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WHIPPED CREAM Delivers ‘Wide Variety Of Music’ In Debut EP & Reveals Thoughts On Raves Post-Quarantine

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Producer WHIPPED CREAM, who has performed on stages at Coachella, EDC and more, revealed the ‘purpose’ of her debut EP and her thoughts on how the pandemic will affect dance music.

Despite music festivals being cancelled for the remainder of 2020, WHIPPED CREAM’s debut EP stirs up the same desire to headbang — or maybe even shed a happy tear — as if you were pressed up against a main stage’s guardrail and not your laptop. This is because WHO IS WHIPPED CREAM, the producer’s mini album that dropped on Aug. 21, simulates the wide range of sonic sensations and body vibrations you’d experience during a live set at a rave — perhaps between several! That was kind of the point. “The whole purpose of this EP was to show diversity in my production,” the Vancouver Island native, whose real name is Caroline Cecil, EXCLUSIVELY told HollywoodLife.

WHIPPED CREAM
WHIPPED CREAM, who grew up on Vancouver Island in Canada, spent her childhood as a competitive figure skater until suffering a broken ankle injury at 18 years old. This led her to fall into music production, which has turned out to be a successful new path — one of her songs featuring Baby Goth, “So Thick,” is on the Birds of Prey movie soundtrack. (Photo Credit: Jora Frantzis)

Leading the EP’s tracklist is “US,” which will make you feel like your mind’s falling down the rabbit hole as an omnipresent voice ushers hypnotic adages like “So never mind what happened yesterday / Because all your problems / That’s all gone / The only thing that we have tonight is us” over a progressive house beat. And then there’s “Dumb Sh!t,” which will make you feel exactly the opposite. Feature artist Jasiah delivers screamo rap vocals over WHIPPED CREAM’s trap production and hard-hitting bass, making you feel like you’re bumping along to all the other hardstyle ravers at EDC’s wasteLAND stage.

Unfortunately, the only stage fans can dance on for now are their own beds, given the coronavirus pandemic’s shutdown of all large-scale events. This was quite the change for WHIPPED CREAM, who had a breakthrough year in 2019 with performances at all the big players of festivals such as Coachella, Electric Daisy Carnival, Ultra, Tomorrowland, Lollapalooza and Electric Forest. WHIPPED CREAM shared her thoughts on EDM in a post-coronavirus world, in addition to even more details about her diverse debut EP and what drew her to work with artists like Mulatto and Lil Xan, in our EXCLUSIVE interview:

HollywoodLife: Can you tell me a little bit more about your journey from being a competitive figure skater to having a full-blown career in music producing?

WHIPPED CREAM: Skating was my life early on, I lived and breathed it. I gave every bit of effort I had to skating, much like I’ve done with music. Unfortunately I suffered a career ending injury that led me to explore other things, music was one of them. After my injury I went to a festival with some friends that changed my life forever. I came across an artist “Active Child” whose performance woke something up in me that hadn’t been there before.

HollywoodLife: In 2019, you were playing for big festivals — Ultra, Bonnaroo, etc. — and now we’re in the middle of a pandemic. How has this affected you, and your approach to live sets?

WHIPPED CREAM: The pandemic helped me learn how to really ground myself, slow down. I started meditating and I’ve also been writing more music. My approach to live sets now is gearing more towards what I think people will vibe to in their home.

WHIPPED CREAM’s virtual set for Lollapalooza 2020. (YouTube)

HollywoodLife: How do you think this pandemic will affect EDM and raves in the next year or two?

WHIPPED CREAM: Electronic music will never die. Unfortunately raves and festivals for now will be pretty non-existent until there is a reliable vaccine.

HollywoodLife: Do you think socially-distanced raves will become a thing? I’ve seen “drive-in raves” gaining popularity.

WHIPPED CREAM: Potentially, if they are done right. However so far haven’t seen many that have been done right…

HollywoodLife: What is it like being a woman working in EDM, where so many headliners at festivals are often men?

WHIPPED CREAM: Being a woman in dance music is very exciting, I love being a woman! Obviously we face different challenges than men do, I just try and focus on the good along with forging my own path.

HollywoodLife: On the subject of your new music, there is such a wide range in genres here! Is there a subgenre that you’re particularly drawn to?

