#this was such an iconic moment in gg history
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I’LL NEVER WEAR COMFORTABLE SHOES AGAIN!!
(Here’s the clip: ref, spoiler warning for danganronpa 2)
#junkart#hajime hinata#danganronpa#game grumps#danganronpa 2#danganronpa goodbye despair#goodbye despair#arin hanson#dan avidan#my art#this was such an iconic moment in gg history#danganronpa spoilers
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I want to know you bettah. A favourite character and ship for each Digiseason
Funny, Anon!!!!!! ~~~~~ I don’t really have defined opinions on the series that come after the first four, with the exception of Appmon and Ghost Game. So, sorry if I will skip those other three!
Adventure 01
• Mimi: My princess💕. Along with Katara from ATLA, she’s my own definition of what a girl character should be written like, but I don’t think you want to read long explanations😂.
• Michi: Mimi was a second mc by Taichi’s side. I feel like she had a mirror role in comparison with Taichi’s, as if she’s some sort of girl icon for the franchise. I don’t know how to explain it, but she has got so much presence in the anime, in the merch, in posters; she is voiced by AIM which allowed her to have her own ending, and somehow it feels like this fact makes her omnipresent in the history of the Digimon anime. Wishful thinking, but I like them together because of so many other reasons. THEY JUST CLICK SO WELL.
-Adventure 02
•Miyako: I know I know, she’s not that jewel of character when it comes to her writing, bur her concept has always intrigued me even when I didn’t know Digimon that well. She’s funny, clever, she’s connected with Mimi, she’s also got such a cute design ngl. Can I say she’s my favourite because of these shallow reasons? I think I will find many others when I rewatch 02.
• Daiyako: MY GUILTY PLEASURE. They’re so precious in each other’s regards, always being in the middle of teasing sessions but eventually showing to care about each other so much ? They can work platonically too, and I love pairings that are amazing both platonically and romantically.
-Tamers
KINDA HARD, I will admit it. I like the characters from Tamers but I don’t feel that connected to them. I used to have a huge adoration for Jenrya but it faded somehow. I like Ruki and Hirokazu but not that excessively. I relate to Juri sometimes but she has got so many moments that make me cringe out. It’s … A complex relationship…
• Takato: Again, I’m not THAT attached to him but he is a huge cinnamoroll and a great new beginning for the franchise. I like he’s so ordinary and creative, because…I can relate🤣. And I admit people often call me a girl Takato, sooooo🤣. Like you can see, I don’t have anything to say ahahahha.
• Rukato: MY BBIES, my bbies who are so pleasant at the sight too, thanks to their matching palettes. I confess I come from being a huge Jenruki shipper. Then, I’ve grown bored of those two and I’ve started getting so attracted by Ryouki and Rukato, but the latter eventually won especially because of Runaway Locomon. How could I keep myself from shipping those two after that film? I know there’s Jurato, but the future dramas made me dislike the way things develop…
-Frontier
• Junpei: my only prince son💕
• Junzumi.
.
SHOULD I REALLY SAY SOMETHING, C’MON🤣💕💕💕💕💕
- Appmon
• Eri: I like how she finally brought back a kind of digigirl who could be considered a real character with an interesting story, a nice and quirky personality, meaningful relationships. I had got tired of so many sexualized and pretty uninspiring digigirls (starting from Frontier era SIGH).
Eeeeh I don’t know. I liked Eri and Torajirou but I’ve discovered he’s 11 and she’s 14, so ehmmmmm. Even if the anime pushed it a bit, maybe it’s not the case to ship them ahaha.
I’ll go with • Haru x Yuujin because they are a parallel Jurato✨.
-Ghost Game
• Emma: I KNOW SHE IS NOT PART OF THE TRIO AND SHE APPEARED FOR LESS THAN AN EPISODE, but she ensnared me and makes me salty whenever I see her, because she would have been a perfect four member. Leave me alone, I need to cry and mope.
• Ruri x Kiyoshiro: The total flop this shipping was because in GG the kids had 0 interesting interactions and I want to cry again, because why is that anime so unfair. Still, I ship them, I don’t care. Ruri had her small teasing moments with Kiyoshiro and their personalities CLASH. Idk Ruri would take him to the worst night trips in forests, parks and he would tag along because Jellymon’s and Ruri’s personalities are so perfectly aligned!
Thank you for the ask!💕
#digimon adventure 01#digimon adventure 02#digimon tamers#digimon frontier#digimon ghost game#appmon#ehhhhh#all the tags help#mimi#michi#miyako#daiyako#takato#rukato#junpei#junzumi#eri#haru x yuujin#emma#rurikiyo#asks
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Unveiling the Timeless Elegance: A Guide to Luxurious Bags
Indulging in the world of fashion and sophistication, one cannot overlook the allure of luxurious bags. These exquisite accessories not only serve as functional pieces but also symbolize status, elegance, and craftsmanship. From classic designs to avant-garde creations, luxury bags encapsulate the epitome of style and opulence. In this comprehensive guide, we delve into the realm of Taste the luxe, luxury bags, exploring their history, iconic styles, and timeless appeal.
Check out - https://tastetheluxe.com/
Exploring the Origins of Luxury Bags
A Glimpse into History
Luxury bags have a rich and storied history dating back centuries. Their evolution can be traced through various civilizations, each contributing to the development of distinct styles and techniques. From the intricate leatherwork of ancient Egypt to the embroidered silk pouches of Imperial China, the concept of luxury bags has transcended time and culture.
Iconic Brands and Their Signature Styles
Heritage Houses: A Legacy of Excellence
Gucci: Renowned for its interlocking GG logo and iconic horsebit detailing, Gucci has solidified its position as a symbol of Italian luxury.
Louis Vuitton: With its distinctive monogram canvas and timeless designs, Louis Vuitton continues to captivate fashion enthusiasts worldwide.
Chanel: Synonymous with timeless elegance, Chanel's quilted patterns and interlocking C's have become emblematic of sophistication and style.
Emerging Designers: Pushing the Boundaries
Bottega Veneta: Celebrated for its artisanal craftsmanship and understated luxury, Bottega Veneta's intrecciato weave has become synonymous with modern sophistication.
Balenciaga: Pushing the boundaries of traditional design, Balenciaga's avant-garde aesthetic and bold silhouettes redefine contemporary luxury.
Celine: Exuding minimalist elegance, Celine's clean lines and impeccable craftsmanship appeal to the discerning modern woman.
The Anatomy of a Luxury Bag
Craftsmanship and Materials
Crafted with precision and attention to detail, luxury bags are a testament to the skill of master artisans. From the finest leathers sourced from renowned tanneries to exquisite hardware meticulously crafted in workshops, every element is carefully selected to ensure unparalleled quality and durability.
Design and Functionality
While aesthetics play a significant role in luxury bag design, functionality remains paramount. Thoughtfully designed interiors with multiple compartments, secure closures, and adjustable straps ensure that these bags not only elevate your style but also cater to your practical needs.
Investment Value and Sustainability
A Wise Investment
Beyond their aesthetic appeal, luxury bags also hold significant investment value. With careful maintenance and proper storage, these timeless pieces can appreciate in worth over time, making them a lucrative investment for collectors and enthusiasts alike.
Sustainable Luxury
In an era of increasing environmental consciousness, many luxury brands are embracing sustainability in their production processes. From ethically sourced materials to eco-friendly manufacturing practices, these initiatives aim to reduce the industry's environmental footprint while maintaining the highest standards of quality and craftsmanship.
The Psychology of Luxury
Status Symbol or Personal Expression?
For some, owning a luxury bag is synonymous with social status and prestige. However, for others, it represents a form of self-expression and individuality. Whether it's a classic quilted Chanel or a contemporary statement piece from Balenciaga, the choice of a luxury bag reflects one's personality, taste, and lifestyle.
The Experience of Luxury
Beyond the tangible aspects of craftsmanship and design, luxury is also about the intangible experience it provides. From the anticipation of acquiring a coveted piece to the pride of ownership, the journey of owning a luxury bag is filled with moments of joy, satisfaction, and appreciation for exquisite beauty.
Conclusion: Elevate Your Style with Timeless Elegance
In a world where trends come and go, luxury bags stand the test of time as enduring symbols of elegance and refinement. Whether you're drawn to the classic allure of heritage brands or the avant-garde designs of emerging designers, investing in a luxury bag is more than just a fashion statement – it's a celebration of craftsmanship, artistry, and the pursuit of beauty. So go ahead, Taste the luxe, luxury bags, and elevate your style with a touch of timeless elegance.
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Bag/GUCCI
Miley Cyrus Accepts Grammy With Her Gucci Bamboo 1947 Bag in Hand
It was a night of firsts at the 66th Annual GRAMMY Awards, which took place on Sunday in Los Angeles. Miley Cyrus, who wore a full Gucci look, had her first win, taking home not one but two awards.
It was also the first time a Gucci bag made its way onto the GRAMMY stage.
Cyrus, who took home the GRAMMY for both Best Solo Pop Performace and Record of the Year, accepted her award for the latter with a Gucci Bamboo 1947 bag in hand—the finishing touch to her stunning custom chocolate brown sequin dress, which she paired with Gucci Signoria pumps and a tonal feather boa.
A Pop Culture Moment
Gucci Bamboo is one of the most recognizable elements of modern handbag history. Few techniques are as innovative and celebrated as the curved handles of Gucci Bamboo. The patented method of creation was developed in 1947 by Gucci craftsmen who realized there was a specific process to heat and bend bamboo in such a way that it would retain its shape once cooled.
One of the most important bamboo shapes from the house remains to be the original (and now iconic) Gucci Bamboo 1947 top handle. Reveled for its timelessness, the Gucci Bamboo 1947 offers a touch of classic with a modern appeal.
Decades after it was first introduced, the bag has already made its way into fashion history. Now, it’s making its way into pop culture history with Miley Cyrus’ unprecedented on-stage moment.
Gucci Bamboo: an Iconic History
While today Gucci is one of the world’s most stylish and coveted luxury brands, at its core, the House is rooted in the pride of its craft. Tuscan artisans have been crafting Gucci Bamboo since 1947 when Gucci craftsmen developed a patented method to heat and bend bamboo in such a way that it would retain its shape once cooled. Gucci artisans have been meticulously crafting the iconic bamboo handles for generations, making a Gucci Bamboo bag one of the most timeless bags a handbag lover can buy.
Gucci Aria
And with Gucci Aria, bamboo, a material that speaks to the innovative spirit of Gucci’s heritage, is revived and reinvigorated from Michele’s perspective. There’s, of course, the newly re-launched Diana bag, but if you want a bag that’s a bit more classic, you can opt for the Small Top Handle Bag, which appears in stunning colors and patterns. There’s this bright, bold green, which is my personal favorite, and for the logo lovers, there’s this jumbo GG logo option. A detachable Gucci Web strap adds another pop of heritage while also allowing the bags to be worn on the shoulder. Classic, yet contemporary at the same time, and designed to be worn again and again, Gucci’s Bamboo bags are timeless pieces meant to be kept forever.
