sci-fi creators. To this day, Macross Plus is frequently cited as a high watermark of 1990s anime, a timeless fusion of innovative animation, memorable music, and complex, emotionally resonant storytelling that helped shape the trajectory of anime as a global medium.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989. The entire show is currently streaming on Tubi and several other services!
This week, Mark finally gets the stuff.
Episode 4.21 “A Dolphin Song For Lee: Part One”
(Dir by Michael Landon, March 9th, 1988)
After he complains for the hundredth time about not having “the stuff,” Mark finally gets the boss’s attention in this episode. Suddenly, Mark is the one who doesn’t need to eat, who knows where to go for the assignment, and who instinctively realizes that the young woman they’ve been assigned to help — Lee (Bess Meyer) — desperately needs a bone marrow transplant. Meanwhile, Jonathan becomes human yet again.
That’s not a bad idea for a story, though it’s hard not to notice that this is the second time that Jonathan’s gone from being an angel to being mortal during season four. One would think that either Jonathan or Mark would have noted this fact but neither one does. Maintaining continuity has not been season four’s strong point.
As for the story itself, it’s pretty simple but then again, it’s only Part 1 of a two-parter. Lee refuses to get the bone marrow transplant because she fears her parents won’t be able to afford it. Using “the stuff,” Mark essentially commands a local news producer to do a story on Lee and her need for a transplant. In a scene that feels like a fantasy today, we see people apparently all across the country watching the news story on Lee. One guy in a bar yells at everyone to be quiet so he can hear the story. It feels incredibly dated and almost too earnest for its own good, if just because it’s hard to imagine people actually sitting around the TV and watching a network newscast nowadays. (It’s also hard not to wonder if Mark essentially zapping the producer and taking over his mind is a good example of what the Boss wants done with the stuff. That’s not something that Jonathan has ever done, even though it would have made things a lot simpler.)
People across the country donate money so that Lee can get her operation. Lee’s cancer goes into remission but the “To Be Continued” announcement at the end of the episode feels a bit ominous. If Lee’s going to be okay, why does the story need to be coninuted?
In honor of Ethan Hawke’s birthday, here is the wonderfully romantic Ferris wheel scene from 1995’s Before Sunrise. Director Richard Lnklater considered this scene to be an homage to The Third Man.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Decoy, which aired in Syndication in 1957 and 1958. The show can be viewed on Tubi!
This week’s episode is really, really good!
Episode 1.11 “Two Days To Kill”
(Dir by Stuart Rosenberg, originally aired on December 23rd, 1957)
Selma Richmond (played by a young Diane Ladd!) is the girlfriend of gangster Johnny Troy (Michael Strong). Johnny is about to go on trial and Selma’s testimony about his crimes is the key piece of evidence against him. Knowing that Johnny wants Selma dead, the police put her up in an apartment. Casey is assigned to protect her.
At first, Casey and Selma seem to become unlikely friends. Selma is flighty and obsessed with Hollywood. Even though she’s testifying against him, she claims that Johnny is just misunderstood. Casey, taking some sympathy on her, tells Selma about the man that she loved. For the first time, we learn something about Casey’s background. We learn that her husband was a cop and he died in a shoot out. It’s a surprising moment and one that’s poignantly played by Beverly Garland. (The camera closes in on her face while she slowly smokes a cigarette.) Not only does it help us understand why Casey sometimes to seems to be emotionally detached but it also shows the friendship between the two women. Casey doesn’t open up for many people but she does for Selma.
However, that friendship ends when Selma realizes that Johnny will be facing the death penalty. Selma manages to sneak a letter Johnny, letting him know where she’s being held. Johnny shows up at the apartment, carrying a knife. Casey is waiting for him with her gun drawn. During the stand-off, Johnny tells Selma that he loves her and Selma believes it. The Johnny uses his foot to unplug the apartment’s lamp. In the darkness, he lunges at Selma and Casey opens fire, killing Johnny. Selma’s response is to shout, “I bet you’re glad you killed him!”
