#interview with isla

[islacruzdent]

𓊆ྀི❤︎𓊇ྀི Isla’s Askblog. 𓊆ྀི❤︎𓊇ྀི

Welcome to Isla’s Askblog. Isla is a DC oc owned by @jammygurll and is also seen shipped with Harvey Dent (oc x canon ship). Ask her (almost) anything.

RULES:

Absolutely NO NSFW, you will be ignored. Mildly suggestive themed asks are fine, just think before asking.

Don’t spam the askbox, it will get overwhelming for me to answer all of them.

Answers might be slow, but you will get your answer eventually. I’m slow when it comes to answering asks and I’m usually busy, sorry!

Do not harass, or say anything rude/offensive.

Have fun with asking silly (or serious, whatever) little questions!

[lesbiansforeddiediaz]

Thinking about Ravi listening to Benson Boone is killing me badly. Ravi is at the firehouse making tiktoks to that I want you I need you song

[docpiplup]

Yes, another interview, but I wanted to share It because It has some info that the previous ones don't have, like for example, one of the members of the new patrol was a historical character, an Aragonese mathematician, writer and teacher from the 18th century, María Andrea Casamayor y de la Coma (Zaragoza, November 30, 1720-Zaragoza, October 23, 1780), author of books like "Tyrocinio arithmético: instruccion de lás quatro reglas llanas" or "El Parasi solo". I like that EMDT was going to have another female historical character, because we all know that compared to male historical characters, there are far fewer female historical figures represented in the series. But most likely there will never be a new season, so at least Andrea Casamayor as an agent of the ministery could be an idea to include in a EMDT fic.

"I don't want any more dizziness." Javier Olivares reveals what season 5 of 'The Ministry of Time' would have been like and what is needed for him to agree to take it back

The co-creator of the series also makes it clear that either it returns as a series or it does not return.

This Monday, February 24, marks the 10th anniversary of the premiere of 'The Ministry of Time', an acclaimed science fiction series that was never officially cancelled. However, almost five years have also passed since the premiere of its fourth season and the last we knew was that RTVE had rejected the idea for a fifth season by Javier Olivares at the request of the public entity itself.

At Espinof we wanted to take advantage of this anniversary to interview Olivares, co-creator of the series with his sadly deceased brother Pablo. In it he talks to us about, among other topics, which scene best defines 'El Ministerio del Tiempo' for him, what his plans were for season 5 and what would be essential for him to agree to take it back, historical figures that he wanted to portray in the series or how he would see a possible remake or a relaunch of El Ministerio del Tiempo' with another person at the lead.

The 10th anniversary of the series' premiere is celebrated and every fan of the series has a favorite moment from it. In your case, what is the first scene or episode that comes to mind when your memories decide that that day is the time to dedicate some quality time to the series again and why?

For me, there are iconic sequences. Like Velázquez entering the Prado Museum or that of Lorca and Camarón... But, in my opinion, the moment that defines what the series is is when Julián recites Leño's “Maneras de Vivir” to Lope de Vega. My brother Pablo wrote it. It defines (along with the following “Servicio de Habitaciones”) our commitment to pop without disregarding the classic. The irony… And the struggle that came with making the series. When I read it for the first time, I didn't even laugh. It was a chill, the stupefaction of thinking how someone like my brother Pablo, already immobile due to ALS, had the capacity to write with a sense of humor. Because I couldn't do it, I assure you.

It was also a symbol of production. One day, whoever was wearing it at the time told me - as a showrunner that I was - that Leño couldn't be recited, that it was very expensive. I didn't understand it: it was just reciting it, without music. For me it was key, the definition of the series. And I told him to tell me how much it cost and that I would pay for it on my own. Then, my lawyer (Javier Carrillo, an expert in these issues) got to work and it turned out that it did not exceed 800 euros. If I had not been executive producer, this sequence - the best of the series - would not exist. And I thought about how many great ideas would have been lost in our series because their creators (the writers) couldn't control the product.

Outstanding debts

All these years later, is there anything you regret about the series, either because you did it one way or because you just ended up not doing it?

As a creator and screenwriter, no. We did things wrong and others well. But it is what it is. It is no longer useful to say “if they had programmed us differently”, “if it had not taken so long to renew so many times”, “if certain actors had not left due to lack of continuity”… 'El Ministerio del Tiempo' is the sum of what we plan to do, what we were able to do and the fight against those inconveniences. They are our war wounds, but also our medals. It's a whole. And if you look at the results after ten years, the balance is wonderful. We gave the network its only Platinum, two Ondas in a row, Feroz, Iris awards, impact on social networks, we have fans in China, Russia, an association in France... And we created friendships that still last, a ministerial family. If you had told me before starting that we were going to achieve so much, I wouldn't have believed it. Furthermore, I am clear that the culture of complaint is useless. Only shit comes out of continuous complaining. Even when you have reason to complain, you cannot live settled in it. You have to show your face, yes. But then move on to something else. To create again.

The series finally had 42 episodes but I wish it had had many more. Is there a particular historical character that you were left wanting to tackle and that didn't fit into those four seasons?

Many. And concepts, stories... I regret not having dedicated more chapters to Science, as we did with Emilio Herrera. There are wonderful characters who were left out, like Isaac Peral. Or like Andrea Casamayor, a 17-year-old girl from Aragon, the author back in the 18th century of a mathematics manual for popular use and another missing book (advanced mathematics) that she could not sign because she was not a man and had to use the pseudonym Casandro Mamés... Topics such as historical fake news, such as the boy from La Guardia or what surrounded the Esquilache riot... The nighttime filming (on the same sets where Bela Lugosi filmed it) of a Dracula in Spanish. I think they just did this topic in a Mexican series, in fact. And I won't be able to do it anymore, when I had had it in my head for years...

Years ago you commented that you presented a season 5 but that RTVE rejected it, although without ever canceling the series. Of course, it wouldn't be the first time that RTVE recovered a series that everyone considered over, as happened a while ago with 'Los Misterios de Laura'. Would you still be willing to resume it or have you already completely closed your stage in the series 'El Ministerio del Tiempo'? Furthermore, at the time the transmedia universe of the series was very important, and perhaps not with new episodes of the series, but a podcast, a play, a series of novels. Would there be any possibility of continuing to expand the universe on that side?

