#especially with sarah's really bland performance.

[vaugarde]

team plasma arc is still looking like my favorite arc overall bc N has consistently been very good but yikes the last few parts of best wishes really kinda start to fall apart

[nerdypipsqueak]

Lawrence After Arabia (SPOILER ALERT)

Today thanks to the generosity and hospitality of @aivelin @steblynkaagain and @willdudedoo​ I watched the new “Lawrence After Arabia” movie and boy oh boy do I have thoughts, vibes and general WTFery (in no particular order) for you. Buckle up, lords, ladies and supreme rulers of the universe!

1. The soundtrack is... questionable. But we knew that already because it got released, complete with music video, so much earlier.

2. The CGI was... not good. We also knew that because we saw a snippet of it in the music video. But I was not expecting to see the entire screen turn green (like solid green) halfway through the movie. I really understand that the movie was crowdfunded but dammit, if I were a benefactor and saw this I would be severely disappointed. Why I personally refused to donate to this movie is a separate matter; please feel free to DM me if you want details.

3. The acting wasn’t the best. It sometimes felt a bit like a school play.

4. The movie tried too hard to be educational, especially in the beginning when the church custodian tells the little boy about Lawrence, during the public inquiry, during the scene when the secret agents read Lawrence’s file out loud and in the end after the funeral.

5. The movie was actually filmed on location in Clouds Hill, on the grounds and inside the cottage itself. The National Trust (the organisation currently looking after the property) initially denied Mark Griffin (the producer) permission to film on location. He then took to the media (both traditional and social) and ranted about how the National Trust denied his biopic but allowed a “Jane Austen and zombies” movie to be filmed on one of their locations until the Trust gave in.

6. There was a shitload of really random details from Lawrence’s life. Some felt like they were shoehorned in to make the film more educational.

7. I was astounded by the sheer amount of very “in your face” references to “Lawrence of Arabia” (1962), from “nothing is written” to numerous visual references (goggles hanging on the bush, shadow in robes) to literally naming a character William Potter to literally using the quote “the trick, William Potter, is not minding that it hurts”.

8. So many conspiracy theories! From the black car theory to Feisal possibly being poisoned. In fact the entire film is built around the premise that Lawrence was taken out by two secret service agents in a black car.

9. I really wanted to like Tom Barber Duffy as Lawrence but his performance was just... IDK, bland? There wasn’t much feeling there. 

10. My notes here literally say: “did he just kiss Florence Hardy on the cheek?!” and that’s exactly what happened. We will revisit the Florence Hardy situation later.

11. I want the keffiyeh and the leather motorcycle gauntlets.

12. There’s a flashback to Ned’s childhood where he is seen receiving punishment from his mother. Sarah Lawrence displays a tactic I’ve seen among numerous Christian fundamentalists: she tells Ned she loves him and gives him a hug, then quickly pushes him away and proceeds to administer punishment, complete with the “I do this because I love you” messages.

13. Tom Barber Duffy’s visible piercings sparked joy in me. Thank you @aivelin​ for the screenshot.

14. I was quite excited to see Laurent C. Lucas as Feisal simply because of the resemblance but, damn, he was disappointing and his attempt at a Hejazi accent wasn’t great.

15. Lawrence gets called a “bloody sadomasochistic little bastard” by the head of the secret service. So many opportunities for an intelligent short joke were missed in this movie.

16. “Feisal gives him status of son”. I thought that was Hussein? Am I confusing them? Can someone please help?

17. “If someone isn’t going to annihilate this little shit then I will”. Again, so many short joke opportunities...

18. SO MUCH talk about Ned and Oswald Mosley. I felt that at one point it was suggested that Ned may have sympathised with Mosley but I may be mistaken.

19. I have a weird feeling that Mark Griffin (the producer) was inspired by Matthew Eden’s infamous “The Murder of Lawrence of Arabia”.

20. Cally the dog is a very good boy and so far my favorite character. Cally’s performance was the best and is the only thing about this movie that deserves an award.

21. OMFG NED JUST FULL ON HUGGED FLORENCE HARDY

22. Is Mark trying to make Ned straight?!

23. What the fuck is going on with Ned and Florence Hardy and why does it look like Mark is shipping them?! During the 2 hour feature Ned kisses Florence on the cheek, Florence cups Ned’s face in her hands and kisses his cheek while he turns his head like he’s trying to get a kiss on the lips and then stops himself, Ned and Florence hug, Ned helps Florence down a fence/wall type thing and they have one of those moments where they stand a little too close, still holding onto each other and looking into each other’s eyes, then they hold hands while they walk to the village.

24. Ned pulls a gun on a journalist and almost shoots him. I’m sure this is a reference to that one time Lawrence punched a journalist for asking invasive questions.

25. Is Laurent C. Lucas in brownface make up?!

26. Why TF is Ned bathing in a basin if he has a whole-ass bathtub on the property?! Filming restrictions probably.

27. The secret service agents called Ned “a queer”. No context was provided as to why they would say that.

28. It would appear that the two secret service agents “were roommates” and “there was only one bed”. That is the actual setup of their room and they are filmed sitting on the one bed.