This was an outstanding episode. Director Stuart Rosenberg, taking over from Teddy Sallis, makes good use of the gritty New York locations. Each scene is lit like a film noir, with Johnny literally emerging from the shadows at one point. Rosenberg also gets excellent performances from both Ladd and Garland. This was a strong episode and the best of the series so far.
You ever notice how “Paint It Black” doesn’t really start so much as it unfolds—that strange sitar riff creeping in like a bad dream you can’t quite shake? The Stones captured something that feels less like heartbreak and more like a total emotional blackout. The sound is restless, paranoid even, like someone pacing around inside their own thoughts at 3 a.m. That’s what makes it such a sharp symbol of depression: it’s not just sadness, it’s this all-consuming fog where color, joy, and even meaning itself disappear.
The thing that always strikes me is how the song turns that private darkness into a worldview. The singer doesn’t only feel grief—he wants the whole world to match how he feels inside. That line between self and everything else completely breaks down. You can hear it in the drumming, that pounding rhythm chasing itself in circles, or the sitar’s looping melody that never resolves. It’s like he’s trapped in motion, unable to stop thinking or feeling, stuck in a spiral that makes sense only to him. It’s haunting because it sounds familiar to anyone who’s been that low.
And that’s why, even decades later, “Paint It Black” still feels so alive—so uncomfortably modern. Underneath the 60s cool, it taps into that quiet nihilism a lot of people still wrestle with today: the idea that maybe there’s nothing left worth looking at, so you might as well black it all out. But there’s something cathartic in that honesty. The song doesn’t try to fix anything or offer redemption; it just sits in the darkness. And sometimes, that’s what makes it hit harder than any happy ending could.
Paint It Black
I see a red door And I want it painted black No colors anymore I want them to turn black
I see the girls walk by Dressed in their summer clothes I have to turn my head Until my darkness goes
I see a line of cars And they’re all painted black With flowers and my love Both never to come back
I’ve seen people turn their heads And quickly look away Like a newborn baby It just happens everyday
I look inside myself And see my heart is black I see my red door I must have it painted black
Maybe then, I’ll fade away And not have to face the facts It’s not easy facing up When your whole world is black
No more will my green sea Go turn a deeper blue I could not foresee this thing Happening to you
If I look hard enough Into the setting sun My love will laugh with me Before the morning comes
I see a red door And I want it painted black No colors anymore I want them to turn black
I see the girls walk by Dressed in their summer clothes I have to turn my head Until my darkness goes
I wanna see it painted Painted black Black as night Black as coal I wanna see the sun Blotted out from the sky I wanna see it painted, painted, painted Painted black, yeah
Extraction 2 drops you right into the thick of things, cranking the intensity way past the first film. To quickly recap, the original Extraction introduced Tyler Rake, a gritty mercenary with a troubled past played with undeniable grit by Chris Harmsworth. The story was simple but effective—a high-stakes rescue of a kidnapped boy in Dhaka, Bangladesh, filled with edge-of-your-seat action and those now-iconic, almost balletic long-take fight sequences. It was raw, realistic, and emotionally grounded. Harmsworth’s portrayal anchored the chaos in human vulnerability, helping the film stand out from the typical action fare.
Now, the sequel’s aim is clear—it wants to go bigger, bloodier, and more relentless, and it pulls that off in many ways. The standout here is definitely the action choreography. Sam Hargrave, the director, really flexes his muscle with several jaw-dropping sequences, especially a breathtaking 21-minute continuous take that makes you feel like you’re running alongside Rake, dodging bullets and throwing punches in real time. It’s an impressive technical feat but, more importantly, it’s incredibly immersive. The fights have that gritty realism where each blow counts, and the camera work lets you see every tense moment clearly instead of hiding behind shaky cuts.