Season 5, already designed but was rejected - after requesting it - by TVE, was a bit of a compendium of this. The patrol was new. With Andrea Casamayor, an officer from the War of Independence and a ram raider from the south of Madrid, punctually accompanied by the usual protagonists. In it the topics, in 4 episodes, were:

• The Beatles concert in Madrid.

• The appearance of an unknown comedy by Lope…. Whose protagonist is called Amelia.

• The portrait of the Prince of Wales painted by Velázquez.

•Canfranc taken by the Nazis, where half of Europe escaped, risking their lives.

•El Niño de la Guardia as an almost Trumpian prototype of fake news.

•And a Christmas special (my always dream) dedicated to the National Lottery.

As you can see, many outstanding debts would have been settled. But I would only take it back if I saw a plan, a love... I assume you don't want to do it, but I don't want more dizziness. This series needs a lot of passion. Of those of us who do it and of those who want us to do it. Regarding going to other avenues outside of making new seasons, The Ministry will either be a series or it will not be. No books, no podcast, no TV movie. All of this works around a series, not independently.

Did you already have any actor or actress in mind that you would have liked to have been part of the new patrol in that season 5 that did not go ahead?

I always have them, but there are several. But by not talking to them before, the rule is not to quote them. I'm sorry.

Another very common thing is remakes and new versions. 'El Ministerio del Tiempo' itself has had adaptations in other countries, but how would you see the possibility, perhaps not now but in a few years, of someone else taking up the series in Spain? Whether it's a more or less traditional remake or a relaunch in the style of what Russell T. Davies did with 'Doctor Who' and which is still underway.

If I knew of a future Spanish Russell T. Davies, I would be delighted. For his talent and for his social and political commitment to wonderful series like 'Years and Years' or 'It's a Sin'… He is the best showrunner of 'Doctor Who' by far. And with a third season of 'Torchwood' which is one of the masterpieces of science fiction. But there isn't and I don't think there is because our industry doesn't make series like that and, therefore, it doesn't generate creators of that type.

It is another type of creators... Different. Our fiction is produced, generally for platforms. And it has been abandoned - unlike in the rest of Europe - by TV. in open. With this, the concept of party, of adventure, of I'm going to sit down and see what they surprise me with... And share it on networks is lost. Each episode of El Ministerio was a party, with National Heritage tweeting and offering images from each era. With the Prado Museum, the Romanticism Museum… And the followers. All together.

Be careful, I'm not complaining about what there is. I complain about what isn't there. How am I going to complain about the platforms as a viewer when they make gems like 'Antidisturbios', 'Veneno', 'Nos vemos en otra vida', 'Querer', 'Cristóbal Balenciaga', 'La Mesías'...? I appreciate their quality, their creative risk and I understand their business model. But I think that those jewels are not seen by the amount of public that should see them. And that I would see them (without a doubt) in the open. But that is not the platform's problem. It is one of the few that is produced openly.

Without contact with the public, the creator becomes more auteur and less pop. And television is pop. Like Russell. Like Abbott back in the day. Like Moffat. Like Jed Mercurio… Even Simon, the “fuck the average viewer” guy, generated pop icons beyond HBO being pay-per-view. Because he was talking about the street, about today's society. For me, series are that: pop culture without ceasing to be entertaining, intelligent... Because pop does not imply that the public is assholes. There is the example of 'Line of Duty', which is a gem and has a share of more than 40% in open air. And without having to pay to see it on a platform, something that - it has been studied - is opening a social gap in the consumption of fiction. 'Isabel', 'El Ministerio del Tiempo' start from that popular base. If someone makes a remake one day, I hope they don't forget it. With that, it's fine for me.

Well, and that one day TVE will have the cultural support it deserves from politicians, to understand that it could be the BBC in Spanish instead of a model without media and competing with the private ones with the same weapons too often. But this may be asking too much at this point, when so many opportunities and time have been lost. In the 1980s, the then French president Mitterrand, faced with the emergence of powerful private channels (Canal+, La Cinq, TV6 and TF1), had the idea of creating a cultural and educational channel with a European vocation (La Sept). In 1986, a working group was created (after a Mitterrand-Kohl summit) with the aim of strengthening Europe's weight in audiovisual communication which, two years later, resulted in the creation of the ARTE1 channel, a Franco-German public service channel.

And a few years ago, those who felt alerted by the survival of the sacred BBC were English politicians. Thus, a parliamentary commission was held on the matter. The increase in costs, the hiring of their best values by the platforms (a clear example is 'The Crown'), described an alarming situation. And they reacted with pride... And with fiscal, promotion and dissemination measures... The result, seeing the production of recent years, is that we are witnessing a new explosion of British Drama, both by the BBC and the improvement of fiction by the private ITV. Openly and in collaboration with platforms. I would like Spain to have that sensitivity towards television audiovisual culture one day.

[goldenfurevamp]

The Vampire Armand 1982 - The Queen of the Damned. Chapter 5 - The Devil´s Minion ( Vampire Chronicles - Anne Rice)

El vampiro Armand 1982 en La Reina de los Condenados. Capitulo 5 -Historia de Daniel, el Favorito del Diablo. (Crónicas Vampíricas de Anne Rice)

Yes, Armand´s outfits (?

[wanna-get-that-spike]

Isla Gie - Cast interviews for 'A Working Man (2025). - While waiting for the spin-off, here's some adorable footage of Isla, while we wait for her to kick ass as Tiva's mini-ninja 💪🤩

[amberheardarchive]

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A post shared by Isla Calavera (@islacalaverafest)

[hollywoodoutbreak]

Fans of the Captain Underpants books are certainly familiar with Dog Man, the spinoff series created by Captain Underpants author Dav Pilkey. Now, there's a Dog Man film, set as a story within a story in the Captain Underpants universe. Isla Fisher is part of the animated movie's voice cast, and she thinks it won't just be fans of the books who love the movie.

Dog Man is now playing in theaters.

[sinceileftyoublog]

Jennifer Castle Interview: Recognize My GPS

Photo by Jimmy Limit

BY JORDAN MAINZER

I first came across Canadian singer-songwriter Jennifer Castle ten years ago, upon the release of her fourth album Pink City. Enraptured by its lush arrangements, I caught her live at the Hideout later that fall, only to watch her play the record front to back, with no breaks in between, on solely acoustic guitar, putting its awe-filled lyrics front and center. Ever since then, I've realized Castle is an artist who can do it all--she'd follow up Pink City with 2018's grief-stricken, expansive Angels of Death and 2020's unvarnished, semi-improvised folk record Monarch Season. And whenever she comes out with an album, it seems like it comes just when you need it, at the right time of year to boot. Alas, earlier this month, Castle dropped Camelot (Paradise of Bachelors), another autumn opus that finds something celestial in the earthbound.