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3 Best Designer Black Shoulder Bags to Style for Every Glamorous Occasions
Consider yourself walking into a room with a designer black shoulder bag that not only complements your outfit but also adds a touch of sophistication to your entire look. Whether you're attending a glamorous evening, an event, or simply a stylish night out on the town, the right shoulder bag can be your ultimate fashion ally.
We will unveil the top designer black shoulder bags that promise to elevate your style game and turn heads at every glamorous occasion. So, let's discover the perfect arm candy that will make you feel like a true fashion icon.
LV District Messenger Bag
This bag is crafted by the iconic fashion house Louis Vuitton. It is a stellar choice for those seeking a balance between luxury and practicality. This exquisite shoulder bag boasts a sleek black canvas adorned with the brand's signature monogram. The bag's adjustable shoulder strap ensures relaxed grips. While this black shoulder bag is spacious, the interior provides ample room for your essentials. It is an ideal companion for both glamorous occasions and everyday adventures. Effortlessly blend style and functionality, leaving an indelible mark wherever you go. It's a must-have for those who appreciate the fusion of fashion and utility.
Gucci Messenger Zipper Bag Black
The Gucci Messenger Zipper Bag in captivating black is a testament to the brand's enduring legacy of luxury and innovation. Crafted with precision and meticulous attention to detail, this shoulder bag exudes an air of effortless sophistication. Its classic black leather exterior is adorned with the iconic Gucci logo, subtly embossed to exude a aura timeless. This black shoulder bag seamlessly blends the iconic GG motif with the classic Web stripe, a timeless combination that honors Gucci's origins. It represents a harmonious fusion of tradition and contemporary style, bridging the gap between past and present in a single, sophisticated accessory. Carrying this bag is like possessing a piece of fashion history, a tangible representation of Gucci's unwavering commitment to quality, craftsmanship, and style.
LV Taiga Monogram Eclipse Shoulder Bag
It is a true masterpiece from the renowned fashion house, Louis Vuitton. This exquisite shoulder bag seamlessly combines the timeless elegance of the LV monogram with the modern edge of the Eclipse design. First introduced in the 1930s, the LV monogram has become a symbol of luxury and sophistication, while the Eclipse design adds a contemporary twist with its dark and understated color palette. It's a testament to Louis Vuitton's commitment to heritage and innovation, making it a must-have accessory for those who appreciate both classic style and modern flair. Elevate your fashion game with this iconic piece that effortlessly combines the past and the present in a single, sophisticated accessory.
Conclusion
When it comes to making a statement at glamorous occasions, these three designer black shoulder bags stand out. From Louis Vuitton's timeless LV District Messenger Bag to Gucci's harmonious fusion of the GG logo and Web stripe, and the luxurious LV Taiga Monogram Eclipse Shoulder Bag, each offers a unique blend of heritage and modernity. With these accessories by your side, you'll not only elevate your style but also carry a piece of fashion history, making every glamorous occasion an unforgettable fashion moment.
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Greta Gerwig broke the female director's box office record with "Barbie Doll."
"Barbie Doll" not only broke the first-weekend box office record of 2023 but also shattered the record for the highest-grossing opening weekend for a female-directed film. According to Monday's studio total, "Barbie Doll" earned $162 million in box office revenue in North American theaters, surpassing the premieres of "Captain Marvel" and "Wonder Woman" co-directed by Anna Boden in 2019, which grossed $153.4 million and $103.3 million, respectively. The film's production cost was reported to be $145 million, which is also lower than "Captain Marvel" ($152 million) and "Wonder Woman" ($200 million).
Globally, the film's international premiere surpassed "Wonder Woman" with $337 million, while "Captain Marvel" had a global opening of $228.3 million. However, "Captain Marvel" still holds the higher global box office at $455 million. "Barbie Doll" exceeded Sunday's estimates by $7 million in its domestic opening weekend, which is significant because 65% of its audience comprises women. This itself is not surprising, but in terms of box office history, films that gross over $100 million tend to have predominantly male audiences (including "Captain Marvel" and "Wonder Woman"). Many have pointed out that this might not be a rule, but rather a lack of big-budget productions and marketing targeted at female audiences.
"Barbie Doll" also secured the third-highest July opening weekend of all time, surpassing Christopher Nolan's "The Dark Knight" and "The Dark Knight Rises" (not accounting for inflation), trailing only behind the live-action "The Lion King" and "The Dark Knight Rises." "Harry Potter and the Deathly Hallows: Part 2" tops the list.
Greta Gerwig co-wrote and directed "Barbie Doll," aiming to be the first of many successful derivative works inspired by Mattel's iconic doll. In just one weekend, the film's domestic box office surpassed her previous two movies, "Little Women" ($108.1 million) and "Lady Bird" ($49 million). In 2018, Gerwig made history as the fifth woman to be nominated for Best Director at the Oscars (for "Lady Bird"). As of 2023, a total of seven women have been nominated for this award, and some have already predicted Gerwig's chances of receiving another nomination at next year's ceremony.
The success of "Barbie Doll" and Gerwig's achievement have been widely celebrated online, prompting many in Hollywood to pause and reflect on this moment. Reese Witherspoon posted, "Well done, GG!" on Instagram, and director Ry Russo-Young wrote that "Barbie Doll" and its success have become a faint beacon of hope amidst strikes and extensive shutdowns.
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Burberry Belt
According to Fortune, the new logo was a half of a model revamp and was designed by graphic designer Peter Saville, whose work has included album covers for bands like Joy Division. wikipedia handbags Burberry additionally launched a new print that 12 months, featuring the entwined letters "T" and "B" in honor of the brand's founder, Thomas Burberry . That first shop was a humble one, and it did not have many purchasers to cater to, as Basingstoke solely had about four,500 residents at the moment. Nonetheless, Burberry managed to show his outfitting enterprise into a modestly successful one. By the time of the 1861 census, Burberry was employing seven males, seven ladies, and three boys in his shop. This was solely the start for the younger Burberry — larger things had been in retailer for the young entrepreneur.
Below, let’s check out the phoenix-like story of Burberry and why it’s some of the well-liked and acknowledged luxury trend manufacturers on the planet. replica burberry belt womens The current Burberry brand was designed in 2018 and displays the new era of the brand. It portrays a youthful and trendy method to design, emphasizing the energetic and progressive character of the style house and its inclination to follow the latest trends and make them. There’s no stopping the summer season and the vibe it brings by the late spring warmth. This is once we favor to play outdoor or take pleasure in our patios and never have to worry about getting chilly just like the past winter. In spite of the fact that mid-year could be a substantial amount of enjoyable, it can likewise contain garden duties to your mortgage holder.
The emblem portrayed a horse rider with a protect and pike and took nearly the complete house. In a sense, Burberry’s first experiment in nearly two decades was a balanced tactic of abandoning a globally famend design function and retrieving something from their archives . The Burberry Logo and the History of this trend model.
To preserve the brand’s popularity, Burberry launched a marketing campaign that finally ended up saving the model. Burberry suffered a double whammy, nearly losing every thing in the course of. During the Eighties and 1990s, the Burberry verify was some of the copied designs on the planet of fashion.
Burberry drastically reduced the usage of its signature product as a result of football hooligans had been broadly using the examine. The seedy nature of football thugs was beginning to erode the brand value, so Burberry determined to make the examine less ubiquitous. After growing its fabled check design, the corporate endured an era of mass imitation from rivals that examined it to the restrict. But shrewd recruitment and revocation of licenses helped the corporate reclaim its image, and it has since grown in leaps and bounds. The inscription is often used alone, however it’s generally accompanied by the slogan “England London,” which can be rendered in capital letters. The “equestrian knight” has been accomplished away with from the emblem, but it’s nonetheless on the brand’s tags and packaging, to not point out the patterns of branded clothes and equipment.
Is it Burberry's long and fascinating historical past that makes it such a mainstay within the fashion world? Or maybe it is that innovation has always been at the forefront of the company. Whatever the rationale, it's clear that Burberry is a trend model that has lots of endurance. It has evolved over the a long time and has turn out to be a staple within the trade.
In our broad selection of trendy and classic types of males's designer belts, find the crowning glory to your outfit in our new season edit from leather-based belts to canvas belts. Discover Gucci's distinctive signature supreme gg prints and marmont belts, iconic checkered print belts by Burberry , timeless hues from Hugo Boss and bold logo designs by Valentino. The Burberry belts feature exquisite detailing to immediately elevate any outfit. The Burberry scarves and Burberry cufflinks are one of the most in style gadgets from the equipment department.
#replica burberry belt#fake burberry belt#cheap burberry belt#replica burberry belt mens#replica burberry belt womens
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okay u r so iconic for having goddamnfrankie as your prev url
also i will never be over ben barnes delivery of that line…he literally did not turn off the sluttiness for a single second of the show
literally my URL was imacomplexguysweetheartt from like 2012 - 2019 then I started being more involved in fandom and wasn't posting about LOST so was goddamnfrankie for a whole 3 days cause ICONIC MOMENT
And then discovered GG and liked his neck tattoo and HISTORY
He was full slutttt in S1 what an evil sexy mannn!
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hii here's a nice/lighter ask, have you ever ranked an f(x) album? would you be willing to do pink tape or red light? id be curious to see!! have a good rest of ur day <3
YES THANK U!!! already did pink tape!! i like doing album rankings while i'm on a walk and my 12 year old brother came with me so there's 2 diff rankings for this now. we were on our way back and i made him sit at a park bench and watch the red light mv so he could get then complete ranking experience.
red light is truly an iconic moment in kpop history... pioneered the dark summer gg concept. remember when they released a halloween song in july. wow. also the mv is fantastic, tho i remember being upset they dressed amber so feminine this time around lol. baby gay me being upset in 2014.
1. red light - iconic iconic iconic and the rock version with luna's incredible solo bridge even more so. the military sounding clicking as percussion, the perfect build up, the buzzing sounds the rock guitar with the electro production. it's a very very korean song a very kpop song. honestly could be considered a perfect example of what to show when someone asks "what's kpop like?". the different sections are very different and distinct but put together with such slick confidence and it's a song that's meant to get u moving. amazing harmonies. and the song lyrics composition video all come together into a perfect cohesive whole.
2. dracula - i love halloween i love camp i love drama this song is so much fun. i love the harmonies.
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when krystal pretends to bite that guy's neck!! perfection!! and released in july!!!!
3. summer lover - i love summer music... 시원해 it's all mountains and ocean road trip vibes i love it
4. spit it out - such interesting production honestly the most sonically interesting song in this album it's video game music and the central theme is clever korean wordplay. to gather courage in korean is "to eat your heart/put your heart in your mouth" and the song is like you were careless with my heart and ate it when you don't even want it, spit it out. not sure what genre of electro music the dance break is in (it's not quite dubstep) but i'm into it.
5. milk - love the analog sounds in the back and the experimental weirdness of the soundscape in general i can't say it's my fave but its v engrossing. that build up and back to chorus is so satisfying.
6. butterfly - reminds me of mr. boogie with the dark y2k club synths. the melody is soooo good i love the harmonies. sounds like a club bop but not quite. kinda sci fi space age sounding synths with i think repeated pentatonic scales?? deeply pleasing.