Chris Hemsworth, once again, owns the role. This time around, you can see a bit more of the toll the mercenary life has taken on Rake. Hemsworth brings a subtle layer of weariness mixed with fierce determination. His physicality is on full display—he’s convincing in those brutal hand-to-hand combats without ever feeling like a stuntman stand-in. He does it all, and it’s clear he’s not just punching air; this is a man fighting for something beyond just survival. The emotional beats land a bit more naturally this time around, helped by Hemsworth’s grounded performance, which balances the nonstop action with moments of quiet reflection.
Visually, the film is a significant step up. The settings shift from humid, congested streets to icy, oppressive Georgia, and the cinematography makes the most of this change. The chilly, bleak palette fits perfectly with the film’s mood—harsh, unforgiving, and tense. The camera work is bold yet measured; it takes its time to show us the fights fully, letting the choreography breathe without rushing or confusing the viewer. This clarity turns the action scenes into mini-masterpieces, where every movement, every shot, and every punch feels deliberate and impactful.
That said, not everything clicks perfectly. The plot plays it safe with familiar revenge and rescue-mission beats, and the supporting characters don’t get much development beyond their utility to the story. Golshifteh Farahani steals a few scenes as Nik, adding fresh energy and complexity as a tough and capable ally, but others around her mainly exist to get the body count up. There’s a formulaic feel to the storyline—with plenty of high-stakes tension but little in the way of surprise. If you go in looking for deep storytelling or rich character arcs, you might be left wanting.
The film truly embraces the “bigger is better” mantra, and in many ways, it pays off spectacularly with larger, more intricate action sequences and expanded scale. This escalation brings a fuller, more thrilling spectacle that keeps you hooked from start to finish. However, this increase in scope leads to a trade-off: the narrative feels more convoluted and sometimes weighed down by its own ambition. The plot introduces multiple new characters and intersecting agendas, which lengthens the storyline unnecessarily and complicates what could have been a more straightforward mission. This convolution makes the story not only more formulaic but also harder to follow, detracting from the lean storytelling charm that made the first movie so effective.
Tone-wise, the movie trades some of the first film’s grounded grit for a flashier, more stylized look and feel. Some sequences stretch believability—Rake’s near-indestructibility and certain stunt setups can pull you out of the moment. Still, if you’re willing to accept that and enjoy the ride, the movie delivers on adrenaline and spectacle in full force.
One of the most refreshing things about Extraction 2 is how well it balances raw, physical combat with moments of emotional depth. Between the intense fight scenes, there are small windows into who Tyler Rake is and what drives him. These touches give the film a heartbeat beneath all the explosions and punches. Rake is no cookie-cutter action hero; he’s a broken man clawing his way toward redemption, and that gives the film a surprising amount of emotional weight for a movie mainly about violence and chaos.
Ultimately, Extraction 2 isn’t reinventing the wheel, but it doesn’t need to. It knows its audience and delivers exactly what it promises: high-octane, impeccably executed action sequences tied together by a thread of humanity. Hemsworth’s portrayal elevates it beyond just a flashy romp, lending it a gritty soul. The villains feel suitably menacing, and the stakes are convincingly high, which keeps the tension ticking throughout.
If you loved the first Extraction for its mix of brutal realism and emotional punch, the sequel will feel familiar but amplified—more intense, more expansive, and a bit louder. If you’re new to the series, Extraction 2 still stands solid on its own as a showcase of what well-choreographed action cinema looks like today—raw, precise, and emotionally resonant with just enough story to keep you invested without dragging you down.
In short, Extraction 2 is a wild, thrilling ride with a surprisingly human heart beating beneath all the chaos. It’s a film that knows how to entertain, showcasing Chris Harmsworth at his physical and emotional best and proving that action movies can still push creative boundaries while keeping viewers hooked. The movie brings bigger and bolder set pieces that truly live up to the “bigger is better” slogan, but this comes at the cost of making the plot more convoluted and overly complicated than it needed to be. While the intricate story layers may strain some viewers, the explosive action and solid performances make it a must-watch for any fan of visceral, edge-of-your-seat thrillers. If you want a no-nonsense blockbuster with a pulse, Extraction 2 delivers in spades.
Through the Shattered Lens 