On Camelot, Castle culls from the best qualities of her previous records. Unsurprisingly, it returns many of the same personnel, like members of her venerable backing band: guitarist Jeff McMurrich, who co-produced it, as well as drummer Evan Cartwright, bassist Mike Smith, guitarist Paul Mortimer, and vocalists Victoria Cheong and Isla Craig. Jonathan Adjemian, who played piano and organ on Angels of Death, bolsters the choogling mid-album highlight "Mary Miracle" and sweeping ballad "Fractal Canyon". Legendary composer Owen Pallett, who provided string arrangements to much of Pink City, does the same for dramatic ballad "Blowing Kisses", a song that, prior to Camelot's release, appeared in an episode of the third season of The Bear. In a sense, Camelot could be a good entry record for those unfamiliar with Castle's albums and performances. It's got a gentle guitar waltz ("Trust") and solo performance ("Earthsong") as well as expressive, upbeat folk songs (the title track, "Louis").

Yet, Camelot simply sounds bigger than Castle's prior music. That's partly attributable to her looser control of the band. For the first time, Castle played only acoustic guitar on the record, giving control of the piano and keys to Carl Didur. The band's mission to unlock the rhythms of the songs, like puzzles waiting to be solved, eventually sees them play up their 70's rock and country influences. "Lucky #8" finds something holy in dance. Backed by slide guitar from none other than Cass McCombs, Castle sings, “So just give the money to the dancers / While their hips go figure eight / And they entrance us with the answers / And we hope and pray the message ain’t too late.” "Full Moon in Leo", meanwhile, juxtaposes a psychedelic keyboard groove with saxophone from in-demand multi-instrumentalist Stuart Bogie, a strutting country tune with a hazy, flower power AM radio edge. It's one of a few times on the album where the song is self-aware. "I did not come here to talk about orange / And all of the things that have come up before us / And Florida and that warm catchy chorus," Castle sings, her free association-style rhyming giving you a front row to her state of mind. The song is a mix of absurd substance and style: At one point, Castle actually sings, "Big hair, don't care."

What's best about Camelot, though, is Castle's mere control of language. For one, she can write tongue twisters that make your ears itch. On "Earthsong", she sings, "Names are small, and names are games / And forces gain good ground / When light moves tat the speed of sound." On "Blowing Kisses", she declares, "I'm not a beggar to language any longer," and later follows it up with a well-timed obscenity that's a humblebrag statement of conquering: "I'm so fucking honored." On "Fractal Canyon", she sprinkles details of people who sound so mythical they have to be real. "I'm with Paul, who's speaking in an Irish accent / Him and I wear tiger eye, and that's no accident / I take comfort in the stripe, the stone of protection / From Daffodil Bill and the thrill of rejection." Whether or not you know who these people are, it's the line repeated over the song's verses that matters most: "I'm not alone here." In the world of music--from her backing band to the characters in her songs--the writer who often performs on stage by herself is anything but solitary.

I spoke to Castle last month over Zoom about how Camelot fits in within her discography, her writing and recording process, capturing negative human emotions, and stripping down her songs for stage. Read our conversation below, edited for length and clarity.

Jesse Harris' Camelot cover art

Since I Left You: The themes on Camelot alternate between the very real and tangible and the more cosmic and abstract. Can you talk about that interplay?

Jennifer Castle: I wonder if that interplay is always present with my songwriting, which tends to feel like an opportunity to travel great distances while, at the same time, tipping your cap to exactly where you are. In writing, it feels very beneficial for me to recognize my GPS, where I am at the moment, whether that's details, something very literal, or something very grounding that I can mention, I can take to ground the concepts, which often tend to try to transcend where I am at the time. I think both distances, the small, minute place, and the large, vast, potentially infinite spaces, are interesting to try to map out when I'm making a record.

SILY: I see that in all of your songs, but it did stand out to me on this record.

JC: I think you're right. There were definitely times when I was recording where I was trying to address larger orbits, larger spheres.

SILY: I might be a little bit taken by the sound of it, too, because your previous record was comparatively minimally arranged. What inspired your decision to make this a much fuller sounding record with a band?

JC: I think Monarch Season was more of a definitive decision than Camelot was. It's challenging for me to be as consistent in vibe as Monarch Season was. I [wanted] to make a record where I set a tone and [continued] that tone all the way throughout. I tour a lot solo because it's accessible, and people afterwards would come to me and say, "What record is like what you just did?" And I'd say, "I don't actually have one." I was always describing my records, saying, "Pink City has these arrangements," and "Angels of Death has a band," so I really made a decision to make Monarch Season the way it was. Camelot returns back to a natural musical sensibility where I like all different types of songs.

Monarch Season also came out right as the pandemic happened. I had made it while I was really busy touring. I stole away a weekend in 2019. It was released at a time when some people were in really still, quiet places, at home. It was seen as something bare and minimal, and collectively, we were going through something that was more essential or quiet. While I was going through those years, I was back to imagining all those great spaces I can take up. I envisioned the Camelot songs sounding the way they did before we even made them.

SILY: Some songs on Camelot do lend themselves to the way you play live, but others I'd be interested to see how you bring down to something more stark. Did you write the songs on guitar before fleshing them out?

JC: More or less. Maybe "Blowing Kisses" I wrote on piano. I think that might be it on this record. I just played acoustic guitar in my kitchen. My son was home a lot--he wasn't in school at the time--so I wrote them at home with my little life happening around me. I have distinctive memories of, not writing in lyric, but strumming out "Mary Miracle" and thinking, "What a funny tune!" It has a propulsion to it. I could already hear it. It's almost like it was already there and I was waiting to get to go and record it.

SILY: That's funny--I wrote down "propulsive" a lot when listening to this record. I love on "Mary Miracle" how you're ranting and you don't finish your sentence before you go back into the chorus: “And I want to know how you came to value / The practice of dragging by the hair those pals who / On their invisible crosses / Of their capitalist bosses / Who in the trash tossed out / That red beating thought that / That all is not lost and / That belief at all cost and...”

