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nwemovie · 1 year

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The Flash movie: Release date, plot details, trailers, cast & more

Travelling back in time to prevent his mother's murder — for which his father was falsely imprisoned, as revealed in Zack Snyder's Justice League — Barry Allen/ The Flash (Ezra Miller) ends up causing a butterfly effect and venturing into alternate dimensions across the multiverse. That's how The Flash will involve at least two returning versions of Batman, played by Ben Affleck and Michael Keaton. Loosely draws from the Flashpoint comic book arc. The Flash is expected to be at the centre of Warner Bros.' revamped strategy to create a shared multiverse for its DC Comics movies and TV shows.

read another article : Guardians of the Galaxy Vol.

The Flash First Trailer

“Tell me something, you can go anywhere. Another timeline, another universe, so why do you want to stay and fight to save this one?” Michael Keaton’s Batman asks Barry in the opening moments of the trailer. Barry responds, “Because this is the one where my mom lives. I’m not gonna lose her again.”

Barry explains that “time has a pattern that it can’t help reliving. Different people, different worlds, drawn to each other like magnets.” He ends up meeting another version of himself.

The Flash Movie? While rolling out the first plans for the next chapter of DC Studios on January 31, DC bosses James Gunn and Peter Safran revealed what’s going on with Ezra, who identifies as non-binary and uses they/them pronouns, and The Flash movie. James called The Flash “probably one of the greatest superhero movies ever made,” according to THR.

Despite ongoing legal troubles, James included Ezra when he said that “there is nothing that prohibits” them from reprising their role as The Flash in future DCU projects. “Ezra is completely committed to their recovery. We are fully supportive of that journey they are on right now,” Peter noted. “When the time is right, when they are ready to have that discussion, we will all figure out what the best path forward. But right now, they are completely focused on their recovery. And in our conversation with them, in the last couple of months, it feels like they are making enormous progress.”

The Flash release date

The Flash will come out in cinemas on 16th June 2023, a week earlier than its previously announced 23rd June 2023 release date.

The release date has likely been pushed forward by a week to avoid Indiana Jones and the Dial of Destiny, which finally announced that it will premiere on 30th June.

The film was originally slated to premiere in cinemas in November 2022.

The movie was then brought forward to 3rd June 2022 as part of Warner Bros' response to the ongoing coronavirus pandemic, before being delayed again by a year.

After months of delays and pre-production, The Flash finally began filming on 26th April 2021.

Fans have already had to wait a very long time to see a standalone film, with Miller having already signed on as long ago as 2014 – so by the time we see the movie, it’ll be almost a decade since the star agreed to play the character. Talk about patience!

Of course in that time the character has appeared in other DC films, but it can surely only be good news that he’s finally getting his own movie.

The Flash movie plot

While the film is largely still a mystery, we do know that it will be adapting the popular Flashpoint comic storyline, arguably one of the most beloved and well-known storylines for the character. In large part due to the way it completely flipped the DC universe on its head.

The Flashpoint timeline is a universe in which the world has been torn apart due to a war between Atlantis and Themyscira. When Barry Allen wakes up in this timeline, he is without his powers and has some memory loss but still retains some memory of the world he used to know.

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avaliveradio · 2 years

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The Less Is More EP has arrived from 'The Shameless Band'

The Shameless Band first embarked on their musical voyage of discovery together as a tight-knit Music Band in 2019. But their origin goes back earlier to when the band members grew up listening to various musical genres that played an influential role in shaping their paths as musicians and ultimately led them to join forces.

The lead single “Cancel Me” was inspired by various moments such as cancellation of world travel, face-to-face interaction and support, postponed weddings and graduations, and restrictions on celebrating life and honoring death. The song was written to empower the listener to push through and rise above the act of cancellation.

The Shameless Band has collectively found their signature sound and offers something different and unique to their fans by creating and sharing original, unmistakably special music. Less Is More is the name of the EP. This is The Shameless Bands labor of love. I think we covered every emotion. Enjoy

Artist / Band Name The Shameless Band New Release: Less Is More EP Music Genre: Bluesy/Rock Vibe: Danceable/Rebel Located in: California Sounds like: Really good music to me Link to your streaming page: Album on Spotify; https://open.spotify.com/album/7efpaOop6fBHOtDKjltuZL?si=-lvezP58R-6r2KA-OGn0ag

“In the midst of chaos lies great opportunity,” as noted by Albert Einstein; and proven by The Shameless Band. In 2019, the band, then known as “Shades” to represent their diversity, led the first music program established at a non-profit health plan. They made such an impression that the CEO and President of the Yamaha Music and Wellness Institute approached the band for collaboration and partnership to spread music programs in the business sector for wellness and engagement. The band’s passion for extending life, love, and positivity through music was well on its way until 2020, when COVID chaos happened. And the world shut down.

The band went separate ways while two band members, Kory Body and Danny Castro, found brotherhood, collective courage, and a shared passion for keeping their dreams alive. Thus, The Shameless Band. They refused to conform to the expectation of being canceled due to the pandemic. Instead, with no regrets, they wrote “Cancel Me,” their first official release from their debut album, “Less is More.”

“Less is More” was so named because the band was initially comprised of seven people with lined-up engagements and promising business partnerships. Nonetheless, the shutdown did not do what it was intended to do as far as the band was concerned. They made more happen with less. The album holds a total of seven emotions with solid storylines representing grief and loss stages. Kory and Danny wrote all songs, and it was these songs that carried them through the crisis.

The first stage of grief and loss is denial, as portrayed in “At the Arte.” The Arte is the apartment building in which Danny was locked down and in isolation experiencing extreme loneliness. The song is about all the what if’s and could be to create an alternate universe with a happy place and nostalgic scenes.

Anger is the next stage and is found throughout the song “Cancel Me.” The frustration in the writing of this piece gave way to the creative use of different instruments like the harmonica and a uniquely designed cigar box guitar made by a local artisan. The overall message is a wave of anger that causes one to elevate out of it and into the next phase for healthy healing and to move forward.

To represent bargaining, “Chance” is a song where the storyteller experiences vulnerability. It’s about taking risks for the sake of love. Laying it on the line to find a genuine connection. The self-realization of our mere mortality and the gift of time and life flows throughout the song “It’s Alright.” In it, there is an expressed desire and need for stability.

It’s no wonder depression and anxiety were at an all-time high worldwide. The Shameless Band was no exception. “Wreckless” has suicidal undertones with the realized long-term effects of COVID and separation from our loved ones. Mental Health and its importance are highlighted with intentions in this song.

Kory wrote “Brown Eyed Lover” to tribute his wife with a robust support system that surpassed any judgments and doubt. The song has become an anthem for women in the community that follow The Shameless Band. The catchy beat discovered here and in “The Party Song” takes us to the final stage of grief and loss. Acceptance of the good and the bad during COVID is acceptance of life.

The band’s beginnings and first album tell the two years of chaos. Yet in its midst was an opportunity taken to be…The Shameless Band. Video link: https://youtu.be/ykzpTIyktfs

https://youtu.be/NGHZzIBtRZE

Social Links & Website: https://www.theshamelessband.com

@shamelessband095

@theshamelessband

@band_shameless

Playlists featuring the music:

Fresh Finds

Discover what's trending in inspired new tracks filled with layers and unusual soundscapes. This includes singles with a mix of Hiphop, rock, and pop influence.

https://open.spotify.com/playlist/3Uli7GHUlAlITnWXxpVFFk?si=c8031388be9f4476

New Indie Music Release Radar

Take all the newest Indie music singles from our broadcast with you on the go. This list updates daily with brand new releases. Curated by Jacqueline Jax

https://open.spotify.com/playlist/56otky5R0otGcyVdIBt4jx?si=d60751452f004e66

Indie Rock Vibes on The Rise

Independent rock bands on the rise that you need to hear. Discover what's trending on the indie rock and alternative rock scene. Curated by Jacqueline Jax

https://open.spotify.com/playlist/3J1nglWkgQxAkj279XXq4P?si=fddc04b58bc34500

New Music Weekly Releases

Updated weekly with hot new music releases in a mix of genres from our website. NMRR

https://open.spotify.com/playlist/4PJtW4WEANlLtCaxnK2U7n?si=b66b5d9e17fb416c

New Rock Music Release Radar

Fine tune your Rock music taste by following our weekly updated list of rocks latest bands on the rise. Blog posts on our website : www.newmusicreleaseradar.com

https://open.spotify.com/playlist/6aW5hvv4I1wgeozPxJysl9?si=d4e7a838363340ac

#shameless band #rock

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zimms · 3 years

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do you know that reddit post that's like "i'm in quarantine with my roommate (we're both dudes) and we've been cuddling together a lot. am i gay?" because at least to me it has big olliewicks vibes

hey dude! i’m sorry this is so late, but hopefully you’ll like it!

Ollie groggily awakens to the feeling of two strong arms wrapped around his stomach, holding him close and grounding him. He lets out a sigh of contentment before squeezing his eyes shut and burrowing his head slightly further into the tangle of bodies, pursuing the warm heat of the other person. The body beneath him shifts slightly, emitting a slight groan and disturbing Ollie’s brief peace. That’s when he realises three things.

They’re in the middle of a pandemic.

His only human contact in the past two months, other than cashiers at their local grocery store, has been Wicky.

The person beneath him is definitely Wicky. Ollie can feel it in every plane, every angle, every curve of the body he’s laying on top of. It’s in the way that Wicky’s breathing slightly stutters after every inhale. He knows it’s Wicky because every inch of Wicky’s body is unique and Ollie’s memorised all of them. So yeah, definitely Wicky.

Ollie takes a moment to just breathe and catalogue the situation. He cracks an eye open and he immediately heaves a sigh of relief; they’re both wearing clothes, which means that they didn’t do anything that either of them might regret. Well, or at least, nothing that Ollie might regret; he can’t speak for whether or not Wicky might regret even cuddling him, let alone anything else.

He cranes his neck slightly to catch sight of the TV, where the Netflix Are you still watching? screen stares back at him. Oh yeah, they’d been watching Tiger King together on the couch before they’d fallen asleep on top of each other.

Ollie braces his hands on either side of Wicky and slowly rolls off of his best friend, careful not to land on the squeaky couch spring and wake him up. He slides slowly to the floor and places his head in his hands.

Fuck.

He squeezes his eyes shut and groans as quietly as he can into his palms. He’s been doing so well at tamping down his crush on Wicky up until now, but something inside of Ollie has ignited after spending the night in such close proximity to him. He’s not sure if he’ll be able to pretend when Wicky wakes up that he didn’t savour every moment that his skin was pressed against Wicky’s, that he doesn’t know exactly what Wicky looks like when he’s sound asleep, that he hasn’t memorised the way their chests rose and fell against each other in perfect synchrony.

Ollie shakes his head before pushing himself to his feet and padding into the kitchen to get breakfast. That’s enough thinking for today.

----

Ollie shifts his weight from side to side as he leans outside of George’s office and listens to the sound of chairs scraping behind the door. Thank fuck, they’re almost done; he’s been leaning against this wall for twenty goddamn minutes and his feet are aching. He straightens up as the door swings open and he plasters a grin on his face; no matter how annoying a long wait is, scowling probably isn’t the best first impression when you’re meeting your new employer.

However, Ollie’s grin disintegrates when he sees the guy that comes out of the office and instead his mouth drops open.

Holy fuck.

Ollie unashamedly stares at the guy as he ambles down the corridor. God, every inch of him is pure perfection. From cheekbones that could cut glass, to wide brown eyes that seem to reflect and emit light until the whole corridor illuminates with this guy’s presence. From the lopsided grin that plays across his face, to the biceps that are way too big for the sleeves of his Falcs t-shirt. Ollie lets his eye’s slide to the guy’s ass; yeah, that’s definitely a hockey player.

He’s stunning.

And, the little voice in the back of Ollie’s mind pipes up, a teammate.

Ollie slumps down the wall again and groans. He’s so fucked.

----

Ollie had hoped that he’d be able to avoid all thoughts of his crush on Wicky for a while, well, preferably forever. He’s always been so careful to never let their cellies on the ice go too far, never letting Wicky kiss him on the helmet like he does every other player, never letting their hugs last for too long, never actively seeking out physical affection from him other than quick bro hugs and a slap on the back.

The universe has other plans for him apparently.

That one night of couch cuddling seems to have opened the floodgates, because all of a sudden Ollie’s inundated by a tidal wave of physical affection from Wicky and it’s just becoming too difficult. Too difficult to ignore the onslaught of butterflies in his stomach when their hands brush slightly when they’re reaching for the salt at the dinner table. Too difficult not to stare at him when they’re watching a movie next to each other on the couch and he shifts over slightly so that their legs are touching. Too difficult to even begin to process and cope with the fact that Wicky has started coming into Ollie’s room to fucking cuddle with him. It’s too difficult because Ollie is finally allowing himself to hope and he doesn’t even fucking know if Pacer, Wicky, Pace, is anything other than straight.

It’s just too goddamn difficult to be around his best friend.

Ollie smiles down at where Pacer has tucked himself underneath his right arm, eyes softly shut and a peaceful smile playing across his face, and he feels his heart breaking. If he wants to preserve their friendship beyond this quarantine in any way shape or form, he needs to stop indulging himself like this. What if Pacer’s angry because Ollie’s taken advantage of him because Ollie’s using this- this thing between them to selfishly fulfill his own wants? What if Pacer’s only comfortable doing this because he thinks Ollie’s straight? What if-

Ollie squeezes his eyes shut and curls his hand into the sleeve of Pacer’s shirt, forcing that line of thought to come screeching to a halt before it becomes a trainwreck. He needs to stop thinking like that; Pacer’s not gonna abandon him after three years of friendship and being lineys because of some no homo, bro bullshit. Or at least, Ollie hopes he wouldn’t. Pacer’s not that kind of person.

(Aww, fuck. He also needs to stop referring to him as Pacer in his head. He needs to distance himself from Wicky somehow, and he’s definitely not going to pull away from him physically, especially as they’re each the other’s only source of human contact for the next month or nine, so emotional distancing will have to do.)

He heaves a sigh and lets himself slump against the headboard, careful to make sure that Wicky’s head doesn’t fall too quickly from where it’s leant against Ollie’s shoulder. Wicky stirs at the sudden movement and his eyes slowly open, a sleepy beam playing across his face and chestnut eyes staring intently at Ollie like he’s the moon gazing upon the sun.

Ollie muffles a groan. He just doesn’t know what to think anymore.

----

The second that Ollie and Pacer Wicks step onto the ice together for the first time it feels electric. They complement each other in every way; Pacer skates slightly faster than Ollie does, whilst Ollie has a slightly more accurate pass that finds Pacer every single time. It’s like they were made for each other.

It’s fantastic.

(It’s torturous.)

Ollie finds himself spending even more time with Wicky than he originally planned for, and things just keep going from good to great.