7. vacance - a little musical theater, a little rock, a lot retro, such refreshing harmonies and production. love luna's floaty effortless powerful high notes at the end.
8. all night - sooooo good such a good chill retro night time driving song. like a stripped down disco citypop sound. retro drumtrack and synth piano but has a lot of restraint when it comes to actual synths. i think the bass in this is real?
9. paper heart - very american sounding song
10. boom bang boom - i would put this on a work out playlist.
11. rainbow - 2014 clubbing song i don't think ever got any play at a club
my brother's ranking:
1. summer lover - feels 시원해, like refreshing
2. spit it out - the pew pew pew sounds r like they're spitting it out. sounds like a video game, 8 bit.
3. all night - i like this one because it reminds me of we ride by brave girls. i guess i like night themed songs and citypop. we ride is driving downtown in your car and all night is leaving the city at nighttime when most of the lights go out and streetlights and windows shining instead.
4. vacance - a montage song, a good one too. like they're getting their friends together to drive to las vegas.
5. dracula - halloween song
6. red light - the video was awesome. i like the lasers. and the projection. it has like a story. eyepatch. cat. the song was cool, it had tension. it was fast paced.
7. milk - the background beat is pretty cool.
8. paper heart - i wouldn't be good with a paper heart because i crease paper a lot
9. butterfly - sounds like an advertisement from a trampoline park.
10. boom bang boom - there's no explosions i was disappointed.
11. rainbow - i didn't like it. it didn't sound happy even tho it has rainbow as the title, i was expecting a happy summer song or a rainy song.
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Best of Sundance 2021.
From pandemic-era stories, via portraits of grief, to the serendipitous 1969 trilogy, the Letterboxd crew recaps our favorite films from the first major festival of the year.
Sundance heralds a new season of storytelling, with insights into what’s concerning filmmakers at present, and what artistic innovations may be on the horizon. As with every film festival, there were spooky coincidences and intersecting themes, whether it was a proliferation of pandemic-era stories, or extraordinary portraits of women working through grief (Land, Hive, The World to Come), or the incredible serendipity of the festival’s ‘1969 trilogy’, covering pivotal moments in Black American history: Summer of Soul (...Or When the Revolution Could Not Be Televised), Judas and the Black Messiah and the joyful Street Gang: How We Got to Sesame Street.
The hybrid model of this year’s Sundance meant more film lovers across the United States—a record number of you, in fact—‘attended’ the prestigious indie showcase. Our Festiville team (Gemma Gracewood, Aaron Yap, Ella Kemp, Selome Hailu, Jack Moulton and Dominic Corry) scanned your Letterboxd reviews and compared them with our notes to arrive at these seventeen feature-length documentary and narrative picks from Sundance 2021. There are plenty more we enjoyed, but these are the films we can’t stop thinking about.
Documentary features
Summer of Soul (...Or, When the Revolution Could Not Be Televised)
Directed by Ahmir-Khalib Thompson (AKA Questlove)
One hot summer five decades ago, there was a free concert series at a park in Harlem. It was huge, and it was lovely, and then it was forgotten. The Harlem Cultural Festival of 1969 brought together some of the world’s most beloved Black artists to connect with Black audiences. The star power and the size of the crowds alone should have been enough to immortalize the event à la Woodstock—which happened the same summer, the film emphasizes. But no one cared to buy up the footage until Ahmir-Khalib Thompson, better known as Questlove, came along.
It would have been easy to oversimplify such a rich archive by stringing together the performances, seeking out some talking heads, and calling it a day. But Questlove was both careful and ebullient in his approach. “Summer of Soul is a monumental concert documentary and a fantastic piece of reclaimed archived footage. There is perhaps no one better suited to curate this essential footage than Questlove, whose expertise and passion for the music shines through,” writes Matthew on Letterboxd. The film is inventive with its use of present interviews, bringing in both artists and attendees not just to speak on their experiences, but to react to and relive the footage. The director reaches past the festival itself, providing thorough social context that takes in the moon landing, the assassinations of Black political figures, and more. By overlapping different styles of documentary filmmaking, Questlove’s directorial debut embraces the breadth and simultaneity of Black resilience and joy. A deserving winner of both the Grand Jury and Audience awards (and many of our unofficial Letterboxd awards). —SH
Flee
Directed by Jonas Poher Rasmussen
Flee is the type of discovery Sundance is designed for. Danish documentarian Jonas Poher Rasmussen tells the poignant story of his close friend and former classmate (using the pseudonym ‘Amin Nawabi’) and his daring escape from persecution in 1990s Afghanistan. Rasmussen always approaches tender topics with sensitivity and takes further steps to protect his friend’s identity by illustrating the film almost entirely in immersive animation, following in the footsteps of Waltz With Bashir and Tower. It’s a film aware of its subjectivity, allowing the animated scenes to alternate between the playful joy of nostalgia and the mournful pain of an unforgettable memory. However, these are intercepted by dramatic archive footage that oppressively brings the reality home.
“Remarkably singular, yet that is what makes it so universal,” writes Paul. “So many ugly truths about the immigration experience—the impossible choices forced upon people, and the inability to really be able to explain all of it to people in your new life… You can hear the longing in his voice, the fear in his whisper. Some don’t get the easy path.” Winner of the World Cinema (Documentary) Grand Jury Prize and quickly acquired by Neon, Flee is guaranteed to be a film you’ll hear a lot about for the rest of 2021. —JM
Taming the Garden
Directed by Salomé Jashi
There’s always a moment at a film festival when fatigue sets in, when the empathy machine overwhelms, and when I hit that moment in 2021, I took the advice of filmmaker and Sundance veteran Jim Cummings, who told us: “If you’re ever stressed or tired, watch a documentary to reset yourself.” Taming the Garden wasn’t initially on my hit-list, but it’s one of those moments when the ‘close your eyes and point at a random title’ trick paid off. Documentary director Salomé Jashi does the Lorax’s work, documenting the impact and grief caused by billionaire former Georgian PM Bidzina Ivanishvili’s obsession with collecting ancient trees for his private arboretum.
“A movie that is strangely both infuriating and relaxing” writes Todd, of the long, locked-off wide shots showing the intense process of removing large, old trees from their village homes. There’s no narration, instead Jashi eavesdrops on locals as they gossip about Ivanishvili, argue about whether the money is worth it, and a feisty, irritated 90-year-old warns of the impending environmental fallout. “What you get out of it is absolutely proportional to what you put into it,” writes David, who recommends this film get the IMAX treatment. It’s arboriculture as ASMR, the timeline cleanse my Sundance needed. The extraordinary images of treasured trees being barged across the sea will become iconic. —GG
The Most Beautiful Boy in the World
Directed by Kristian Petri and Kristina Lindström
Where Taming the Garden succeeds through pure observation, The Most Beautiful Boy in the World relies on the complete participation of its title subject, actor Björn Andrésen, who was thrust into the spotlight as a teenager. Cast by Italian director Lucino Visconti in Death in Venice, a 1971 adaptation of Thomas Mann’s novella about obsession and fatal longing, Andrésen spent the 1970s as an object of lust, with a side-gig as a blonde pop star in Japan, inspiring many manga artists along the way.
As we know by now (Alex Winter’s Showbiz Kids is a handy companion to this film), young stardom comes at a price, one that Andrésen was not well-placed to pay even before his fateful audition for Visconti. But he’s still alive, still acting (he’s Dan in Midsommar), and ready to face the mysteries of his past. Like Benjamin Ree’s excellent The Painter and the Thief from last year, this documentary is a constantly unfolding detective story, notable for great archive footage, and a deep kindness towards its reticent yet wide-open subject. —GG
All Light, Everywhere
Directed by Theo Anthony
Threading the blind spots between Étienne-Jules Marey’s 19th-century “photographic rifle”, camera-carrying war pigeons and Axon’s body-cam tech, Theo Anthony’s inquisitive, mind-expanding doc about the false promise of the all-seeing eye is absorbing, scary, urgent. It’s the greatest Minority Report origin story you didn’t know you needed.
Augmented by Dan Deacon’s electronic soundscapes and Keaver Brenai’s lullingly robotic narration, All Light, Everywhere proves to be a captivating, intricately balanced experience that Harris describes as “one part Adam Curtis-esque cine-essay”, “one part structural experiment in the vein of Koyaanisqatsi” and “one part accidental character study of two of the most familiar yet strikingly unique evil, conservative capitalists…”. Yes, there’s a tremendous amount to download, but Anthony’s expert weaving, as AC writes, “make its numerous subjects burst with clarity and profundity.” For curious cinephiles, the oldest movie on Letterboxd, Jules Jenssen’s Passage de Vénus (1874), makes a cameo. —AY
The Sparks Brothers
Directed by Edgar Wright
Conceived at a Sparks gig in 2017 upon the encouragement of fellow writer-director Phil Lord, Edgar Wright broke his streak of riotous comedies with his first (of many, we hope) rockumentary. While somewhat overstuffed—this is, after all, his longest film by nearly fifteen minutes—The Sparks Brothers speaks only to Wright’s unrestrained passion for his art-pop Gods, exploring all the nooks and crannies of Sparks’ sprawling career, with unprecedented access to brothers and bandmates Ron and Russell Mael.
Nobody else can quite pin them down, so Wright dedicates his time to put every pin in them while he can, building a mythology and breaking it down, while coloring the film with irresistible dives into film history, whimsically animated anecdotes and cheeky captions. “Sparks rules. Edgar Wright rules. There’s no way this wasn’t going to rule”, proclaims Nick, “every Sparks song is its own world, with characters, rules, jokes and layers of narrative irony. What a lovely ode to a creative partnership that was founded on sticking to one’s artistic guns, no matter what may have been fashionable at the time.” —JM
Narrative features
The Pink Cloud
Written and directed by Iuli Gerbase
The Pink Cloud is disorienting and full of déjà vu. Brazilian writer-director Iuli Gerbase constructs characters that are damned to have to settle when it comes to human connection. Giovana and Yago’s pleasant one-night stand lasts longer than expected when the titular pink cloud emerges from the sky, full of a mysterious and deadly gas that forces everyone to stay locked where they stand. Sound familiar? Reserve your groans—The Pink Cloud wasn’t churned out to figure out “what it all means” before the pandemic is even over. Gerbase wrote and shot the film prior to the discovery of Covid-19.
It’s “striking in its ability to prophesize a pandemic and a feeling unknown at the time of its conception. What was once science fiction hits so close now,” writes Sam. As uncanny as the quarantine narrative feels, what’s truly harrowing is how well the film predicts and understands interiorities that the pandemic later exacerbated. Above all, Giovana is a woman with unmet needs. She is a good partner, good mother and good person even when she doesn’t want to be. Even those who love her cannot see how their expectations strip her of her personhood, and the film dares to ask what escape there might be when love itself leaves you lonely. —SH
Together Together
Written and directed by Nikole Beckwith
Every festival needs at least one indie relationship dramedy, and Together Together filled that role at Sundance 2021 with a healthy degree of subversion. It follows rom-com structure while ostensibly avoiding romance, instead focusing on how cultivating adult friendships can be just hard, if not harder.