JC: I felt this record had a little bit of a breathlessness to it in general. It felt lyrically exhaustive. I don't mean that as a diss to myself, but it had a run-on-sentence aspect to it. Monarch Season, the songs were more lyrically refined or even taking a page from haiku. This one felt like the narrative always could have had one more thing to say. That even presented itself in the recordings and performances. They're wordy.

SILY: Were there any newfound aesthetic or instrumental influences on Camelot?

JC: I certainly have never just played acoustic guitar all throughout a record before. I gave the majority of the piano and keys to Carl Didur, and the rest to Jonathan Adjemian, who does the run on "Mary Miracle". I sat back and let us perform as a band ensemble. I hadn't done that consistently throughout a record before. I often perform bed tracks and build them, and maybe a handful of songs we'll do together, or there's more of a balance between built bed tracks and recording. Other than the two spare guitar songs that I play, [on Camelot,] we went in together. It has a cool ensemble feel, which I love, and I'd like to learn more about how to do that and trust that process.

SILY: That makes a lot of sense. For instance, I had never heard a song of yours ever quite like "Lucky #8" or "Full Moon in Leo", that give jangle pop and Dolly Parton/Emmylou Harris vibes, respectively.

JC: I don't know all of everybody's songs or catalogs, but I've gotten their downloads. I know the energy. Often, people are more taken back live when I share that, but I can embody the energy really easily. I don't know that I had necessarily put it on record before. Even "Sparta" on Pink City was built up from a really spare bed track. Songs that are more rock songs that I've made were more architecturally built. "Lucky" has flourishes, but we got it as a band together. Same with "Full Moon in Leo".

SILY: Even the songs you recorded as a band together have an aspect of restraint that's reminiscent of some of your earlier work: the calmness of the title track, the way "Louis" is built around the bass line.

JC: I always have a fairly funny joke with the people I'm recording with: I don't mean it literally, but I always say we're in a crew. It's kind of like Lord of the Rings. We all have to hunker down together, we all have to find the groove, and not many people get to have fun. Then, there'll be a moment where the bass gets to go for a tour, or maybe we hear something from the guitar player. There's lots of rock music where everybody is doing tons of stuff. If we're going to be together, I like us to hunker in together and hit the groove. That's more of a style I think I have.

SILY: I wanted to ask you about the following lines on "Trust": “Scientists insinuate / That facts are facts and lines are straight / Doctors say they can help / Then stoke you with the fear of death," and, “Church is good / church is great.” Are you bouncing back and forth in tone on those lines? Are you at all being facetious? From what perspective are you singing?

JC: I think that song was the last song we recorded. The band had never heard it. It wasn't even really a song before we recorded it, but I had a hunch it was maybe a song. That song starts with really basic human negative emotions we're all prone to and then scales it out to places where people are in a position of power. The way I think about it, you have the church, then the medical fields and science, then government. [The song] keeps going for places where power is played up. I think it's interesting that it at first links it to these basic human emotions we all feel. I didn't have something I was trying to get across in that song. I had a hunch it would be interesting to include something more paranoid and uneasy with this collection of songs, even though I wasn't quite sure how it would fit in. I thought that was kind of cool, in a resonant way.

I learn a lot about that song when I listen to it, too. I still have things to learn about it. I don't know where it's necessarily entirely coming from, or what it means. But I don't think it has a particular meaning. What I've gleaned is that what starts out in our tiny resonant selves can escalate. You can be in a massive position of power and just work from core human emotions, and those are the negative ones: cynicism, jealousy, anger. I'm not saying they're not good or that I've never felt them. I'm just saying they're there and they run through us. How do those work? At what place do they stop being within the cages of our own being, and more into what we think of as social and collective?

SILY: "Trust" fittingly comes after "Some Friends", a song that deals with the complexities of friendship and interpersonal relationships. I feel like "Trust" is like "Some Friends", but amplified.

JC: ["Some Friends"] has betrayal right up front. Sometimes, I like to get the tough stuff out at the front of the record. I remember when I was sequencing Pink City, I was like, "We have to have 'Working For The Man' and 'Nature' up front." People were saying, "Put 'Sailing Away' up front!" and I said, "No, no, no, we gotta...introduce the spectrum of feelings that might be on the record." There are hurt feelings on "Some Friends". I hadn't really explored that too much. I don't think it's bitter, I think it's more hurt. When you're a writer, you can turn a phrase really quickly and cast it off as being bitter or cynical. I've done that a million times and probably still will. I like sharp wit. But I thought there was something sitting a little more complicated in those first couple songs.

SILY: On "Lucky #8", when you sing, “And I don’t want to lose ya / You’re my only audience / Nor will I abuse ya / By not making sense,” are you breaking the fourth wall and making a comment about obtuseness in songwriting?

JC: [laughs] I like the idea of breaking the fourth wall. It's another thing that would fall under the GPS context, making it suddenly very clear where your position is and where you're at, at the very moment. "Suddenly, I'm singing, and I'm looking directly at the audience." That song is an absolute run-on sentence to me. By the time I get to that place, there is a part of me saying, "Don't turn away yet, I'm trying to get somewhere." At the same time, I think there's me, the human, that wants to communicate so much, and me, as an actual person, I really struggle to communicate. I'm probably really obtuse on a good day when I'm in my kitchen. So I try to communicate really clearly in song, but at the same time, I believe song is like an abstract art. I like abstraction. I've even thought about that line but then thought, "Don't go out of your way to make too much sense if it doesn't serve the moment." Allow things to kind of be multi-faceted or have lots of ambiguity in them. I like that [songwriting is] an abstract art. I want [my songs] to live in spaces that aren't mine and minds and hearts that aren't mine, so I have to cherish abstraction on some level. I have that in common with a lot of people, that it's hard to communicate from our deepest wells of what we think and feel. As a writer, I stab away at it.

SILY: I also wanted to ask you about the album art. If I had heard the record first, or picked up the record in a store based on the art and listened later, I'd feel there was a definite contrast between the starkness of it and the lushness of the record. Was that an intentional contrast?