(They go from bad to worse)

They have the same taste in films to the extent that they now have a monthly The Princess Bride rewatch. They’re both cat people and it’s slipped into their pre-game routine to go for a walk together, looking for the neighbourhood cats and calling pspspspsp to them in the hopes that they’ll come running and grant them good luck before the game. They’ve won every game that they’ve stroked a cat before, so Ollie isn’t really inclined to let go of the superstition, and, judging by the way Wicky grins at the little fuzzballs, Wicky is equally reluctant to stop their pre-game walks. The best thing they have in common is that both of their leases are up at the end of this month; who’s Ollie to pass up the opportunity to live with the guy that’s rapidly becoming the most important person in his life?

(Ollie’s an absolute fool. Living with Wicky is going to kill him very slowly and definitely isn’t the way to rid himself of a crush that’s quickly morphing into something even more serious.

Ollie is, once again, fucked.)

----

Ollie tries to pull away slowly rather than withdrawing all physical affection at once. It’s painful, but if it keeps Wicky from hating him, Ollie will gladly do it. Heck, if it was to protect Wicky, Ollie would do anything.

He starts slowly. He shifts over a bit on the couch, leaving a deliberate gap between them on the couch, so that no wandering limbs can reach out for each other. He makes sure to hold out the condiments at dinner, so that there’s no way for either of them to find an excuse for their fingers to touch, no matter how much Ollie hungers for it. He starts spending more time in his room, doing his online college courses there, rather than in the living room like he usually does. He goes to bed earlier, hoping, wishing, praying that Wicks doesn’t try to join him for a cuddle.

(Ollie ignores the little voice in the back of his mind that’s screaming to feel the press of Wicky’s warm body against his again. He ignores the wounded glances that he receives from Wicky every time he avoids eye contact. He ignores the aching pangs inside of his chest that appear whenever he spends too long gazing at Ollie.)

----

Moving in together is the best idea and the worst idea that Ollie’s ever gone along with.

Pros: He gets to spend every day with Wicky.

Cons: Spending every day with Wicky might actually kill him soon. RIP Oliver O’Meara. Cause of Death: Walking into the kitchen and seeing Wicky topless and sleep rumpled, muscles rippling as he reaches for the coffee.

Pros: He knows Wicky almost as well as he knows himself.

Cons: He now knows that Wicky is hung up on someone after one particularly drunken ramble.

(Fuck.)

----

It’s a week after the first cuddling incident that Wicky pulls open the door to Ollie’s room and marches in, eyebrows lowered and eyebags darker than ever. Ollie immediately slams the lid of his laptop shut, straightening up from where he’s slumped against the headboard of his bed. He frowns. “What’s up, Wicky?”

Wicky freezes on the other side of the room. “What’s up?” he says, voice cracking and strangled. Yikes, this must be worse than Ollie thought it was. “You’re asking me what’s up?” He drops onto the bed, like a stone sinking to the bottom of a river. “You’re the one that’s disappeared recently.” He pushes the heels of hands into his eyes. “We used to do everything together and now whenever I look for you, you’re in here.” He tears his hands away from his face, to gesture frantically around the room. Wicky appears to be manic; his hair’s all ruffled and there’s this slightly crazed look in his eyes. “What did I do, Ol?”

Ollie scrambles out of bed to come and sit next to Wicky. He stretches out a hand to comfort Wicky, but withdraws it as he fumbles for what to do or say. “You didn’t do anything, Pace,” he says softly, resisting the urge to reach out and swipe away the tears that are trickling intermittently down his cheeks. “It’s me that’s the problem.”

Wicky raises an eyebrow at him, stare stern in spite of the crying. “Really? So you’re completely fine with me cuddling you? And definitely didn’t start shutting down any of my attempts to spend time with you?” Ollie flinches and Wicky scoffs. “Yeah, that’s what I thought.”

“I-” Ollie trails off, eyes wandering until his gaze meets Wicky’s. The look in Wicky’s eyes isn’t scornful, no matter how much it deserves to be, instead his eyes are calm and fathomless like the earth after a long-anticipated rain. “I didn’t want to hurt you, though I clearly failed in that respect. I’m just so worried that you’re going to think less of me, especially once I tell you that-” Ollie clamps his mouth shut, as words he’s barely even thought to himself start to tumble out into the open.

“Tell me that..?” If Ollie didn’t know any better, he’d think that there was a trace of hope in Wicky’s voice. “C’mon, Ol, I’m not gonna leave you, no matter what you say.”

Ollie rubs his hand across his eyelids before stuttering out, “I’m in love with you.” Shit, that is not what he meant to say. “Fuck, I mean, I like you. Romantically.” He hides his face in his hands. “I didn’t want to make you uncomfortable, so I figured going cold turkey for a couple of days might do me some good.” He pulls his hands from his face suddenly and lets them drop to his knees. “Is that what you wanted to hear? That I like you? That I might be, fuck it, I am in love with you?”

The silence in the room answers that question for him and Ollie feels a tear roll down his face and a gutteral sob tear its way from his throat.

“Fuck, Ol,” Pacer says, scrubbing a weary hand across his face, and that’s when Ollie knows that it’s all over, that he’s going to be rejected by the most important person in his life. “That’s definitely not what I was expecting, but it’s not unwelcome by any means.”

It’s not?

Ollie suppresses a sniffle as he voices this sentiment aloud.

Pacer laughs, honest to God, laughs. “It’s actually very welcome, considering the fact that I’ve been pining for you since long before you got traded to Providence.”

He’s what-?

“I-” Ollie stumbles over the words, cheeks heating, “but you’re straight? And you’re hung up on someone?”

Pacer swipes a thumb across Ollie’s cheek, tracing the trail of his blush. “Ol, when did I ever say I was straight?” he asks, his gaze intently focused on Ollie. “Anyway, it’s always been you.” He leans in closer, breathing out one final word before sealing their lips together. “Always.”

#purple-is-great #my writing #ollie and wicks #olliewicks #omgcp

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path-of-my-childhood · 4 years

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How Aaron Dessner and Taylor Swift Stripped Down Her Sound on ‘Folklore’

By: Jon Blistein for Rolling Stone Date: July 24th 2020

At the beginning of March, the National’s Aaron Dessner traveled back to the United States from Paris, where he’d been living with his family, to shack up at Sonic Ranch Studio in Tornillo, Texas to work on the next Big Red Machine album with Bon Iver’s Justin Vernon. Those plans - obviously - soon shifted, as the reality of the COVID-19 pandemic set in. Dessner and his family were able to relocate to their home in upstate New York as lockdown orders went into effect, and the musician soon settled into a groove of homeschooling his kids and able to focus fully on music in a way he hadn’t in a while, due to the National’s regularly rigorous touring schedule.

In the middle of what Dessner describes as one of the most productive moments of his career, Taylor Swift called. A longtime and avowed fan of the National, Swift asked if Dessner wanted to try collaborating on a few songs remotely. He said of course, and asked if she was looking for anything in particular. He noted that he had plenty of material at the ready, but acknowledged he’d been in a more experimental mood, due to the Big Red Machine sessions; not to mention, Dessner added, he’d never really ventured into the pop world Swift has dominated for well over a decade. She told him to send everything he had.

“I think she was interested in the emotions that she feels in some of the music that I’ve made,” Dessner tells Rolling Stone.” So I just sent her a folder of things I’d done recently and was excited about. Hours after, she sent back a fully written version of ‘Cardigan.’ It was like a lightning bolt struck the house.”

Over the next few months, Dessner and Swift crafted the bulk of Swift’s eighth studio album, Folklore. Dessner spoke with Rolling Stone about working with Swift, their instant chemistry, how the album developed under a thick cloud of secrecy and more.

When Taylor first reached out, did she have a specific vision in mind for the album? She was a bit cryptic. I didn’t know that we were actually working on a record for quite a while. It just seemed that she was seeking me out to collaborate. And then we were both feeling very inspired by it. Once there were six or seven songs that we had written over a couple of weeks, she said, “Hey can we talk?” Then she said, ‘This is what I’m imagining,’ and started to tell me about the concept of Folklore. Then she mentioned that she’d written some songs at an earlier stage with Jack [Antonoff], and they felt like they really fit together with what we were doing. It was a very inspiring, exhilarating collaborative process that was almost entirely remote. Very sort of warp speed, but also something about it felt like we were going toe-to-toe and in a good pocket.

After “Cardigan,” how did these songs develop and do you think she pushed you in any new directions as a songwriter? When you’re working with someone new, it takes a second to understand their instincts and range. It’s not really conscious. She wrote “Cardigan,” and then “Seven,” then “Peace.” They kind of set a road map, because “Cardigan” was this kind of experimental ballad, the closest thing to a pop song on the record, but it’s not really. It’s this emotional thing, but it has some strange sounds in it. “Seven” is this kind of nostalgic, emotional folk song. Even before she sang to it, I felt this nostalgia, wistful feeling in it, and I think that’s what she gravitated towards. And “Peace,” that just showed me the incredible versatility that she had. That song is just three harmonized bass lines and a pulse. I love to play bass like that - play one line then harmonize another, and another, which is a behavior I stole from Justin Vernon, because he’s done that on other things we’ve done together. And actually, that’s his pulse, he sent me that pulse and said, “Do something with this.” But when she wrote that song, which kind of reminds me of a Joni Mitchell song over a harmonized bassline and a pulse, that was kind of like, “Woah, anything can happen here.” That’s not easy to do.

So, in the morning I would wake up and try to be productive. “Mad Woman” is one I wrote shortly after that, in terms of sound world, felt very related to “Cardigan” and “Seven.” I do have a way of playing piano where it’s very melodic and emotional, but then often it’s great if whoever’s singing doesn’t sing exactly what’s in the piano melody, but maybe it’s connected in some way. There was just some chemistry happening with her and how she was relating to those ideas.

“Epiphany” was something she had an idea for, and then I imagined these glacial, Icelandic sounds with distended chords and this almost classical feeling. That was another one where we wrote it and conceived it together. She just has a very instinctive and sharp musical mind, and she was able to compose so closely to what I was presenting. What I was doing was clicking for her. It was exhilarating for us, and it was surreal - we were shocked by it, to be honest [Laughs]. I think the warmth, humanity and raw energy of her vocals, and her writing on this record, from the very first voice memos - it was all there.

Do you think that chemistry might’ve had something to do with her being a National fan, and you being a fan of her music? We met Taylor at Saturday Night Live in 2014, or whenever that was that we played and Lena Dunham was hosting. We got to meet her, and that was our first brush with a bona fide pop star. But then she came to see us play in Brooklyn last summer and was there in a crazy rainstorm, like torrential downpour, and watched the whole show and stayed for a long time afterwards, talking to me and my brother. She was incredibly charming and humble. That’s the nice thing about her, and a lot of people I’ve met that have that kind of celebrity. It’s great when you can just tune it out and be normal people and chat, and that’s how that felt. So, we knew that she was a big fan, and we really got into the 1989 album. Our Icelandic collaborator, Ragnar Kjartansson, is a crazy Swiftie. So we’ve kind of lived vicariously through him. I’ve always been astonished by how masterful she is in her craft. I’ve always listened to her albums and put them in this rarefied category, like, “How did she do that? How does anybody do that? How do you make ‘Blank Space?’” There was an element that was intimidating at first, where it just took me a second to be like… Not because I think her music is better than what we’ve done, but it’s just a different world.

Were there particular songs, albums or artists the two of you discussed as reference points for this album? “Betty,” which is a song she wrote with William Bowery, she was interested in sort of early Bob Dylan, like Freewheelin’ Bob Dylan, I think. “Epiphany,” early on, felt like some weird Kate Bush-meets-Peter Gabriel thing. I think we talked a little about those things, but not a lot. Actually, I think she really trusted me as far as my instincts to where the music would ultimately go, and also the mixing process. We really wanted to keep her voice as human, and kind of the opposite of plastic, as possible. That was a bit of a battle. Because everything in pop music tends to be very carved out, a smiley face, and as pushed as possible so that it translates to the radio or wherever you hear it. That can also happen with a National song - like if you changed how these things are mixed, they wouldn’t feel like the same song. And she was really trusting and heard it herself. She would make those calls herself, also.

You mentioned William Bowery - who is he? He’s a songwriter, and actually because of social distancing, I’ve never met him. He actually wrote the original idea for “Exile,” and then Taylor took it and ran with it. I don’t actually know to be totally honest.

We’ve been trying to track him down, he doesn’t have much of an internet presence. Yeah, I don’t fully know him, other than he wrote “Betty” and “Exile” with her. But you know she’s a very collaborative person, so it was probably some songwriter.

So it’s not an alias for anyone? No, no, no. I mean, I don’t know - she didn’t tell me there was a “Cardigan” video until literally it came out, and I wrote the song with her [laughs]. So I don’t know. But I’m pretty sure he’s an actual songwriter. She enjoys little mysteries.

With the National, you and your brother write the music, Matt Berninger adds the lyrics, and then you fuse it - was it a similar process on Folklore? Taylor is very collaborative in that sense that, whenever she sent a voice memo, she would send all the lyrics and then ask me what I thought. And sometimes we would debate certain lines, although generally she’s obviously a strong writer. So she would ask me if I liked one line, and she would give me alternate lines and I would give her my opinion. And then when she was actually tracking vocals, I would sometimes suggest things or miss things, but she definitely has a lot of respect for the collaborative process and wants whoever she’s writing with to feel deeply included in that process. It was nice, and was a back and forth, for sure. And she would sometimes have ideas about the production if she didn’t like something, especially. She would, in a tactful way, bring that up. I appreciated that, too, since I wanted to try to turn over every leaf, take risks and sometimes get it wrong. That always takes a second, to get over and then you start again.

You mentioned earlier that once you had six, seven songs, she was able to describe a concept behind the album. I’m curious what that conversation was like. She would always explain what each song was about to me, even before she articulated the Folklore concept. And I could tell early on that they were these narrative songs, often told from a different… not in the first person. So there are different characters in the songs that appear in others. You may have a character in “Betty” that’s also related to one in “Cardigan,” for example. And I think that was, in her mind, very, very important. It doesn’t seem like, for this record at least, that she was inspired to write something until she really knew what it was about. And I think I’m used to a more - at least lately - impressionistic and experimental world of making stuff without really knowing what it is. But this was more direct, in that sense. That was really helpful, to know what it was about and it would guide some of the choices we were making.

Every time she would send something, she would narrate a little bit, like how it fit, or what it was about. And then when she told me about Folklore as a concept, it made so much sense. Like “The Last Great American Dynasty,” for example, this kind of narrative song that then becomes personal at the end - it flips and she enters the song. These are kind of these folkloric, almost mythical tales that are woven in of childhood, lost love, and different sentiments across the record. It was binding it all together and I think it’s personal, but also through the guise of other people, friends and loved ones.

