For two nights only, October 1st and 2nd, Father John Misty blessed the Georgia Theatre stage in Athens with his presence. Misty was initially only going to play a show on October 1st; a second night was added when tickets sold out within a few weeks. 

The shows were stops on the North American leg of Father John’s most recent world tour. The tour features his fourth album, “God’s Favorite Customer.” Since his debut in 2012 with “Fear Fun,” Father John Misty, an alter ego of artist Josh Tillman, has been an indie-rock staple. Shorter and more subdued than his other albums, Misty’s latest installment shows the growth of the artist. Its songs paint a picture of a more self-aware man, coming to terms with who he is; still cynical, still outrageous, still dissatisfied, but also more hopeful and grounded than in any of his other works. 

As the show began, Father John stepped onto a dark, silent stage and without a greeting, immediately opened the show with “Hollywood Forever Cemetery Sings.” He played through two more songs before he finally addressed the crowd, asking “How is everybody tonight?” This question was only answered with raucous, incoherent cheers. 

The overall visual impact of the performance was nothing special. Though the band was visible behind him, they were never referenced. This show was all about Father John. The stage was backlit with changing colors, and was foggy. Misty wore simple black jeans, a white button-up, and a black blazer.

The most notable aspect of his appearance were the Ray-Bans he wore throughout the entire set. Even though it was 9 p.m. — and indoors. These gave him a sort of aloof, holier-than-thou, rocker vibe that paired well with his self-absorbed lyrics. 

Throughout the show, Father John performed a good mix of new hits and old favorites. As he went from song to song, a stagehand would come out and give him a new guitar for each piece. The setlist featured songs from a combination of Father John’s four studio albums, all of which have vastly different themes; some are odes to his wife, some are comedic, substance-fueled rants, others are ballads decrying capitalism. Central to all, however, is a paradoxically narcissistic yet self-loathing tone. 

For most songs, his dancing comprised of just a subtle sway of his hips and some animated strumming. For more lively pieces, like “Total Entertainment Forever,” he would flail around the stage like a man possessed. Despite his moves being disjointed and awkward, there was a sort of exuberance that came from the spectacle, like someone dancing while nobody’s watching.

The crowd showed huge diversity. From middle aged couples, to edgy teens, to average Joes, everyone swayed and sung along. It was far from the homogenous group of hipsters that was expected. The majority of those in attendance knew even the most complex lyrics, and weren’t afraid to belt them out. During Father John’s performance of “Hangout at the Gallows” the crowd was incredibly animated. Misty listened on towards the end of the song as those in attendance chanted the repeated lyrics “What’s your politics? What’s your religion?”

During catchy fan favorites like “Chateau Lobby #4 (in C for Two Virgins)” and “Real Love Baby” the energy in the room was palpable. Every word was met by cheers from the crowd. Father John played off of this excitement by increasing the energy of his flailing and lifting the microphone, stand and all, from the stage and waving it around his head. While erratic, like most of his other dancing, his actions were comical and complemented absurd lyrics like “Emma eats bread and butter / like a queen would have ostrich and cobra wine.” 

At one point, in the silence between two songs a man from the back yelled out “We love you Josh Tillman!” Many hooted and hollered in agreement. When those finally died down, all that Father John had to offer was a sarcastic “Who’s that?” 

Overall, the concert lasted a few hours that felt like mere minutes. It was a performance like none other, with the hyperbolic personality of Father John Misty front and center the entire time. Though Father John eschews and mocks religion, there is no doubt his concerts evoke a spiritual, sermon-like vibe which gives his shows a unique appeal.

USA’s new series “The Purge” asks the question of what would happen if all crime were legal for one night of each year. The idea seemed thought provoking in 2013, and creator James DeMonaco’s original film, “The Purge,” was certainly controversial, but five years and four identical sequels later, viewers are bored. USA’s new installment in this franchise could have brought a new perspective to the table, but instead rehashes the same content.

All installments of the franchise are set in an alternate United States where a political party dubbed the New Founding Fathers of America (NFFA) has control of the government. Part of NFFA policy is an annual national ‘holiday,’ the Purge, where for 12 hours all crime is legal. As expected during this holiday, the United States is in turmoil. Citizens have the option to purge, and wreak havoc, murder, steal, commit arson, or to barricade their homes and hope that their families make it through the night.

The franchise was created with the intention of providing social commentary on America, and while hints of criticism of politics, violence, and human nature are evident, none of the movies have succeeded in making any great points.

Airing Tuesdays at 10pm on USA Network, this television series further explores the world created by its predecessors. Episode one, “What is America?”, introduces viewers to the five main characters and sets up the gruesome events that are sure to come in later episodes. Miguel (Gabriel Chavarria, “East Los High”) is a recently returned Marine on a mission to locate his estranged sister. Penelope (Jessica Garza, “Six”), Miguel’s sister, is a member of a religious cult who worship the Purge and sacrifice themselves to help purgers vent.

Jenna (Hannah Anderson, “Jigsaw”) and Rick (Colin Woodell, “Unsane”), a couple introduced as anti-Purge, are entrepreneurs attending an elite NFFA party to secure funding for their business. Lastly, Jane (Amanda Warren, “The Leftovers”) is a finance professional who is securing a deal with Japanese clients who must work through the overnight holiday from her office.

Technically, the show is clunky. Viewers are thrown from plot to plot, switching character point of view far too many times. The script is the embodiment of telling instead of showing. The dialogue is awkward, and all the interactions seem forced.

The acting is not bad, but it certainly does not draw the viewer to the characters. For a thriller to have dramatic weight, the audience has to actually care about the survival and welfare of the characters, a feat this show makes difficult. “The Purge” does not achieve that kind of connection, the characters seem shallow and so the viewer feels indifferent.

Another issue with the show is that four stories are packed into an hour of television and cover only the 97 minutes prior to the Purge. The episode is simultaneously bloated and boring. So much happens during that hour and a half, and yet it seems nearly nothing is of note. Future episodes may be more engaging- time will tell- but an entire series of television covering only 12 hours of story seems disproportionate.

One positive is that the show throws in news clips and radio broadcasts that make this version of America seem more realistic. These touches of realism are one of the best features in the pilot. The most jarring of these clips feature average Americans boarding up their own homes with flimsy sheets of plywood and drills.

Realistically, most Americans would self-prep for the Purge and hope that it was enough to protect their families. The fact that this series only glazes over this struggle is a real missed opportunity. Instead we focus on the boring story of a rich, young couple as they attend a safe and lavish party. All the while their home is secured behind huge metal doors, locked with the touch of a finger through an app. Had the show been focused on everyday Americans coping with the holiday, any social commentary would have been a lot more poignant.

It is this disconnect where “The Purge” loses meaning most. Despite touting a supposed message of the rich versus the masses, the show is tone deaf as to who really makes up the masses. As in its predecessors, the series seems to attempt to comment on politics, american society, violence, and human nature.

The end product, however, misses the mark. The franchise remains a solid source of violent action devoid of emotional, visual or plot substance, but the new installment offers nothing which the movies did not.

There is no doubt that this TV series is not the last viewers will see of this franchise, however. If “The Purge” manages to convey any message, it is that violence always ensures profit.