29. At this point my notes say that the soundtrack composer may have been inspired by the BBC News theme tune.

30. The accident is just a major WTF moment.

31. The blood pouring down Ned’s face is just... a lot.

32. Why was there a beep like when someone flatlines on a medical show?!

33. OMFG THAT DICK JUST WENT IN THERE AND INJECTED NED WITH SOMETHING

34. I liked Ned racing the train and the plane on his motorcycle. It was a fun touch.

35. Y’ALL LEAVE POOR MR BROUGH OUT OF YOUR SCHEMES, YOU SECRET SERVICE DIPSHITS

36. The dipshit blackmailed Mr Brough with a picture and I really want to know what was in that picture. Did I miss something?

37. Mark is really going to ride the whole black car thing to the death.

38. The inappropriately happy and upbeat version of “Jesu, Lover of My Soul” was used as the background for Ned’s funeral procession. It was supposed to be a march.

39. Mark Griffin has inserted himself into the movie as a secret agent and a voice-over guy.

40. Deraa was mentioned exactly twice, once as “an allegation” and referred to only as torture. No further context was provided.

41. Dahoum is referenced numerous times but without any context. I feel that Mark struggled to choose between the LGBT theory and his own heteronormative projections on Lawrence and decided to roll with both.

So there you have it. Two hours of my life that I will never get back.

[takaraphoenix]

Buffy: Season 1

I’m finally getting around to that Buffy the Vampire Slayer rewatch. And I considered posting about it, but then I decided a seasonal summary would be more fun, especially since the seasons - the individual episodes - tend to blend together because I always watch all of it. So, I’ve decided to make round-up posts after every season!

1. Favorite character of this season?

Buffy. The first season so perfectly sets her up as a complex character – so often, female leads get shoehorned into one box, one archetype. They also either get to be a Tough Girl, or a Girly Girl. But Buffy is so... perfectly both. She is a total badass but she is also a giggly girl talking about boys and hoping about school dances and cheerleading. Yet at the same time, she also has these... very, very human vulnerabilities. Her fear of abandonment when it comes to her father, her fear in the finale about her death. Yet she remains standing strong and true to her ideals and her duties.

She is an amazing character all on her own, but especially groundbreaking as a female lead character – and she will always be that, because even right now, twenty something years later, Hollywood is still struggling with writing fully fleshed out female leads without just shoehorning them into The Lover, The Badass or The Mother role like they can't have more complexity.

2. Outstanding minor character (positive or negative)?

Jesse. Look, yes, he is only in the first two episodes but I am still not over this. Him, Willow and Xan were friends, were a trio, prior to Buffy coming to this school. They must have been friends for years and just... for these normal 16 year olds who never really encountered Hellmouth-ish things before to lose one of their best and longest friends? There is an impact there that sadly doesn't stick. Like, he's just dead, no one talks about him or mourns him again even though this would have been a cutting event for Xander and Willow. And then there is the potential of an alternate reality where he would have absolutely become a Scooby had he survived. I don't know, I think about this a lot.

3. Favorite character dynamic?

Willow and Buffy. I love the way their friendship stands out, even among the Scoobies – though naturally I love the whole Scooby dynamic. But just, from the first episode on when Buffy had the chance to join the Popular Mean Girls and saw the way Cordelia treated Willow, she chose to instead spend time with Willow and from thereon out, their dynamic just grew closer and cooler.

The shy nerd and the cool cheerleader (well, only for one episode but you know what I mean – the pretty blonde who had the potential to be a Cool Girl). It's especially outstanding because in her interactions with Willow, Buffy truly gets to be the teenage girl. The girly kind of teenage girl who giggles and talks about boys and gets to be carefree, even just for a few moments.

4. Favorite canon romantic ship?

Angel and Buffy. David and Sarah have such great chemistry, the way they play off each other, how they put the longing into their performance, just how tragic this set-up is for them, the weird mystery to it all. Best Romeo and Juliet, really.

5. Least favorite canon romantic ship?

Angel and Buffy.

Look, I know that tumblr only deals in black and white, in “pure, healthy ship that can be loved” and “unhealthy, problematic ship that needs to be condemned”, but personally I like nuances and I like applying some critical thinking even to the things I love.

So I can absolutely love the way this is played out, the actors' chemistry, the tragic of it all and still also acknowledge just how creepy and frankly uncomfortable it is that this 240 year old dude has the hots for a sixteen year old kid.

6. Favorite episode?

The finale, “Prophecy Girl”. It is such a good pay-off of the season and it is also so... painful. When Buffy realizes she's going to die, when she decides to go despite knowing her fate. Giles' act of defiance, his first time clearly stepping out of his role as the Watcher as he decides to go and face the Master himself to avoid Buffy's death. How Angel and Xander, of all people, team up to go and help Buffy out. It also marks Cordelia's first proper participation with the Scoobies, as unwilling as it may be (I can't quite count the whole 'invisible girl trying to kill Cordy' as Cordelia actually joining them). A lot of good stuff and good pain.

But also shout-out to episode 9 “The Puppet Show” - I like the creep-factor of this episode, the set up for the twist, the certain low-key pain linked with Syd. Also I am very afraid of creepy dolls so the whole thing is even more of a creepy episode for me.