You were working in secret - how did that affect the process? Was that a difficult burden? It was. I was humbled and honored and grateful for the opportunity and for the crazy sort of alchemy we were having. But it was hard not to be able to talk openly with my usual collaborators, even my brother at first. I didn’t know if I could really tell him, because we normally… Ultimately, he helped me quite a bit, he orchestrated songs. But we always help each other. But eventually, we figured out how to do it. Towards the end of the process, I said to Taylor, ‘I really feel that I need to try a few experiment and try to elevate a few moments on the record because we have time, and we’ve really done a ton of work here, and it all sounds great, but I think we can go even further.’ And then she said, ‘Well what does that mean?’ And I explained how that would work, and the way that we work. Our process is very community-oriented, and we have long-time collaborators that we have a good understanding with. So I was able to say, to my friends, ‘This is a song I’m working on, I can’t send it to you with the vocals, and I can’t tell you what it is, but I can explain what I’m imagining.’ And the same with my brother, he knows my music so well that that was very easy for him to just take things that we were working on, add to that, and do his kind of work. So it was all remote and everyone was in their corner and we were shipping things around. It was incredibly fast because of that, because you didn’t have eight people needing to come to the studio. You had eight people working simultaneously - one in France and one in L.A. and one in Brooklyn. This is how it went, and it was fun. We got there.

When were you able to tell everyone who contributed that this was the Taylor Swift record, what was their reaction? You can imagine. I think they realized it was something big because [of] the confidentiality, and they were like, ‘It could only be a few things.’ I couldn’t tell them until, basically, when she announced it. Just in the moments after she announced it, I basically told everyone. I was like, ‘By the way…’ And they were thrilled. Everyone’s thrilled. Nobody seemed mad, everyone was thrilled and honored. Even Justin Vernon had not heard anything else except “Exile,” even though the pulse of that song “Peace,” he gave that song to me. It was important to have it be a surprise, and you know how it can be with someone in her position, with all the speculation, and she’s always under a lot of pressure like that. So it was really important to the creative freedom she was feeling that this remained a secret, so she could just do what we were doing.

Being such longtime friends and collaborators with Justin, what was it like hearing “Exile” for the first time? His voice and Taylor’s together? He’s so versatile and has such a crazy range, and puts so much emotion… Every time he sings when I’m in his presence, my head just kind of hits the back of the wall. That’s the same on this song. William Bowery and Taylor wrote that song together, got it to a certain point, then I sort of interpreted it and developed a recording of it, and then Taylor tracked both the male and female parts. And then we sent it to Justin and he re-did obviously the male parts and changed a few things and also added his own: He wrote the “step right out” part of the bridge, and Taylor re-sang to that. You feel like, in a weird way, you’re watching two of the greatest songwriters and vocalists of our generation collaborating. I was facilitating it and making it happen, and playing all the music. But it was definitely a “Wow.” I was just a fan at that point, seeing it happen.

Are there any moments that really stick out to you as particularly pivotal in shaping the sound of this record? The initial response. When we first connected, and I sent a folder of music and Taylor wrote “Cardigan,” and she said, “This is abnormal. Why do you have all these songs that are so emotional and so moving to me? This feels fated.” And then she just dove into it and embraced this emotional current. And I hope that’s what people take out of it: The humanity in her writing and melodies. It’s a different side to her. She could have been every bit as successful just making these kinds of songs, but it’s so great that she’s also made everything that she’s ever made, and this is a really interesting shift, and an emotional one. It also opens other doors, because now it’s kind of like she can go wherever she wants, creatively. The pressure to make a certain kind of… bop - or whatever you want to call it - is not there really anymore. And I think that’s really liberating, and I hope her fans and the world are excited by that because I am. It’s really special.

#Aaron Dessner #interview #about taylor #taylor swift #Rolling Stone magazine #folklore album #folklore era #songwriter #coronavirus #release week

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destiny-smasher · 3 years

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DownRight Fierce Dev Update (9/2021)

Not sure if this is something folks here would want to see, but I'll share this update I shared with patrons for the original visual novel I've been working on, DownRight Fierce. It was conceived back in, like, 2014, but since just before the pandemic hit, I've been working on it as a visual novel. It's sort of like...if Street Fighter and Butterfly Soup had a kid? That was born before Butterfly Soup came out? And has been slacking off for a few years? There is a fully playable, mostly presentable demo of the prologue and first three chapters, feel free to contact me if you're interested in trying it out and providing feedback.

Thanks to the support I've received on Patreon lately, I've been able to commission more outfits for the main characters, new expressions, and was able to pay Hayley to re-organize the sprites so I have some more control over mixing and matching different things. We've also implemented a new pose for Nishiko's sprite when they're sending text messages (on their antiquated cell phone).

(all of the character art so far I have commissioned from my friend Hayley Sakura-Rose12)

I ended up deciding to have that sprite made when I implemented a whole text convo with Seiko near the end of Chapter 3. (or partway through the chapter, depending on what the reader chooses - OR they can even skip this conversation altogether, potentially)

The biggest updates to DRF lately have mostly been cosmetic: adding in more facial expressions and effects.

One example of this has been incorpating a more seamless and atmospheric effect for moments when Nishiko gets lost in thought.

There will be a recurring and increasingly important component tied to this, so I'm glad Jenny helped inspire me to pursue this kind of idea. You can also see here a version of Nishiko's sprite which has been visually updated with more texture, alternate color, etc., and that's something she intends to do with the other characters when time allows (she's been very busy for like, over a year now).

Fire and smoke are key visual symbols for Nishiko's character, so Jenny has been helping me figure out ways to express this more through the UI, etc.

(my wife Jenny has worked on the UI, giving it a more gritty look, and she's modified Nishiko's sprite in this image to give extra atmosphere to the character sprites; she also took a placeholder image and did work on it to showcase a potential art style for the backgrounds; we're considering something like this, though maybe including more color, perhaps intentionally depending on the setting)

But it's not just been visual stuff. I've also been adding in extra content, and incorporating more choices and elements that affect and are affected by the stats running in the background.

I've added in new short classroom scenes to help better illustrate Nishiko's experience inbetween social activities, while simultaneously using them to imply elements regarding Nishiko's attention span, as well as flesh out the lore of the world.

I've been a bit inspired by Tuca and Bertie in some weird ways, as well, trying to build lore within my own fighting game inspired world with references that double as, well, world building (like alluding to Street Fighter antagonist M. Bison via a political dictator who existed in this universe's history), including entire chunks of conversation that go in different branches based on weird Capcom humor that also serves to establish backstory.

Nishiko and Kayla bond over love of a dumb cheesy horror flick that's essentially one big meme featuring the 90's Street Fighter cartoon. The drinks in the vending machines are all Capcom references, but serve as a means of letting the reader more manually increase a stat of their choosing - and since they're vending machines, they recur, so as the reader might get to know what each drink is, they might make a deliberate choice to increase a specific stat on purpose, in a similar way to choosing to exercise, or meditate, or study.

A convo about Nishiko's prior schoolyear incorporates Dark Stalkers references while also, again, letting the reader affect stats in a narratively retroactive way.

I've fleshed out conversations in Chapter 3 to have lots of dialogue most readers won't see in a single playthrough, as well as making more efforts to lean readers toward experiencing certain scenes or moments they might have missed earlier, while allowing the possibility of skipping or missing out on scenes entirely should they choose.

For example, the end of Chapter 3 is focused on Nishiko's relationship with Seiko. There is a text chat convo that can happen in one of two different parts of the chapter, and an in-person convo I'm currently working on (the last planned new content for the demo). Both can be experienced, or one or the other, or the can both be skipped. I don't want to make the entire social life something optional, but I do want to have there be parts like this where the reader can choose to skip interacting with a character if they truly don't want to, to help reinforce the idea that every interaction is, in a sense, a deliberate choice.

Even something like picking 'the BAD' choices is something I want to not just feel like, say, Undertale's infamous 'genocide run' but rather something that is an expression of anger at the world around the main character, which even has some specific benefits - because people don't just become jerks because they like to feel bad, but because it serves them in some beneficial way. As a slight example, if the reader pushes Nishiko to become aggressive, their 'Psycho' stat will increase, which can lead to them having even more aggressive choices later, which further increase that stat. But as that stat increase, Nishiko will become more physically perceptive to certain details about the world around them, but in material ways rather than social ways. For example, they might sense certain inklings of things that allude to later plot points earlier than someone who is more cooperative and might learn more social backstory elements. It's likely not going to be some huge, monumental difference, but it hopefully will make a second playthrough feel noticeably different and give the reader more insight into certain things.

The planned demo will feature the prologue and the first three chapters. By the end, all four main characters will be introduced, and the reader should get a pretty good idea through bits of writing and visual presentation that the choices they make won't change the primary narrative, but will affect certain details and aspects of how things play out. This is actually related to a big plot element itself that will become important later. But for now, it's been really fun adapting content I wrote over five years ago into this format, fleshing it out, and trying to work out ways to not only make that content function better in an interactive format, but also just how to lay more foundation and foreshadowing for what's to come.

While the visuals are still far from finalized even for this demo, I do have a private build uploaded for anyone genuinely interested, as I still haven't received much in the way of feedback so far. I'm planning on releasing a public demo to itchio later on when we can get the visuals to look more finalized.

#DownRight Fierce #visual novel #lgbt #indie games #game development #fgc #fighting games #street fighter

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corporationsarepeople · 3 years

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hello, i have seen the chaos going on with america and i wonder, why did this all happen? i mean of course, george floyd and trump being incompetent as always, but there is just a lot of things happening and i could use some explanation, thanks in advance

I wish I could explain it, I truly do. Here’s my attempt at it:

The United States has tremendous structural problems that have been laid bare and/or exacerbated by several recent factors.

We have a barely functioning healthcare system; a weak social safety net that is deliberately opaque; a legacy of slavery and racism that has never been fully addressed; a political party that refuses to propose any policy beyond tax cuts and liability protections; a vastly overpriced education loan system that prohibits innovation and creativity; and a growing fascist movement

Our corrupt and incompetent president didn’t have the skill or the will to hold this rickety boat together like another may have done. As such, he simply dropped the charade of pretending to care.

Our healthcare system is designed primarily to deny employees the option to leave their jobs, and is a hodgepodge of different insurance policies, coverages, and runaway costs. The ACA reined this in to an extent, but the trump administration loosened those reins and the pandemic has emphasized just how shaky it was. A system built for a nation’s health would be able to coordinate testing and even develop a strategy for tracking the virus, but not a series of consumer-facing companies seeking profit. Trump has made this worse by offering zero leadership in the crisis, leaving Americans to argue over varied local and state responses.

At the start of the pandemic we knew that people would be unable to work and businesses would close. As we quickly hit record unemployment levels, the paltry and poorly designed systems in place were exposed to a higher number of Americans than ever before. Two options were clear: pay people more to stay home to give time for a response plan, or don’t—keep benefits as they are to force them back to work to save state funds. We focused on the latter and destroyed trust: additional payouts were pocketed mainly by the very wealthy, and states that opened early did so mainly to push people off the rolls.

But all of this is due to the legacy of racism and slavery that exists. While most Americans have learned to pretend that this has long been a land of opportunity, it wasn’t originally intended to be that way for everyone. In most parts of the country, the equality of whites was simply a charade held together by the oppression of blacks and others.

The US was an authoritarian nation for much of its existence, and has only been a non-racial democracy for about 50 years. We still have a massive amount of people here who think these recent changes aren’t for the better.

The states were addicted to slavery, its wealth-creation, and its personal power for hundreds of years; when it was finally limited, and not eradicated, that addiction didn’t go away. It still exists in the heavy-handed American blaming of the poor for poverty and of black people for racism, the adulation of wealthy psychopaths, and especially in the acceptance and expectation of control of big business over their employees’ lives. A real safety net undermines that control over the lower classes, and terrifies the American right more than anything else.

Trump dropped the pretense that he didn’t long for those earlier authoritarian times, and explicitly campaigned on going back to them. A lot of us knew that would work, because it has always worked here, right down to the election intimidation and enthusiastic public voter suppression.

In other words, this is what America has always been. The push to jettison democracy has never made by the president himself before, but that’s only because authoritarian whites have rarely ever been this afraid.

#us politics #well that was longer than intended

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woppy-my-beloved · 3 years

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Aint that just the way that life goes down? Colonel Beckett x Amy Barrett

Original Plot: In 2015 Colonel Beckett Travels back in time to the year 2001 to stop a Plauge happening in 2009 by eliminating patiient Zero (Amy Barrett) and trades his life in for hers. Making sure the plauge never happens however he dies in the year 2001

Alternate Universe: Where Colonel Beckett survived and managed to go back to his own time. But the plauge never happend. TW: Mentions of Plauge/Global Pandemic/Drunk Driving

It was a rainy day, I slowly walk through the streets of New York while looking around I see all kinds of people hiding around me and children playing in puddles of water. These are the days like today when I think back to 15 years ago when I lost my husband Billy, to a drunk driver I had lost the love of my life. The night that I lost Billy I can still very well remember, coming home from work and getting dinner ready until I heard a knock on the door. Finally Billy was home i thought, concerts were always untill the late hours. But once when I opened the door, I was greeted by two uniformed police officers, not knowing at first that they were coming to tell me the news of Billy. The news they told me then dropped like a bomb. Billy never came home, never

“Mom, Mom! Come on or we'll be late! ” Said Bobby, our son. Yes, you will be surprised, two nights before Billy passed away I became pregnant with Bobby, Billy never knew he had a son. He looks just like his father, and he shares his love for music, he studies at the same music school that Billy used to go to, piano to be precise. “Mom come on now! Don't hesitate, I have to be there on time I want to speak to Catherine before the concert! ” "I'm already coming to you Bobby, just relax." I said with a chuckle. The concert is a collaboration with the other branch of the music school, Bobby's pen pal Catherine happened to be there too. In fith grade they got to know each other through a penfriend project through their school. Since then they have always kept in touch with each other, Catherine mostly lives in Chicago, but since her parents divorced 3 years ago, Catherine can be found with her father during vacations in New York. However just the way life is, it seems like the universe just doesn't want them to meet. And the concert was the perfect reason to see each other in person for the first time.

When we arrive at the doors I see the familiar faces from 15 years ago. I used to come here with Billy so often, until his death since then I did not dare to go to this place, everything reminded me of him. I lost just about all my friends after Billy's death, I pushed them away, I just didn't want to anymore. I had lost the love of my life.

Four months after Billy's death, little by little I came back to enjoy life again, I slowly started working and decided to go to the cinema after work. Until the universe played a game with me and decided to let someone dump their coffee on me. I decided to go home that evening, but just before I got home I heard a loud bang. When I looked back I saw him lying on the floor. Beckett his name was Colonel Beckett. He had been hit by a car driving in reverse and did not want to go to hospital at all costs. At that moment panic struck me, when I saw him lying there I only thought of someone, Billy. God, that image of Beckett laying on the floor in pain has haunted me for months. Only later did I make the connection that that moment again caused the memories to surface. I took him to my house so he could rest, he insisted he didn't want to go to the hospital.

