Grips. Let's talk about 'em. submitted by db_inc to dbrand [link] [comments] If you've spent any amount of time on this subreddit, you've likely seen at least one post about a Grip case that has fallen apart. Most of you have seen several. We know this because we've seen every single one. We’d like to see less of them. Ideally, none. Over the past 18 months, we’ve been on an odyssey to fix the underlying problem. What follows is a chronicle of that journey. Our objectives in writing this post are three-fold. There will be a tl;dr version at the end of this post, summarizing each of the three:
PART ONEWhy Do Grips Fall Apart?Most phone cases are made out of a single material. The material itself varies from case to case, though the most common is Thermoplastic Polyurethane (TPU). The Grip case, as a point of comparison, is made of two different materials: an elastomer and a polycarbonate. The word elastomer is a combination of the words elastic and polymer. That's because it describes polymers that have elastic properties - like the one that forms the outer rim of your Grip case. The elastomer that we use is responsible for two critical properties of the Grip case: impact protection and grip. If you fell off of a rooftop, would you rather land on a hard plastic surface, or a rubber surface? If you value your life at all, you'd choose the rubber - its elastic properties would absorb much more force from the impact. Guess what rubber is? First one to answer "an elastomer" wins a prize! Next, imagine you’re a pervert, gently running your finger across every surface of a No. 2 Pencil. Which part of the pencil do you think would provide the most resistance to the tracing of your finger? If you guessed "the eraser," congratulations: you possess a basic understanding of coefficients of friction. Erasers are made of rubber. Rubber has a high coefficient of friction because of its elastic properties. The Grip case's elastomer isn't rubber - it's our own specially-formulated compound. It's still a useful comparison, as all elastomers share similar properties - provided they have the same degree of Shore Hardness. One person reading this is asking: “Shore Hardness?” The next section is their fault. A Beginner's Guide to Material Science The Shore Hardness scale gauges the hardness of various elastomers. It can be measured with a device called a durometer. You probably don't have one.
If you used an eraser with a high Shore Hardness, you'd find it wouldn't actually do much erasing. Now, what if you made a phone case out of an elastomer with a high Shore Hardness? It wouldn't offer much grip or impact protection. The Grip's outer rim is made from an elastomer with a low Shore Hardness. As a result, the material is grippy and impact-resistant, but much more malleable and thus more likely to deform. That's why we bond the elastomer to a polycarbonate skeleton. Polycarbonates don't require as much explanation as elastomers: they're a category of plastic. On your Grip case, the back plate is made of polycarbonate. The elastomer rim is bonded to the polycarbonate plate on all sides of the Grip, providing structural rigidity to the elastomer, fighting to keep it from deforming. At least, that's the idea. As we've all seen, it hasn't worked out that way. Bonding two distinct materials together is much more complicated than gluing them together. Instead, we rely on a thermal bonding process. Basically, that means we heat both of our polymers to a degree which would turn you from “rare” to “well done” in moments. This heat melts the polymers, which we then inject at a pressure which would turn you from “solid” to “paste” even faster. Once injected, these two materials get fused together along the seams. To further reinforce the bonds, we use a series of interlocking "teeth" to provide a greater surface area on which the bonding process can occur. Consider these teeth the mechanical bond, which exists to strengthen the thermal bond. Pictured: Bonding mechanic between the elastomer and polycarbonate. With that out of the way: why do Grips fall apart? The elastomer rim around the edge of the Grip case is naturally inclined to deform and stretch. The bonding mechanisms we described above are designed to keep that from happening, but it often isn’t strong enough. As soon as the bond fails at any point, it's only a matter of time until a total structural failure occurs. PART TWOHow Are We Stopping Grips From Falling Apart?Philosophically, there are two approaches to take:
We could follow all of these roads, find out exactly which factors are causing the bond to fail, then implement preventative measures to keep it from happening - but that would take a decade. We don't have that long. Much like you, we want this fixed yesterday. So, from the moment we received our first complaint about a Grip deforming around the buttons, we've been making structural, thermal, and mechanical improvements to the design and production process of the Grip case - some visible, some not. Every new phone release has brought a new iteration on the core Grip design, with each one reducing the failure rate, incrementally. We'll bring the receipts in the next chapter. For now, let's highlight the most noteworthy improvements. The Most Noteworthy Improvements The first signs of trouble were the buttons. Months before we'd received our first report of a Grip case de-bonding, we saw the first examples of buttons that had bent out of shape. Pictured: Button deformation. Why the buttons? Because you press down on them. The force from button actuation puts strain on the elastomer, causing displacement of the material in the surrounding area. Through a combination of time, repeated button actuations and the above-mentioned force, the case would permanently deform around the buttons. This concept is called the "compression set" of the elastomer - Google it. The solution to this problem was two-fold:
Pictured: Relief slits to improve button tactility and durability. Another early issue, pre-dating the first reports of total de-bonding, was a deformation of the elastomer along the bottom of the case - where the charging port and speakers are. Since we've covered the basics on how the interlock between the elastomer and the polycarbonate creates a bond, this is how the interlocking teeth along the top edge of the polycarbonate skeleton of the Grip used to look. Pictured: First-gen interlocking teeth on the top of the Grip. ...and here's the bottom of that very same Grip case. Pictured: First-gen interlocking teeth on the bottom of the Grip. Notice anything? Around the charging port, there is absolutely nothing keeping the elastomer in place. No teeth, no structural reinforcements... it's no coincidence that an overwhelming majority of early Grip deformations happened along the bottom. Since then, we’ve added a reinforced polycarbonate structure around the bottom of the Grip case. You'll see what that looks like in a bit. So, why didn't the launch portfolio of Grip cases have mechanical interlocks or a polycarbonate support structure along the bottom? The answer may or may not be complicated, depending on how much you know about plastic injection molding. We'll assume the worst and explain the concept of "undercut" to you with a ridiculous metaphor. The Ridiculous Metaphor Imagine you had a tube full of melted cheese. Next, imagine you emptied that entire tube into your mouth. Rather than swallowing the cheese, you decide to let it sit in your mouth and harden. Why are you doing this? We don't know. Let's just say you want a brick of cheese that's perfectly molded to the contours of your mouth - a very normal thing to want. So, your mouth is completely filled with cheese. It hardens. You reach into your mouth to remove the brick of cheese. As you're removing it, you encounter a problem: your teeth are in the way. This wasn't a problem when you were putting the cheese into your mouth, but that was because the cheese was melted and could flow around your teeth. Now that the cheese has hardened, this is no longer the case. In the world of plastic injection molding, this is an undercut. Our concern was that, by molding a structurally rigid piece of polycarbonate around the charging port and speaker holes, we'd find ourselves unable to remove the Grip Case from the mold once hardened. Imagine spending $30,000 on industrial tooling only to get a $30 phone case stuck inside of it. Once we saw Grip cases deforming along the bottom cutouts, we knew we'd need to find a way to remove the cheese from your mouth without breaking your teeth. To make a long story short: we did it. The cheese is out of your mouth, and you get to keep your teeth. Congratulations! Now, keep reading. On newer models of the Grip case, the result is a polycarbonate bridge extending around the bottom cutouts, adding both structural reinforcement and interlock mechanisms to promote mechanical bond, much like the ones which line the perimeter of the rest of the Grip case. Pictured: Newest-gen structural reinforcement on the bottom of the Grip. On the subject of structural reinforcements, this design revision was around the time we flanked the buttons with some fins, working in tandem with the heightened compression set and button relief slits, detailed above, to further guarantee that button actuation would have no impact on the overall durability of the Grip case. Pictured: Lack of button fins on the first-gen Grip. Pictured: Button fins on the newest-gen Grip. As an aside: Unrelated to the de-bonding issues, we've also made a number of smaller improvements to the Grip case with each new iteration. For instance, we chamfered the front lip of the case to make edge-swiping more pleasant and reduce dust accumulation along the rim. Those raised parallelogram shapes along the sides of your Grip case that create its distinctive handfeel? We made those way bigger for a better in-hand experience. In short: product development is a complex and multifaceted process. Each new iteration of the Grip case is better than the one that came before, and that applies to more than just failure rates. Speaking of failure rates: all of these improvements were in place by the time we launched iPhone 11-series Grip cases. The failure rate for these cases decreased exponentially... but didn't disappear entirely. The Even More Ridiculous Metaphor With these improvements, we achieved our desired outcome: the case was no longer deforming around the buttons or the charging port. Instead, the structure of the case began to fail literally anywhere else around the perimeter of the phone. Think of it this way… you’re a roof carpenter. The greatest roof carpenter of all time. Like the son of God, but if he was a carpenter. Unfortunately, you’ve been paired with the Donald Trump of wall-builders. You're tasked with building a house. You spend all of your time and energy perfecting your roofcraft. You've designed a roof that's so durable, it may as well have been made of Nokia 3310s. Nothing's getting through that bad boy. The wall guy? Instead of building that wall he said Mexico would pay for, he's been tweeting about the miraculous medicinal properties of bleach while a plague kills hundreds of thousands of Americans. The point here is that you can build the greatest roof of all time, but the walls need to be strong enough to match. To strengthen the Grip case's metaphorical walls, we needed to re-design the inside of the Grip case from scratch. More specifically, the mechanical interlock between the springy elastomer and rigid polycarbonate skeleton. We took every tooth at the bonding point between the two materials and made them as large as we possibly could. Then, we added more teeth. Pictured: Polycarbonate teeth on the newest-gen Grip. To jog your memory: this is how the teeth used to look... Pictured: Polycarbonate teeth on the first-gen Grip. If time proves that these changes aren’t enough, our engineers still have a number of ideas on how to improve the bond between the elastomer and polycarbonate. Will we ever need to implement those ideas? Again - that’s a question only time can answer. Each change might be the silver bullet that puts this problem to bed for good... but there's only one way to find out: it involves real-world testing and, with each iteration, months of careful observation. PART THREESo, Where Are We Now?Have the improvements we've made to the Grip case been successful? You bet. For the sake of comparison: we began shipping iPhone 11 series Grips on September 30th, 2019. Within six months of that date, we had received 52 reports of structural failures - a big improvement over the early days, but still not good enough. Fast forward two months. We began shipping Note 10 Plus Grip cases on November 21st, 2019. In the first six months of availability, we received exactly eight reports of Note 10 Plus Grips falling apart. Again, a major improvement over the iPhone series in the same stretch of time. If we'd launched the first Grip cases with a failure rate that low, we wouldn't be writing this post right now and you’d have nothing to read while pretending to do work. How about the Galaxy S20 series, which began shipping on February 10th, 2020? They're the most recent and improved set of SKUs we’ve made to date, leveraging everything we've learned and making further improvements over the Note 10 Plus. No reports so far. Same goes for the iPhone SE and