JC: I gave it all to Jesse Harris, a Toronto artist I admire. He has a severity to him. It's like he's carrying a sword. He cuts away everything in his artwork that doesn't need to be there. There's a very severe austerity to his work, and he's deeply funny. I offered him an opportunity to design the record. Lyrically and sonically, it's really detailed and rich, so I sent him the link to the record, and it wasn't too long until he sent me back the door. I was like, "Oh my god, what does it mean?" and then thought, "Okay, yeah, the door, I love it." [The cover] could have been baroque or a whole visual world to match. In that simple gesture, I think we got to go through the door, and from there, it unfolded. I don't want to speak for him, but I remember in the early days when we were designing it, he saw Camelot as a land he was referencing, like on an old board game like Snakes and Ladders, where you never know where you're ending up, where you can fall down and lose everything, or you can keep climbing and get somewhere. He saw it as a hard place to navigate and wanted to convey that, not to make linear sense of it but to know that there's a journey, or that somewhere, someone's trying to get somewhere. I love the door now. I think it's iconic for this particular record. It's so simple.

SILY: Have you performed these songs live?

JC: I'm just starting to. I performed "Lucky #8" a few times a few years ago when I was on tour with Godspeed You! Black Emperor, as well as "Louis". That's when Jeff McMurrich, who co-produced the record with me, heard them, and asked, "What are those run-on sentence songs you were singing?" [laughs] But I haven't played that many shows. I played "Trust" for the first time last week when I was in Halifax. I hadn't ever played it save for when we recorded it. I just started to play "Fractal Canyon". I've never played "Mary Miracle". They're just starting to come around now.

SILY: Is it just as rewarding as an artistic endeavor to bring the songs back down to their bare elements for an audience, as it was to make them in the first place?

JC: Yeah, it's kind of cool to start to get to know them. I've never played "Full Moon in Leo". I think a band is going to start to rehearse for some shows. That will be cool to hear them with a rhythm section and the vocalists. Me playing them solo is tender. It reminds me of where I was when I wrote them, which can be a really weird element of time-travel.

SILY: It puts you in the same headspace as their original inception. Does that help you connect more with the audience?

JC: I think it does. Catching it on these early incarnations is cool for the audience. You're really hearing something more becoming even if it has a recorded version. Years from now, I'll have played "Full Moon in Leo" dozens of dozens of times, and I'm sure it'll be great, but it'll be really cool to hear these songs start to come to life.

SILY: Are you planning on coming to Chicago?

JC: I'd love to! I'd love to come to the States. The UK is popping up, and Canada is popping up, but it's challenging with the visas to get over to the States. I have to trust, and if people want me to come, I always like to go. It just takes a couple of people, a festival or a promoter reaching out, and I can start to piece it together. But I don't have anything planned. It's challenging I can't just pop over [to Detroit]. I had to say no to a couple shows a couple weeks ago because they would have put me in that region. But it was last-minute, and these visas are very expensive. They take quite a long time to process, months and months. Hopefully, in 2025, I'll come to the States. It would seem weird not to. We are neighbors. [laughs]

SILY: Is there anything else next in the short or long-term for you?

JC: I'm just gonna be trying to get these [songs] up and running to tour. I have a couple shows coming up for the Winter Solstice I play every year. In terms of writing, just a little bit. I'm not taking a break, but I'm focusing more on how to present this music.

SILY: Is there anything you've been listening to, watching, or reading that's caught your attention or inspired you?

JC: I'm sure there has, but I can't really think of it right now. I'm mostly just getting outside and walking around. But I love my friends and the music they make.

Tour dates

12/20: Tranzac Club, Toronto, ON

12/21: Tranzac Club, Toronto, ON

1/22: The Artesian, Regina, SK

1/23: Handsome Daughter, Winnipeg, MB

1/24: TBD, Saskatoon, SK

1/25: CKUA Radio Performance Hall, Edmonton, AB

1/26: The Palomino, Calgary, AB

2/13: The Globe, Cardiff, UK*

2/14: St Luke’s Church at Queens Park, Brighton, UK*

2/15: EartH, London, UK*

2/16: Hare & Hounds, Birmingham, UK*

2/17: St Mary’s Creative Space, Chester, UK*

*with Jake Xerxes Fussell

[meep-meep-richie]

Honestly….i need this

[81folklore]

because i liked a boy - NORRIS

pairing: lando norris x ex!singer reader (fc: madison beer)

summary: after months of excessive and unnecessary hate you release a song to tell your side of the story

authors note: i decided to create a character for this, isla, you never see her just in this situation she is ‘olivia’. isla is famous in this but not a singer!! i will NEVER forget the way i felt when i listened to this song for the first time,, enjoy!!

authors note 2: i honestly hate this so much but ive had no motivation so i just pulled this out of the depths. i literally have no clue on what i want to do next so i might just be doing silly filler things until i figure it out🫠

warnings: death threats!! basically anything mentioned in because i liked a boy

masterlist part 2

yourusername

liked by alex_albon, charlottesine and 2,264,628 others

<3333

view comments

user7 stop teasingggg😭we need the new music

user10 starving for new music

user31 slut!!

user15 leave!!!

user63 wait why are people hating on her? what did i miss??

user5 isla did an interview talking about why her and lando broke up and shaded yn for ‘breaking them up’, basically calling yn the other woman

user7 but also nothing has been confirmed by lando or yn plus lando and yn been broken up for like 10 months so i dont really understand why its getting brought up now

alex_albon new music soon🫣

yourusername lily i know its you😭

alex_albon 😁😁

lando.jpg

liked by tombale46, maxfewtrell and 181,642 others

Day 34. i <3 chicken quesadillas

view comments

user17 we love this content

user8 looks tasty, food looks good too!!

user82 remember that stream where lando and yn made quesadillas while they listened to black eyed peas?

user2 yes!! i loved that stream so much :’)

user103 why would you get with a homewrecker??

user6 yn is such a slut

user7 why are you guys bringing up yn? not only that why are you only blaming yn??

yourusername

liked by kit.connor, theofficialfng and 2,836,605 others

but ill always be your favorite 🫧

view comments

user10 music lyric??

user81 NEW MUSIC?? SOON?? PLEASE??

user73 yall love supporting a rebound🥱

user90 k1ll yourself!!

user83 no one cares

user6 jesus the sluts back

user14 yall love to say your hate her and yet here you are..being obsessed

yourusername

liked by clementnovalak, lilymhe and 3,352,821 others

thank you. thank you so so much. i truly cannot express the love i felt tonight when singing my new song. thank you from the bottom of my heart❤️‍🩹

view comments

user10 oh im in love with you

user16 you are so special to me

user82 hearing this live healed me :’)

yourusername 🫶🫶

user66 this song just changed my life

user73 i hope everyone shuts the fuck up now..

user99 you never deserved this, we love you so much☹️

landonorris added to their story

[royalarchivist]

Phil: Ooh, follow-up question: does Cucurucho count as an employee?

