This series takes an in-depth look at some of the world's most prolific serial killers and interviews those who were closest to them before learning about their secret, dark lives.
Runtime: 60 minutes
Twisted - My Beautiful Dark Twisted Fantasy - Netflix
My Beautiful Dark Twisted Fantasy is the fifth studio album by American rapper Kanye West, released on November 22, 2010, by Roc-A-Fella Records. Following a period of public and legal controversy, West retreated to a “self-imposed exile” in Hawaii in 2009. There, he worked on the album in a communal recording environment that involved numerous contributing musicians and producers. The album features guest appearances from Bon Iver, Jay-Z, Pusha T, Rick Ross, Kid Cudi, Nicki Minaj, John Legend, and Raekwon, among others. Production was led by West himself, alongside a variety of high-profile record producers including Mike Dean, No I.D., Jeff Bhasker, RZA, S1, Bink and DJ Frank E. Noted by critics for its maximalist aesthetic, opulent production quality, and dichotomous themes, My Beautiful Dark Twisted Fantasy incorporates aspects of West's previous works, including soul, baroque, electro, and symphonic styles, as well as progressive rock. The album deals with themes of excess and celebrity, and explores such issues as consumer culture, race, and the idealism of the American Dream. To promote the album, West released free songs through his GOOD Fridays series and four singles: the Billboard hits “Power”, “Monster”, and “Runaway”, and the international hit “All of the Lights”. It was also promoted with a short film set to the record's music, Runaway. The album debuted at number one on the Billboard 200 and eventually sold 1.3 million copies in the United States. A widespread critical success, it was named the best album of 2010 by many publications and has since appeared on several lists ranking the greatest albums of all time.
Twisted - Music and lyrics - Netflix
My Beautiful Dark Twisted Fantasy's music has been noted by writers for incorporating elements from West's previous four albums. Entertainment Weekly's Simon Vozick-Levinson perceives that such elements “all recur at various points”, namely “the luxurious soul of 2004's The College Dropout, the symphonic pomp of Late Registration, the gloss of 2007's Graduation, and the emotionally exhausted electro of 2008's 808s & Heartbreak”. Sean Fennessey of The Village Voice writes that West “absorb[ed] the gifts of his handpicked collaborators, and occasionally elevat[ed] them” on previous studio albums, noting collaborators and elements as Jon Brion for Late Registration (“arranging orchestral majesty”), DJ Toomp for Graduation (“adapted DJ Toomp’s oozing menace”), and Kid Cudi for 808s & Heartbreak (“Cudi’s moaning melodies became elemental”). In a retrospective analysis for Noisey Phil Witmer characterised the album as embodying progressive rock of the 1970s, noting that “it was an unprecedented retreat by a hip-hop artist into the weird world of progressive rock”. The music was described as maximalist by Jon Caramanica of The New York Times, who also took note of East Coast hip hop elements, and Ryan Dombal from Pitchfork, who deemed it a “culmination” of West's past work: “Musically, [the album] largely continues where 2007's Graduation left off in its maximalist hip-hop bent, with flashes of The College Dropout's comfort-food sampling and Late Registration's baroque instrumentation weaved in seamlessly”. AllMusic's Andy Kellman views it as the “culmination” of those albums, while noting that “it does not merely draw characteristics from each one of them. The 13 tracks ... sometimes fuse them together simultaneously. Consequently, the sonic and emotional layers are often difficult to pry apart and enumerate”. Kellman denotes “All of the Lights” as most representative of the album's “contrasting elements and maniacal extravagance”. By contrast, Robert Christgau from MSN Music comments that the music eschews the “grace” of The College Dropout and Late Registration for “grandiosity” and “the sonic luxuries of this world-beating return to form”. The album's themes deal primarily with excess and celebrity, and also touch on decadence, grandiosity, escapism, sex, wealth, romance, self-aggrandizement, and self-doubt. Andrew Martin of Prefix Magazine notes the album's ethos as “more is more” and describes it as “a meditation on fame”, in which West decries the burden that it entails. My Beautiful Dark Twisted Fantasy also features more open references to drinking and drug use than on West's previous albums. Nathan Rabin of The A.V. Club describes it as “darkly funny, boldly introspective, and characteristically fame-obsessed”, noting “manic highs and depressive lows emotionally” in the album. Christgau found the themes of insecurity and uncertainty on the album to be West's “heart, his message, the reason he's so major”, noting the tracks “Hell of a Life” and “Runaway” as examples. Greg Kot, writing in the Chicago Tribune, said West displayed a transparency and “almost pathological allegiance to expressing his emotions, unfiltered”. In the opinion of Pitchfork's Ryan Dombal, My Beautiful Dark Twisted Fantasy was “a hedonistic exploration into a rich and famous American id”, while Chris Martins from Spin said it was an alternately grandiose and eloquent production that “owed as much to the artist's self-aggrandizing ego as to the voracious id that would destroy it publicly”. Music writer Ann Powers interprets West's predominant theme on My Beautiful Dark Twisted Fantasy to be “the crisis of the jet-lagged cosmopolitan ... the exhausted cry of one who's always new in town, chasing whatever goal or girl is in the room, fueled by consumer culture's relentless buzz, but finally left unsatisfied”. Powers views the songs to work “as pornographic boasts, romantic disaster stories, devil-haunted dark nights of the soul” and perceives West's “uncertainty about his own place in the world” to be connected to the subject of race, stating “The rootlessness West celebrates and despairs of on 'Fantasy' belongs to someone who feels unwelcome everywhere. This isn't just a personal problem. It's the curse of what the author Michael Eric Dyson has called 'the exceptional black man', embraced for his talents but singled out for the color of his skin”.
Twisted - References - Netflix