7. Least favorite episode?

I don't like episode 4 “Teacher's Pet” because it's really gross overall – I mean, it's a giant insect posing as a teacher to perv on students so they'll fertilize her eggs. So many levels of eeew.

But episode 5 “Never Kill a Boy on the First Date” is incredibly bland and forgettable, like... really forgettable, as much as I appreciate the 'Buffy attempts to Regular Date' angle. So kind of a tie.

8. Favorite Monster Of The Week?

Fear, from episode 10 “Nightmares”, if that counts. Because it's not a demon, or vampire, or monster. It's... well, fear itself. It also presented such a fascinating insight into Buffy as a character, to show her fears, but to also show Giles' fear of failing her, of having her die on him. I love how with all the monsters and things she has to face, her biggest fear is that her dad doesn't love her. It's so surprisingly deep – surprising in the sense that we get to see that Buffy is a complex character, not just the girly cheerleader-type girl, not just The Chosen One, but rather that she is very much also just... a girl, with family issues, with very real and human fears.

9. Least favorite Monster Of The Week?

Mh, it depends, because for the most part I don't find the Monsters of the Week overly memorable this season. “The Puppet Show” has a very weak and forgettable actual villain, however he only takes a backseat because the other plot stands more in the forefront and the focus is deliberately elsewhere and that is what makes me like the episode so much.

10. Rate the overarching villain!

The Master always seemed to me like a... not very fleshed out villain. Vaguely archetypical ancient evil demonic overlord. But that's kind of just... it. Why is he so important? What really makes him so special? And he very much is the Thanos of the Buffyverse – just sitting on his throne, waiting, occasionally standing up. He's a good enough opening act for the show, I'll give you that – because he checks the boxes. And, admittedly, the main focus is on establishing the Scoobies and their dynamics and their individual personalities, so it checks out.

Bonus: Other thoughts?

As above mentioned, I find the whole centuries old being lusting after a sixteen year old really questionable and this season went hard for it – because it's not just the main romantic plotline of the season, it's episode 4 “Teacher's Pet” with the praying mantis who poses as a teacher and seduces her students, it's episode 8 “I Robot, You Jane” with the ancient demon catfishing Willow, it's episode 9 “The Puppet Show” with the adult-turned-puppet who is perving on Buffy and any other girl he can lay his eyes on.

Having it only be the main romantic plotline would be one thing, but if you have that and additionally three out of thirteen episodes that have a focus on the theme, then it becomes... questionable, in my opinion.

In other news, I absolutely love Cordelia and I love that even season one already gave a tiny bit of insight into her being more than just the shallow bully she pretended to be.

I also love the unorthodox/modern interpretations of things – the demon who got scanned into the internet, the prophecy about Buffy's death that was then just kind of canceled out by the existence of CPR to revive her, the 'techno paganism', the white bus as stand-in for Death's pale horse.

It also establishes the Scoobies really well already, both as individual characters and in their dynamics among themselves. I will always love the Found Family trope of this show. Always.

So, yeah, overall slightly weak individually speaking, but a rather good overall start for the show!

[taste-in-music]

Strap in folks, we’re going to Cape God.

It’s here, folks! Allie X is keeping us well fed with new content. Ever since stumbling across the “Paper Love” video on YouTube a few years ago, I’ve been in love with Ms. X’s moody, eccentric brand of electropop. The singles for this album have really sucked me in and I haven’t done one of these longer reactions to an album in months, (I think the last official one was to Charli?) Listen to album along with me if you want, and let’s get right to it. 

Fresh Laundry

We’re starting off with a single I see. 

I love the spare, bass-heavy production on this track. The way the bright synth riffs and swarming backing vocals cut in and out builds such a creepy, tense atmosphere.

God I love it when she does those little shouts of “hey!” in songs. It’s one of the reasons I love “Good” off of Collxtion I so much. 

Devil I Know

Not gonna lie, I’m not too hot on this track. Not that it’s bad, it’s just kind of bland. “You are the devil I know / Better than a devil I don’t” just isn’t a strong enough lyric for me to fully get behind. 

But dang if she doesn’t sell it. Her vocals are great on this track. 

Regulars

This was probably my favorite single leading up to the album. The groove is so tight, it balances a propulsive quality with a chillness at the same time. 

In short, it’s a bop to slit throats to. 

THE BASS LINE ON THIS SONG IS SO GOOOOD. I’m seeing her in concert in a few months and I can’t wait to hear this bass line rattle my ribcage live and in person.

The way the instrumental builds up with the glittering keys and snare under Allie’s vocal gymnastics? Art. 

Sarah Come Home

We’re getting our first non-single! I’m so excited.

The chorus comes out of nowhere. It did not have to go that hard. And yet it did. 

Whistles! Record cracks! Flutes! Fluttery backing vocals! I’m into it. It feels like I’m in a haunted pound cake commercial from the 1950s. 

This song is giving me flashbacks to the bubbly feel of Collxtion I a bit. It’s a switch-up from the first three songs in the best kind of way. It’s such an upbeat bop.

Rings a Bell

We’ve got another single here. 

The several crackling percussive elements in the mix, (especially the clave,) are amazing. Matched with the low bells, glistening chimes, and churning bass, it all comes together for a creeping, cryptic tune that never stops marching forward.