Once at home I was able to take care of him, Beckett stumbled to the chair and sat down with difficulty. He just managed to take off his shirt, when I looked at his body I saw the bruises from the impact, and a few scars. Beckett didn't say much about himself. He had been in the military, special forces to be precise. He was hiding something, he was trying to keep himself together and distant, and little got through to him.His mind was elsewhere. “What are you some kind of tough guy?” I said. “Not so tough,” he replied.

Looking at his wounds I just couldn’t help it but wanting to help him. I think it’s because I wish I could’ve done this to Billy. Had he come home and I was able to take care of him. “Here i got you a shirt.” I said to him wile holding up one of Billy’s old shirts. “I’m kind of hungry would you like to have some food?”

He looked at me, still tense from our earlier conversation, I just couldn’t point what was wrong with him. “Well the delivery guy must’ve tought we were having a party.” “I haven’t eaten Chinese in quite a while” He said looking at his plate. “Well Beckett this place is really good.” I said and smiled. I felt some tension in the room. “So you from around here? Or don’t you like talking to me.” While taking a bite, Beckett looked at me and replied. “Chicago” “Oh Chicago is nice, my husband Billy had a recital there. He didn’t get paid but exposure was always nice.” I stood up and reached for the cabinet where I got out this freamed picture of Billy. “This is my husband Billy, he passed away 4 months ago, drunk driver.” I walked over to Beckett and showed him the photo.

“So are you married?” I asked him. He looked at me, took a small pause and said. “I was married once. She died.” Well there it was... He had lost someone too. Great Amy this is why you should be more carefull around other people! “How did she die?” I asked looking at him, not sure if I asked the right question. “ She was sick and there wasn’t any cure.” I looked at him and felt inmense guilt coming over me. “I’m sorry Beckett... Sometimes you forget in your own grief that other people go through these things too.”

He had lost his wife to an illness, and no cure was available, from then on I realized I was not alone in the grief of losing a loved one. Once I told Beckett about Billy, he seemed to open up more to me. For the first time since Billy's death, I felt alive again, and I saw that in Beckett. He was sitting at the piano playing what he had made up himself, it was sad but beautiful. He told me he hadn't played Sarah since his wife died. And suddenly there he was, sitting at the piano, so focused but also so dreamy. We had more in common than we thought.

“What’s that piece called.” I looked at him. “Ah a little improv” He said while looking at the piano. “What happend to the drunk driver that killed your husband. The moment he asled that the music stopped and he turned to look at me. “ Oh he is fine i said, looking down.” I didn’t end up killing him like I planned to.” He looked at me with this confused look. “I wanted to buy a gun and take him out.” I said looking at him, thinking back of the man who killed Billy. “What made you stop?” He asked looking directly at me. “It wouldn’t bring Billy back”.

Beckett seemed rushed, as if he couldn't rest. He even offered to stay the night on the couch that night and went to my doctor's appointment the next day. That day was so weird, and it was tense, it was different. That look in his eyes was a look with a mission, he didn't want to tell it at first until he panicked to get me away from the clinic.

“Beckett you have to tell me what is going on!” “Amy I can’t” He yelled back, there was something going on and I just needed to know. “Beckett please tell it to me!” He looked at me defeated and took me aside. He pulled out this little thing with a screen and showed me a video.I saw people scared, bodies, bodies laying everwhere. Beckett came from the year 2015, a year where there was a global plague all over the world, and I was the instigator. Me Amy Barrett a young woman from New York. I was the one who hurt him and millions of others so much. I had the misfortune to come in contact with 2 DNA fragments that started all of this.

“You’re patient Zero Amy” Beckett looked at me. Fear ran through my body, what is this? This can’t even be possible!

Fear got into my body and I decided to run, from that moment on it clicked. He was there to kill me! Before I knew it Beckett came up to me and pulled me close to him. He looked at me, and I expected hate, I expected him to kill me at that point, but he wasn't angry. He took me in his arms and comforted me. He wanted to protect me, me the one who made sure he lost his wife! I felt so immensely guilty. Beckett, on the other hand, held me and said it would be okay. His arms around me, that kiss on my forehead. He couldn't, he decided to spare me. He chose to stay with me so that I could not come into contact with the two other DNA fragments. My doctor was one of them.

From that moment on, it clicked. Beckett’s hostility towards me, the way he reacted so cold. He was sent to kill me. But he didn’t. Somehow he didn’t hate me for the things I had done.

At my appartment he later came clean about everything. “So why didn’t you kill me.” I asked him. “ Why didn’t you kill the guy that hurt your husband?” That was the sentence that send him over the edge. That got him to change his mind he spared me because he knew that we were going through the same kind of grief.

“So we changed the history?” Ï said to him. He turned around and laughed a little bit. “What do you want? A medal?” he grinned. “Well a pat on the back would be nice.” I said looking at him. We later heard a knock on the door,upon opening it was an unfamilar face to me. But for Becket it was not, it was his colleauge, who came to check in on him when he didn’t return. And he had good news the plauge never happend!

I looked over at Beckett and I saw a sigh of relief coming down his face. He was going to get his wife back. And it was time for us to say goodbye. We looked at eachother knowing that this was going to be the last we were ever gonna see of eachother ever again. “ Well Beckett.. I want to thank you.” “It was nice meeting you.” I said wanting to go in for a hug but I decided not to.. I know it sounds strange but it felt that I was loosing someone important to me again. “It was nice to meet you as well Amy.” We looked at eachother and knew it was okay. It was time for him to go.

That was the last time I saw or heard of him

“Mom!” I looked up and heard Bobby’s voice coming to me. “Yes darling.” I looked at him totally unaware that I had dozed off for a second in my own thoughts. “Catherine is here she would like to meet you.” I walked with Bobby to one of the tables and I saw a young brunette standing there smiling at us. I smiled back at her and shook her hand. “Hi My name is Amy Barrett nice to meet you.” “Nice to meet you Miss Barrett my namce is Catherine, it’s so nice to meet you and Bobby finally.” She looked at Bobby with a smile and the two of them looked at eachother like this wasn’t the first meeting for the two of them. “Catherine honey, where are you?” I heard a raspy voice coming from down the hall. Catherine looked behind her for a second and said: “Over here dad!” and as I looked in her direction I saw a tall handsome man heading my way. He looked familair, he had short brown curly hair and blue eyes that looked like you could get lost in them forever. When our eyes locked It hit me. It was him... Colonel Beckett.

#Michael Rooker #Patient Zero #The Outer Limits #Amy Barrett x Colonel Beckett #Colonel Beckett #Amy Barrett

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fillingthescrapbook · 3 years

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On Series Finales, Shenanigans, and Sabotage

In this post, I talk about the end of Superstore and WandaVision, the finale of Call Me Kat, the shenanigans of RuPaul's Drag Race, and what feels like sabotage to Zoey's Extraordinary Playlist.

Let's start with the good;

WandaVision delivered a great opening for Marvel's "Phase 4." While it was an amazing exploration of what it means to grieve, the series was also a great essay on what the medium of television means for so many of us who watch: an escape, and a way to process our real-life problems through characters who can have happy endings.

Of course, the show wasn't perfect. While the first half of the series took its time to set the milieu, the characters and their goals, and the tension of things not being what they seem--an impressive juggling act up until the fifth episode--the second half felt a little rushed with no room to let the supporting characters react and breathe. Which, sure, I get that the show called WandaVision would focus on characters named Wanda and Vision, but I felt like they could've given the others more to do?

Like when Wanda was fighting [redacted] and Vision tried to help out, [redacted] was just standing there. Watching. Like, [redacted] had powers too. And they didn't even attempt to do something? Really?

And that's not to mention set-ups for plots that were eventually dropped.

Although, according to interviews, the blame for some of this this falls on the pandemic. In their original timeline, the show would've finished filming and would have been editing the finale before the show premiered. In reality, by the time they started cutting the finale episode, they had already aired four episodes. Which meant they've already planted and aired a few scenes for a certain character to pay off in later episodes. Pay-off that they then decided to cut out because it ultimately felt like filler. Had the pandemic not happened, they might have had time to cut out the foreshadowing from the earlier episodes too.

But even with the faults, and the lack of accountability for certain actions done, WandaVision was ultimately a good show. One that was clearly made with love.

And speaking of shows made with love, let's talk about Superstore and its final act.

I've seen a lot of online feedback that Superstore wasn't as good with Amy gone. I don't agree. Amy (and actress America Ferrera) was the cherry on top of an ice cream sundae--or the sprinkles. She's a great part of a whole, but the product was still great without her. But I have to say: seeing her back in the last two episodes? It made the ending all the more bittersweet.

I will miss this show. I will miss its laughs, its hi-jinx, its resilience...and most of all, its heart. I've said before that if a show could survive without a proper wrap-up it would be Superstore; because it's such a perfect snapshot of real life for many of us. But I'm glad that the people behind the camera, the current show runners Jonathan Green and Gabe Miller, show creator Justin Spitzer, and returning director Ruben Fleischer, came together and gave the shows' fans a bow-tied finale that was full of hope and happiness.

I loved every single thing about the finale except the part that it was the last episode. Because even though I was satisfied with what they gave us? I still wanted more time with the staff of Cloud 9.

Now, let's move on to Call Me Kat.

I was a little iffy about the show when it started. It had some good bits, but it was also peppered with so many not-so-great ones. The pros: Mayim Bialik really made the character her own even in scenes lifted from the show it was based on; Kyla Pratt became a more and more engaging presence as the show went on; episodes that were original to Call Me Kat were both very fun and heartwarming; and it was a show that was unapologetically camp.

As the season went on, I started forgiving the show for things I didn't like (the closing goodbyes, and the imagined Brigitte) and even looked forward to new episodes. But then the season finale happened. And the show brought back one of the things I really didn't like in the first few episodes: the Kat-Max romance.

I do not have a problem with Cheyenne Jackson's acting nor his character. I think Max is great. But only as a friend. Because I just do not see any romantic chemistry between him and Mayim Bialik's Kat. I was happy that the show introduced a new love interest for Kat because I really didn't want her pining for Max the whole series. Sadly, the show switched gears and made Max pine for Kat instead.

It's still not working for me. And I really hate how it came back. Because the first time Max started to see Kat in a different way was when she started dating the new love interest, Oscar. It came off like he was threatened that his back-up plan is now desirable to someone else. And then he doubled down on his "love" for ex-girlfriend Brigitte. Which was initially played earnestly and then became a cover for Max fighting his feelings for Kat. And then the obvious deus-ex-machina in the finale where Kat had no choice but to entertain her crush on Max again.

If Call Me Kat gets a second season--which I hope it does--I hope the show runners realize that Kat and Max don't have to end up together. That they can remain friends and still have that fun dynamic with each other. Because not every friendship need to evolve into romance. (That goes for Kyla Pratt's Randi and Julian Gant's Carter too.)

Now, since we're already on the topic of plot lines being forced into being, let's talk about RuPaul's Drag Race. I started watching this show in its 8th season. It was a reality competition that was fun, funny, colorful, entertaining, and revolves around art. I got hooked. I then watched the two seasons that came after, lost interest in Season 11, and then came back for the twelfth season because of the pandemic and found it a little fun again. And then Season 13 happened. And I can't believe the show I started watching because I enjoyed the laughs became a show I now hate-watch.

I don't know what happened behind the scenes after Season 9, but there is something terribly off with how RuPaul's Drag Race has been produced since then. There's more emphasis on drama that isn't really dealt with properly, there's obvious favoritism, and there's a great disconnect between what the judges are seeing and what is being presented to television viewers. And yet I continue to watch.

Let's just say: I'm hoping either Symone or Rosé wins. But let's be honest: the producers of RuPaul's Drag Race is setting Gottmik up for the win as the first transman to compete. Which I feel is unfair. Because while Gottmik is great, Rosé has more nerve and talent while Symone has the charisma and uniqueness.

And finally: Zoey's Extraordinary Playlist and the sabotage, self-inflicted and otherwise, that's ringing the death knell for the show.

The first season was lightning in a bottle. While it was by no means perfect, it had so much heart that it didn't matter. We wanted to root for Zoey even when we knew that she couldn't realistically have it all. The core of the show was that Zoey cared. Too much as some characters would say. But because she cared, we cared. In comparison, Season two Zoey feels like a completely different person when her plot line has nothing to do with her father.

I can't help but feel that the show sabotaged itself by splitting the show into two: the one that's about Zoey, and the other one that's about Mo and Max's business venture. Zoey's plot lines, while not all stellar, still felt like it had the DNA of the first season. Mo and Max's feels like a completely different show that's airing simultaneously with Zoey's--with the occasional crossover when Zoey needs to talk with either one of them.

It didn't feel that way when it started though. But episode by episode, the business venture just started to separate more and more. And instead of drawing Mo and Max back to Zoey's show, the writers just kept pushing Zoey to visit their world instead.

The recent episode, where Zoey wanted to recapture the feeling she had when watching a celestial event with her dad, was the first time the show felt anything remotely like the one I watched last year. We see Zoey caring about other people, we see her struggling to balance her own needs with others--and we see her actually trying to process her emotions again. And it just had to happen in the first episode on a new time slot that's barely been promoted.

So after Zoey’s self-sabotaged, now it's their network's turn to sabotage the show by putting it in a time slot with stronger competition--while not bothering to promote the heck out of the move. This feels like the network has already made a decision not to renew the show for a third season, and the episodes left to air are the last ones we're getting. And that Zoey's not gonna get a second chance to go back to the show that it once was.

I can't even feel sad though. Because I feel like I already saw the show I loved last year slowly die right in front of my eyes.

#my thoughts #TV rant #Superstore #WandaVision #Call Me Kat #RuPaul's Drag Race #Zoey's Extraordinary Playlist

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bananaofswifts · 4 years

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At the beginning of March, the National’s Aaron Dessner traveled back to the United States from Paris, where he’d been living with his family, to shack up at Sonic Ranch Studio in Tornillo, Texas to work on the next Big Red Machine album with Bon Iver’s Justin Vernon. Those plans — obviously — soon shifted, as the reality of the COVID-19 pandemic set in. Dessner and his family were able to relocate to their home in upstate New York as lockdown orders went into effect, and the musician soon settled into a groove of homeschooling his kids and focusing fully on music in a way he hadn’t in a while, due to the National’s regularly rigorous touring schedule.

In the middle of what Dessner describes as one of the most productive moments of his career, Taylor Swift called.

A longtime and avowed fan of the National, Swift asked if Dessner wanted to try collaborating on a few songs remotely. He said of course, and asked if she was looking for anything in particular. He noted that he had plenty of material at the ready, but acknowledged he’d been in a more experimental mood, due to the Big Red Machine sessions; not to mention, Dessner added, he’d never really ventured into the pop world Swift has dominated for well over a decade. She told him to send everything he had.