Writer-director Nikole Beckwith warmly examines the limits of the platonic, and Patti Harrison and Ed Helms are brilliantly cast as the not-couple: a single soon-to-be father and the surrogate carrying his child. They poke at each other’s boundaries with a subtle desperation to know what makes a friendship appropriate or real. As Jacob writes: “It’s cute and serious, charming without being quirky. It’s a movie that deals with the struggle of being alone in this world, but offers a shimmer of hope that even if you don’t fall in fantastical, romantic, Hollywood love… there are people out there for you.” —SH
Hive
Written and directed by Blerta Basholli
Hive, for some, may fall into the “nothing much happens” slice-of-life genre, but Blerta Basholli’s directorial debut holds an ocean of pain in its small tale, asking us to consider the heavy lifting that women must always do in the aftermath of war. As Liz writes, “Hive is not just a story about grief and trauma in a patriarchy-dominated culture, but of perseverance and the bonds created by the survivors who must begin to consider the future without their husbands.”
Yllka Gashi is an understated hero as Fahrjie, a mother-of-two who sets about organizing work for the women of her village, while awaiting news of her missing husband—one of thousands unaccounted for, years after the Kosovo War has ended. The townsmen have many opinions about how women should and shouldn’t mourn, work, socialize, parent, drive cars and, basically, get on with living, but Fahrjie persists, and Basholli sticks close with an unfussy, tender eye. “It felt like I was a fly on the wall, witnessing something that was actually happening,” writes Arthur. Just as in Robin Wright’s Land and Mona Fastvold’s The World to Come, Hive pays off in the rare, beaming smile of its protagonist. —GG
On the Count of Three
Directed by Jerrod Carmichael, written by Ari Katcher and Ryan Welch
It starts with an image: two best friends pointing guns at each other’s heads. There’s no anger, there’s no hatred—this is an act of merciful brotherly love. How do you have a bleak, gun-totin’ buddy-comedy in 2021 and be critically embraced without contradicting your gun-control retweets or appearing as though your film is the dying embers of Tarantino-tinged student films?
Comedian Jerrod Carmichael’s acerbic directorial debut On the Count of Three achieves this by calling it out every step of the way. Guns are a tool to give insecure men the illusion of power. They are indeed a tool too terrifying to trust in the hands of untrained citizens. Carmichael also stars, alongside Christopher Abbott, who has never been more hilarious or more tragic, bringing pathos to a cathartic rendition of Papa Roach’s ‘Last Resort’. Above all, Carmichael and Abbott’s shared struggle and bond communicates the millennial malaise: how can you save others if you can’t save yourself? “Here’s what it boils down to: life is fucking hard”, Laura sums up, “and sometimes the most we can hope for is to have a best friend who loves you [and] to be a best friend who loves. It doesn’t make life any easier, but it sure helps.” Sundance 2021 is one for the books when it comes to documentaries, but On the Count of Three stands out in the fiction lineup this year. —JM
Censor
Directed by Prano Bailey-Bond, written by Bailey-Bond and Anthony Fletcher
The first of several upcoming films inspired by the ‘video nasty’ moral panic over gory horror in mid-’80s Britain, Prano Bailey-Bond leans heavily into both the period and the genre in telling the story of a film censor (a phenomenal Niamh Algar—vulnerable and steely at the same time) who begins to suspect a banned movie may hold the key to her sister’s childhood disappearance. Often dreamlike, occasionally phantasmagorical and repeatedly traumatic, even if the worst gore presented (as seen in the impressively authentic fictional horrors being appraised) appears via a screen, providing a welcome degree of separation.
Nevertheless, Censor is definitely not for the faint of heart, but old-school horror aficionados will squeal with delight at the aesthetic commitment. “I’m so ecstatic that horror is in the hands of immensely talented women going absolutely batshit in front of and behind the camera.” writes Erik. (Same here!) “A great ode to the video-nasty era and paying tribute to the great horror auteurs of the ’80s such as Argento, De Palma and Cronenberg while also doing something new with the genre. Loved this!” writes John, effectively encapsulating Censor’s unfettered film-nerd appeal. —DC
CODA
Written and directed by Siân Heder
A film so earnest it shouldn’t work, with a heart so big it should surely not fit the size of the screen, CODA broke records (the first US dramatic film in Sundance history to win all three top prizes; the 25-million-dollar sale to Apple Studios), and won the world over like no other film. “A unique take on something we’ve seen so much,” writes Amanda, nailing the special appeal of Siân Heder’s coming-of-ager and family portrait. Emilia Jones plays Ruby, the only hearing person in her deaf family, at war between the family business and her passion for singing. While Heder is technically remaking the French film La Famille Bélier, the decision to cast brilliant deaf actors—Troy Kotsur, Marlee Matlin and Daniel Durant—makes this feel brand new.
But it’s not just about representation for the sake of it. A sense of authenticity, in humor as much as affection, shines through. With a script that’s 40 per cent ASL, so many of the jokes are visual gags, poking fun at Tinder and rap music, but a lot of the film’s most poignant moments are silent as well. And in Ruby’s own world, too, choir kids will feel seen. “I approve of this very specific alto representation and the brilliant casting of the entire choir,” Laura confirms in her review. Come for the fearless, empathetic family portrait, stay for the High School Musical vibes that actually ring true. —EK
We’re All Going to the World’s Fair
Written and directed by Jane Schoenbrun
Perhaps the most singular addition to the recent flurry of Extremely Online cinema—Searching, Spree, Host, et al—Jane Schoenbrun’s feature debut ushers the viewer into a haunted, hypno-drone miasma of delirium-inducing YouTube time-suck, tenebrous creepypasta lore and painfully intimate webcam confessionals. Featuring an extraordinarily unaffected, fearless performance by newcomer Anna Cobb, the film “unpacks the mythology of adolescence in a way that’s so harrowingly familiar and also so otherworldly”, writes Kristen. Not since Kiyoshi Kurosawa’s Pulse has there been such an eerily lonely, and at times strangely beautiful, evocation of the liminal spaces between virtual and real worlds.
For members of the trans community, it’s also a work that translates that experience to screen with uncommon authenticity. “What Schoenbrun has accomplished with the form of We’re All Going to the World’s Fair is akin to catching a wisp of smoke,” writes Willow, “because the images, mood and aesthetic that they have brought to life is one that is understood completely by trans people as one of familiarity, without also plunging into the obvious melodrama, or liberal back-patting that is usually associated with ‘good’ direct representation.” One of the most original, compelling new voices to emerge from Sundance this year. —AY
Judas and the Black Messiah
Directed by Shaka King, written by King, Will Berson, Kenneth Lucas and Keith Lucas
It was always going to take a visionary, uncompromising filmmaker to bring the story of Fred Hampton, the deputy chairman of the national Black Panther Party, to life. Shaka King casts Daniel Kaluuya as Hampton, and LaKeith Stanfield as William “Wild Bill” O’Neal, the FBI informant whose betrayal leads to Hampton’s assassination. Both actors have never been better, particularly Kaluuya who Fran Hoepfner calls “entrancing, magnetic, fizzling, romantic, riveting, endlessly watchable.”
Judas and the Black Messiah is an electric, involving watch: not just replaying history by following a certain biopic template. Instead, it’s a film with something to say—on power, on fear, on war and on freedom. “Shaka King’s name better reverberate through the halls of every studio after this,” writes Demi. A talent like this, capable of framing such a revolution, doesn’t come around so often. We’d better listen up. —EK
Pleasure
Directed by Ninja Thyberg, written by Thyberg and Peter Modestij
A24’s first purchase of 2021. Ironically titled on multiple levels, Pleasure is a brutal film that you endure more than enjoy. But one thing you can’t do is forget it. Ninja Thyberg’s debut feature follows a young Swedish woman (Sofia Kappel) who arrives in Los Angeles with dreams of porn stardom under the name ‘Bella Cherry’. Although Bella is clear-eyed about the business she’s getting into, Thyberg doesn’t shy away from any of the awfulness she faces in order to succeed in an industry rife with exploitation and abuse. Bella does make allies, and the film isn’t suggesting that porn is only stocked with villains, but the ultimate cost is clear, even if it ends on an ever-so-slightly ambiguous note.
Touching as it does on ambition, friendship and betrayal in the sex business, Pleasure is often oddly reminiscent of Paul Verhoeven’s Showgirls. Or rather, the gritty film Showgirls was claiming to be, as opposed to the camp classic it became. There’s nothing campy here. Kappel is raw and fearless in the lead, but never lets the viewer lose touch with her humanity. Emma puts it well: “Kappel gives the hardest, most provocative and transfixing performance I’ve seen all festival.” “My whole body was physically tense during this,” writes Gillian, while Keegan perhaps speaks for most when she says “Great film, never want to see it again.” —DC
Coming Home in the Dark
Directed by James Ashcroft, written by Ashcroft and Eli Kent
A family camping trip amidst some typically stunnin—and casually foreboding— New Zealand scenery is upended by a shocking rug-pull of violence that gives way to sustained terror represented by Daniel Gillies’ disturbingly calm psychopath. The set-up of this thriller initially suggests a spin on the backwoods brutality thriller, but as Coming Home in the Dark progresses and hope dissipates, the motivations reveal themselves to be much more personal in nature, and informed on a thematic level by New Zealand’s colonial crimes against its Indigenous population. It’s a stark and haunting film that remains disorientating and unpredictable throughout, repeatedly daring the viewer to anticipate what will happen next, only to casually stomp on each glimmer of a positive outcome.
It’s so captivatingly bleak that a viewing of it, as Collins Ezeanyim’s eloquent reaction points out, does not lend itself to completing domestic tasks. The film marks an auspicious debut for director and co-writer James Ashcroft. Jacob writes that he “will probably follow James Ashcroft’s career to the gates of Hell after this one”. Justin hits the nail on the head with his description: “Lean and exceptionally brutal road/revenge film … that trades in genre tropes, especially those of Ozploitation and ’70s Italian exploitation, but contextualizes them in the dark history of its country of origin.” —DC
The World to Come
Directed by Mona Fastvold, written by Ron Hansen and Jim Shepard
Mona Fastvold has not made the first, nor probably the last, period romance about forbidden lesbian love. But The World to Come focuses on a specific pocket in time, a world contained in Jim Shepard’s short story ‘Love & Hydrogen’ from within the collection giving the film its name. Katherine Waterston and Vanessa Kirby are Abigail and Tallie, farming neighbors, stifled by their husbands, who find brief moments of solace, of astonishment and joy, together. What shines here is the script, a verbose, delicate narration that emanates beauty more than pretence. “So beautifully restrained and yet I felt everything,” Iana writes.