OnePlus 8 series - these SKUs share all the improvements we've made to the underlying design of the Grip case thus far. Does that mean these numbers will hold forever? Who knows. That's the thing: every improvement we make, we need to wait several months to see how effective it's been. No amount of internal testing can replace the real-world data of shipping cases to hundreds of thousands of users across nearly 200 countries. We could always just throw in the towel, make the entire case out of rigid plastic, and call it a solved issue... but that would be the easy way out. The Grip case and its unique design properties can't reach their full potential unless we make incremental improvements - then wait and see how they pan out in the real world. All of which is to say: it's far too early to say the newest set of improvements have officially solved the problem. While the failure rate is still zero, we need to keep watching. We've made a ton of progress, but we're not going to rest until we've killed this issue for good - without sacrificing the unique properties that make the Grip case stand out in a sea of derivative hard plastic and TPU phone cases. That's probably enough to inspire confidence in someone who's on the fence about buying an S20 Ultra Grip, an iPhone SE Grip, or any Grip we release in the future. But what if you're one of the people who bought an older Grip model? "I'm One Of The People Who Bought An Older Grip Model!" We won't sugarcoat it. The failure rates for older Grip models is way higher than we deem acceptable. Why has it taken us this long to publicly address the issue, then? Easy: it's not as widespread as you might think. Some humans reading this might be looking at their iPhone X Grip, purchased in 2019 and still intact, wondering what all the fuss is about. That's an important consideration: most people who have functioning, still-bonded Grip cases aren't posting on /dbrand about how unbroken it is. The people who've had issues around total product failure are in the minority. We're not using the word "minority" as a get-out-of-jail-free card here. It's still a way larger number than we'd ever be comfortable with. We simply don't want our transparency and candor in writing this to be misinterpreted as an admission that every single Grip case we've made for older devices is going to fall apart. Statistically speaking, this is an issue for a minority of Grip owners. Our philosophy at first was that, while it was unfortunate and frustrating that Grip cases were falling apart, dramatic PR action wasn't necessary. Instead, we resolved to:
Where our strategy backfired was in the narrative that began to take root as Grip cases continued to fall apart. Look at it this way: the failure rate of older Grip case SKUs is anywhere between 1% and 20%, depending on how early we released the SKU. Since the improvements we've already made to the underlying design were rolled out incrementally with each new phone release, that number has been on a steady downward trend. For the purpose of this thought experiment, we'll go with the earliest, shittiest Grip cases - putting us at a long-term failure rate of 20%. So, 20% of customers for this device have a Grip case fall apart at some point in the product's lifespan. Every single one of those people writes in to our Customer Experience team about the issue. They all receive a replacement, free of charge. Since this replacement is identical to the first Grip case they'd received, it also has a 20% failure rate. We're now dealing with percentages of percentages. Stop panicking, we'll do the math for you: that means 4% of these hypothetical Grip owners will have a second Grip case fail on them in the long run. Four percent is a lot better than twenty… but it's also a lot of people who've been burned twice. These people are going to be extra vocal about how shitty the Grip case is. To be fair, they've got every right. So, we've got four groups of customers for this SKU:
Group B, having been burned before, reads about Group A's experience. They take it to mean their replacement will inevitably fail on them as well, and they'll one day get the dubious honor of joining Group A. Group C, despite not having had any issues yet, reads the experiences of Groups A and B. Then, a significant portion of this group begins to operate under the assumption that it's only a matter of time before their Grip falls apart as well. Group D reads all of the above and decides they don't have enough confidence in the Grip case to ever purchase one. A narrative begins to form that this hypothetical failure rate is close to 100%. Worse yet: people with newer phones, unaware that each new iteration of the Grip case has a dramatically reduced failure rate over the last, start to assume their case also has a 100% failure rate. That's where our original strategy - the one where we quietly improved the product in the background while offering replacements for defective units - backfired on us. This narrative only exists because we've continued to leverage existing stock with too high a failure rate, which, in hindsight, was like pouring gasoline on a gender reveal forest fire of disappointment and regret. This brings us to our next chapter. Mass Destruction At this point, you're probably aware that a number of Grip SKUs for older phones have been listed as "Sold Out" on our website, and haven't been restocked since. We stopped production on these cases because we knew they'd have all the same issues as the original production runs. See, it's not as simple as pushing a "make the Grip not fall apart" button at the factory - we'd need to redesign the case from scratch, implementing all of the design improvements we've made up to this point, then re-tool our existing machinery to produce this new version. We'll have more to say about re-tooling a bit later - for now, focus on the fact that some Grips have been listed as "Sold Out". If someone's Grip case falls apart while listed as "Sold Out", we don't have any replacements to send them. Instead, dbrand's Customer Experience team has been issuing refunds wherever possible, and store credit otherwise. Just in case you're wondering what we mean by "where possible": PayPal doesn't allow refunds on transactions that are more than six months old. Store credit, on the other hand, can be offered indefinitely. What we've come to realize is that we're never going to be able to escape this downward spiral until we rip the band-aid off and stop stocking these old, flawed SKUs. Today, we're ripping the bandaid off. As you're reading this, we're disposing of all of our old stock. All of the flawed Grip SKUs are now listed as "Sold Out". Head over to our Grip listing