Over the next few months, Dessner and Swift crafted the bulk of Swift’s eighth studio album, Folklore, which was released today, July 24th, after being announced the day before. Folklore is yet another mesmerizing musical move from Swift — a shift in sound, style and palette towards a vaster indie sound (à la, of course, the National) that still feels distinctly Swift-ian, as if she’s been making music like this her whole career. Lyrically, too, the record finds Swift playing with character and myth in new ways that — befitting the album’s title — recall the great American folk tradition.

Dessner wasn’t the album’s only collaborator; Swift wrote several songs with regular producer Jack Antonoff, as well as songwriter named William Bowery, who doesn’t seem to have much of an internet footprint. Vernon also contributed to two songs, singing on one of the album’s many stunners, “Exile,” while Dessner’s brother and National bandmate, Bryce Dessner, helped orchestrate it with a mix of musicians scattered around the globe (none of whom even knew what they were playing on when they recorded their parts).

Dessner spoke with Rolling Stone about working with Swift, their instant chemistry, how the album developed under a thick cloud of secrecy and more.

When Taylor first reached out, did she have a specific vision in mind for the album?  She was a bit cryptic. I didn’t know that we were actually working on a record for quite a while. It just seemed that she was seeking me out to collaborate. And then we were both feeling very inspired by it. Once there were six or seven songs that we had written over a couple of weeks, she said, “Hey can we talk?” Then she said, ‘This is what I’m imagining,’ and started to tell me about the concept of Folklore. Then she mentioned that she’d written some songs at an earlier stage with Jack [Antonoff], and they felt like they really fit together with what we were doing. It was a very inspiring, exhilarating collaborative process that was almost entirely remote. Very sort of warp speed, but also something about it felt like we were going toe-to-toe and in a good pocket.

After “Cardigan,” how did these songs develop and do you think she pushed you in any new directions as a songwriter?  When you’re working with someone new, it takes a second to understand their instincts and range. It’s not really conscious. She wrote “Cardigan,” and then “Seven,” then “Peace.” They kind of set a road map, because “Cardigan” was this kind of experimental ballad, the closest thing to a pop song on the record, but it’s not really. It’s this emotional thing, but it has some strange sounds in it. “Seven” is this kind of nostalgic, emotional folk song. Even before she sang to it, I felt this nostalgia, wistful feeling in it, and I think that’s what she gravitated towards. And “Peace,” that just showed me the incredible versatility that she had. That song is just three harmonized bass lines and a pulse. I love to play bass like that — play one line then harmonize another, and another, which is a behavior I stole from Justin Vernon, because he’s done that on other things we’ve done together. And actually, that’s his pulse, he sent me that pulse and said, “Do something with this.” But when she wrote that song, which kind of reminds me of a Joni Mitchell song over a harmonized bassline and a pulse, that was kind of like, “Woah, anything can happen here.” That’s not easy to do.

“Epiphany” was something she had an idea for, and then I imagined these glacial, Icelandic sounds with distended chords and this almost classical feeling. That was another one where we wrote it and conceived it together. She just has a very instinctive and sharp musical mind, and she was able to compose so closely to what I was presenting. What I was doing was clicking for her. It was exhilarating for us, and it was surreal — we were shocked by it, to be honest [Laughs]. I think the warmth, humanity and raw energy of her vocals, and her writing on this record, from the very first voice memos — it was all there.

Do you think that chemistry might’ve had something to do with her being a National fan, and you being a fan of her music?  We met Taylor at Saturday Night Live in 2014, or whenever that was that we played and Lena Dunham was hosting. We got to meet her, and that was our first brush with a bona fide pop star. But then she came to see us play in Brooklyn last summer and was there in a crazy rainstorm, like torrential downpour, and watched the whole show and stayed for a long time afterwards, talking to me and my brother. She was incredibly charming and humble. That’s the nice thing about her, and a lot of people I’ve met that have that kind of celebrity. It’s great when you can just tune it out and be normal people and chat, and that’s how that felt. So, we knew that she was a big fan, and we really got into the 1989 album. Our Icelandic collaborator, Ragnar Kjartansson, is a crazy Swiftie. So we’ve kind of lived vicariously through him. I’ve always been astonished by how masterful she is in her craft. I’ve always listened to her albums and put them in this rarefied category, like, “How did she do that? How does anybody do that? How do you make ‘Blank Space?’” There was an element that was intimidating at first, where it just took me a second to be like… Not because I think her music is better than what we’ve done, but it’s just a different world.

Were there particular songs, albums or artists the two of you discussed as reference points for this album? “Betty,” which is a song she wrote with William Bowery, she was interested in sort of early Bob Dylan, like Freewheelin’ Bob Dylan, I think. “Epiphany,” early on, felt like some weird Kate Bush-meets-Peter Gabriel thing. I think we talked a little about those things, but not a lot. Actually, I think she really trusted me as far as my instincts to where the music would ultimately go, and also the mixing process. We really wanted to keep her voice as human, and kind of the opposite of plastic, as possible. That was a bit of a battle. Because everything in pop music tends to be very carved out, a smiley face, and as pushed as possible so that it translates to the radio or wherever you hear it. That can also happen with a National song — like if you changed how these things are mixed, they wouldn’t feel like the same song. And she was really trusting and heard it herself. She would make those calls herself, also.

You mentioned William Bowery — who is he? He’s a songwriter, and actually because of social distancing, I’ve never met him. He actually wrote the original idea for “Exile,” and then Taylor took it and ran with it. I don’t actually know to be totally honest.

We’ve been trying to track him down, he doesn’t have much of an internet presence. Yeah, I don’t fully know him, other than he wrote “Betty” and “Exile” with her. But you know she’s a very collaborative person, so it was probably some songwriter.

So it’s not an alias for anyone? No, no, no. I mean, I don’t know — she didn’t tell me there was a “Cardigan” video until literally it came out, and I wrote the song with her [laughs]. So I don’t know. But I’m pretty sure he’s an actual songwriter. She enjoys little mysteries.

“These are kind of these folkloric, almost mythical tales that are woven in of childhood, lost love, and different sentiments across the record.”

With the National, you and your brother write the music, Matt Berninger adds the lyrics, and then you fuse it — was it a similar process on Folklore? Taylor is very collaborative in that sense that, whenever she sent a voice memo, she would send all the lyrics and then ask me what I thought. And sometimes we would debate certain lines, although generally she’s obviously a strong writer. So she would ask me if I liked one line, and she would give me alternate lines and I would give her my opinion. And then when she was actually tracking vocals, I would sometimes suggest things or miss things, but she definitely has a lot of respect for the collaborative process and wants whoever she’s writing with to feel deeply included in that process. It was nice, and was a back and forth, for sure. And she would sometimes have ideas about the production if she didn’t like something, especially. She would, in a tactful way, bring that up. I appreciated that, too, since I wanted to try to turn over every leaf, take risks and sometimes get it wrong. That always takes a second, to get over and then you start again.

You mentioned earlier that once you had six, seven songs, she was able to describe a concept behind the album. I’m curious what that conversation was like.  She would always explain what each song was about to me, even before she articulated the Folklore concept. And I could tell early on that they were these narrative songs, often told from a different… not in the first person. So there are different characters in the songs that appear in others. You may have a character in “Betty” that’s also related to one in “Cardigan,” for example. And I think that was, in her mind, very, very important. It doesn’t seem like, for this record at least, that she was inspired to write something until she really knew what it was about. And I think I’m used to a more — at least lately — impressionistic and experimental world of making stuff without really knowing what it is. But this was more direct, in that sense. That was really helpful, to know what it was about and it would guide some of the choices we were making.

Every time she would send something, she would narrate a little bit, like how it fit, or what it was about. And then when she told me about Folklore as a concept, it made so much sense. Like “The Last Great American Dynasty,” for example, this kind of narrative song that then becomes personal at the end — it flips and she enters the song. These are kind of these folkloric, almost mythical tales that are woven in of childhood, lost love, and different sentiments across the record. It was binding it all together and I think it’s personal, but also through the guise of other people, friends and loved ones.

You were working in secret — how did that affect the process? Was that a difficult burden? It was. I was humbled and honored and grateful for the opportunity and for the crazy sort of alchemy we were having. But it was hard not to be able to talk openly with my usual collaborators, even my brother at first. I didn’t know if I could really tell him, because we normally… Ultimately, he helped me quite a bit, he orchestrated songs. But we always help each other. But eventually, we figured out how to do it. Towards the end of the process, I said to Taylor, ‘I really feel that I need to try a few experiment and try to elevate a few moments on the record because we have time, and we’ve really done a ton of work here, and it all sounds great, but I think we can go even further.’ And then she said, ‘Well what does that mean?’ And I explained how that would work, and the way that we work. Our process is very community-oriented, and we have long-time collaborators that we have a good understanding with. So I was able to say, to my friends, ‘This is a song I’m working on, I can’t send it to you with the vocals, and I can’t tell you what it is, but I can explain what I’m imagining.’ And the same with my brother, he knows my music so well that that was very easy for him to just take things that we were working on, add to that, and do his kind of work. So it was all remote and everyone was in their corner and we were shipping things around. It was incredibly fast because of that, because you didn’t have eight people needing to come to the studio. You had eight people working simultaneously — one in France and one in L.A. and one in Brooklyn. This is how it went, and it was fun. We got there.

When were you able to tell everyone who contributed that this was the Taylor Swift record, what was their reaction? You can imagine. I think they realized it was something big because [of] the confidentiality, and they were like, ‘It could only be a few things.’ I couldn’t tell them until, basically, when she announced it. Just in the moments after she announced it, I basically told everyone. I was like, ‘By the way…’ And they were thrilled. Everyone’s thrilled. Nobody seemed mad, everyone was thrilled and honored. Even Justin Vernon had not heard anything else except “Exile,” even though the pulse of that song “Peace,” he gave that song to me. It was important to have it be a surprise, and you know how it can be with someone in her position, with all the speculation, and she’s always under a lot of pressure like that. So it was really important to the creative freedom she was feeling that this remained a secret, so she could just do what we were doing.

Being such longtime friends and collaborators with Justin, what was it like hearing “Exile” for the first time? His voice and Taylor’s together?  He’s so versatile and has such a crazy range, and puts so much emotion… Every time he sings when I’m in his presence, my head just kind of hits the back of the wall. That’s the same on this song. William Bowery and Taylor wrote that song together, got it to a certain point, then I sort of interpreted it and developed a recording of it, and then Taylor tracked both the male and female parts. And then we sent it to Justin and he re-did obviously the male parts and changed a few things and also added his own: He wrote the “step right out” part of the bridge, and Taylor re-sang to that. You feel like, in a weird way, you’re watching two of the greatest songwriters and vocalists of our generation collaborating. I was facilitating it and making it happen, and playing all the music. But it was definitely a “Wow.” I was just a fan at that point, seeing it happen.

Are there any moments that really stick out to you as particularly pivotal in shaping the sound of this record?  The initial response. When we first connected, and I sent a folder of music and Taylor wrote “Cardigan,” and she said, “This is abnormal. Why do you have all these songs that are so emotional and so moving to me? This feels fated.” And then she just dove into it and embraced this emotional current. And I hope that’s what people take out of it: The humanity in her writing and melodies. It’s a different side to her. She could have been every bit as successful just making these kinds of songs, but it’s so great that she’s also made everything that she’s ever made, and this is a really interesting shift, and an emotional one. It also opens other doors, because now it’s kind of like she can go wherever she wants, creatively. The pressure to make a certain kind of… bop — or whatever you want to call it — is not there really anymore. And I think that’s really liberating, and I hope her fans and the world are excited by that because I am. It’s really special.

#taylor swift #folklore

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thejosh1980 · 3 years

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(Seems like) Years since yesterday...

Today, 1 year ago, is a special day...

One year ago today was the last time I bought myself a new guitar... I always wanted a Guild, and as I had been touring a lot with The Cashbags I figured I could now afford it. It's blonde, with P90s and as close as I could get to one of my idols, Dave G from The Paladins.

I bought it second hand via “Ebay Kleinanzeigen”, right before a show with The Cashbags. The guy came to the venue, before sound check and I tried it out. I was in love... I bought it there and then...

I played it that night at The Cashbags show too. This was the only show I played my own guitar during all my years touring with the band. Usually I would use the band gear, as it best suited the look the band wanted (and it was easy for me, I didn't have to carry my guitar and amp to and from shows)...

It's also the only show I have so far played with this guitar...

Why?

Well that's cause of that damn pandemic.

You see, that show in Langenselbold was to become the last one The Cashbags would play with me...

I knew I was leaving the band at the end of the tour, which was at the end of April, but COVID had a different plan. It's kinda hard to explain how it felt driving to the show, a good 6 hours, with 1 or 2 date cancellations happening along the way... However, by the the next morning hotel breakfast, the rest of the tour was cancelled.

We lost 6 solid weeks of shows...

But how naive I was. I thought we'd be back at it pretty soon; dates rescheduled, last minute shows would be booked... you know the deal. But in the end, I didn't share the stage with the band again, I didn't get to say goodbye to half the band members before leaving Germany either.

Alex and I had only been married 10 days when restrictions started to begin in Germany. The full lockdown was a week or two later, wasn't it? I don't know, it's all a bit of a blur.

I was lucky, at the time, I had my studio which was all mine, so I could get out of the apartment, walk the dog and play guitar, loud... The new guitar got some action, behind closed doors of course.

You know the story, we started selling up, packing up and, eventually, moved down under...

It feels surreal to think how, at the time, we had no idea how this was going to affect us. It's quite clear the pandemic has brought out the best (and worst) in people.

I think for me, during my time in Dresden's restrictions, everything felt, well, OK. It didn't feel too bad, but I had a lot to focus on. The “goodbyes” to everyone was the hardest thing. I don't remember being under the weather, depressed or sick. I may have been, but whatever negative thoughts and feelings there were, they weren't strong during that time.

I was lucky to be one of the earlier guests on the Blue Note live stream in March, which encouraged me to do my own live streams in April and May. As unprepared as I was to learn so many new songs, it was a good focus, until it got too much.

In July we had “The Josh Fest” which was too much for my emotions. Dresden, I feel the love. I'm so thankful (and lucky) so many friends could come out for one last party. Reuniting old bands, new bands and old friends on stage, it'll go down as one of the best shows in my life. One that ended with me in tears...

When we had the first cancelled flight and rescheduled flights in mid July, I don't remember feeling too bad about it all either. I didn't like it, but our delay was only a week or two. And we had a roof over our head and Alex's family there to support us.

But once the 3rd or 4th rescheduled flight happened it started to get scary and worrying. I remember some really bad days in Meine. I had lost all hope of getting home. We were in limbo, and had little control over the situation. Our health insurances had expired, we were no longer registered in Germany and were worried constantly if the next flight would let us on. So many last minute cancellations, wears one down. I spent quite a bit of my time frustrated, depressed and helpless during those 2 months.