And you can feel the fluidity and elegance in the way the film sounds, too: composer Daniel Blumberg’s clarinet theme converses with the dialogue and tells you when your heart can break, when you must pause, when the end is near. “So much heartache. So much hunger. So much longing. Waves of love and grief and love and grief,” writes Claira, capturing the ebb and flow of emotion that keeps The World to Come in your mind long after the screen has gone silent. —EK
Related content
The 2021 Sundance Film Festival lineup by Letterboxd rating
Letterboxd’s ‘Official’ Top 50 of 2021
Awards Season 2020-2021: our awards-tracker list
Letterboxd’s Festiville HQ: our home for up-to-the-minute festival coverage
#sundance#sundance film festival#sundance 2021#sundance2021#questlove#summer of soul#black woodstock#shaka king#judas and the black messiah#letterboxd top 50#best of sundance 2021#letterboxd
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A Gilmore game to make quarantine more enjoyable! Five favorite episodes, five favorite characters (in order if you can!), five least favorite characters, three favorite romantic relationships, three least favorite romantic relationships, three favorite platonic relationships, three unpopular opinions that none of us are allowed to mock ;) I'm sending this to three Gilmore Girls fans and hope you'll send it to a few GG fans you know as well! (You can send it to me too, lol)
(after actively making sure i don’t just pick jess episodes, because i swear i don’t just love gg for him, i swear) five favorite episodes:
[1.13] concert interruptus
[2.21] lorelai’s graduation day
[3.07] they shoot gilmores, don’t they?
[4.02] the lorelai’s first day at yale
[4.07] the festival of living art
*somehow in trying not to pick all of seasons two and three, i have two from four. and none from seven, what. a. shock.
five favorite characters (in order if you can):
jess mariano (my boy. my love.)
sookie st. james (remember when they thought a revival would work without you? what laughs. what memories.)
paris geller (an icon.)
emily gilmore (the goat.)
michel gerard (michel deserved actual story on this show, okay? kirk got story. kirk got to be two different characters. michel was iconic when he got nothing to do, so imagine if he had done.)
five least favorite characters:
logan huntzberger (y’all already knooow.)
dean forester (y’all already knooooow.)
christopher hayden (y’all already knooooooooooow.)
mitchum huntzberger (basically get this family away from me.)
marty just sprang to mind jdshfkjdh
*special mention to our main characters lorelai and rory gilmore, who belong in both the favorite and least favorite categories, respectively. how do they do it? a true miracle. the power they have.*
three favorite romantic relationships:
rory and jess (i will never forgive this show for doing the classic “now that they’re together, we’ll stop showing their relationship, completely, so that we can warp it however we need to in order to end it”) (”jess never calls rory”) (get out of here with that noise)
emily and richard gilmore (”i demand to go first”) (catch me weeping)
lane kim and dave rygalski (i’ve never gotten through a single episode of the oc, so i’m fuming lol)
three least favorite romantic relationships:
rory and logan (excruciating in every way) (i stand by the cereal and the valentines trip with luke and lorelai being the only two acceptable moments between these two and everything else was trash.)
rory and dean (we stan emotional abuse, the best, totally not bad.)
lorelai and christopher (i don’t even need to say anything.)
three favorite platonic relationships:
rory and paris (one of the best showings of enemies to bffl’s in television history)
luke danes and jess (remember when jess wasn’t at luke’s wedding? hahahahahah wasn’t that just...............................hilarious.)
lane and mrs. kim (what a journey, when they were managing to be given screen time)
three unpopular opinions that none of us are allowed to mock:
(this is difficult, because [at least among what i’ve seen] i don’t think my opinions are that crazy)
ummmm luke and lorelai are a terrible together?
gilmore girls: a year in the life, was a masterpiece?
just kidding.
it was horrible.
it ruined the whole show for me, for a long time.
ummmmm liz danes is not a funny cooky awesome woman, she’s the drunk who abandoned her child and then showed up as the funny cooky awesome woman. if we’d actually seen growth, it might’ve been okay. but, she just shows up and they expected us to just pretend she’d done nothing wrong. you don’t just call your mom by her first name for no reason. and it was exhausting that people looked at jess, after she showed up, even more like he was being ungrateful. she didn’t even want to see him on christmas. but, hey, she’s got some earrings and a wacky fiance, so how fun!
Lindsay Lister was lovely and, even before Dean and Rory auditioned for Cheaters, she deserved so much better than everything she got.
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Every Record I Own - Day 287: Daughters Hell Songs
Very few “heavy” bands truly live up to the misanthropy they project through their music. But Daughters were different. Over the course of a U.S. tour together, I got to know the guys in the band pretty well, and they were a rare instance where their personalities were as fucked up as their music. Don’t get me wrong---they were all great people. But there was something inherently damaged in their chemistry. They were barely functional as a unit, but that made their music seem all the more dangerous.
A year or two after that tour, Continuum Books announced open submissions for their 33 1/3 book series, wherein authors analyze classic albums and assess their cultural impact. I knew I didn’t stand a chance, but I pitched a book on Hell Songs. My thesis was pretty basic: heavy music is typically just theater, but Daughters was real life drama, and that made their music that much more intense. As per their submission guidelines, I wrote an opening chapter. The pitch was rejected, but I wound up posting the chapter online, where it caught the attention of Robotic Empire, the label that put out Daughters’ debut LP. They offered to print the book. And so for the next year-and-a-half I dedicated all my spare time to questioning the individual band members, chasing down old tour mates, stitching together the chronology of their history, reading old interviews, and writing the damn thing. I submitted a first draft to the band and waited two weeks to hear back from them.
They eventually asked to cancel the project. There were disagreements within their camp as to how shit actually went down. And, understandably, there were a lot of grimy details that they weren’t too excited to share publicly. It was disappointing, but understandable. I figured a certain amount of rejection is inevitable as a writer, and this one at least had a valid excuse, so there wasn’t much of a sting.
Anyhow, I’ve posted the first chapter after the jump. The writing seems a little corny now, so maybe I ultimately dodged a bullet.
“Yeah, I’ve been called a sinner...”
And so begins Daughter’s 2006 sophomore album Hell Songs--with a declaration of degradation. Vocalist Alexis S.F. Marshall, or Lex for short, wears the insult proudly, announcing it with the kind of defiant pride of Hester Prynne and her scarlet letter. And then a cascade of noise descends upon the final syllable. The song, “Daughters Spelled Wrong”, is one minute and 42 seconds of Lex’s self-flagellations delivered in a slurred Southern Baptist preacher’s drawl. In that short parcel of time, Lex lists off every slanderous label he’s endured.
“…wrong-doer, evil-doer…”
As the front man for Daughters, Lex was the human element to the band. And while his performance on Hell Songsis unnerving enough in its own right, his tirades became exponentially more menacing live. With his stringy waist-long hair, his tall and gangly frame, his wiry handle-bar mustache, his hopelessly tattered black pants (apparently his only pair), and his ill-fitting stained white dress shirt, he gave off an aura of someone who didn’t give a fuck about the pageantry of rock music. He wasn’t even fashionably unfashionable. Grooming, hygiene, and composure were neglected. He looked disheveled, poverty-stricken, strung out. Most Daughters sets found Lex in less attire, usually just a pair of briefs. Far from the display of muscle and machismo seen in chiseled frontmen like Henry Rollins, Anthony Kiedis, and Chris Cornell, there was nothing erotic about near-nude Lex. Sexual? Certainly, but only in the most degrading, animalistic sense of the word. Lex’s stage presence only served to make the audience as uncomfortable as possible. He would claw red lines into his belly, cram his entire fist into his mouth, fellate the microphone, and drool on himself while fondling his genitals. In moments where audience members chose to interact with him on stage, the results were equally filthy. People vied for his spit. Women pulled at his briefs. Fans fondled and licked his exposed cock. A confessed “sex addict”, Lex would swap spit with both men and women mid-set and fuck fans in venue bathrooms. His tally of sexual conquests was startling, given his disturbing stage behavior and lack of sociability. Claiming a bad acid trip as the root of his social anxiety, Lex was nearly bipolar in his daily interactions. He was relatively friendly and talkative one moment, withdrawn and angry the next. A ninth-grade drop out and former homeless teenager, his bleak world-view was legitimate.
“…worker of iniquities…”
There’s no verse. No chorus. No rhyming scheme. No melody. It’s just one musical phrase repeating for the entire duration of the song. The instrumental accompaniment sounds like a broken machine filtered through the ears of someone simultaneously shuddering through a panic attack and immersed in vertigo. The sound underneath Lex’s litany is a study in all things wrong and counter-intuitive. The band—comprised of entirely capable and talented players—sounds like they’re deliberately unlearning their instruments. Cymbals crash without a kick drum to punctuate them. The bass guitar dives and climbs with little regard for actual notes. One guitar avoids the lower octaves completely and opts instead for atonal high-end screeching and skronky discord. The other guitar remains stuck on one warbled, seasick riff through the whole song, sounding off-balance and broken even when the whole band locks in around it. It’s confounding, ugly music.
“…transgressor, bad example, scoundrel, villain, knave…”
The annals of rock music have no shortage of bands showcasing the darker side of human nature. Ever since Robert Johnson sold his soul to the devil, ever since Jerry Lee Lewis set his piano on fire, ever since Iggy Pop rolled in broken glass, there has existed a certain sector of the rock community dedicated to exorcising its demons on stage. It’s the reason that concerned parents and church groups still argue that rock music is evil. This flagrant display of bad behavior, self-destruction, and reckless abandon is at the very root of rock music. And perpetuating rock’s legacy of danger requires raising the bar of rebellion. As rock music nears the age of retirement, its old tricks no longer impress young audiences. Chuck Berry and Little Richard carry none of the threat they did in their heyday. KISS terrified puritanical parents with the widespread rumors of their name serving as an acronym for Kids In Satan’s Service, but now they seem downright Christian in comparison to the blasphemous content of black metal bands like Gorgoroth. So prevalent is the anti-social contingent of music in today’s market that it’s hardly noteworthy for a band to parade its malice for an audience. The harder edged realms of rock music—metal and punk, for example—depend on that kind of antagonism. Daughters looked for one of those last few buttons to push, one of those last few taboos to break, one the last few ways to make people cringe. Perry Farrell noted well over two decades ago “nothing’s shocking.” Daughters challenged that statement.
“…miscreant, viper, wretch, the devil incarnate…”
It takes a certain brand of individuals to make nihilism translate into music, and it requires their contempt to be believable. Words like “genuine”, “sincerity”, and “honesty” get thrown around by critics and fans as signifiers of good music. How do those qualities apply to antagonistic musicians? Do the artists have to be genuinely miserable people to make convincingly ugly music? The artists who are typically the most successful at channeling this kind of dark art manage to convey that wrath and misery in both content and form. It’s not just a matter of singing about the pasty underbelly of the human psyche or throwing a few skulls on an album cover; it’s about the thoroughness of pessimism. It’s about creating a genuine sense of danger. And it requires a misanthropic honesty that carries itself both on and off-stage. It used to be that the entirety of the public’s perception of an artist stemmed from image they set forth on stage and on record. In the age of the internet, this is no longer the case. Even more so for a band of Daughter’s stature—a band that rarely had a backstage to slink off to, a band that still had to unload their own gear off stage, a band that still had to run back to the merch booth after their set to sling t-shirts for gas money, a band with no place to hide and sustain a fabricated mystique.