and take a look at what's available. Everything that you can currently buy is up to spec with the improvements we've made over the past year - meeting or exceeding the standard of quality set by the Galaxy S20 series, the iPhone SE, and the OnePlus 8 series. In some cases - take, for instance, the iPhone 11 series - this means we've already re-tooled our production lines to meet that quality benchmark. If a Grip case is listed on "Backorder", it means we've begun the process of re-tooling the SKU to match the improved quality standard you've spent the last five hours reading about. However, if a Grip case is now listed as "Sold Out", that means no more reshipments. If you own a sold out Grip case that hasn't fallen apart yet: that's great! Don't assume that your Grip is doomed to fail just because we devoted 5661 words to explaining why it might fall apart. You've still got better odds than you would at a casino. As always, if you run into any issues with your case, sold out or not, shoot an email to one of our Robots. They'll still take care of you - it just won't be with a replacement case… for now. Mass Production Remember when we said we'd talk more about re-tooling a bit later? That's right now. So, why are so many Grip models not being fixed? Why haven't we re-tooled these old SKUs with all of the quality improvements made to the case's build quality? It's a little complicated. Taking the improvements we've made to the most recent suite of Grip models and retroactively applying those changes to older SKUs isn't a simple task - it would require us to throw out our existing production tools and create new ones, from scratch. Suffice it to say that doing so is a wildly expensive endeavor. To recoup that cost, we'd need to produce more Grips than we're likely to ever sell for aging, irrelevant hardware. Let's use the Pixel 3 as an example. If we replaced every single de-bonded Pixel 3 Grip, that would account for about 3% of the MOQ (Minimum Order Quantity) on a re-tooled Pixel 3 Grip case. Now we're sitting on 97% of that MOQ as overstock. Pixel 3 owners have had their phone for nearly two years now. If they want a phone case, they already have one. They're not looking for new Pixel 3 cases, they're getting ready to buy a new phone. Simply put, it’s no longer a viable market. Now, say the Pixel 3 was a significantly more popular phone - enough that we'd be shipping out, say, 50% of the MOQ as replacements on day one. Now, that's a lot more tempting to us - we'd still lose boatloads of money, but at least it would go towards some consumer goodwill. To figure out how much money we'd lose on re-tooling, we gave our bean-counting Robots a giant jar of beans and told them to get to work. They emerged three days later. When asked how many beans were in the jar, they gave us a blank stare. When asked if it was possible to re-tool any of our production lines for old Grip SKUs without losing obscene amounts of money, they said: "Absolutely not." Still, we're no strangers to throwing away obscene amounts of money to make the internet happy. Remember Amazon gift cards? Those were the days. The only question that remains is "How much money are we willing to set on fire?" We can't tell you yet. Why? Because we're currently running a detailed cost-benefit analysis on the subject of re-tooling old production lines, on a SKU-by-SKU basis. That's business talk for "the bean-counting Robots have been given more beans to count." The objective is to determine the viability of producing new-and-improved Grip stock for older phones: how many units would be tied up in replacements for that model, how many we could reasonably expect to sell to new customers, and how much overstock would be left from the MOQ. From there, we can determine what the financial impact of re-tooling would be and make the final decision on how much cash we're dumping into the ocean somewhere off the coast of the Seychelles. We'll have our results by early next week. These re-tooled models, if produced, would feature every improvement we’ve made thus far to the Grip case line, plus a few that have yet to be released. Remember how the S20s, the iPhone SE and the OnePlus 8s haven't had any reported failures yet? Picture that, but for the phone you've got. If we go ahead with re-tooling production lines for your phone, a few things will happen:
Take Our Survey This is it: your chance to have some say in how much money we set on fire as a goodwill exercise for this whole R&D clusterfuck. Those simulations we're running? They'll be great for telling us how much money we're going to lose on each Grip SKU, but it won't tell us anything about how much money our customers want us to lose on each Grip SKU. To that end, we've prepared a survey for people who have purchased a Grip case. We'll be taking your feedback into consideration during our decision-making process. We have only one request: don't be a jackass. Answer the questions honestly. Click here to take the survey. In Closing... We're sharing a special moment right now. We're all seeing a light at the end of the tunnel. For us, that light is "we're almost done with a year-long R&D effort to stop the Grip case from falling apart." For you, the light is "the end of a 5661-word marathon of a Reddit post." We just want to take a minute to recognize that we couldn't have gotten this far without your collective support. At any point in the past year, we might have pulled the plug on the Grip project entirely if we'd reached a critical mass of negative sentiment from our customers. Instead, we've got an army of devotees who have no problem paying us for the privilege of being our guinea pigs. Product development isn't a one-and-done process. It's easy to forget, but our skins weren't always to the world-class, record-setting, Michael-Jordan-in-his-prime standard you expect from us today. If you happen to have an iPhone 4 skin lying around, apply it and let us know how it goes. You'll immediately appreciate how many process improvements we've made. We weren’t born as the greatest skin manufacturer in history. We got there through a process of methodical improvement. Each jump in quality was driven by a bottomless well of user feedback, sourced from millions upon millions of customers. That, and the competition was comically inept. It's the same story for the Grip case. Your continued support has enabled us to make huge strides in developing a product that's on the cusp of blowing everyone else out of the water. We're going to keep working until it gets there. TL;DR VERSIONPlease note that by reading this tl;dr, you’re missing out on several outlandish metaphors, including classics such as:
WHY DOES THE GRIP FALL APART?