Once we took control, used some savings and bought ourselves new flights, we made it to Adelaide. I definitely felt better by taking action. However, another set of challenges arise, quarantine isn't fun. We were lucky with our hotel, room and food, but it's still tough... Very tough... And I sympathize with everyone who's had to go through it, especially those who are doing it under hardship.

In late September we made it mum's. We finally made it... I'd been waiting for this moment for a year (longer than originally planned of course). I made the decision to move in September/October 2019. I had achieved a lot in Europe, so many amazing adventures (good and challening) that I'll have enough memories to last a life time (if I can remember them!).

I wanted to come back and take care of my family.

When we arrived at mum's, it hit me... I was back! I didn't feel the excitement I thought I would. I felt bad for Mum. Like, shouldn't I have been crying? Shouldn't I have been screaming! “I'm baaaaaaack!!!” In the end I think it was just relief... We'd arrived almost 3 months later than expected. We needed to settle in.

I think settling in took a while. Is it still happening? Even the smell of the fresh salt air knocks you out! Lots of new things to get used to. Integration had begun. Usually I returned home for a holiday, now it was a return for good. This is a full time permanent position.

I did enjoy October through to January. Alex wasn't working, we had time to do stuff, relax... Enjoy the local scene. I don't surf every day, but definitely as often as conditions allow. I did some work, which I previously blogged about. Alex started working in December, and she loves her job... Things were pretty good...

I was, I still am, trying to get over saying goodbye to my puppy, my friends and wondering why I had little motivation to pick up the guitar...

In mid January Mijo, my little kitten, came into my life. Thanks to my wonderful wife, she knew full well I wouldn't decide to get a pet on my own, and on the responsibility to bring some fur into our lives. Damn I'm lucky.

In fact, Alex's intuition is amazing... She always seems to know know when to ask questions, when to listen, when to take action and when to bring coffee. Bless her cotton socks...

However come February I'd hit the wall. I don't know what it is, what it was.... But it's been a little while coming, and hasn't gone away. It did leave me in bed for 3 days, and don't ask me the reason, cause I can't tell you.

I've had a lot of motivation issues... I just don't feel like getting up... I have to, because I gotta drive mum to work and pick her up. Once back home, usually I drink coffee and force myself to do something, anything... I've used the excuse of “training Mijo” that I visit friends with him, but really my heart hasn't been in it. I just know I'd feel guilty if I didn't do anything...

I've had a lot of paperwork to fill out since getting home. Bank accounts and all that kind of stuff... Alex's visa (which is still on going for another 18 months or so). Also local government bureaucratic stuff I have to deal with. Taxes! I'm planning to start studying in April, but to enroll the process comes with a lot of documentation, questions and answers...

So... Lately...

I have distanced myself from everyone lately. Except for a few moments, I haven't picked up the guitar in almost 12 months. I barely do anything. Writing this blog today, has taken a lot of energy and focus to start. If it wasn't for the “anniversary” today, I wouldn't have even begun to type.

To help you understand the hole I was (and still am) in... I have been blessed with a roof over my head, food every day, a loving wife, a beautiful kitten, a loving mum (and family and friends), the beach, the sounds of birds waking me up and (mostly) great weather... But I'm still unhappy...

How could that be? Why is that?

I know I wrote a few times before, that writing has helped me process my feelings. So I figured I'd better try it. Practice what I preach!... But don't ask me how I feel, I just don't know... and it can change in a heart beat.

I got out of bed today, and I did some office work... First time in over a week... Stuff I've been putting off... I'll need to make a few calls this afternoon too... But in between I think I'll rest... Relax...

Usually, I push myself too much... I have pushed myself to the edge (again)... I've been feeling desperate, unmotivated, hopeless, helpless and, well, just plain shit... I know I gotta get out of it, but these days I'm trying a new approach: pull back, relax, rethink, rest and figure out the right balance... So far I am somewhere in the middle....

At least I think I feel better than when I was constantly powering through and not acknowledging my feelings.

I'm my worst critic, and I feel guilty if I don't “do” every day... I gotta “do” this or that... But sometimes you gotta take care of yourself... That is also a “do”... isn't it? Self care. Self love. Listening to your body.

So it's been one of the roughest years in a long time for us... hasn't it??

Damn...

Please don't do what I do and ignore the stress and pressure... What I mean is, there's been so many new things for all of us, so many new challenges, we forget how far we've come. We forget we are still here.

We have achieved so much, even if it's the fact we got out of bed today!!!

We need to be kind to each other, but more importantly to ourselves. I wouldn't treat my pet, my friends or my family as badly as I do myself, so why am I doing that?? It's gotta stop.

I gotta listen to myself when I don't feel up to it, and forgive myself for putting myself first... Rest... Reflection... Relaxing... Recuperation... Maybe then I can begin the next chore... Like filling out this damn paperwork just to get into college...

https://youtu.be/-rkq9ffBpWY - The Paladins - Years Since Yesterday

Thanks for reading,

Josh

#depression #ptsd #musicians #pandemic #anxiety #struggling #self love

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popculturebuffet · 3 years

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Loud House Reviews: The Loudest Thanksgiving

It’s almost Thanksgiving! And a vastly diffrent one than in recent memory: Most of us are slimming down family gatherings to just whose in our house, you know because theirs a pandemic going on and it’s not worth risking your life for it. To those either guilting their families into it or doing so because MAGa or some such I only have this to say.

Speaking of Black Friday i’ts spread over a week and it’s cyber deals mean I got a ton of graphic novels for a dollar a piece and my christmas shopping almost done. So in other words, boo Maga, yay safe and responsible captalisim. But while the holiday may be diffrent, as well as the pseudo holiday attached that spawned a wonderful musical and many many injuries, one thing stays the same; Holiday Episodes. And despite being the less popular of the three holidays, Thanksgiving still produced tons of great holiday episodes and specials. And with everything being so busy I simply didn’t put too much thought into what to do for Turkey Day.. well okay the day proper i’m going to eat, spend time with family and watch a bunch of mystery science theater 3000, stay the course even in these troubling times, just with only the 4 other people who live in my house. But in terms of episodes I thought i had nothing.. then I started actually thinking on it and what do you know I have three things I want to do for the holiday, though one might wait till next year, and possibly a fourth. But given my workload currently, i’m not one to back away from a challenge, so welcome to a three or four course meal of reviews. First course: The Loud House thanksgiving special, the loudest thanksgiving. I originally wasn’t going to do this one, mostly because due to my large workload and constant battle with procastination, I keep having to push back the latest episode review, and I have to do that one soon, as there’s a new episode in december and a christmas episode i’ve put off watching for far too long , as I INTENDED to watch eleven louds a leapin for every chirstmas up till now and never got to it before the season was over. But just like elven louds.. Nick forced my hand.. and by that I mean the SPINOFF got a thanksgiving episode that’s also a sequel in some fashion to this episode. If I wanted to cover that episode this thanksgiving or the next I had to at least watch the original. And frankly, this close to the holiday there was no reason not to review it. So with that out of the way.

Let’s Get At Er. This is The Loudest Thanksgiving... after the break

The Loudest Thanksgiving takes place during season 3, and still pre-casagrandes spinoff launch despite the christmas special taking place earlier. This is actually easy to explain: The Loud House runs on Comic Strip time... i.e. the characters don’t age unless the writers decide they do. But while the spinoff was in motion at this point, it was still a season off airing wise, and ill advised raitings stunt mini series wise, so in order to keep the Casagrandes fresh in people’s minds presumably, they did a crossover that at this point wasn’t a crossover but now technically is because the show exists but this existed before the show.

It’s just a show, and I should really just relax. Point is this is a pre-crossover crossover, the two families meet for the first time, the man already said pitter patter, let’s get back at er. So we open with Flip serving as our magical snowman narrator and regaling us with the tale of steven. Every compastionate can you imagine it... and i’m fucking with you, it’s of course abotu that time the louds and the casagrandes tried having thanksgiving together.

We then cut to Lori and Bobby being all cute, as usual, and both talking over the phone as each show off their thanksgivings to each other and the enusing family shenanigans. On Lori’s side Lynn is wearing baggy pants so she dosen’t miss the game or the meal by going to the bathroom.. because that’s how pissing yourself works. Look if your going to do something that gross, stupid and broish just woman up and wear an adult diaper. The twins are guarding Lynn sr and the food, poorly, and Lisa has invented a Gravy Squriting robot. I can only see this ending one way.

Yeah those single function robots really get useless once the exestnetial crisis kicks in.

On the casagrandes side, Rosa is likewise guarding her kitchen, Frida is painting and Hector plans to sernade eveyrone because Hector is the best and you all should know that. Even with the recent Bobby Abuse he’s still awesome. As for the Mercado, CJ and Ronnie Anne are running the annual canned food drive because CJ is better than the best and should really be used more often. Both wish they could be there.. and both honestly talk about possibly spending thanksgiving with each other and just one of their family. It’s not a wild proposition: Both are going to college soon, both are in a longterm relationship.. they plan to get married down the line for now. If things hold they will eventually have to figure this out. Of course rather than fate let them figure this out themselves, Hector overhears on Bobby’s end and Lincoln, whose busy A Clock Work Oranging himself so he can stay awake during dinner, overhears on Loris, leading to an emergency family meeting for both sides. Both families are worried their prospective teenager going to another house of their longterm significant other for one year will mean they get all the holidays. Having never had a relationship last long enough to worry about this, I don’t quite get it as in my experince watching couples juggle this.. they usually just alternate years, spoilers the solution the episode goes with, or trade off christmas and thanksgiving, both fair solutions. Buuut as much as this bothered me at first the more I thought about it the more it actually made sense: People.. aren’t always rational and won’t always do the smart or correct thing, especially when it comes to their children. And with Lori leaving college and the casagrandes being togehter for thanksgiving for the first time in about 5 years, with both ronnie anne and her mom not having had a proper one in some time due to her mom needing to work thanksgiving, presumibly because of the eternal curse of gravy chugging contests, they have valid emotional reasons to go a bit nuts and do some irrational and assholish things. They just don’t want to loose their big sister and big brother, and that’s fair. It may not be at all accurate but it’s fair.

So thus began the great Guilt Off of 2018. ON the Loud side they START with a fairly soft pitch, the twins simply offer her food early, and she takes it because honestly I would too. Then again, i’d also take free food in just about any situation, so i’m not really a good gage for this. As long as it’s not poision i’ll probably eat it if it’s free. The next two are a little.. less subtle, with the kids talking about Lori’s roll in the annual thanksgiving skit.. which I’m assuming is soley for Lynn Sr. as no one else seems to be going to their thanksgiving. Which granted theirs valid explinations for why their neighbors didn’t go, the mcbrides and mr grouse have their own families and while Mr Grouse rarely gets to see his, he now has neighborly friends after the last holiday special happy to help. But Pop Pop.. makes no sense as his girlfriend, the only plausable reason he wouldn’t be there, was said to not have much family in her debut. So he’s just.. absent from thanksgiving for no reason. Thena gain we later find out this play is movie length, so maybe he was just trying to escape that which in that case, who can blame him. Rita almost reigns things back in with the mother’s trump card: parental guilt. Almost. She then almost crushes lori’s hand but it’s funny enough. At the Casagrandes, their opening move is largely the same only Rosa wins in terms of execution, cooking up some of bobby’s faviorites to specificially target him. Frida paints him into a painting, again the Casagrandes win his one in terms of effort. They do tie in the last bit, as Maria and Ronnie Anne try the same sort of guilt slining with the same bone crushing. Eventually both teens get fed up with the next bit; For Lori, Lucy gives her a long overdramatic poem about an empty chair which is easily tied with one bit later for best bit of hte episode.. which granted when I can only think of two or three gags that really made me laugh...

Bobby likewise gets Hector telling the story about a realitvie not going to thanksgiving. Both get angry.. which for Lori, isn’t all that suprising, if entirely warranted. For Bobby though? It’s like pissing off a dolphin. IT’s hard to do and very much not something you want to actually pull of. Both families are forced to admit they eavesdropped, and are incredibly worried about this whole situation, with Lynn Sr selling lincoln up the river for telling them... this man’s capacity for selling out his children is as awe insprising as it is truly pathetic.

So the two teens go back to their rooms to figure something out and come upon a reasonable solution: just have one of the families host and both come to it. That’s more than fair. But given we still have a full special to pad out, both families are still treating this like a competion: while the louds win the coin toss, both sides are determined to win thanksgiving. IT’s far from the most insane contest i’ve seen this month, x of swords was happening and i’ve seen a russian yank a goblin out of the demonic alligator skin he was using as a puppet. And we don’t know for sure Arrakoa and Krakoa didn’t have a trial over a baby turkey being adorable as one of the challenges. Other challenges included getting drunk, an eating contest, telling someone to murder a kitten and a wedding, all of this is actual stuff that happened in this recent crossover, I have made up nothing.

So after the break and Flip realizing oh shit the audience is back, the war begins. The Louds are preparing for war, with Lola putting out a picture of herself instead of bobby and laurie because of course.. still not a half bad gag. The Casagrandes arrive and in in a passive agressive move that was already done a year before this special by Brooklyn Nine Nine and better, brought their own food.. though the roast pig is a nice and unique touch. Points for that. And this.. is where the special gets tedious. Yeah while the IDEA of this episode was really good and I was excited to cover it in practice it’s just similar gags on both sides done for both halves: The first being “let’s guilt them into staying” and the second being “Let’s one up each other” with only two bits really working: Frieda having a painting and the louds annual skit. And the skit is because it raises a LOT of questions: Why is it 90 minutes, who played the adorable turkey in the years between babies? Was it just whoever was youngest? Who wrote this? Who is this for besides Lynn Sr and Pop Pop? Who all has sat through this thing at some point? Is that why the mcbrides don’t come over for thanksgiving? It’s just.. fantastic is what i’m saying.

But otherwise this part is just the family trying to one up each other with food, or toasts, or song, before devolving into a big fight. What makes it not work is.. there isn’t a lot of personality there. You have these two big, plentiful, intresting casts, even at this stage with the Casagrandes far less established and fleshed out. And instead of finding interesting ways for them to play off one another meeting for the first time, and to use that to also flesh the characters out more for the inevitable spinoff, it’s just

For most of the second half. Thankfully it DOES manage to bring things around as after things degenerate into a food fight, the families decide to just ASK the two of them where they want to go.. and find them entirely missing. It then turns out, in a nice twist, this is where Flip came in. Since his place is the only place open 24/7 and 365, barring fishing season, Bobby and Lori fled here to flee their insane families.. who then follow them there because Carlos and Lisa have them chipped. I was suprised at first Carlos had a tracker on bobby but honestly, i’ts just common sense. The man is like a golden retriver in a man’s body. Here’s an artists interpretation

Both families breifly bicker before Lori and Bobby announce their starting their own family thankgiving with blackjack, and hookers. They really shouldn’t of let Flip in on the brainstorming session. Both families don’t want that, and apologize, admitting they just didn’t want to loose them and both genuinely offering to let the other have them next year. Flip, who despite having a “pay for my colonoscopy jar” with a picture of his ass on it, is somehow the voice of reason and just suggests trading thanksgivings every year, everyone accepts, and we do get a genuinely heartwarming ending of both sides gathering everything for a gas station thanksgiving. Honestly reminds me of king of the hill’s airport episode, but in a very good way and still unique enough circumstances to work.Also Flip, of all people, donates the cans needed to finish the can drive.. granted i’m not sure if they WANT any of that meat, but hey, he meant well and it made me really like the character. We get a heartwearming duet between hector and luna and sono the whole family and we’re out.