“…monster, demon, fallen angel, murderer, and thief…”
The Catch-22 is that being in a successful band—a band that can write music together, play shows, tour, record, maybe even make a little money—requires unity, solidarity, positivity, compromise, and sociability. In other words, a band that’s genuinely driven by angst and hostility is doomed for failure. Proof of the unsustainable nature of these kinds of acts is most evident in the dearth of popular nihilistic bands. Even the somewhat well-known misery peddlers tend to be tragically stunted. Notorious shock rock icon GG Allin made a career out of anti-social behavior and bilious lyrical themes. He was known to take the stage naked, ready to fight the audience and fling his feces at the crowd. He wrote songs with titles like “Last In Line For The Gang Bang” and “Fuckin’ The Dog”. He famously promised to kill himself on stage, which would have been the ultimate display of the self-destructive nature of negative music, but a heroin overdose beat him to it. Glen Benton, the vocalist and bassist for seminal death metal band Deicide similarly promised to off himself at the age of 33 as a mockery of Jesus Christ’s year of death. Benton failed to live up to his word. And while he will always be remembered for the controversy he created in his early career by branding an inverted cross into his forehead and advocating animal sacrifice, he tempered out in his later years when he became a family man with a wife and kids. Not surprisingly, the quality of Deicide’s albums declined, as did their album sales. Allin went too close to the edge and fell into the abyss. Benton mellowed out. Neither managed to sustain the malice of their classic records over a protracted career. Daughter’s brand of ugliness had none of Allin’s overt misogyny and violence, none of Deicide’s Christian-baiting Satanism. Instead, they specialized in a kind of implied depravity. Lex wouldn’t attack the venue patrons, but he’d do everything else in his power to make the audience take a squeamish step back. Even though their album title references Hell, there was no trumpeting of a contrarian religion in their lyrics, no acknowledgement of moral consequence. Instead, Lex sang about emotional voids. It somehow made Lex scarier than GG or Glen. He seemed smarter. Colder. Less confrontational, but also less vested in cheap stunts and outlandish behavior for the sake of winning over anyone’s approval. He wasn’t interested in violence. He was interested in degrading himself on stage, forcing the audience into an unnerving kind of voyeurism.
“…lost sheep, black sheep, black guard, loafer, and sneak…”
Even the millionaire “bad boys of rock”—artists like Alice Cooper, Guns N’ Roses, and Motley Crue—aren’t exempt from the imbalance of nihilism and authenticity. For one thing, these cultural giants never tread so far into the blackness that you feared them as people. Their worst crimes were their hedonistic appetites. They still came across as people that would be fun to party with. Marilyn Manson managed to up the ante of anti-social behavior in the ‘90s, but the controversy was calculated. Manson always knew how to articulate his more vitriolic statements in a calm, well-spoken, intellectual manner. It was obviously theater. Daughters didn’t come across as the life of the party. They didn’t come across as having any sort of deeper, thoughtful meaning to their art. They came across as genuinely bitter, crass, resentful individuals.
“…good-for-nothing ass-fucking son of a bitch.”
Daughters were a band that tried to find that balance between thorough, real ugliness and some kind of self-sustaining functionality. They wanted to be successful; they wanted to tour the world and make money. But they also wanted to make something truly hideous and uncomfortable. Their debut album, Canada Songs, was an 11-minute surge of hyper-paced noise-driven hardcore. Occupying the kind of punk/metal hybrid territory instigated by bands like The Locust and Dillinger Escape Plan, Daughters found an immediate audience among fans of frenzied, technical music. It was well-received, but not entirely unconventional for that particular style. But Hell Songs was different. The band ditched their lightning-speed tempos, metal-steeped instrumentation, and shrieking, indecipherable vocals for disjointed mid-tempo lurches and Lex’s drunken oratory. They weeded their old material out of their performances. The fans felt betrayed. They had gone from sounding like the arty descendents of the powerviolence and grindcore scenes into a tightly wound meth-fed version of The Birthday Party. There was a much stronger adversarial vibe to their new approach. Their sound was less tethered to any particular scene. It alienated a fan base that was already built on embracing disenfranchisement and being at odds with everything.
But deservedly, the record found an audience, albeit a small one. For as caustic and abrasive of an album as it is, there’s a surprising catchiness to the material. The low end groans; the high end piercingly buzzes like a swarm of insects; the drums flit from spasms of hyperkinetic pulverizations to deconstructed thuds and clatter; and Lex moans and howls over all of it. Yet somehow, Hell Songs is rife with hooks. There was a discipline to what they did. It could’ve easily devolved into white noise, but there was always a clarity and separation to the instruments. They were a tight band. And for the three years that followed the release of Hell Songs before the group imploded, Daughters came about as close as any band can get to being a total train wreck without rattling apart at the seams. There was fighting, a rotating cast of guitar players, drugs, infidelities, van accidents, hospital trips, lost money, rivalries with tourmates, promoters pulling guns on the band, and an never-ending list of lewd stage behavior. They were a fascinating, glorious mess, and they perfectly captured it over the course of ten songs.
“I’ve been called a sinner.”
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Hearts and Heroes: One Shot - Chpt. 1 - Weekend Warriors
Summary: Setting up for a new mission, but something doesn't sit right with Mark...
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The dream world. Recreation room of the Markihub...
“Hah! Connect 4! I win. You loose. Time to pay the piper, old man,” Mark waggled his fingers in the direction of the pink-mustached gentleman frowning at him across the small game table. “And by 'piper,' I mean me, and by 'old man,' I mean you.”
Wilford Warfstache speared a metallic disk that resembled a poker chip with a dagger and pointed it at his competitor. “You win this round, Markiboy.”
“What do you mean ‘this round? You lost to me 5 times in a row,” Mark’s lack of intimidation shown through in a victorious smirk. “I am the King of Connect 4. You knew this when you challenged me.”
“It’s not very sporting of you to mock the loser, Mark. There could be…pointy repercussions.”
Mark adopted a perfectly mirrored mannerism with a red game token between two fingers. ���And it’s not very sporting to back out of a bet in a gentleman’s game, Warfy. You’ve racked up quit a tab, my good man. Are you going to pony up, or do you…not have the brass?”
Wilford huffed air across his bushy mustache. “Your blatant misuse of a euphemism for the dangly bits of the vulnerable nether region only shows your lack of proper upbringing.”
He dropped the impression. “Oh yeah? Well, what would you say?”
Wilford leaned back, idly playing with the disk on the end of the blade. “I’d simply take it outside and battle it out in fisty-cuffs mano-a-mano and end with a shooty to the face.”
Mark blinked behind his slim black-framed wire glasses. “You call that better?”
“I call it effective.”
He shrugged. “Eh. Can’t argue there.”
“Much as I’d like to stay and chew the fat, I have business to attend to.” Wilford stretched his arms over his head, dagger and all, and stood. “This has been a bully of a time. ‘GG,’ as the kids say.”
“Hold it, Speedy McDodgerson,” Mark held out his hand. “The Dream Points. You owe me 500.”
Wilford wordlessly flicked the dagger with the disk speared through into the table in front of him, gently rattling the remaining game tokens.
Mark removed the disk and peered through the hole. “Hey, this is only 300!”
“Compensation for the dagger,” Wilford waved it off as he walked away.
“Compen—What kind of dagger costs 200 DrP?! Who's your supplier, anyway?!”
“It's a pleasure doing business with you, Mark. Come around again soon.” And with that, the weaponsmonger escaped back to his shop of damage-dealing goodies.
“Mother f—“ Mark ground his teeth. Wilford had this planned the whole time. “Grifted by a stab-happy madman in pink suspenders. Story of my life.”
Even though he was dreaming, and knew he was dreaming, Markiplier didn't have control over what anyone else did in this hub. This constant, safe haven in the dream world was one of who-knew-how-many in existence. It was home to those bearing a glowing pink heart on their left sleeve: the mark of the hero. Even if they arrived in a tank top, the heart remained, proving that it was imprinted on the soul of the person, and would shine through no matter what they wore.
This hub --ingeniously deemed 'The Markihub' --technically belonged to him, though he hadn't heard anyone else refer to it as that besides himself. But who cares! This was his hub, so he could call it whatever he damn well pleased. He could call it the 'Hub-booski' and no one could object. ...Actually, that one wasn't that bad. He'd put it in his mental 'save' file for later...just in case. He and the permanent residents had a little more power than the others who came and went, but other than that, everyone moved around with the same level of free will.
He turned the silver dagger over in the light, then shrugged and lazily swiped his middle finger—for emphasis on this particular situation—down the air at chest height in time to a half-second thought-command of 'menu.' As predicted, the commonly used and familiar, semi-transparent menu screen popped up. He tapped on the 'Items' option listed at the top –right above 'Go Home,' the teleporter back to the hub. As a Hero Class, he was the only one here with this option. It could be extracted and given to anyone, but not replicated. This was listed above 'Wake Up' (akin to Log Out), 'Current Mission' (basic mission briefing info), and 'Party' (self explanatory with sub categories like ‘add,’ ‘leave,’ and ‘member details’).
He added this new item to his inventory under ‘weapons.’ The dagger evaporated in his hand. At that exact moment, its icon and name appeared on the short list.
“'Fate Sealer.' Ballsy name. Hopefully damage-causing enough for the price.” It might come in handy later during a rescue mission. It was a crying shame this mechanic didn't exist in the waking world. That would make carrying things much easier. He'd hack into it and add in a 'Skip Rush Hour Bullshit' option.
The second bell sent its low tone through the recreation room. A few people hanging out with their teammates got up to attend to the second shift. He left with them to pick up a few more supplies before the third bell rang signaling the third shift – his shift.
He heard the 'fwoosh!' of the portal opening to someone's dream as he passed through the center of the hub on his way to Octodad's store. The midshift teams waited patiently to go through when their assigned mission came up. A few fidgeted from nervousness.
“Good luck guys!” He called out to them. “And remember: I'm handsome. And don't you forget it.”
Some of them chuckled. Others rolled their eyes. Either way, he got them to relax a little before setting off on a mission. Objective: cleared.
He used the newly obtained DrP to stock up on mostly Ultra balls—per usual—a couple of full hearts, chicken and dumplings (those long missions can get rough, man), some hot sauce in case anyone passed out, and a piece of toast. Just one. He hated using that item with a clear and absolute passion, but something nagged at him to walk away with at least one today.
Being the dream world, everyone here was instructed to pay closer attention to said 'naggy feels,' due to one not-so-simple but obvious reason: They weren't physically here. They were spirits, souls, consciousness. Whatever label people wanted to put to it, that was them. So stuff with the physical body didn't matter here –except eating. Whatever you ate upped energy or gave you boosts in battle with their enemy, the Terrorlings. When someone gets the urge to say 'I have a bad feeling about this,' it's a good idea not to ignore it, because it's coming from their subconscious that's being a douche and not letting their spirit in on the whole plan.
Mark added the goods to his inventory, bid the 8 armed bad-human-cosplaying octopus adieu, and left.
“Hey, Mark!” A high pitched voice called out from across the hall.
“Hey, Tim. What's up, little buddy?” He looked down at his feet as the small sentient brown wooden box bobbled over.
“Good, I caught you. It's about your mission.”
“What about it?”
“You're not going alone, are you?”
“No. I've got my team.”
Tim smiled. “So you decided to quit playing solo after all?”