WHIPPED CREAM: You’re going to hear the most wide variety of music I’ve ever produced on this project. The whole purpose of this EP was to show diversity in my production. As far as a subgenre I’ve always been drawn to R&B, so emotions inspired by R&B.

“US” highlights WHIPPED CREAM’s flexibility as a producer, who can bounce between hardstyle hip-hop and progressive house.

HollywoodLife: How long has this debut EP been in the making? Why was now the right time for the world to hear it?

WHIPPED CREAM: Since 2017 when I wrote “US.” Originally I was planning to release my EP the weekend of Coachella, but it didn’t feel right timing wise especially with the pandemic just starting. I went back and forth on new release dates several times. I just got to a point where I didn’t want this to be about me releasing music or when, it became more about how I possibly can affect someone’s life in a positive way during these crazy times. Hopefully this EP will do that.

HollywoodLife: Your new music goes hard. What were your main goals while making each of the songs on this debut EP?

WHIPPED CREAM: Thank you! I wanted this project to be diverse but one of my goals was to have everything work together at the same time, which can be tricky. I also wanted to tell the story of who Whipped Cream is as a producer.

HollywoodLife: What (or who) were your biggest influences and sources of inspiration while producing your EP?

WHIPPED CREAM: My biggest influence during this EP was myself, just trying to be the best version of myself. I really wanted to see what I could do as a producer and influence my own music abilities.

Music video for WHIPPED CREAM’s collaboration with Lil Xan, “Told Ya.” (YouTube)

HollywoodLife: Your EP has a lot of guest features from hip-hop artists like Lil Keed, Mulatto, Jasiah, and Lil Xan, and alternative pop singers like Baby Goth. What led you to work with these artists?

WHIPPED CREAM: I really enjoy working with talent that are future superstars, artists that I connect with and felt would fit this project. They all play an important role in the sound and story.

HollywoodLife: Finally, your new EP is called “WHO IS WHIPPED CREAM?” So, how would you answer that?

WHIPPED CREAM: I’d kindly ask the person reading this to listen to my EP from start to finish.

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Netflix is developing a live action ‘Assassin’s Creed’ show

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Netflix announced this morning that it’s partnering with Ubisoft to adapt the game publisher’s “Assassin’s Creed” franchise into a live action series.

The franchise jumps around in history, telling the story of a secret society of assassins with “genetic memory” and their centuries-long battle the knights templar. It has sold 155 million games worldwide and was also turned into a nearly incomprehensible 2016 film starring Michael Fassbender and Marion Cotillard, which underperformed at the box office.

The companies say that they’re currently looking for a showrunner. Jason Altman and Danielle Kreinik of Ubisoft’s film and television division will serve as executive producers. (In addition to working on adaptations of Ubisoft’s intellectual property, the publisher is also involved in the Apple TV+ industry comedy “Mythic Quest.”)

“We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Netflix’s vice president of original series Peter Friedlander in a statement. “From its breathtaking historical worlds and massive global appeal as one of the best selling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.”

It sounds like there could be follow-up shows as well, with the announcement saying that Netflix and Ubisoft will “tap into the iconic video game’s trove of dynamic stories with global mass appeal for adaptations of live action, animated, and anime series.”

Netflix recently placed an eight-episode order for “Resident Evil,” another video game franchise that was previously adapted for the big screen. And it also had a big hit with its adaptation of “The Witcher,” which is based on a fantasy book series that was popularized via video games.

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Original Content podcast: ‘Lovecraft Country’ is gloriously bonkers

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As we tried to recap the first season of HBO’s “Lovecraft Country,” one thing became clear: The show is pretty nuts.

The story begins by sending Atticus “Tic” Freeman (Jonathan Majors), his friend Leti Lewis (Jurnee Smolett) and his uncle George (Courtney B. Vance) on a road trip across mid-’50s America in search of Tic’s missing father. You might assume that the search will occupy the entire season, or take even longer than that; instead, the initial storyline is wrapped up quickly.

And while there’s a story running through the whole season, most of the episodes are relatively self-contained, offering their own versions on various horror and science fiction tropes. There’s a haunted house episode, an Indiana Jones episode, a time travel episode and more.

The show isn’t perfect — the writing can be clunky, the special effects cheesy and cheap-looking. But at its best, it does an impressive job of mixing increasingly outlandish plots, creepy monsters (with plentiful gore) and a healthy dose of politics.