[Fred and the Security Guard look at each other]

Phil: You looked at- you looked at each other there like you had to think about it.

[Fred hands him a book that says "Yes"]

Phil: In that case, yes, but I'll change my answer. [The clip transitions to a scene a few moments later] He lies all the time-

[Fred hands him another book that says "Although I don't know who is Cucurucho."]

Phil: ...Excuse me? You don't know who Cucurucho is?

[Full transcript ↓ ]

Phil: Oh, follow-up question: does Cucurucho count as an employee?

[Fred and the Security Guard look at each other]

Phil: You looked at- you looked at each other there like you had to think about it.

[Fred hands him a book that says "Yes"]

Phil: In that case, yes, I'll change my answer. [The clip transitions to a scene a few moments later] He lies all the time-

[Fred hands him another book that says "Although I don't know who is Cucurucho."]

Phil: ...Excuse me? You don't know who Cucurucho is? [Fred shakes his head] He looks like a bear, he's got a smiley face? He talks like this: Ha ha ha. Disfruta la isla. You've never heard of him? He always shows up at really weird times. Do you call him something different?

[Fred hands him a book that says "The Census Bureau? I've never met it."]

Phil: So are the Census Bureau employees of the Federation? [Fred fidgets, but doesn't nod or shake his head] Is that a yes? Like, nod?

[Fred hands him a book that says "Anyways who's doing the interview here, you or me? Let's continue."]

Phil: I'm trying to answer your questions more accurately and you're just giving me curveballs dude!

[Fred hits him with a frying pan]

Phil: STOP WITH THE PAN, IT HURTS!

[hyohaehyuk]

Video

DJZibaZ: Interview With The Vampire by @/AnneRiceAuthor on @/AMC_TV @/Comic_Con

Photo

Comic_Con: Anne Rice's Interview with a Vampire's executive producers and cast gave us a glimpse of the new series and discussed the bringing the iconic characters to the small screen. 📸: J. Islas © 2022 SDCC

[corrodedcoffins-blog]

older!eddie munson x popstar!reader universe

very short sorry!

Another Hollywood Age Gap Couple?

written by Glamour Team

eddie edit credit to @eddiemunsons-missingnipple

Eddie Munson (46) and Y/N L/N (25) reportedly seen at a New York restaurant, Munson frequents, on what seems to be a date.

Many fans at L/N's closing night report that Munson and his daughter, Isla (14), were seen in the audience. And later after the show, were seen going backstage.

Now with all the logistics out of the way. Our opinion on the couple, with Munon 21 years her senior, we can’t help but worry for Y/N. 

L/N has talked about Munson previously, in 2018, saying she grew up with his music around the house; with L/N’s father being a big fan of his. Speaking of, with L/N’s father only 52 years old, there only being 6 years between Papa L/N and his possible new son-in-law. 

-twitter-

steph

@/I_Said_SpeakNow

Sooo.... Y/N's going through her Dear John era???

Hannah @/CinnamonGirl_hannah replying to @/I_Said_SpeakNow no! Eddie's good, he's like a really good dad!

jen @/Y/N_ismyQueen replying to @/CinnamonGirl_hannah he's like... 46... he could be her dad. it's weird..

liv @/iknowplaces replying to @/I_Said_SpeakNow all i know is we're gonna get a dilf anthem

-instagram-

emails_imglad_shedidntsend

liked by _nonsense89, wheredidyougo_amelie, and others

emails_imglad_shedidntsend: our queen Y/N was spotted with literal rock legend Eddie Munson. I assume they met when Eddie brought his daughter Isla to closing night in NY

DressedlikeAdaydream: who is this man? and what is he doing with my wife?

Y/N_ismywife: your wife? 🤨

Jenna_03: daughter? dilf alert 🚨

Lana_isLife: how old is his daughter??

carmen.13: she's 14 but his son is 20

Lana_isLife: 20? she's only 5 years older than her possible step-son??

-twitter-

brittany

@/brooklynbaby_89

the way he's looking at her? he's good. i can tell.

Lia @/SueMe_Y/N replying to @/brooklynbaby_89 if you go back and watch interviews of eddie from like late 90s and 00s their humour matches so well

Jayden @/mikesmicfan replying to @/SueMe_Y/N what doesn't match is that age gap

Syd @/boy_genius_mywifes replying to @/brooklynbaby_89 i need the dilf anthem. i need the stacys mom reboot. i need them.

~taglist~

@whoscamila @mystargirl-interlude @creoleguurl

[mlqueen89]

Six Sentence Snippet Sunday!

is it that time again? it is! here you go! *sprinkles like confetti*

The lights were bright, the couch uncomfortable, and Aimee’s stomach churned as she tried to stop herself from fidgeting, squeezed between Glen and Lila on the interview set.  

Aimee hadn’t prepared for any interviews today—Isla had texted her, in all caps, to summon her to set, 911! Emergency Rewrites, she’d reasoned. Aimee had mad scrambled to drop Noah off at school early, throw on something that was acceptable for public outings (in this case, a comfortable sweater, jeans and her favourite worn suede boots) swiped on deodorant at a stop light and managed to dab on some makeup in the parking lot.  She looked appropriate for a meeting with Isla and a day spent locked in a room with a red-noted script. 

So, when a handler she didn’t recognize intercepted her on her way back from Isla’s trailer and hustled her toward the couch on the riser (too small for three people) in front of the interviewer in a pink blazer and hounds tooth skirt, Aimee’s heart stuttered. She'd protested, told them that they didn’t want her in front of a camera, but her words fell on deaf ears. Now, now she was here, trying her best not to hyperventilate or wriggle, her right thigh pressed against Lila’s leg and her left against Glen’s. She looked neither of them in the eye. 

This is going to be so great! I’m so happy you’re here, Aimee! Isla called from behind the interviewer between sips of her egregiously large iced coffee. The producers are going to be so so happy.

She shifted nervously as the interviewer, a polished woman in a chic blazer, smiled at her. “Aimee Wright, the brilliant mind behind Beneath the Surface, New York Times Bestseller, BookTok trendsetter. Now, a Netflix adaptation, it’s a pleasure to have you here.” 

“Thank you,” Aimee said, gripping her hands tightly in her lap, the sound of her own voice echoing in her ears. 