He shrugged. “Hey, I don't play 'solo.' I join newbies and whatever team needs help, you know that.”
“But you never called any of them 'my team' before.”
“Eh, well, they were the ones to dive into my nightmare and pull my ass out of the fire. I owe 'em. Besides, they're good people. It's not so bad being on a team. Kinda takes me back to my roots.”
Although he had his original team that always aided him in the waking world, they, too, had obligations to their own hubs in the dream world. He loved it when they could get together for those rare group missions, though.
His new team here adopted him. He wasn’t an elitist outsider tagging along. He was one of them, subjected to the same rules as they were (almost—well, he is the only Hero Class after all), but shockingly enough, he wasn’t the team leader. He had to abide by the leader’s ultimate decision like everyone else. “Anyway, is there something you need help with?
Tim held up a piece of paper. “I checked the file just in case I'd need to prep for higher damage injuries. Nothing really dangerous popped out at me, but I noticed something weird. I pulled the hard copy to make sure. Look at the initiation date.”
His eyebrows lifted. “Hm? One year ago? This is a typo. The month and day are the same.”
“That's what I thought, too. I checked it with Google. He said he doesn't make typos.”
Mark pursed his lips. “Mmhmm. Sure. Right. Uh huh. Ok. Yeah. Ask him about Google Feud next time.”
“But—”
“Relax. It'll be fine.” It was then that the upward look of concern from Tiny Box Tim surpassed the surface of 'this could be a dangerous mission,' into more poignant territory with years of personal history behind it. Mark crouched down and patted him lightly on top of his head...er...body, and his voice took on a sincere, disarming tone. “I'll be fine. Don't worry, little buddy. This looks rough on the outside, but it’s gooey in the middle. My team and I can handle it. We've been through worse.”
Tim took the paper back when Mark handed it over and looked up as the other stood, towering over him. “Mmm…Ok. But I still have a bad feeling about this. You’re not completely back to normal yet. You went through something not a lot of people can come back from. It’s only been a few weeks, and PAX stretched you thin.”
“Hey, give me a little credit here. I’m a lot better off than I was.”
“That’s true,” Tim had to agree. “And I’m proud of you for that.” He knew Mark had an excellent support system in the waking world. He was recovering, and thankfully, those who knew him and even those who didn’t, flooded his notifications with positive messages.
The ‘Mark’ that returned to an empty hub the next night after he’d defeated Dark just sat on the stage staring at all the vacant seats once filled with the souls of those who believed in their missions, and in him. Tiny Box Tim, as his first Somni and closest to him, was the only resident of the hub to remain. He could sense Mark’s raw, eviscerated state. He was a mess. Because of the negativity flooding the hub, Mark wondered if anyone would even want to come back at all. Tim assured him that they would. They’d sat alone in silence until five people suddenly appeared at the back of the room. Both of them hadn’t expected anyone to show up for a while yet, but he could tell his friend was happy that it was the five who’d saved him. Mark saw them off on their mission, but didn’t leave on his own until a few days later when Blue extended the offer to join her team for the third time. He’d accepted. He had a duty to the hub, to the people who’d found their way back, and most importantly to himself to move forward. A little bit of ‘fuck you’ energy was all he needed to give him that essential push.
“Just do me a favor and be extra careful, ok, Mark?”
“You got it. We'll be in and out with time to spare. It'll be easy-peazy-lemon-squeeze-me.”
The tiny box boy didn't look any less placated by that answer.
A slim pillar of sky-blue luminescence swirled up from the floor in the main room lasting the length of a second. The figure of a teenage girl in a knee-length blue dress and knee socks materialized within its apex.
“Hey, Blue.” Mark cast Tiny Box Tim a reassuring nod before joining his teammate.
“Oh, hey, Mark.” She smiled. Seeing her other team member, and the leader of the hub they called a second home, warmed her heart every time. She still wasn't sure why he acquiesced to her being this particular team's leader—she was ready to give up the title after extending the offer to join her team--, but she respected and appreciated his faith in her. “Where's everyone else?”
“Not here yet. You are numero uno.”
“I hope they get here soon. I was afraid I'd be late. We all decided this would be the weekend we'd go full throttle and do as much as we can.”
“You're all sleeping in?” Mark folded his arms.
Blue nodded. “That's the plan. Also fixing our sleep schedules, too. Those last few missions really threw off Peach. She blew up the group chat at 3am last night binge watching an anime Jade suggested. Went through a whole box of Cinnamon Squares.”
“Yikes.”
The areas to their left and right lit up from three more identical shifting columns of light.
Red stretched his arms over his head and yawned. Tufts of black hair stuck out from beneath his favorite, worn, red cotton beanie.
Purple waved softly to everyone with a small smile and a light, “I'm not late. Yay!”
Peach danced lightly on her tip toes. “This is gonna be the best weekend ever! I cleared all my plans to make sure I could get to bed early each night.”
“What about that show you were watching?” Blue asked.
“I finished it this morning,” she sound proudly.
Red eyed her like she'd grown a second head. “This morning? As in...'before-the-butt-crack-of-dawn' this morning?”
She nodded, still smiling. “It was so good. The feels alone!”
Purple furrowed her brow in concern. “How many boxes of cereal did you eat in the past few days?”
“I don't know, but we're out, now.” She shrugged.
The group exchanged glances, and an unspoken agreement that their weather mage's sleep schedule needed to be fixed first.
The quick 'woosh' of a pillar of light formed just outside the group. Their last team member's form appeared. “You guys are already here?” Jade stepped into the nearest open space.
“We were just waiting on you,” Mark said casually.
“I watched the whole show,” Peach's smile never disappeared. “It's so good!”
Jade's face lit up. “I know, right?”
“Please tell me there's a season 2.”
“Hell yeah! Who's your favorite?”
“I like them all! But mostly the guy with the—“
“I know you're excited, but we have a mission to go on. We gotta focus,” Blue interrupted.
“Right, right,” Peach settled down, “Sorry.”
“Ok. Everybody take five to get what you need, then meet back here. Sound good?” Blue said.
Everyone nodded and scattered to refill their supplies. A few minutes later, they returned to the main room of the hub and gathered at the wide-open area in front of the portal's spawn point. Peach and Jade took their places last, having talked about their new favorite in-common show as much as they could before embarking.
The bell for the third shift echoed its low tone through the hall, alerting everyone in the hub. People appeared within columns of light, and some filtered in from the surrounding rooms.
“That's our cue,” Red cracked his neck. “Let's do this.”
The air crackled ahead of them. A dark vortex formed from a point no larger than a thumbnail and quickly blossomed out to form a dark blue, violet, and black event horizon wide enough to easily encompass two people standing shoulder to shoulder. Its center was thick and black as ink, swirling as if time itself gave way to the will of the universe.
The first time they saw this, everyone—including Mark—felt trepidation. They were both excited and afraid to step through into the unknown. This portal created a wormhole connection into one person's dream, like an Einstein-Rosen bridge in space, but within the ethereal and mailable dream world that seemed to punt physics out the window.
Sometimes the sight of this incredible phenomenon struck him with awe at what it could do, and what it allowed him and many others to accomplish: saving the spirits of those crying out for help.
The waking world knew nothing of this.
Mark turned his back on the portal to address the team. “Normally I'd say this is one where we can go in for the snipes and be back by lunch. It seems pretty cut and dry, but...” he glanced in the distance to the hall leading to the infirmary. Regardless of his own machismo, hearing Tim say 'I have a bad feeling about this' was rare, and didn't sit well in his gut –like that ghost pepper. What the hell was he thinking? “...just remember not to let your guard down, ok? It may look tame, but very often it's a rouse; A cleaver, dubious rouse. As dubious as rouses get.”
“I don't care what it 'do,' it 'be us' who take it down,” Jade thumbed toward themselves. “We're pros. We got this. Now let's go kick some Terrorling ass!” They jumped through the portal with a loud battle cry, 'Lerooy Jenkins!'
Peach followed with a light 'woohoo!' and leaped in.
Red simply face palmed at his companions and stepped through.
“Whoever you are, don't worry,” Purple set her jaw in determination, “We'll find you.” And with that resolve steeling her bravery, she leaped through after her friends.
Blue and Mark stepped up last. “You seem a little out of it, Mark. Everything all right?”
“What, me? Nah, it's good. It's all gravy. We can take whatever this nightmare throws at us. Let's start off the weekend with a bang!”
Blue grinned at the animated finger guns and quickly knelt down at a small hole off to the side in the wall. A few tiny mouse sounds emitted from it. She smiled. “Squeaks for luck,” then gave him a thumbs up and jumped through the portal. She trusted her friends—all of them. They'll save this person and be on to the next mission before they knew it.
Mark followed through. The portal closed, locking them into the connection to the other person's nightmare. It quickly reset for the next team.
Though he had confidence in his team, he still couldn't shake Tim's warning. Something about this mission might go tits up if they weren't prepared. Mark, as a veteran of rescuing people in the dream world, knew that all too well. This one, however...felt different.
And that worried him most of all.
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TBC
Prologue: A Light in the Darkness
Chapter 1: Weekend Warriors
Chapter 2: Something’s Suspishy
Chapter 3: Chasing the Sun
Chapter 4: The Nightmare’s Truth
Chapter 5: Light and Shadow
Chapter 6: Lifeline - part 1
Chapter 7: Lifeline - part 2
Chapter 8: Phantom Power
Chapter 9: Mark’s Past
Chapter 10: A Second Chance
Chapter 11: Learning to Breathe
Epilogue: Ad Infinitum
#Hearts and heroes#markiplier fan game#markiplier fanfiction#still going on this. It feels odd#but I keep reminding myself that these are characters and not real people. Still not breaking my rule.#Peach is an anime fan#I love all these cinnamon rolls#Warfstache is just that crafty#fanfiction#fanfic
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ICW is the Indian fashion industry’s most prestigious platform. It’s the ideal destination for anyone looking for exclusive, luxurious fashion. Not only do designers present their freshest and most desirable ensembles here, the latest trends in Hair and Makeup are also unveiled at ICW,” says Sonic Sarwate, Senior Global Make Up Artist, MAC. Ten leading India dazzled in the finest sphere of style, craftsman ship and opulence at India couture week 2019.
Day 1- Amit Aggarwal
Introduced his Couture 2019 collection ‘LUMEN’,iInspired by the exchange of light through an overlay of framework, fluidity and form. Kiara Advani was the showstopper and muse for ‘LUMEN 2019’ at Amit Aggarwal’s opening show for India Couture Week.
Footwear by: | Stylist by:Day 2-Suneet Varma
Suneet’s Couture ’19 collection is titled Amara. “India has a century-old love affair with couture, or made to measure for pleasure. There is no denying the luxurious indulgence of precious finery, the magical beauty of one-off embellished wedding attire and the sparkle of personalized jewels that are made to match with it,” says the couturier.
Day 3-Mosaic is an art form made by assembling small pieces of glass, ceramic or other materials and is often used as a decorative technique in architecture.
Byzantine empire when it was gloriously used on walls and ceilings in basilicas and churches.