This song slaps with headphones on. The whispers on the bridge are heaven.

June Gloom

This song charges right out of the gate. It knocked me clean off my feet with the first note.

There are so many things going on in this song. There might be a saxophone? I’m not sure. 

I have no clue how I feel about this song. It might be a mess, but I also might love it. I’ll have to give it several more listens in order to collect my thoughts.

Love Me Wrong ft. Troye Sivan

I always found this song a little dull, but it does its job as a ballad. The build in dynamics with the distorted synths help pick up the pace.

If there’s anything to praise about this song, it’s the performances. Allie and Troye sound lovely here, and they sound lovely together.

Allie’s range really gets to shine. She’s hitting the high notes. She’s hitting the low notes. She’s hitting me right in the heart.

Super Duper Party People

Let’s cut to the chase. Allie X is doing slam poetry about “a lady in a hat with a Siamese cat and a really, really bouncy butt” over a disco loop.

Fun fact: Allie X actually had to change recording studios midway through making this album because the beat to this song was so fire the studio burned down. 

This song is like if you asked Brooke Candy to write “Here” by Alessia Cara. It’s so absurd that it loops back to being great.

Susie Save Your Love ft. Mitski

There is no song on this album I am more excited for than this one. There is no collaboration this year I am more excited for than this one.

THE BASS. God help me. 

MITSKI IS HERE. I am ascending. I wasn’t sure how the two would sound together because their bodies of work are so different, but Mitski’s cooing, more grounded vibe works very nicely in contrast with Allie’s brighter and otherwordly tones.

IDK how I feel about that distorted guitar. Everything else is really good. This didn’t disappoint!

Life of the Party

Okay, pick up the pace! I’m getting some 60s vibes from this. 

I was grooving along with the beat but oh my god these lyrics... they’re so troubling and dark. I’ve always said that putting sad lyrics over dance music makes them all the sadder, and well, this song proves that sentiment true.

That slurred, autotuned bridge hits hard. Wow.

Jesus, this song turned out to be an emotional gut punch that I did not expect.

Madame X

We’re getting a ballad moment here. 

Those sparkly synth arpeggios in the mix. It’s straight-up ear candy. The audio equivalent of Sprite.

So she’s singing to a “Madame X...” Is she talking to her stage persona? To herself? Someone else? Is it a clue into a new era? Lots to think about with the lyrics here. 

Learning in Public

Oh this is a total driving jam. It’s just the right balance of relaxing and energetic that keeps you chill and alert at the same time. I can practically see the open highway in front of me.

Not only that, but it’s all about being insecure in social settings. Same Allie. Same. 

I love how the first lyric is “I want to be near fresh laundry / It’s been too many years of not folding“ and the last one is “Everything I thought I wanted / I changed my mind and I forgot it all.” Okay recurring themes! I love it when albums do that.

This might be one of my new favorite tracks.

My Thoughts Summarized: If there’s any one thing this album is, it’s cohesive. It takes you to a place and keeps you there, even as it explores different sonic textures and emotions. I loved how the solid mix of uptempo and downtempo tracks this album had, with both bops and ballads. While the production can feel a bit crowded at times, it also has moments where its lush, energetic, and memorable. Overall, this album marks a clear evolution for Allie X, but it’s also so viscerally hers. I can’t imagine anyone else making it. 

God I love the visuals for this album. The whole couture private school meets feral goth forest nymph aesthetic drives me bananas, I’m obsessed. Major props to photographer Brendon Burton, who she worked with for the promo photos during this album’s roll out. 

What did you think of Cape God?  Agree or disagree? Comment or reblog with your thoughts, I’m excited to hear what you think.

[slashertalks]

So I really just want to bang this out— you’re gonna have to forgive any sloppy organization with what I’m about to throw at y’all.

I’ve said it once and I’ll say it a thousand times over: I firmly believe that the Rob Zombie remake of Halloween is the superior Halloween film. Out of all of them. It’s a darker, grittier, edgier version, yes; it’s a Rob Zombie film. It’s also a film with much more emotional depth than any of the others, and I feel that the second one in particular treats Laurie with more fairness with regards to her mental state and the expectations of others around her. I’ll expand on this in a bit.

Right, so, clearly that’s an example of a remake surpassing (in my opinion) the original. I respect any differing opinions and will happily acknowledge that the original John Carpenter version is a classic, but I stand firm by my own opinion that it’s a classic film that happens to suck shit compared to its remake. What, then, about the other main focus on this bit of writing? My Bloody Valentine 3D. So, I said in the little preview thing that I thought My Bloody Valentine 3D sucked shit too; it’s a remake that fell completely flat compared to its original, a reverse of the Halloween situation. But then, there are other remakes than Rob Zombie’s Halloween that have outshined the original; John Carpenter’s The Thing is a clear example. Why have I specifically chosen Rob Zombie’s remake? Three things: gritty tones, vulgarity, and mental health.

Rob Zombie movies make heavy use of grit and dark color palettes, and his remake of Halloween is no exception, but he balances this all out with bright colors as well. The opening scene of Halloween (2007) makes use of a lot of nice blues, oranges, whites, and pink. It IS muted, but not gray— this is important: you can have a muted color palette without turning everything a dull grayish-[insert color]. He maintains his visual aesthetic while keeping the colors distinct, letting them pop just enough to signify that things are, to some extent, normal. Even when the film turns dark and Michael begins killing, there are a lot of blues and teals, not browns or flat grays, which keeps things visually interesting and prevents anything from looking overly washed-out. 