WHAT HAVE YOU DONE TO FIX IT?
HOW ABOUT THE GRIPS YOU'VE ALREADY SOLD?
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My Dear MelancholyGaspar Noe/Cannes Film FestivalThe My Dear Melancholy era notable for being a time when The Weeknd was in proximity to a lot of serious directors. While he’s had a foot in Hollywood for awhile, 2017 through 2019 he was actively engaging with filmmakers like the Safdies Brothers, Gaspar Noe, and Claire Denis, amongst others. While he had been actively courting the Safdies since Good Time was released, he attended the 2018 Cannes Film Festival where he crossed paths Noe, whose film Climax took home a number awards at Cannes. Noe’s Enter the Void had previously served as an inspiration for Kiss Land, and for MDM (and later After Hours) seem to call back to Noe’s other films, like Irreversible and Love, which are both twisted depictions of heartbreak. On the other hand, Climax is about a French dance troupe who accidentally take LSD, and according to Noe is not a “message” movie. It is an audacious psychedelic technical exercise, with numerous long takes and highly choreographed set pieces. The idea for Noe, who had previously captured the feeling of drugs in previous films, was to do the opposite, and present the objectively reality of drugs, watching people high from a sober perspective. Noe is a rather strong advocate of film, and the opening scene of Climax features VHS boxes of a number of films that have influenced his filmmaking. Two of note are Schizophrenia, otherwise known as Angst, one of Noe’s favorite films which The Weeknd name checked to the Safdies, and Possession, which would go on to be an influence on After Hours (more on this later). He is also said to have sat next to Benicio Del Toro at Cannes, which means he likely caught some of the Un Certain Regard section, where Del Toro served as a jury member. Outside of that section, there were a few other films of interest such as The House That Jack Built from Lars Von Trier (The Weeknd has previously expressed affection for Von Trier’s Antichrist), Mandy from Pastos Costamos, and music video director Romain Gavras’s The World Is Yours, as well as a restoration of 2001: A Space Odyssey, which Noe has referred to as the film that got him into filmmaking. https://preview.redd.it/qga7a3l8ct261.png?width=910&format=png&auto=webp&s=371cf20d42ee8783cc23bfe7f2cfa16a0a927a0e Asian Cinema Later in 2018, The Weeknd continued his globetrotting with a tour of Asia. He once claimed in an interview that whenever visiting a foreign country he only watches films from there. I’ve previously written about the influence of Asian cinema on Kiss Land, and there’s not enough work from the MDM era to glean anything cinematically adjacent to this, but now would be a good time to mention that the "Call Out My Name" video was heavily inspired by the work of famed Japanese photographer Hiroshi Sugimoto. The Asian tour poster seems to be a reference to Ichi the Killer, which leads us to Takashi Miike. Though he is notoriously prolific across a number of genres, his most popular works internationally are genre melding blends of horror, comedy and crime, most notably Audition, Ichi the Killer and Gozu. Another film worth mentioning is Perfect Blue, Satoshi Kon’s masterwork about a pop star’s mysterious stalker that The Weeknd posted about on Instagram before. Bloody and haunting, the film was a major influence on Darren Aronofsky’s Black Swan and Requiem for a Dream. In Interviews he has also mentioned a number of Korean films, such as The Wailing, I Saw the Devil and Oldboy. While Wong Kar Wai was previously mentioned as an influence on Beauty Behind the Madness, also worth mentioning is the work of John Woo, specifically A Better Tomorrow, well known for the shot of smoking a cigar off money, and Infernal Affairs, Andrew Lau’s crime classic which served has the basis for Scorsese’s The Departed. https://preview.redd.it/fx7o9s2bct261.png?width=642&format=png&auto=webp&s=0fec2f841e9d3b09104238d0f89595daa6140faa https://preview.redd.it/n4x7fiy9ct261.png?width=1316&format=png&auto=webp&s=8a9650263272518216fc5f36913e80a10d2b0a8e After HoursMartin ScorseseWhile After Hours more so than any other Weeknd album is bursting at the seams with cinematic references, the influence of Martin Scorsese stands above all. Similar to The Weeknd’s body of work, many Scorsese’s are explorations of violence and masculinity, investigating them from a perspective that depending on who you ask (and how they’re feeling) glamorizes, condemns or just simply presents the reality of characters on the fringes of society. While there are direct references to a number of prominent Scorsese films, what’s interesting is that his influence also reverberates in other films/filmmakers that influence After Hours. Todd Phillips’s Joker is in effect an homage to Scorsese’s loner-centric New York films, and the Safdie Brothers have been putting their own millennial spin on the type of 70s gritty thriller that Scorsese trafficked in (Scorsese was also a producer on Uncut Gems). Specific Scorsese works will be discussed more in depth in the requisite sections, but it is worth mentioning upfront what a prominent role that Scorsese plays in the nucleus of After Hours. https://preview.redd.it/wcds9qpdct261.png?width=1196&format=png&auto=webp&s=246c560c72340782e26ad03b8ff63367999eaadd Urban HorroIsolation With After Hours, The Weeknd departs from the slicker sounds and influences that permeated Starboy and returns to the cinematic grittiness of Beauty Behind the Madness. While urban horror is a theme that permeates throughout The Weeknd as a project overall, there is a thorough line to be drawn here that follows a number of 70s and 80s cinematic and aesthetic references. For one thing, while the initial bandaged nose was a reference to Chinatown (previously, The Weeknd has a Kiss Land demo titled "Roman Polanski"), the full bandaged face that is so prominently featured throughout the After Hours era is a classic cinematic visual trope that was especially prominent throughout 60s and 80s, though it saw a slight re-emergence in the 2010s. The fully bandaged face is often used to remake someone in the image of another, usually against their will (The Skin I Live In, Eyes Without Face), or as a case of mistaken identity and doppelgängers (Good Night Mommy, Scalpel), themes present throughout much of After Hours. The "Too Late" video acknowledges these references, but instead presents the bandages on two Los Angeles models recovering from plastic surgery, in a nod to a famous Steven Meisel’s photoshoot for Vogue Italia. https://preview.redd.it/dtbxjc3ict261.png?width=900&format=png&auto=webp&s=66a98cc3cba73d502f8586a215a65cc41c5408a1 The “masks” people wear is another horror trope that is featured prominently on After Hours, and this is best seen in the red suit character. One important reference in the film is to Brian De Palma’s Dressed To Kill, where a serial killer is targeting the patients of a psychiatrist (any more on this film will veer towards spoiler territory). The Weeknd is on the record as saying Jim Carrey’s The Mask as being a large influence on the Red Suit character, it being one of the first film’s he watched in theaters. One of the more complex references would be to Joker. While it sort of an in-joke that the character of the Joker is commonly overanalyzed and misinterpreted, referencing Todd Phillips’s Joker is more nuanced because it is in essence a full on homage to Martin Scorsese’s New York films, most notably Taxi Driver and The King of Comedy, which focus on eccentric loners, and can both be seen as cautionary tale of urban isolation, a theme explored perhaps in songs like "Faith." The King of Comedy revolves around a would be obsessive stand up Rupert Pupkin haggling his way to perform on late night TV, with The Weeknd’s talk show appearances being a prominent part of the early After Hours marketing, most notably in the “short film”. This idea of isolated and compressed urbanites recurs throughout After Hours and it’s films. https://preview.redd.it/egap17ttdt261.png?width=900&format=png&auto=webp&s=1aab204ac0845a7df74ceeff6d1f714274f9ace0 The idea of urban repression is in the subway scene of the After Hours short film. The entire film itself is something of a reference to the subway scene to Possession (another Gaspar Noe favorite), mimicking the (also subway set) scene in which Isabelle Adjani’s Anna convulses on the subway due to a miscarriage, as well as Jacob’s Ladder, a 90s cult classic horror film starring Tim Robbins as a Vietnam vet (like Taxi Driver’s Travis Bickle) who is experiencing demonic hallucinations, encountering them in the subway and later at a party he attends, splitting the scene into two. https://preview.redd.it/g53copgmct261.png?width=900&format=png&auto=webp&s=9d29e368ae695d295b36039e86125ccfd7b4eb88 Las Vegas As always, The Weeknd once again grounds After Hours with a strong sense of place, this time setting the album against a nocturnal odyssey through Las Vegas. One of the most prominent films is Fear and Loathing in Las Vegas, Terry Gilliam’s adaptation of Hunter S. Thompson’s book. This is directly referenced in the "Heartless" video, which sees The Weeknd and Metro Boomin in the Johnny Depp and Benicio Del Toro roles as they tumble through a Las Vegas casino. The Weeknd has gone on the record to state that the famous red suit character was influenced by Sammy Davis Jr.’s character in the film Poor Devil. However, similar red suit has also been sported by a number of Vegas characters, most notably Richard Pryor and Robert De Niro’s Sam Rothstein in Martin Scorsese’s Casino. With the red suit, The Weeknd seems to be playing with the idea of a devil-ish other, another side of his personality that emerges in Las Vegas. https://preview.redd.it/gjow6hq2dt261.png?width=1992&format=png&auto=webp&s=10a379bc26df54af88064bf64813d5cdd29775d9 While the city lights are the oft discussed part of part of Las Vegas, it should be noted that similar to Beauty Behind the Madness, the desert that surrounds Las Vegas is just as important to the juxtaposition of its beauty. The "Until I Bleed Out" video ends/"Snowchild" video in the desert, similar to the confrontation between Robert De Niro’s and Joe Pesci’s showdown in the desert in Casino, as well as Joe Pesci's death in Goodfellas. The idea of a hedonistic desert playground also bears semblance to Westworld, both the film and the TV show. The desert seems to represent some sort of freedom to The Weeknd, as the "Snowchild" video portrays the desert as a pensive location for reflection, as well as the "In Your Eyes" video showing the girl prominently dancing with the dismembered head out in the open, in reference to The Texas Chainsaw Massacre, another prominent desert film. https://preview.redd.it/98ec10wxct261.png?width=1168&format=png&auto=webp&s=45e29aa361fa41ff74e2a6017e203015bdcbc6c3 New York/The Safdies Despite it’s Las Vegas setting, After Hours also takes a good amount from films set in New York, most notably Martin Scorsese’s 1983 film After Hours. Besides the title, After Hours is similarly about a twisting and turning nighttime odyssey. The film stars Griffin Dunne as Paul, a working class stiff who heads downtown to rendezvous with a woman he met at a diner earlier that night. Of course, things don’t turn out the way they should, chaos ensues, and Paul is set on a dangerous trek back uptown. Like the film, the album After Hours is set off by a woman (though the album takes more stock in romantic endeavors), seems to be set over a single night (or at least a condensed period of time), and involves similar chaos and misadventures (sirens at night at the end of Faith). Tonally, After Hours the film is more comedic perhaps than After Hours the album, however The Weeknd is on the record as having said that "Heartless" and "Blinding Lights" placement on the album is intended to be somewhat comedic, reflecting exaggerated machismo and ecstasy, respectively (to comedic effect). https://preview.redd.it/f3w7yz4pdt261.png?width=1346&format=png&auto=webp&s=fe7e4f003987fd843020a42a5b53f94092984267 Another of the most prominent filmmakers of After Hours are the Safdies, who featured The Weeknd in Uncut Gems. They also served as a link to Oneohtrix Point Never, who scored their last two films and later worked After Hours. I believe there are three major film tropes (not genres) that inspired After Hours, all of which the Safdies’s have engaged with. There is the one-long-night films, in which a character spends one-long-night on the run from whatever chaos and forces may be that they left in their path. This can be seen in the Good Time, as well as After Hours (the movie). Then, there is the descent-into-madness type, where a character slowly loses grip with reality and ends up in over their head (something like Scarface or Breaking Bad, but for our purposes Jacob’s Ladder can be categorized here as well), which the Safdies did with Uncut Gems. Lastly, but maybe most importantly, the Safdies also explored toxic romance (more on this later) in their less seen film Heaven Knows What, about two heroin addicts and the destructiveness their love brings out in each other, an idea that recurs throughout After Hours on songs like "Until I Bleed Out" and "Nothing Compares." A recurring song throughout Heaven Knows What is Isao Tomita’s synth version of Debussy’s "Claire De Lune", which is featured in some episodes of Memento Mori and bears some resemblance to the start of "Alone Again". https://preview.redd.it/em255b5qdt261.png?width=1344&format=png&auto=webp&s=a5226c9496d0ae5c14b6d6c05e16f5ea18678a9a Obsession/Toxic Romance While love and lust and the ups and downs with it have been a formative part of The Weeknd’s ideology and themes, I don’t think it would be remiss to say that After Hours is perhaps his most outwardly romantic album. Despite this, one of the major arcs of the album is toxicity that comes with it, which a number of already mentioned films deal with. While "In Your Eyes" is one of the more romantic and accessible songs on the album, a re-assessment of it Ala Sting’s “Every Breathe You Take” could frame it as lonely obsessing, such as Travis Bickle’s infatuation with Jodie Foster’s teenage prostitute Iris, Joker's fixation on Murray Franklin, Rupert Pupkin’s obsession with Jerry Langford. Casino also deals with toxic romance, another prominent theme in After Hours, best seen in the love triangle that forms between Sam, his partner Nicky and his wife Ginger, played by Joe Pesci and Sharon Stone respectively. https://preview.redd.it/eq1ioijvdt261.png?width=898&format=png&auto=webp&s=f9e4b781ee60762ae767c4dbd92066357ebc24b0 In almost all of the After Hours’s video content, The Weeknd seems to constantly meet his demise at the hands of women. Another interesting reference that may be something of a reach is to Phantom Thread, Paul Thomas Anderson’s film about Reynolds Woodcock, a couture dressmaker loosely based on Cristobal Balenciaga and his muse Alma, played by Daniel Day Lewis and Vicky Krieps, respectively. The film delves into their dysfunctional relationship, with Woodcock berating her and Alma poisoning his tea to keep him dependent on her. One of the highpoint of the film is a New Years Eve Party that bears strong resemblance to the "Until I Bleed Out" video. While the balloons may just be a callback to his earlier work, there is something about the color grading/temperature and the production design of the "Until I Bleed Out" video (as well as parts of the "Blinding Lights" video) that made me immediately think of Phantom Thread. A similar relationship is seen in the German horror film Der Fan, which The Weeknd has mentioned in a recent interview. In Der Fan, a young girl Simone spends her days obsessing over popstar R, until she finally encounters him outside his studio. The film is similar to the aforementioned Takashi Miike’s Audition in its exploration of obsession and idealization. In the film, an older man puts up a fake casting call to search for the perfect girlfriend. While Audition explores these themes from an Eastern perspective of societal pressure, Der Fan explores it through a Western lens of pop idolization and idealization. Both films deal with the idea that despite outward appearances, the perfect partner does not exist, and anyone that claims to be (or has the expectations put on them) is not who they seem. https://preview.redd.it/3m661q62et261.png?width=1342&format=png&auto=webp&s=c9377018cb53f67cf7ce95b24392afb471e4aec1 One film he has spoken at length about is Trouble Everyday, Claire Denis’s arthouse vampire movie. The film stars Vincent Gallo as Shane, a scientist who travels to Paris under the guise of his honeymoon to track down core, a woman who he was once obsessed with who has now become a vampire. Core is locked up in a basement but sometimes sneaks out to seduce and consume unwilling victims. This seems to be where some of the bloody face stuff comes from, but I believe it’s influence is a little more conceptual. To me, a good companion film to Trouble Everyday is American Psycho, which seems to also have been a thematic influence on After Hours. Both films concern idealized version of masculinity and femininity, both very sexual and physical, but hostile as well. American Psycho ends with Patrick Bateman confessing to the killing of a prostitute, but no one believe him. Trouble Everyday ends with Shane killing Core, but Shane is unable to arouse himself after