Pankaj & Nidhi’s couture collection is a tribute to this period of magnificent ornamentation and the duo have interpreted this with the same artisanal dexterity on textiles.
Jewellery by:Day 3- Rahul Mishra
A romantic articulation of the wildflowers and undergrowth from a nature dwelling, based on excresent memory that is fueled by imagination. Rahul Mishra’s collection was based on his childhood memories.
Day 4- Sulakshana Monga
The Sulakshana Monga Bride is confident and experimental with her sense of style as she keeps in mind her homeland’s rich history and culture. We saw a lot of play in the patterns, we have used frills, rafia and feather. The beautiful Malaika Arora walked the ramp for Sulakhshana Monga.
Day 4- Shyanal and Bhumika
Celebrated and renowned coturiers Shyamal and Bhumika’s Indian Couture Week Collection for the season is inspired by the iconic period of renaissance which marks the rebirth of art, architecture, music, couture and theatre from the medieval ages to modernity. Bollywood star Kriti Sanon chose to walk for Shyamal and Bhumika.
Jewellery by:Day 5- Reynu Tandon
Depicting a contemporary fashion saga, the usage of easy on the eye hues and the miraculous details will take over your heart. The Savanah Saga collection presented by Reynu Tandon was mesmerisng. Stunnig Rakul Preet embraced the ramp for Reynu Tandon.
Jewellery by: Day 5- Falguni Shane Peacock
‘Bonjour Amer’ which was presented at the India Couture Week. It was inspired by the magnanimous Fort Amer, situated in the Pink City of Jaipur.The young and effervescent Sara Ali Khan looked exquisite as she walked the ramp in an antique white, crystal cascaded lehenga at the India Couture Week.
Styled by: Rk jewellers
Day 6– Gaurav Gupta
With obsessive attention to detail, for his new couture collection ‘Undercurrent’, Gaurav draws inspiration from the fierce waves of the dynamic ocean that flow in a rhythmic concentricity. The collection is full of electricity and boundless in its form.
A Moment Marked In Time’ Debuting Gaurav Gupta Occasions Jewellery Diipa Khosla and Diana Penty made an electric statemen in GG ‘Undercurrent’ couture marking our 15th year milestone.
Day 7- Tarun Tahiliani
A symphony of intricate craftsmanship and redefined traditions. Juxtaposing iconic European construction with classic Indian styles and embroideries, his new couture collection carried rich heritage into a modern way of life. Jewellery by:Chckout more links like these: A Parisian Symphony By Shyamal and Bhumika At Amazon India Fashion Week! | 10 Dream Brands and Their Flagship Stores in Delhi | | This Winter Look Haseen, With Abhinav Mishra’s New Fall Winter 2017 Collection – HASEEN
#>Dyuti#d03166;#>#>Mohi#d03166;><em> Naryan#d03166;>#d03166;><strong>House#d03166;>Archana#d03166;><strong>Rk#d03166;">
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How would you rank these ships from your favorite to least favorite (no ties allowed, of course!): Lorelai/Luke, Lorelai/Christopher, Lorelai/Max, Lorelai/Jason, Rory/Dean, Rory/Jess, Rory/Logan, Lane/Dave, Lane/Zach, Paris/Doyle, Sookie/Jackson, Emily/Richard?
From order of most fave to least fave!
Luke/Lorelai - my otp! I know lots of people don’t really like them together, but their rapport and their devotion to each other is just something I will always cherish.
Emily/Richard - The most classy and #iconic Gilmore Girls romance and we all know it. Sigh!
Rory/Logan - My adorable smitten kitten lovebugs!
Sookie/Jackson - A MATCH MADE IN PRODUCE HEAVEN. Remember when they were romantically eating tomatoes in the Dragonfly kitchen? Beautiful.
Paris/Doyle - They are so hilarious and sweet and I’m still pressed that the GG revival broke them up for no apparent reason. If the revival was going to continue to force heterosexuality upon Paris, then why can’t she be with her boo??? And if we were supposed to for some reason infer that they’d reconciled from Doyle calling Rory in “Summer” from Paris’s house, then wHY COULDN’T WE JUST ACTUALLY GET EXPLICIT CONFIRMATION AND A DELIGHTFUL RECONCILIATION SCENE OR SOMETHING
Lane/Zach - Lane/Zach has some weird pacing and low moments, and I wish to God they’d had more time to be fun carefree young married people before Lane got pregnant, but I just really think they have a fun easy chemistry that I like a lot. They also have a Brian.
Lorelai/Chris - They are fun to watch together and I think the sense of history between them is really resonant and moving. I actually – this is such blasphemy – don’t really mind the episodes where they date/marry in season 7, because they have a fun rapport. (And also because it’s really satisfying to watch Lorelai swiftly go into I’VE MADE A HUGE MISTAKE mode.) It made me kind of sad that the revival suggested they were estranged, because I had always pictured them staying lifelong friends even if they weren’t super present in each other’s lives all the time.
Rory/Jess - I have kind of grown sour toward them for my own ridiculous fandom-induced reasons (why must I be so fundamentally contrary?), but I will always really enjoy their interaction in season two and season six.
Lorelai/Max - I think they are really charming in the short time that they’re together and have really good chemistry. I heart Mr. Medina.
Lorelai/Jason - At least they are both hilarious? Kinda bummed no one told ASP that Jason’s true soulmate was Christopher, but really, who do I have to blame besides myself on that score? I should have sent her some detailed postcards or something!
Lane/Dave - I honestly have no idea why I’m so dead in my soul toward these two when I can objectively recognize that they’re darling. Maybe it’s just because I know Dave isn’t going to stick around, so I have never let myself get invested!
Rory/Dean - Sorry about ur “perfect first boyfriend,” Rory. They have some sweet moments - a lot of sweet moments, even! - but the emotional labor Rory had to do for this boy (and, okay, yes, all her boys, but this guy especially and she was so YOUNG and there were no adults who told her “the way he’s making you feel like you have to tiptoe around him to avoid his anger isn’t okay”) fills my soul with rage.
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Luxury Brands Brace Price Hikes and Entry-Level Items in China Rebound – WWD
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As China resumes luxury spending, should brands seduce them with tantalizing entry-price baubles, or ramp up prices on more luxurious and iconic handbags? The answer to both tactics seems to be “yes.”
It’s not news anymore that there has been a line outside Chanel since China eased lockdowns from April, but last Sunday, as rumors of significant price increases taking effect on Monday began to spread on social media, the brand’s stores across the country saw unprecedented gains.
Users on China’s popular social commerce platform Xiaohongshu documented their Chanel shopping craze in Beijing, Shanghai, Guangzhou and Hangzhou. One user said she waited for an hour to pay for her purchase as the store was overcrowded.
The price for a Chanel Square Mini in black lambskin will go up 27.4 percent, to $3,815 from $2,995, while there will be a 24.5 percent jump for a small Classic Flap bag, according to Pursebop, a handbag-focused web site.
A source told WWD that the price increases had begun in France on May 7 and elsewhere in Europe beginning May 11, and it will take effect in the U.S. beginning May 25. Chanel did not immediately respond to a request for comment.
Xiaohongshu users documented busy scenes in Chanel stores across China on Sunday, as rumors of significant price increases taking effect on Monday began to spread on social media.
Screenshot/Xiaohongshu
Louis Vuitton confirmed to WWD that the brand has increased its prices twice in the past three months: by 3 percent in March and another 5 percent in May, respectively. It means the popular Pochette Monogram Metis will cost $150 more if a consumer buys it now compared to the pre-COVID-19 lockdown.
Prada and Gucci told WWD that they have no plans to increase their prices at the moment.
The pandemic has forced luxury brands to close their stores in Europe and North America for nearly two months, and seen their share prices plummet, while retailers such as Neiman Marcus, J. Crew and True Religion have filed for Chapter 11 bankruptcy protection.
In luxury spending powerhouse China, where life is gradually getting back to normal, luxury brands are implementing a mix of strategies to recapture the business they had lost.
In addition to price hikes for best-selling core products, as Vuitton and Chanel did, brands like Dior, Gucci, Prada, Hermès and Vuitton are also doing major pushes of entry-level products with their China-focused campaigns.
Jinyan Wu, the face of the Dior’s Capture Totale skin-care line in China, and Ziwen Wang, Dior’s cosmetic line China ambassador.
Courtesy Photo
Dior unveiled two local ambassadors for its beauty line last week: Actress Ziwen Wang as its cosmetics ambassador, and Jinyan Wu as the face of the Capture Totale skin-care line. Wu became a household name in China after she starred in the hit Qing dynasty period drama “Story of Yanxi Palace.”
The brand has a history of associating with a dozen Chinese celebrities with massive online followings to help promote Dior’s expansive product categories. Its top six ambassadors alone have a combined following of more than 250 million users on Weibo. It means that the brand can achieve much higher sales conversions than its peers in entry-level categories, including skin care, fragrances and small accessories.
Gucci and Prada, on the other hand, are going big on the 520 Chinese Valentine’s Day with a focus on classic styles and lower-price-point items. The date 520, which sounds like “I love you” in Mandarin, was traditionally considered less important compared to Valentine’s Day on Feb. 14 and the Qixi Festival, a Chinese festival celebrating the annual meeting of the cowherd and weaver girl in mythology for millennia. But as COVID-19 disrupted brands’ original plans, 520 is being treated as the most important festival for love in the country.
Gucci tapped brand ambassadors Chris Lee and Ni Ni, popular idol Lu Han and Song Yanfei, plus four other friends of the house to spotlight GG monogram products in outdoor ads. The campaign will be gradually rolled out on major Chinese social platforms, and each platform will have slightly different visuals and tone of voice to drive engagement. Dionysus, 1955 Horsebit, GG Marmont and Ophidia are key items in this campaign.
Cai Xukun stars in Prada’s “520 Mathematics of Love” campaign.
Courtesy Photo
Prada’s 520 Mathematics of Love campaign featuring Cai Xukun, the face of the brand in China, saw success in online engagements. On Weibo, Cai’s post about the campaign had 1.58 million likes, and the hashtag #Prada520# has 430 million impressions.
Six items from the 520 collection, including three bags, one pair of sunglasses, one buckle hat and one bracelet with prices ranging from 2,200 renminbi to 13,000 renminbi or $310 to $1,832 at current exchange, are sold out on Prada’s WeChat mini-program store.
Hermès and Vuitton are mixing both tactics. While shipping lots of rare Birkin bags to China and bringing in at least 19 million renminbi, or $2.7 million, in sales on the reopening day of its flagship in Guangzhou’s Taikoo Hui a month ago, Hermès launched a WeChat mini-program store for 520. The program features products with more affordable price-point products such as silk scarves, belts, earrings, sandals, a Baby Hermy toy and a Kelly wallet available in four colorways.
Vuitton worked with China’s top livestreamer, Austin Li, to promote its fragrance collection on Xiaohongshu, as well as releasing a dedicated campaign later this week.
Related:
Dior and Chanel Win Big in China’s Emerging Live-streaming War
Gucci Taps Lu Han, Chris Lee, Ni Ni and Song Yanfei for 520 Campaign
Cai Xukun Stars in Prada Chinese Valentine’s Day 520 Campaign
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