“And of course, we have Lila Marks and Glen Powell, who bring your characters, Ben and Ivy, to life on the big screen. How exciting is this for you, Aimee? Seeing your words turned into this cinematic masterpiece?” 

“It’s surreal,” Aimee admitted. “I never imagined this when I was writing the book. It’s been an incredible journey in a really short amount of time.” 

The interviewer nodded before glancing at her notes, her perfect smile never faltering. “Speaking of writing the book... there’s been some speculation online, Aimee.” 

Aimee’s stomach dropped. Speculation. The word had never been associated with anything good and she’d seen the articles and TikTok videos her friend Allie had been sending her since last week. Speculation in this instance was definitely not a good word. 

The interviewer’s smile turned sly as she glanced up at Aimee before her eyes passed to Glen, sitting at her side. “Rumors suggest that the character of Ben—the dashing, complicated love interest—was actually inspired by Glen himself. Care to tell us if there’s any truth to that?” 

From the corner of her eye, Aimee could see Lila’s head snap toward her with an exaggeratedly amused expression, clearly enjoying the moment. Without looking, Aimee could feel Glen sat up straighter. When she dared a glance at him, a brief, reflexive one, he was already looking at her, one eyebrow raised, a smirk tugging at the corner of his mouth. 

Aimee’s heart pounded, her stomach flopping oddly as she scrambled for an answer. “Oh, um, well,” she started, struggling to keep her voice even, “the book was written long before Glen was ever cast. Ben was inspired by... well, just the idea of hope and second chances. He’s not based on any one person.” 

Lila leaned forward, grinning. “So, that’s a no? Or a maybe?” 

Glen chuckled, leaning back casually. “I think what she's asking is: Was I subconsciously in your mind before we ever met?” 

Aimee shot him a look, her cheeks burning. “That’s not what she’s asking.” 

The interviewer, clearly delighted by the tension, pressed on. “I mean, I’ve read the book.  It’s pretty hard to ignore how perfectly Glen embodies the character, though. It’s almost as if the role was written for him.” 

Aimee took a deep breath, forcing herself to smile though she really wanted to vomit, wanted to go back in time and spend at least two more minutes in front of her closet, picking anything to wear except for this. “I believe that’s a testament to Glen’s incredible talent and the keen eye of the casting department. He really brought Ben to life in a way that’s even better than I could have imagined.” 

“Good save,” Glen teased under his breath, just loud enough for Aimee to hear. 

Lila laughed, throwing her arm over the back of the couch to pat Aimee on the shoulder. “Well, if the rumors are true, I think Glen should be flattered. Aimee writes a very attractive leading man.” 

If the floor opened right now and swallowed Aimee, she’d gladly accept it. She’d disappear into the expanse and never emerge. The last footage of her embarrassment would be forgotten next to her tragic demise; a coincidental sinkhole right beneath her feet. “The book is fiction,” she said firmly, her voice tinged with exasperation, the sound of the attorney on the last television show echoing in the back of her mind. “Any resemblance to real people is purely coincidental.” 

The interviewer grinned knowingly, clearly unconvinced but satisfied with the answer. “Well, whether or not there’s any truth to the rumors, one thing is certain: the chemistry between Ben and Ivy is electric. And it’s clear that your words, Aimee, set the foundation for that magic. Lila, how can you speak to—” 

Aimee managed a polite smile as the conversation shifted focus back to the movie and over to Lila, but she couldn’t help feeling Glen’s amused gaze on her for the rest of the interview. 

i can do it with a broken heart - glen powell x ofc

a/n: thank you hyperfixation gods. i won't waste this sudden power you have given my brain. i feel like he man with access to a computer and a word document.

tags for this wip: @readingislife @marrianena @dizzybee03 @lunatygerqueen @mrsevans90

** more tags in comments **

[hollywoodoutbreak]

Even though its stars provide the voices for a quartet of dogs (who interact with real-life actors), Strays is definitely not a kids' movie: Its story actually finds the four dogs finding ways to seek revenge against one of their abusive former owners. Its adult humor has earned it an R rating, which makes one of its stars, Isla Fisher, very happy. She told us she was really excited to read a screenplay that dared to be rude, crude, and really funny.

Strays opens in theaters on August 18.

[luvmyoui]

six - out

previous masterlist next

gp!myoui mina x fem!reader

warnings: cursing

word count: 1,732

a/n: GUYS IM SORRY, I MEANT TO POST THIS EARLIER BUT I LOST TRACK OF TIME PLS FORGIVE ME😞😞

the constant buzzing of your phone roused you from your slumber, you tried to ignore it but the buzzing hadn’t gone away like it usually would. with a huff you sat up and received the call without checking the caller. 

“what?!” you said annoyance clear in your tone.

“check twitter, right now!” camila’s stressed out voice exclaimed from the other end of the phone. 

“okay, okay, gosh what terrible thing happen-” you fell silent when the twitter app loaded on and displayed a linked article stating a question along with a picture. 

SIXTH HARMONY’S Y/N L/N HAS A DAUGHTER? 

the article went on to explain how an anonymous source had sent a picture of the ‘happy birthday isla’ banner that hung behind you, you were squatted on the floor with isla’s cheek squished into yours. seeing the picture you immediately recognized it as one that was definitely taken the day before. you could only curse yourself for letting that man help bring that package into your home and forgetting to close the door. apparently there had been paparazzi waiting outside of your house and took pictures of the decorations while your door was open. 

“y/n? you good?” camila's worried voice pulled you out of your regretful thoughts. 

“y-yeah, just shocked. the thought of this happening never even crossed my mind.” you said, still in disbelief that this could’ve happened. 

“look at the comments though, we can go along with them and lie.” hearing this, with curiosity you scrolled down to see the replies to the tweet. 