Final Thoughts: This was disapointing. I’ve listed most of my complaints already, but overall it wasted a good premise of two families coming together, and even the feud parts could’ve been funnier. As it is it’s just.. ehhhhhhhhhh. It has some good parts, and bobby is an angel here on earth as always. But the whole just feels padded. Like this was SUPPOSED to just be 11 minutes, got bumped up, and thus here we are. It’s not the worst Loud House has done, i’ve seen and heard of muccch worse, but for a holiday special it just feels stale and i’ve seen way better thanksgiving specials. And i’ll be getting to that. If there’s an episode of a cartoon you’d like me to cover, just pop in my ask box or dms and you can comission a review for 5 bucks a piece. Discounts on bulk, 15 for movies. Until then , happy thanksgiving.

#the loud house #the casagrandes #the loudest thanksgiving #bobby santiago #lori loud #flip #thanksgiving #i'm .. i'm not tagging everyone #there were two fullf amilies involved andi 'm tired #reviews

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pennypeabody · 4 years

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Mädchen Amick teases Riverdale directorial debut, and what she learned from David Lynch

Mädchen Amick wasn't planning to direct the Riverdale season 4 finale. But when the coronavirus pandemic halted production across the world, her directorial debut on the CW series moved into the coveted spot.

"You want it to be exciting and climactic and really building its energy, so I wanted to honor that," the actress tells EW of her fateful episode. "There was a little extra pressure."

Amick has been directing since 2015, beginning with one of her daughter Mina Tobias' music videos. And while Riverdale has kept her busy playing Alice Cooper, the uptight, haunted mother of Betty (Lili Reinhart), since 2017, she has long dreamed of stepping behind the camera as well.

She finally got her shot for "Killing Mr. Honey," which was originally intended as the 19th installment of the 22-episode season. Now it will have to stand as the conclusion — and Amick warns that it ends on a cliffhanger.

In the photos above and below, EW has an exclusive behind-the-scenes look at Amick's directing days on Riverdale. And ahead of the episode's May 6 airing, we called up Amick to discuss her experiences calling the shots, what it was like pulling double duty, and how working with David Lynch early in her career inspired her as an auteur.

ENTERTAINMENT WEEKLY: How long have you had an itch to direct, and how did this episode come about?

MÄDCHEN AMICK: I moved to L.A. at 16, and got Twin Peaks at 17. I would say around my mid-20s, I had it in the back of my mind that I wanted to be more than just an actress and be a storyteller, but so many things in my career made me busy and made me feel like, "Oh, I don’t have time to step behind the camera. I have to keep busy and focused on staying in front of the camera." This was in the mid-'90s, and there were a few female directors — one in particular was Diane Keaton on the original Twin Peaks — that showed me there are women doing this, but [now] there’s a little bit of this movement to get more diversity behind the camera that I benefitted from. I have to give credit to my husband and my daughter. She asked me to direct her music video, and I was honored and jumped right in. I’ve done a few music videos. I’ve directed and produced a docuseries pilot. At the beginning of Riverdale when I did that first thing, I’d started asking around and asking [creator Roberto Aguirre-Sacasa] and [producers] Sarah Schechter and Greg Berlanti. I said, "Hey, guys, I really would love to direct an episode." They were super-supportive and excited. So it was this season that Roberto said, "You want to direct this season?" And I was like, "Yes!"

Riverdale has a very specific, highly stylized aesthetic. Did that make directing easier or harder, especially when it comes to putting your own stamp on the episode?

It was easy for me. I know the show so well, inside and out. I really enjoy the storytelling and the filmmaking part of it. So I know what Roberto likes, as far as the way he likes the story to be told and unfold. That was a great template that was already in place, and I wanted to honor that. Then, I just wanted to elevate it as much as I could and get as strong as performances out of all my fellow actors, which they were great and supportive. And just push the visual boundaries as much as possible. Presenting new ways to shoot scenes, but still staying within the world and the visual look to it, and just hoping that Roberto loved it.

I remember Roberto and I had a conversation: It might’ve been season 2 or season 3, but there was an episode and he said it didn’t feel very inspired. That really gave me an insight into [that] he really wants directors to come on board and love the show and be excited about the show, and then bring an inspirational take to it. That made me feel I had a little bit of freedom to run with it, and he didn’t want a cookie cutter, just make everything the same. It was nice to hear he wanted something that was inspired.

When you directed the episode, it wasn’t meant to be the season finale, but now it is. Is that exciting? Nerve-racking?

Since it's [episode] 19 of 22, you are getting to the end, so there’s usually a lot of climactic things happening. That’s a lot of responsibility, just because I want to get it right. I know we’re getting toward the end, and those last few are really important to start tying up loose ends or building to a cliffhanger. You want it to be exciting and climactic and really building its energy, so I wanted to honor that. There was a little extra pressure.

Did it lead to any last-minute adjustments or changes in the storytelling?

The episode that I shot was the last episode that we completed as far as filming. We were halfway through 20 when production stopped, so I was editing when production stopped. At that point, we didn’t really know that the season would be done. It was a little bit of a holding pattern of, "Are we just pausing and we’ll get back to it, or will our season end a little short?" Now knowing my episode will serve as the finale for this season, obviously we’ll pick up back up next season. They’ll have to adjust some storytelling with what they had planned at the end of this season. As far as my episode, it pretty much stayed intact the way it was written. There was a new layer that came into the story that now serves as an interesting cliffhanger.

You also appear as Alice throughout the episode. What was it like having to pull double duty?

I’m not gonna lie, it was a huge challenge. My brain was so much behind the camera that it was hard for me to switch over to being in character. I could easily slip into Alice, but I could not remember my lines, and I’m usually really good at that. I was really struggling. In one scene in particular, there’s a big confrontation that Alice has with Mr. Honey and she drives the whole scene with all of the parents, and I could not remember it, to the point where my fellow actors were whispering the lines to me to try to help me get through it. Man, it was rough. I know I’ll continue to get better with that with practice, but my brain was not in that space at all. I was full-on thinking of shots and directing my other actors, so it was a big challenge.

This episode is going to have to hold us over for a while; what can you tease about it? Would you say it’s a satisfactory end to the season?

The whole theme of the episode is the big confrontation between the kids and their awful Principal Honey, who’s just been tormenting them the whole season. So lots of really, really fun stuff. There’s a mixture of some fantasy of what they want to do to Mr. Honey and some reality of what ends up happening to Mr. Honey. So that’s the big tease.

The back half of the season angered so many Varchie and Bughead fans, and it doesn’t seem like the same instant regret Archie and Betty have had over previous kisses. What can you say about where those relationships and feelings are headed? Might Riverdale be exploding some of its most beloved relationships?

[Laughs] Why? Why were they upset? No, but don’t they always teeter on that? I think Roberto loves to torture the fans, quite frankly. That’s the fun dynamic, and that is what’s classic to the Archie Comics, is you have this love triangle that’s always been between Archie, Betty, Veronica, and now we’ve thrown in Jughead into the mix. It’s complicated, but we’ll see what ends up happening at the end of senior year and where relationships really go. I know the plan for the next season is we were going to jump forward in time and see where everybody had landed, but I don’t know if that’s gonna adjust now that our season changed a bit.

Both Skeet Ulrich and Marisol Nichols had announced they were leaving at the end of this season, leaving you as the only original Riverdale parent left standing. Now that filming has ended early, does that alter their plans? Will we get any hint of where F.P. and Hermione were originally headed?

As far as the episode I directed, there wasn’t really anything different happening for their characters. It was the same story line going on. But with technically three more episodes they had planned, I’m assuming they had plans. I also know Roberto really loves Skeet and Marisol, and he told me he hopes their characters can come and go from the show depending on everyone’s availability. It’s always funny whenever some of our characters die on the show, it’s like, "Oh, well that guarantees you’ll be on more often." Nobody’s ever really gone on Riverdale.

Does it feel weird to know Alice was going to be the last one left? And what might that mean for her going forward? She seems so happy with FP, it’s really sad to imagine that ending.

I know! They were finally doing good. I don’t know what Roberto has planned, but yeah, poor Alice. She’s really going to be alone now. Maybe she’ll just be ruling the town, who knows? Maybe we need to start a new campaign, Mayor Alice. Obviously not until next year, but just even thinking about coming back next season and having all my O.G. homies not around on a consistent basis, it’s definitely going to be really sad. I’m absolutely going to miss them, but I know that won’t end our friendship.

Earlier in the season, we had evidence Chic and Charles are working together. Will we see any answers there, and what might it mean for Alice to discover her long-lost son has betrayed her once again?

We hadn’t gotten into that for my episode. I think that was in the next few, so she hasn’t experienced the betrayal yet. I know she’s really resilient, but there’s been a lot of betrayal in this woman’s life. I think Alice is going to need some therapy next season.

And not of the Farm variety.

Real, good old-fashioned traditional therapy.

We were setting up for high school graduation to round out this season, and the characters going off to college or other futures. Will we ever get some taste of graduation, and have you any hint of where the kids will end up next year?

No, I don’t. I know the idea was we were going to jump forward in time a little bit to see what they had done. I’m assuming something brings them back to the town of Riverdale.

Can you point to moment or visual choice that you felt defined your identity or artistic choices?

Jughead and Betty have a fantasy going about what they would do to Mr. Honey, and so Betty’s revenge fantasy inspires Jughead to write an essay for college submissions. We get to go into and reenact Jughead’s fantasies and his writing. I wanted to push the envelope in those scenes. You don’t want to go too far out of the way where you’re totally getting rid of reality, but I wanted to visually have some fun with breaking the rules of what you’re supposed to do with shots and how you edit them together. Jughead is all about classic storytelling, so my inspiration was Alfred Hitchcock and Citizen Kane and that kind of stuff. We did a lot of twisted shots and shots that moved in weird [ways], very Vertigo- or Citizen Kane-inspired.

How much were you influenced by the visual artistry of working with David Lynch so early in your career?

He was my mentor from the very beginning. I didn’t really know too much about filmmaking until I worked on Twin Peaks with him. He showed me you think outside the box and do things that feel and look right to you. It wasn’t until I went into the business after Twin Peaks that I realized how different and what an innovator he was. That’s always been in there as my base, to just not be afraid of taking risks. He sent me a really beautiful email my first day of directing, and just reminding me to make sure I did every single thing I want in every single shot, and to have fun.

#mädchen amick #falice #bughead #riverdale #varchie #riverdale season 4 #4x19 #director Mädchen #skeet Ulrich #fp jones #Alice Smith

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blue-politics-reblogs · 3 years

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"A New York Times examination of the 77 democracy-bending days between election and inauguration shows how, with conspiratorial belief rife in a country ravaged by pandemic, a lie that [t]rump had been grooming for years finally overwhelmed the Republican Party and, as brake after brake fell away, was propelled forward by new and more radical lawyers, political organizers, financiers and the surround-sound right-wing media."

- "As [t]rump’s official election campaign wound down, a new, highly organized campaign stepped into the breach to turn his demagogic fury into a movement of its own, reminding key lawmakers at key times of the cost of denying the will of the president and his followers. Called Women for America First, it had ties to [t]rump and former White House aides then seeking presidential pardons, among them Stephen K. Bannon and Michael T. Flynn.

"As it crossed the country spreading the new gospel of a stolen election in [t]rump-red buses, the group helped build an acutely [t]rumpian coalition that included sitting and incoming members of Congress, rank-and-file voters and the 'de-platformed' extremists and conspiracy theorists promoted on its home page — including the white nationalist Jared Taylor, prominent QAnon proponents and the Proud Boys leader Enrique Tarrio.

"With each passing day the lie grew, finally managing to do what the political process and the courts would not: upend the peaceful transfer of power that for 224 years had been the bedrock of American democracy.

- "For every lawyer on [t]rump’s team who quietly pulled back, there was one ready to push forward with propagandistic suits that skated the lines of legal ethics and reason. That included not only Mr. Giuliani and lawyers like Sidney Powell and Lin Wood, but also the vast majority of Republican attorneys general, whose dead-on-arrival Supreme Court lawsuit seeking to discount 20 million votes was secretly drafted by lawyers close to the White House, The Times found.

- McConnell attempted one of his sly long games, "under a false impression that [trump] was only blustering, the officials said. Mr. McConnell had had multiple conversations with the White House chief of staff, Mark Meadows, and the senator’s top political adviser, Josh Holmes, had spoken with Mr. Kushner, [trump’s] son-in-law and senior adviser. Both West Wing officials had conveyed the same message: They would pursue all potential avenues but recognized that they might come up short. [t]rump would eventually bow to reality and accept defeat.

"The [then] majority leader rendered his verdict on Nov. 9, during remarks at the first postelection Senate session. Even as he celebrated Republican victories in the Senate and the House — which in party talking points somehow escaped the pervasive fraud that cast Mr. Biden’s victory in doubt — Mr. McConnell said, '[t]rump is 100 percent within his rights to look into allegations of irregularities and weigh his legal options.' He added, 'A few legal inquiries from the president do not exactly spell the end of the republic.'

- "Lindsey Graham of South Carolina, then the Judiciary Committee chairman, went on Sean Hannity’s program to share an affidavit from a postal worker in Erie, Pa., who said he had overheard supervisors discussing illegally backdating postmarks on ballots that had arrived too late to be counted. He had forwarded it to the Federal Bureau of Investigation.

"'They can all go to hell as far as I’m concerned — I’ve had it with these people. Let’s fight back,' Mr. Graham said. 'We lose elections because they cheat us.'

"Earlier that day, however, the postal worker had recanted his statement in an interview with federal investigators — even though he continued to push his story online afterward. His affidavit, it turned out, had been written with the assistance of the conservative media group Project Veritas, known for its deceptive tactics and ambush videos.

- "[W]ith the White House counsel, Pat A. Cipollone, backing him, Mr. Barr told [trump] that he could not manufacture evidence and that his department would have no role in challenging states’ results, said a former senior official with knowledge about the meeting, a version of which was first reported by Axios. The allegations about manipulated voting machines were ridiculously false, he added; the lawyers propagating them, led by Mr. Giuliani, were 'clowns.'