After all, “Lovecraft Country” (adapted form a book by Matt Ruff) is named after notoriously racist horror writer H.P. Lovecraft, but it focuses almost entirely on Black characters, making the case that old genres can be reinvigorated with diverse casts and a rethinking of political assumptions.

In addition to reviewing the show, the latest episode of the Original Content podcast also includes a discussion of Netflix earnings, the new season of “The Bachelorette” and the end of Quibi.

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also follow us on Twitter or send us feedback directly. (Or suggest shows and movies for us to review!)

And if you’d like to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:36 Netflix discussion
3:18 “The Bachelorette”
6:30 Quibi
14:35 “Lovecraft Country” review
31:32 “Lovecraft Country” spoiler discussion

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The short, strange life of Quibi

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“All that is left now is to offer a profound apology for disappointing you and, ultimately, for letting you down,” Jeffrey Katzenberg and Meg Whitman wrote, closing out an open letter posted to Medium. “We cannot thank you enough for being there with us, and for us, every step of the way.”

With that, the founding executives confirmed the rumors and put Quibi to bed, a little more than six months after launching the service.

Starting a business is an impossibly difficult task under nearly any conditions, but even in a world that’s littered with high-profile failures, the streaming service’s swan song was remarkable for both its dramatically brief lifespan and the amount of money the company managed to raise (and spend) during that time.

A month ahead of its commercial launch, Quibi announced that it had raised another $750 million. That second round of funding brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

“We concluded a very successful second raise which will provide Quibi with a strong cash runway,” CFO Ambereen Toubassy told the press at the time. “This round of $750 million gives us tremendous flexibility and the financial wherewithal to build content and technology that consumers embrace.”

Quibi’s second funding round brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

From a financial perspective, Quibi had reason to be hopeful. Its fundraising ambitions were matched only by the aggressiveness with which it planned to spend that money. At the beginning of the year, Whitman touted the company’s plans to spend up to $100,000 per minute of programming — $6 million per hour. The executive proudly contrasted the jaw-dropping sum to the estimated $500 to $5,000 an hour spent by YouTube creators.

For Whitman and Katzenberg — best known for their respective reigns at HP and Disney — money was key to success in an already crowded marketplace. $1 billion was a drop in the bucket compared to the $17.3 billion Netflix was expected to spend on original content in 2020, but it was a start.

Following in the footsteps of Apple, who had also recently announced plans to spend $1 billion to launch its own fledgling streaming service, the company was enlisting A-List talent, from Steven Spielberg, Guillermo del Toro and Ridley Scott to Reese Witherspoon, Jennifer Lopez and LeBron James. If your name carried any sort of clout in Hollywood boardrooms, Quibi would happily cut you a check, seemingly regardless of content specifics.

Quibi’s strategy primarily defined itself by itself by its constraints. In hopes of attracting younger millennial and Gen Z, the company’s content would be not just mobile-first, but mobile-only. There would be no smart TV app, no Chromecast or AirPlay compatibility. Pricing, while low compared to the competition, was similarly off-putting. After a 90-day free trial, $4.99 got you an ad-supported subscription. And boy howdy, were there ads. Ads upon ads. Ads all the way down. Paying another $3 a month would make them go away.

Technological constraints and Terms of Service fine print forbade screen shots — a fundamental understanding of how content goes viral in 2020 (though, to be fair, one shared with other competing streaming services). Amusingly, the inability to share content led to videos like this one of director Sam Raimi’s perplexingly earnest “The Golden Arm.”

It features a built-on laugh track from viewers as Emmy winner Rachel Brosnahan lies in a hospital bed after refusing to remove a golden prosthetic. It’s an allegory, surely, but not one intentionally played for laughs. Many of the videos that did ultimately make the rounds on social media were regarded as a curiosity — strange artifacts from a nascent streaming service that made little sense on paper.

Most notable of all, however, were the “quick bites” that gave the service its confusingly pronounced name. Each program would be served in 5-10 minute chunks. The list included films acquired by the service, sliced up into “chapters.” Notably, the service didn’t actually purchase the content outright; instead, rights were set to revert to their creators after seven years. Meanwhile, after two years, content partners were able to “reassemble” the chunks back into a movie for distribution.

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