On the other hand, in My Bloody Valentine 3D, from a beginning scene in a bar to the end confrontation in the mine, it’s.... brown. Not that there’s anything wrong with brown, but as a muted color palette it becomes boring. Blue is a color that clearly conveys a mood, and the brown of the leaves and purple of Laurie’s shirt can still come through as a pop of color. Warm browns can also contain a lot fo really nice, welcoming shades, and really dark browns can be equally pleasing. The main issue with the use of a mainly brown color palette with My Bloody Valentine 3D is that it’s a muted brown, and it doesn’t allow for the combinations of colors that Rob Zombie uses. It’s a muddy, grayed-out mess that tries and fails to be a moody, muted palette. They do switch between a grey-blue and a grey-brown, but it doesn’t do much to help except make the ugly mud brown of Jensen Ackle’s “Bland Horror Protag” costume stand out even more.

The one pop of real color in that bar scene? A tiny little neon sign. The original My Bloody Valentine also uses a muted color palette (the weather is pretty grey and a lot of the scenery is dark, so it’s kind of a forced palette), but there are lots of bright(!!!) reds from Valentine’s Day decorations (versus that muted brown-pink of the hearts pictured above), and bright colors on the miner’s clothes— Sylvia has a pretty lavender top, Howard wears a lot of red consistently, John’s got ginger hair, so on and so forth.

As for grit, I find it seriously amusing that the original My Bloody Valentine had much grosser gore than its remake, which was clearly trying to up the “grit.” Where Rob Zombie makes use of blood and gore, of grit, as an aesthetic, it feels much more natural coming from his films; same with the gore in the original My Bloody Valentine. The remake tried to make everything grittier, with their obligatory naked woman kill and their hospital scene where the room is entirely drenched in blood, it all winds up losing its shock value. Its main point wasn’t to successfully scare, it was to outdo its predecessor. Rob Zombie wasn’t fighting back against the original Halloween, he was making his own movie. By using a system of aesthetics already established in his films, one that he works well with, the heavy gore, nudity, and vulgarity in the Halloween remake wind up coming across as natural.

On the topic of vulgarity, I found the swearing in My Bloody Valentine 3D laughable. It’s not as if people don’t swear, but it’s another thing that comes across as forced, as if the film is trying to be “My Bloody Valentine But Edgy” instead of a good movie. Casting is also important here. They may only try to pass Jensen Ackles off as a teenager for a few minutes, but there’s something hilarious to me about seeing a thirty year old man trying to be eighteen, and then seeing the same thirty year old man acting his own age, and the movie expecting me to go “yeah, that was absolutely a teenager and this is absolutely an adult, and they’re not at all exactly the same but in slightly different clothes.” Rob Zombie cast an eighteen year old to play Laurie Strode, and while she does swear more and make sexual jokes it doesn’t feel forced— teenagers do act like that, but it’s just totally laughable when an adult tries to act like a teenager. Casting an actual teenager, even if only for a short prequel scene, makes all the difference in the world when it comes to believability.

Then, there’s mental illness. Both of the originals, John Carpenter’s Halloween and the 1981 My Bloody Valentine, don’t really tackle mental illness. Yeah, Michael’s been in a mental hospital, and yeah, Axel clearly has some issues after watching Harry Warden murder his father, but it’s not the main issue of the film. Rob Zombie’s second Halloween movie (2009) and My Bloody Valentine 3D both explicitly tackle mental illness, and again... My Bloody Valentine 3D fails. Horribly.

I think the reason I don’t have a problem with Laurie’s mental issues being so explicitly discussed in RZ’s Halloween 2 is that he doesn’t expect her to hold herself together. She’s a kid who went through something traumatizing and has no idea how to cope. Her main support network, both of the Bracketts, are ALSO trying to cope in different ways. The Sheriff is trying to move on without really confronting that he almost lost Annie; Annie is also trying to move on, and maybe she’s succeeding a little more than her father since she isn’t as uptight about Halloween coming around again. It also isn’t that Laurie’s not trying to move on, but that she’s explicitly struggling and acts out the way someone who feels trapped in a corner often does. Her breakdown isn’t scary, it’s tragic. She’s sad, scared, angry and confused and her death isn’t meant to shock. Sheriff Brackett doesn’t call for Laurie to be shot when he sees her at the end, he shouts for his men to stop shooting but they don’t listen. Sheriff Brackett, even seeing his adopted daughter so unhinged, doesn’t condemn her; it’s the actions of other people that cost him both of his daughters in the same damn night.