that except through violence. Koji Wakamatsu, a former Yakuza turned prominent extreme Japanese filmmaker (and a major influence on Gaspar Noe) is quoted as saying “For me, violence, the body and sex are an integral part of life.” Despite being hollow, idealized impressions of the self, a vampire and as a banker (cold, seductive bloodsuckers = monsters), Patrick Bateman and Core represent the Frankenstein-ian relationship between sexuality and violence, which I believe is the main theme of After Hours. Truly, we hurt the ones we love. https://preview.redd.it/zfllbd83et261.png?width=900&format=png&auto=webp&s=9c048ee98d86d7bbb9db67fa8302d34c36214c4f PostscriptTo cap things off, I would just like to illuminate some key takeaways. As a filmmaker myself, this has been an extremely helpful exercise in understanding other artists process and ideas.Steeped in the history of the medium… It’s clear that The Weeknd is not your typical “I’m influenced by cinema” artist but an extremely legit film buff with serious credentials. The Weeknd’s film taste leans towards 70s-00s genre works, mostly horror, drama and thriller, and is well versed in the classics but also has the nose to sniff out deeper cuts and obscurities. The mantra of “good artists borrow, great artists steal” works even better if not many people know where you’re stealing from! What is impressive to me is that he is not just versed in “mainstream” obscurities, but also serious deep cuts. Films like Possession and Phantom of the Paradise may not stick out to the average person on the street but are well known in most film circles. Films like Inland Empire and New Rose Hotel (Der Fan was especially impressive to me, it is one of my favorite films) however are not as well known and it is very impressive to me that he can come across films like that, and really get enough out of it to bring into his own work. …is able to interpolate contemporary/mainstream films… This perhaps is one of the most impressive aspects of his integration of film into The Weeknd’s work. It is very easy for film buffs to get lost within their own obscure taste, living in a world where everyone is an idiot for not knowing who Shinya Tsukamoto. Trilogy and Kiss Land had a lot of contemporary obscurities, like Stalker, David Lynch etc., well known but they still existed as artifacts, not of the time we live in. However, perhaps picking something from his work on Fifty Shades of Grey, of late he has kept his finger on the zeitgeist and anticipated/integrated what the filmmakers of today are doing, such as his work on Black Panther and Game of Thrones, general appreciation of Tarantino, the works of Nicolas Winding Refn in Starboy, and his use of the Joker and Uncut Gems on After Hours, both of which came out just a few months before the album. It feels Jackson-esque, and I believe this is one thing that will help him further in his quest for pop stardom. …while also being fully in tune to the works of modern transgressive auteurs… In addition to keeping up with the mainstream is in touch with, The Weeknd also makes it a point to seek out and learn from the cutting edge filmmakers of today. While the Safdies were always going to blow up, I don’t doubt that a Weeknd co-sign accelerated their rise. Gaspar Noe is one thing, Enter the Void and Irreversible exist as masterpieces of the mainstream obscurities I’ve been mentioning, but he really truly tries to understand the heart of Noe’s work, even going so far back as to understand Noe’s influences (I sincerely hope he is tuned in to the work of Koji Wakamatsu). But most of all, to be a fan of Claire Denis is one thing, but to seek her out and make her an offer that she ACCEPTED is absolutely astounding to me. Just spitballing but it would be like if Michael Jackson shot a music video with Rainer Werner Fassbinder (who I’d bet good money that The Weeknd was put on to by Noe). We can only PRAY that one day we will be blessed with a David Lynch Weeknd video. --------------------------- …and that just about does it. Hope you enjoyed this and thanks for being patient with me. I got quite busy after the first two and had my own projects/work going that kept me occupied. As we’re still technically in the After Hours era, I also wanted to wait until a few more videos and interviews came out to aid me in my research. I also wanted to find enough time to make the Letterboxd for this. I personally don’t love Letterboxd culture, I find the popular culture surrounding the site a bit snobbish and exclusive, but I’ve gotten a number of requests for one and you gotta give the people what they want. Throughout the list are a few films that he hasn’t mentioned but are some of my personal favorites and I believe Weeknd fans will like, I encourage you to accidentally stumble upon things on it. Don't overthink, just pick something and watch! If you’d like to follow me further, you can find me on Instagram here, where I post about film reviews Letterboxd style. I prefer Instagram so that more average people see it instead of an echo chamber of film snobs. I am also a filmmaker myself, I just recently wrapped this short film and am currently in the process of putting together my next project. The main reason I did this however, besides a general appreciation of The Weeknd’s work, was to put more people on to the beautiful art form that is cinema. One thing I learned from Scorsese is that one must be an advocate and truly champion your medium. I hope that this encourages to check out more interesting movies than they wouldn’t normally come across, and I hope this will inspire more people to create more as well, whether it be to write, make films, music, anything. If even one person picks up a pencil, a camera or a keyboard because of these posts, I will be satisfied. Thanks all! |
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