REPLIES: 

sixtharmony4ever: why can't you people just mind your own business omg, leave my girls alone!!!

camilasolostan: wtf??? was y/n a teen mom?! iloveyn: so what if she was, its her life not yours.

laurenmll: why are you idiots acting like she can't have nieces😭😭 user872349: are you stupid, she doesn't have any siblings💀💀 laurenmll: are you? you're acting like she cant have any cousins☠️ laursss: girl lets be real, thats 100% y/ns kid camziezz: literally, cuzns arent twins💀💀

sixthharmonizerrr: these paparazzis seriously need to get a life and let celebs live theirs.

twice4lifee: guys why does that baby look exactly like mina😰😰minaluvzme: IM SAYINN once4ever: NEW SHIP???

minariii: *image attached* cannot tell me they are not the same person, literally give that kid a haircut and its mina.

lovey/nnn: why does the baby look like that one girl from that kpop group?!

harmonizeronce: does mina have a secret brother? twcmina: she literally said in multiple interviews she was an only child. harmonizeronce: thats why i said secret smartass.

seeing people defending you brought a smile to your face, you loved your fans. though you couldn't help the anxiety creep up your spine, what if they found out about mina. rather than worrying for yourself, you worried for mina, it might break her career if it's found out that she has a kid. you knew that the kpop industry was much less forgiving when it came to things like this. feeling another buzz in your hand caused you to look at the incoming call from your manager larry. 

“mila, larry’s calling so i’ll hang up now okay?” hearing a ‘kay’ from camila you hung up and accepted the call from your manager. 

“deny having a kid, say it was your cousins or something and that you hang out with her kid alot. I honestly don't care what you say, just make sure no one knows that it's your kid.” he said as soon as you had accepted the call

“and if i don't want to?” 

“that’s not an option.” he stated. 

“I'm not going to deny my kid, can I just stay quiet? i won't ever deny that isla’s my daughter, i'm not and never will be ashamed of her. sure i had her young but i don't regret it at all.” you responded with finality in your voice. maybe this was a stupid decision, but one parent had already left isla and you refused to disown her by saying she wasn't yours.  

letting out a sigh, knowing nothing he said would change your decision, your manager let out a fine and hung up the call. you let yourself fall back into your bed and just laid there hands and legs sprawled out. hearing the creak of your door opening made you lift your head a bit to see isla standing there. she ran over to your bed, when she reached it she proceeded to lift one of her legs up trying to get onto the bed. you smiled down at how cute she looked, stopping her struggles, you sat up and pulled her onto the bed next to you. with her small hands she pushed you down onto your back and jumped onto you, cuddling her face into your neck. 

“when will i get to see mommy, i only see hew in pictuws.” isla said into your neck, she was very clearly distressed, and you could only think of the day before when she had questioned mina’s want to even see her. 

you honestly didn't even think mina wanted to see her, sure she sent gifts but you doubt she’d want to see isla. she always thought of the child as a burden, as something that you were supposed to care for. the thought brought a frown to your face, you wished for mina to see isla and acknowledge her as a daughter. 

chaos had ensued in the twice dorms, although mina only shared a dorm with nayeon, all the girls were currently at the dorms. as soon as they had seen the tweet they rushed over, hoping that it wasn't as they thought. 

“so what, you just left her alone with a kid?!” jeongyeon exclaimed, clearly upset at the mere idea. 

“uh- well it wasn't like that, i wanted to pursue my dream and she was holding me back. also i send them money and gifts and pay for the apartment, i’m fulfilling my role as a parent.” hearing this, all of the girls continued their attack, throwing objects at mina. she tried to dodge but there were too many coming and too fast. 

“god i knew you were a douche judging by the amount of girls you bring home, but this is just unbelievable.” momo said, followed by a shoe being thrown at mina’s head. 

“you guys are unbelievable, i'm your member, not her. plus, are you forgetting the part where i literally send gifts, money, and pay the bills?! also she didn't want me to follow my dream!” mina exclaimed, why couldn't they understand her side?

“yeah, and are you forgetting the part where you got her pregnant. whatever she says doesn't matter, as the person who got her pregnant you should have taken responsibility.” jihyo voiced out, clearly annoyed by her excuses.

“I do take responsibility! how many times do i need to say that i give them money, i spoil them incredibly!” mina cried out in exasperation, how many times did she have to say it for them to understand?

the yelling and throwing of things was stopped the moment the door to the dorm opened, their manager walking in. “mina, there better be a good explanation for this.” their manager said, glaring at mina. 

“uhm- there really isn't one, it’s exactly how it seems.” 

“how do you even know y/n?!” their manager exclaimed, not being able to wrap her mind around this situation.

“we uh- we were high school sweethearts, we dated throughout almost the entirety of highschool.”

“what?!” everyone exclaimed, not knowing that they were in that serious of a relationship. 

“wait, so do you know any other celebrities?” chaeyoung asked in disbelief, she had been a fan of the group's music for a while and couldn't believe mina knew them.

“uh- yeah, shawn mendes, he was my best friend since middle school and camila, but she was y/n’s best friend. and i mean camila never really liked me.” 

“you knew shawn mendes?!” chaeyoung exclaimed, being best friends with shawn mendes was insane to her. 

“yeah, i still talk to him from time to time too.” mina said, scratching the back of her head as she explained. 

“mina, i hope you know that we will be going to the US for the billboard women in music awards. and sixth harmony will for sure be there.” their manager said to mina.

“what!?” mina exclaimed, the thought that she might run into you again was now starting to eat away at her. she didn't want to see you, but at the same time she wanted so desperately to. 

“oh yeah, i was gonna tell you.” jihyo said, everyone surprised that mina didn't know. 

everyone had left by now, and it was only mina, nayeon, and the two beer bottles on the coffee table in front of them. mina usually didn't drink, her intolerance for alcoholic drinks being the reason, but after today she just needed a drink. 

“what do you think? do you agree with everyone else, you think i'm an asshole?” mina asked, not offended but wanting a genuine answer.

“I mean what you did was very assholey, but i mean it’s never too late to change you know? i mean i’ve lived with you for like how long? three, four years? and i mean i think i know you best, and i can say with confidence you’ve had at least a little character development.” nayeon said, taking a swig of her beer. 

“but what do i do? I feel like what me and y/n had is broken by now. I don't think she’d even want me to meet isla.” mina said, she would never dare say her true thoughts. and i mean, could you blame her? 

all she knew about this kid was that she was 3 years old and that it was hers. she didn't even know what isla looked like until she saw the picture on twitter. she felt terrible for even thinking it, but she didn't really care all that much for this kid. you on the other hand, she had known you for a long time, she loved you, she had a kid with you. she didn't regret pursuing her dream but she wished it didn’t include losing you. 

“just talk to her, when we meet her. try to just talk it all out.” 

taglist: @moon-ellie @lisas-earlobe @cocojy @second-daughter-of-clexa @runassimp@eliii1sblog @yvsvrn send an ask if you want to be added to the taglist!