My Bloody Valentine 3D also tackles trauma following a set of murders, but instead of presenting Tom’s trauma as something sad, it’s a cheap shock opportunity. “He’s not who you think he is.” “Get out of the car.” Tom is presented as dangerous because of his mental illness; someone to be avoided, to be killed. Why incapacitate the mentally ill man when you can just shoot him instead? It’s not surprising that mental illness is used as a cheap scare in horror movies, but it was particularly upsetting in light of this remake because the original My Bloody Valentine is SO charming. The original is such a deeply enjoyable, original slasher film that having such a cheap shit “plot twist” is angering. I noted that Axel obviously has issues in the original, and it’s worth noting that when he’s buried and one of the rescuers shouts that he’s alive Sarah rushes back to him and tries to help pull Axel out. Again, as with RZ’s Halloween 2, she doesn’t demonize Axel or call for him to be killed, she tries to hold his hand and help uncover him— he’s still redeemable in her eyes, still worth being saved. My Bloody Valentine 3D’s Tom, though? Who is explicitly mentally ill? Screw it, let’s kill him.

Good remakes can absolutely be made. Good edgy remakes are possible, if more difficult, but this? These pitfalls of overly-muted, cheap shock-filled movies whose big twists are “ooo look we made a character mentally ill and that makes them SCARY” with no other substance behind them? That ride on the coattails of superior films without ever attempting to stand on their own two feet? It’s hot bullshit, man, and horror as a genre deserves better. The original My Bloody Valentine deserves better. We, as viewers, and especially mentally ill viewers deserve so much better. My Bloody Valentine 3D epitomizes everything I find infuriating about modern horror remakes, and this piece doesn’t even touch on the absolutely bland, flat performances from all of the actors. I’ve never been so bored, disappointed, and angry about a remake like this. I generally either avoid them or hold some hope that they’ll be halfway decent, but this? Fuck this movie.

[sweetbitradio]

Robin Zander’s Countryside Blvd.

Robin Zander’s Countryside Blvd. isn’t exactly the country album that everyone claims it to be. Sure there are elements of country scattered throughout the album, sometimes almost painfully forced on tracks, however; in another life some of these songs could have been placed on a Cheap Trick album. To understand this album first, we need to dive into the history of the album.

Countryside Blvd. was mentioned on Cheap Trick’s website in early 2010.

“COUNTRYSIDE album, available in May on Big3 Records What do a handful of Nashville’s premiere session players, the singer from Cheap Trick, the drummer from Neil Young & The Bluenotes, the Warren Brothers, Producer Chris Lindsey, Tim McGraw’s recording team, Nashville’s newest star, Sarah Buxton, Executive Producer Bill Edwards and Big 3 records have in common? COUNTRYSIDE BLVD. That’s the title of the record. COUNTRYSIDE That’s the name of the band. This unique group of musicians, songwriters, and singers gathered in Nashville last year and recorded 12 songs. In that place and time they have captured a fresh country sound with a combination of musical styles. The songs were written and sung by Robin Zander along with a few classics. The album features Sarah Buxton, Tom Bukovac, Pat Buchanan, Chad Cromwell, J.T. Corenflos, Dan Dugmore, Tim Lauer, Glen Worf, Larry Franklin, Perry Coleman, Robin T. Zander and the Countryside Singers. “I’m hopeful that when people discover this album that it’s as fun to listen to as it was to record” states Sara Buxton. “I’ve always wanted to do a record in Nashville and this is it.” says Robin Zander, “To have these musicians of this caliber record my songs for COUNTRYSIDE BLVD was one experience I won’t soon forget. Thanks to all for doing one hell of a record.” Available in May 2010 on Big3 Records & Tapes.”

This seems to be the only kind of press that this album got. Fans know that once the album was released, it was quickly taken off the marketplace for no apparent reason. It is rumored that promotional physical copies of the album were given out to radio, but I’ve yet to see an image of these yet. The track listing also released with this announcement and fans instantly recognized two tracks from Robin’s past being advertised which were “Loves Comes” and “Walkin’ Shoes.”

If you didn’t buy this album on the day of release, chances are you don’t have this album on your computer or phone but a quick trip to a third-part website will get you this album so you can listen along.

1.       Every Dog: Every Dog seems like it could’ve been put on a 90s Tom Petty record and no one would’ve noticed it. I enjoy the track both instrumentally and somewhat lyrically until the phrase “my dog almost got run over by my car, oh, what’s a boy to do?” takes a lot of the swagger this song has away instantly. The opening track seems to want fans to make sure that they are aware that these songs were recorded in Nashville. Not much can be said about the song, other than it’s just so “okay” that it bothers me at points.  2/5 Dogs ran over for this track.

2.       Walkin’ Shoes: When I first started listening to this album, this song stuck out to me for some reason. Maybe it was because I was already familiar with it do to it being on Robin’s previous solo album.  Is it better than the version that’s on Robin’s original solo album? I would almost argue “yes” just due to the simple fact that the years added onto Robin’s voice gives him a more heartbreaking tone some years later on the same track. This version also seems a lot more upbeat than the original.  Does it mean this song is an instant classic? No, far from it; however, it is starting to take the album in a better direction lyrically and this track kind of deserves the “Nashville production.” 2/5 Girls in shoes walking for this track.