- "The [Paxton] lawsuit was audacious in its scope. It claimed that, without their legislatures’ approval, Georgia, Michigan, Pennsylvania and Wisconsin had made unconstitutional last-minute election-law changes, helping create the conditions for widespread fraud. Citing a litany of convoluted and speculative allegations — including one involving Dominion voting machines — it asked the court to shift the selection of their Electoral College delegates to their legislatures, effectively nullifying 20 million votes.

"Condemnation, some of it from conservative legal experts, rained down.

..."One lawyer knowledgeable about the planning, speaking on the condition of anonymity, said: 'There was no plausible chance the court will take this up. It was really disgraceful to put this in front of justices of the Supreme Court.'

"Even the Republican attorney general of Georgia, Chris Carr, said it was 'constitutionally, legally and factually wrong.'

"That prompted a call from [trump], who warned Mr. Carr not to interfere, an aide to the attorney general confirmed. The pressure campaign was on.

- "The next day, Dec. 9, Representative Mike Johnson of Louisiana sent an email to his colleagues with the subject line, 'Time-sensitive request from [t]rump.' The congressman was putting together an amicus brief in support of the Texas suit; [t]rump, he wrote, 'specifically asked me to contact all Republican Members of the House and Senate today and request that all join.' [trump], he noted, was keeping score: 'He said he will be anxiously awaiting the final list to review.'

- "Some 126 Republican House members, including the caucus leader, Mr. McCarthy, signed on to the brief, which was followed by a separate brief from [trump] himself. 'This is the big one. Our Country needs a victory!' [t]rump tweeted. Privately, he asked Senator Ted Cruz of Texas to argue the case.

- "On Dec. 11, the court declined to hear the case, ruling that Texas had no right to challenge other states’ votes.

"If the highest court in the land couldn’t do it, there had to be some other way.

- "And so they came the next day, by the thousands, to a long-planned rally in Washington, filling Freedom Plaza with red MAGA caps and [t]rump and QAnon flags, vowing to carry on. [trump’s] legal campaign to subvert the election might have been unraveling, but their most trusted sources of information were glossing over the cascading losses, portraying as irrefutable the evidence of rampant fraud.

"'The justice system has a purpose in our country, but the courts do not decide who the next president of the United States of America will be,' the freshly pardoned former national security adviser, Mr. Flynn, told the crowd. 'We the people decide.'

"There was encouragement from figures like Marjorie Taylor Greene, the conspiracy theorist just elected to Congress from Georgia, and Senator Marsha Blackburn of Tennessee, beamed in on a giant video screen.

"'Hey there, all of you happy warrior freedom fighters,' Ms. Blackburn said. 'We’re glad you’re there standing up for the Constitution, for liberty, for justice.'

- "The rally had been planned by Women for America First, which was quietly becoming the closest thing [t]rump had to a political organizing force, gathering his aggrieved supporters behind the lie of a stolen election.

"The group’s founder, Amy Kremer, had been one of the original Tea Party organizers, building the movement through cross-country bus tours. She had been among the earliest [t]rump supporters, forming a group called Women Vote Trump along with Ann Stone, ex-wife of the longtime [t]rump adviser Roger Stone.

- "'What we do now is we take note of the people who betrayed [t]rump in Congress and we get them out of Congress...We’re going to make the Tea Party look tiny in comparison.'"

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purplesurveys · 3 years

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[created by: pinkchocolate]

When was the last time you were surprised, in a pleasant way? Wednesday when Bea had food delivered to my house. One of our clients was hosting a roundtable session and our task was to order food to be delivered to the attendees’ house, and it turns out she snuck in an order for me as well.

It was super touching and I tried to do a nice deed yesterday by getting food for her as well; but as I mentioned on my previous survey, I got paired with a scammer delivery guy instead who ended up stealing my order...that I already paid for... :( It was such a flop and I ended up having to give away the surprise to Bea since I had to check if she received it, and that’s when I learned she never got anything. I’ll try again next week or whenever I get my money refunded, hahaha.

What color was the last fruit or vegetable that you ate? Green (green onion).

Is there a compliment you've received, that sticks in your mind? I like it whenever I’m told I write well, since that’s my main talent and it’s always nice to be complimented on my skills.

The last time you received a gift, what did the wrapping paper look like? I have no idea but probably red/green and holiday-themed since it most likely had been a Christmas gift.

What was the last book you read? Did you enjoy it? Not reading anything.

If so, what did you specifically like about it?

Anyone you haven't talked to in a while, that you'd like to hear from? Not really. It’d be cool to hang out with Sofie again because I haven’t seen her since our little trip to Nasugbu, but I’m not necessarily waiting on a message from them.

When you were a kid, did you own any accessories with your name on? Probably a bracelet.

Do you own any items of clothing that you haven't yet worn? Yup. I got a yellow romper from one of my aunts for Christmas, but I haven’t had the chance to wear it yet. It’s short and airy, so I’ll probably pull it out once the climate gets warmer again.

Were you awake before 8am today? Yeah, I got up at 4:30 earlier even though I fell asleep at like midnight. I think my body understands that my brain wants me to get as little sleep as possible during weekends so I can maximize my free time, so it woke me up by then.

Is there any food in your house at the moment, that you're looking forward to eating? I still have some of the chicken wings that Bea ordered for me. She got such a huge order and it’s taking me forever to finish the damn box of wings lol.

Is there anyone you know who dislikes the Internet, technology etc.? My grandma refuses to learn how to use a phone or laptop. Which confuses me because usually she’ll ask my mom to relay a message to one of her friends who are on Facebook, and my mom ends up playing messenger. Like pls just get at least a Facebook account if you want to keep keeping in touch with your acquaintances anyway :(((

Name any item in your bedroom that is blue. Trying to remember what’s in my room since I’m currently staying in the living room...and I think I have push pins that are blue.

Is there an ice-cream flavor that you strongly dislike? Which one? Rocky road and Double Dutch. Marshmallows and/or nuts in my ice cream is a big nope.

Are there any cat cafes in your hometown? There could be but I’ve heard little of them. I’m more aware of existing dog cafes.

Do you own any books with an image of a cat on the front cover? I doubt it.

Does anything you own have an image of a bird on it? It’s possible, but again I’m not in my room to check if that’s the case.

Do you know anyone named Abigail? Yes, my mom.

Do you ever use flavored lip balms? I don’t use lip balms at all.

^ If you do, what flavors do you like the most? Kate once had a peanut butter lip scrub that I loooooved to borrow. Other than that, the strawberry ones are nice too.

Does anyone you know own a spaniel? How about an Irish setter? My great-aunt once had a spaniel. Not sure about Irish setters.

What are your plans for the remainder of today? I wanna eat at La Creperie and spoil myself a litle bit, but we’ll see if I’ll have the energy to drive to the mall today. I’ll also have some work to do since we have a presentation on Monday :(

[created by: pinkchocolate]

Have you met somebody that you want to spend the rest of your life with? Yeah, ideally that would’ve been the case but they thought differently. I admittedly still feel the same, but I’ve also since been able to move on and move forward. If that makes sense.

Who was your closest friend when you were 7 years old? Do you still speak to that person? I actually met Angela when we were 7. And yes, we’re still the best of friends. I just shot a birthday greeting video for her mom last night.

Who was the last male you talked to? Does he have facial hair? Technically it was Cooper, but the last male person had been my dad. He does but for the most part he keeps it to a stubble.

How many times does the letter 'R' occur in your full name? Twice; in my first name and in my surname.

Is there anyone you love, whose name starts with 'S'? Sure, I can think of a couple of relatives whose names start with S.

What color is your TV remote? I haven’t used a remote in ages lmao, but if I remember correctly ours is mainly black.

When was the last time you went to a wedding? Who got married? 2007. My uncle and his then-girlfriend, who of course became my aunt when they wed. We’ve since had relatives who got married after that period, but for all those occasions only my parents received an invitation. It’s understandable though, I know they want to save up on costs and stuff.

Name a band you like, that starts with the 2nd letter of your name. One Direction is the only group coming to mind.

Have you ever dressed up as a Disney character? Which one? My 7th birthday gown was inspired by Cinderella’s, but it wasn’t the same exact dress as it was orange.

Have you ever played chess? If so, are you good at it? No. I’ve never been able to understand the rules.

If I wanted to buy you a chocolate bar, what kind should I NOT get? Mr. Goodbar has always been the least exciting chocolate to get hahaha.

Of all your close friends, who have you known the longest? Angela.

Do you own anything that has an image of a butterfly on it? Again, I could. I can’t think of any particular item, though.

Has anyone told you recently that they miss you? Yes, orgmates for the most part.

What was the last song you heard, that made you feel emotional? HYD by Hayley Williams.

What color are the socks you're currently wearing? I’m not wearing any socks right now. < Me neither.

How many friends do you have whose name starts with the letter 'R'? Just Rita.

How many vowels are there in your first name? One. Two if you count y.

When was the last time you took a selfie? Last Saturday, I think.

Name someone you know who has curly hair. Andi.

Have you ever worn orange eye-shadow? Never tried.

Name a song that reminds you of someone close to you. Be Alright by Dean Lewis.

Has anyone ever walked out of your life with no explanation? Yeah but they tried very poorly to keep in touch. It ended up being detrimental to me more than anything else so I took the initiative to be one step ahead and cut ties altogether.

Do you know anyone else with the same first name as you? I can think of one Robyn and one Robin.

Think back to 10 years ago. What TV show(s) were you into? Wrestling programs were all I watched as a 13 year old.

Do you have a favorite T-shirt? What color is it? Yes, one of my wrestling shirts. It’s predominantly white but it has some black and red on it as well.

As a child, did you ever have any scented gel pens or markers? Yessssssss. I spent more time sniffing them than writing with them too, lol.

Name an alcoholic beverage that you dislike. I find whiskey pretty nasty. I hate beer as well but sometimes I gotta drink it, especially when socializing.

Do you own anything that previously belonged to someone else? I wouldn’t say I own them; they do belong to the original owner and I’m just still borrowing them.

Who is the 8th contact in your phone? How did you meet them? That would be Angela haha; we met when we got assigned to be seatmates in 1st grade since our surnames were arranged alphabetically in class.

Is there anyone who sends you messages to say good morning/night? No.

Can you recall the last time you were on a dance floor? March 2020, at a club with mostly Hans’s friends.

Have you ever let someone go, and then regretted it? No.

Do you own any color changing mood jewelry? Nope and I don’t believe in those either so I don’t see a reason why I should get my own.

[created by: pinkchocolate]

Was there anything that you planned to do today, but didn't? It’s only 7:06 AM so I’ll refer to my plans yesterday instead – I wanted to continue working on a Google Slides presentation by nighttime, but I was so tired from my shift yesterday and even got a migraine that I never got around to it. I’ll have to work on it this weekend instead.

Is there anyone you interact with often on social media but not in person? I mean, hasn’t this been the case over the last year with the pandemic? I communicate mainly through social media now, if not through IM apps like Viber.

What color box does your favorite cereal come in? Don’t really like cereal. The closest thing I have to a ‘favorite,’ Cookie Crisps, comes in a white box, though.

Do you have any plates, dishes, mugs etc. with pretty illustrations on them? Nah, don’t really like printed stuff. Angela had a customized Friends-themed mug made for me but I wouldn’t call it an ~illustration, since the main design is just my name styled in the Friends logo.

Does anywhere on your body currently hurt, or feel sore? I actually took a break from this survey to take Cooper for a walk, and I think I can confirm that I definitely have some kind of allergy to grass. My legs were super irritated the whole time and my skin has since turned reddish.

What is your favorite snack to eat with a hot beverage? Croissants.

Is there any advice you have been given, that sticks in your mind? “Let your healing take time,” from Andi. He also accompanied it the advice with an anecdote about this basketball player who insisted on playing even while he was still dealing with an injury, and playing only aggravated that injury so he was forced to sit out for an even longer time than what was initially set for him. That was really helpful and I keep it close to me to this day.

What's the nicest advice you have ever been given about love/relationships? Know when it’s enough and when to leave, and be kind to yourself.

Do you own any adult coloring books? What kind(s) do you like? Yeah, I have like three thick ones. I just haven’t gotten the chance to touch them because for the meantime I only have cheap coloring pencils that start to get dull after a few strokes. I’ve yet to buy a more premium set of pencils.

When was the last time you got some new headphones? Headphones would be 2013 when my dad got me a pair of Beats. Not a big user so I haven’t felt the need to get new ones.

Is there a lamp in your living room? What color is its shade? No but my mom has wanting to get one for a while. She just can’t seem to find one that she likes.

Do you know anyone whose name starts with the letter X? I went to high school with a Xenia. Super nice guy; we were close friends for a while since we were seatmates, and our friend groups also overlapped.

Have you eaten any rice or pasta today? Not yet. I will definitely be eating rice though, because Philippines.

Name a food that you dislike the texture of. I don’t like rice pudding at all, or oatmeal. But those are also taste issues as well as texture issues. < Oooh, oatmeal is a good one. I also could never enjoy marshmallows in my ice cream.

Which of your friends do you confide in the most? Angela.

Have you ever fallen out of love with someone? I wouldn’t say that. There will still always be a part of me that has some sort of feelings for my exes. But the extent to which I love them/care about them fades over time, thankfully. < Yeah, exactly.

^ If so, why do you think that happened?

If you have pets, do you talk to them? Sure.

Are there any TV shows that you strongly dislike, but others seem to love? I tried to get into Grey’s Anatomy or Glee on Netflix, because they were “popular”, but I tried a few episodes, and just couldn’t seem to get into them. < OMG same again, especially with Grey’s??? I tried watching it a couple of weeks ago but I noped out as soon as I heard how poppish the theme song was. I’ve always thought it was a serious drama show but it turned out to have so many teen show elements to it that I was definitely taken aback. The script and some of the acting also kind of sucked, so that was a letdown.

Is there anything you haven't done lately, that you'd like to do soon? Coloring.

Do you own any T-shirts with brand logos on them? Yes, my dad got me a Vegemite shirt from his last contract abroad hahah. He was staying in Australia and I asked him to get a jar of Vegemite so I can finally have a taste, but I think he was scared that I’d hate it and end up throwing out the whole jar so he just got me a shirt instead lol. I’ve also got a Nike shirt somewhere in my closet.

Have you experienced any kind of food cravings lately? Surprisingly not. I’ve been longing to eat at La Creperie again but I’m not craving for anything particular.

Have you watched or read the news today? I watch the news every weeknight since we have it on during dinner.

Describe the cover illustration of the book closest to you. Can’t see any books near me.

Are there any take-away or fast food places close to your house? There’s a McDonald’s literally beside our village, and beside it are a Shakey’s and a Dunkin’ Donuts. There’s also a Burger King right across. If you drive for like five more seconds, there’ll also be a Starbucks.

^ If so, do you ever order food from any of them? Only from Starbucks. I don’t really get fast food anymore.

Is there anything happening tomorrow, that you're looking forward to? Nothing yet so far.

#survey #surveys

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