3.       The Ballad of Jean & Me: What a hidden gem on an album that hardly anyone knows exists. This song brings back those Tom Petty vibes from “Every Dog” and painfully throws some fiddle at the start to remind you that the album was recorded in Nashville and this is a “country” album. I personally feel if a single was going to come from this album, this would’ve been the track. It’s very upbeat and melodic and personally reminds me of “American Girl” by Tom Petty. Robin’s voice fits this track and the tone on the guitars is very clean and crunchy as they need to be. The fiddles just seem to be forced more than anything and it really shows after the first chorus when a guitar solo plays a similar line to the fiddle at the start of the song and makes you wish that a fiddle didn’t open the song. Also there’s an organ line in the second verse that just adds a little more depth which I enjoyed thoroughly.  Take the time to listen to this song. 3/5 Misplaced fiddles for this track.

4.       Heart of Glass: Folks; we are back to reminding ourselves that this album was recorded in Nashville with an opening fiddle line. This track honestly hasn’t stuck to me in the month I’ve spent with this record. There’s a pre-chorus that sounds very “Cheap Trick lite” and that’s about the only satisfaction that I get from this song. It’s just so “okay.” I know I’ve used that line already, but that seems to be what plagues this album also. There is a female singer on the chorus of this, I’m assuming it’s Sarah Buxton, but then again I’ve almost forgot about this song. 1/5 Glass hearts broken for this track.

5.       What’s Her Name? Things seem to pick back up with this track. For people who have downloaded this album, there seems to be an unofficial bonus track with an alternate mix for this song, which reminds me of 80s Cheap Trick. This song is great and I personally believe with a “beefed up” production, it could’ve been on “the Latest” or even “Bang Zoom Crazy Hello.” Anyone who wants to have the line “what’s her name, what’s her name” stuck in their head for an afternoon, please listen to this track fully. I just wish Robin would scream “what’s her name, what’s her name” instead of holding back.  I just heat his trademark scream belting this line out. On the plus side there is a very enjoyable slide guitar solo featured on this track. 3/5 Record machines with her number on them for this track.

6.       I Wonder What You’re Doing Tonight: Very forgettable, very bland and I honestly forgot about this song until I sat down to write this. Not trying to be too harsh on a track featuring Robin Zander, but the production is just lacking and it’s so “hey, remember we recorded this in Nashville.” 1/5 I won’t be listening to this track tonight.

7.       Pamela Jean: This song just screams Cheap Trick to me. It was reported that Robin wrote this track for his wife around this time. This song is a defiant breath of fresh air on this album and the first time I listened to it, I thought that I was listening to something off of “the Latest.” This song has a very similar production style to that album. It even has a Rick Nielsen style guitar solo on this track. I wish so badly Cheap Trick would go back and re-do this song. I feel like they could bring an energy to this song with the current lineup that would make it a classic because that seems to be the only thing that keeps the song from being “great”; is a lack of energy in the performances. If you are wanting to give this album a spin, this should be the first song you tackle. It gets 4/5 Pamela Jeans from me.

8.       Say You Will: This song starts with a wah guitar that seems to be promising and then the production kicks in and totally “wusses out” the mix. This song isn’t bad at all and I could see this being an amazing song from either a different group, or with a different production standpoint. The chorus is catchy and Robin’s voice is killer throughout the entire track, especially in the verses. There’s just something about the entire production of this album that seems to take seemingly great songs, and make them less than enjoyable to sit through.  2/5 (nothing clever to rate it as.)

9.       Was I Wrong: When I first heard this, I thought I was listening to a demo version of “Miracle” from “the Latest.” Then I realized I wasn’t and quickly lost interest in this song. It appears that Sara is back to sing alongside Robin in this track. I just didn’t find anything enjoyable about this song. It just seems to be all filler for an album that couldn’t afford to have any filler on it. 1/5 Was I wrong for getting all the way through this track?

10.    Love Comes: Here’s the second cover on this album and I’ve heard some say they enjoy this version more than the original. I’m not one of those people, but I do enjoy listening to this version. Robin’s voice seems to be like fine wine and get better with time because in the years between this and the original, he hasn’t lost a note in my opinion. There is a little kid choir backing Robin on various sections on this version. The little kid choir even finish out the song as it fades out. I mean, this cover is nice and that’s about it. Production wise, I think it still suffers from the “we have to remind people this is country”; however, that doesn’t take away from at the core this is a truly beautiful song. 3/5 just because I like the original that much.  

11.    Save the Last Dance for Me: The best part about this song is the hidden bonus track within it with Robin singing “You Are My Sunshine.” Again, it’s a very forgettable ballad and sounds like two other songs on the album. 1/5 and that’s for Robin singing me a sweet lullaby at the end of the track.

This album isn’t as awful as people make it out to be. I’m not sure why the record label would just pull it within a short period of time. Nothing on this record is so full of cringe that it needs to be erased from the history of music. It’s just an album that’s so “okay” that it probably just bored people to death. If you are a fan of Robin Zander’s voice, you need to check this out. In parts of this album he shines and it makes sitting through the production.  If you’re a fan of Cheap Trick, then you might get something out of this. If you a pure country fan, I don’t think you’ll get anything from this album, due to the album feeling very “misguided.” It’s not a total waste of time though. Overall I’d give it 2/5 failed Robin Zander country projects.

[sole-cuore-amore-e-droga]

Tel Aviv 2019: Straight outta Australia to Eurovision with the Statue of Liberty's opera number

It took 4 years for Australia to figure out one day, “you know what would improve our chances with the viewing audience that’s tired of bland and easily produced pop? That’s right, a GODDAMN NATIONAL FINAL!!!! anyone here agreeing, mates? ehhh???”. And so we finally had an Australia Decides - the whateverth of many of the NFs to be added to the NF family. Where only the best of the best Australian acts compete for their title to get to Eurovision. The last Australian NFs I’ve seen before then were fan-made NFs for online Eurovision fan contests. And they were fun, but now they’re not as fun anymore as a real life-sized counterpart, with shorter than 1 week voting periods, real live performances of totally new songs, all on the same arena, and actual hosts instead of the short but clear instructions of “here are the songs, here are the voting details”. Good times.

Rather exciting the show was, full of anything AND everything. And what did it birth? The first ever totally white Australian participant (nothing wrong with it, it’s just that other 4 ones were of more exciting descents than European), Kate Miller-Heidke. The surprisingly older-than-she-looks operatic blonde with a sizeable career to boot, with nice songs on her overall repertoir (and a chubby lil bun of a son :3). I admit I knew of her from one of those mentioned online fan contests, at the very time one of her songs “Sarah” was popular in a fan circle of like 150-200 people. Since then I heard two more of her songs, so when she (and Sheppard) were announced as part of the Australia Decides lineup, I was excited because of the “automatic name recognition alert!!!” triggering in my head. And I hoped her song is as exciting.

But then I did listen to “Zero Gravity”. And I got confused.

But then again, it’s Kate. I had this moment of realisation that I actually am not a huge fan of her music overall? Just a couple of songs here and there, and probably that’s all. The other ones that I listened to that aren’t those ‘couple of songs’ are nice, but something that I’d only listen to volutarily to torture my inner state of mind.

For me the problem probably arises from the fact that I don’t feel the song’s structure and a lot of things feel like unfinished (because it takes a humongously long time between songlines ksksksk). But at the same time it might as well be the point of the song?? As far as I remember this is very much so about mental issues and how is one trying to break free off them while entering the “ze-e-e-e-e-e-e-e-e-e-eeeeeee-ro gra-a-a-a-a-a-aaaaaaa-vity”, and the “stone in shoe” thing (don’t you hate it when you find tiny-ass pebbles in your shoes, guys? cuz I do!!! let alone finding bigger sized ones like Kate just did!!!). Whatever’s keeping her down this time. But for some reason I don’t quite think that Eurovision has really been graced with great mental issue songs - Malta last year was just a cheap pop song stuck in the early 2010s with its dubstep sound; Romania last year was just an average teen sitcom background rock song, and it’s a shame about it being all that forgotten by others because I just happened to like it more and I feel for all those that feel depressed about their own existence and feel like saying “goodbye cruel world, I’ll see you never again anymore”. It feels odd not wanting to break the taboo before I become an animal or going where there’s zero gravity with these songs, yanno what I mean??

BUT! I didn’t say I hate that song. It has its qualities. Like, the verses are pretty decent, it’s just that the chorus feels completely detaching from my interest, which baffles me because I wanna like it more. We have these standard 00s mild-synthpop-like choruses and Kate’s blissful singing into your ear (ffs she starts her verses with “hey you” with THAT vocal sound. You don’t feel like turning up to her to ask “yes”??) on top of them, and then the chorus buildup feels like a helium balloon ride I wanna be let go of already. Alright, well, the 1st post-chorus doesn’t sound TOO bad... but the 2nd one, I’m not really a huge fan of it when she vocally warms up and then SPITS the opera vocals at me scarily. I’m spooked out. And then the last minute of the song is spent with sounding like it’s taken from a cheap-rent theatre play (I say ‘cheap’ because nothing here aside Kate’s voice sounds like OTT theatrical musicals to me), now with some more of delightful opera voice and the backings reminding us all that ain’t nothin’ holdin’ Kate down no’ mo’, ayy! The ending of the song is just so painfully obviously theatrical though, where all the horns rise up and let out a final blast with the final high vocal note like a flat silver-painted chocolate star on top of a dazzling white cinnamon-lemon cake with white glaze and some red berries sprinkled around... I guess I felt excited, I guess I felt like I was carried through a musical journey, but I still ended up completely unsatisfied because there were long pauses in the song that didn’t reasonate with me all that much. My soul really has something against songs that only have two verses and two choruses and that sound like they have potential but are overally unappealing (like me not getting over at how silly “Meggyfa” from A Dal 2018 sounds with all those horsefly and DAW-produced cartooney violins thrown in the song... it should have sounded like a fairytale about a king’s cherry tree, not a peasant’s made-up hallucination of an old and dried-out cherry bush :V). There shall be the day I overcome that obstacle, but for now, I’ll keep it be...

All in all, a competently composed, but at the same time, estrangedly composed song, performed by a classical fairy princess dressed in white and decorated by glitter (and her complementary backings that are cheerful enough sounding for a pop and/or tune). And the entry shines bright, too. As much as Kate’s beautiful teeth and shiny red lips - a perfect combo that could potentially scare an audience for being too perfect.

Approval factor: I’m on a fence with this one, yet again, but my views are leanings toward a mild non-approval. Though objectively I do approve this because it’s finally not a safe-ass entry that is just there to keep Australia afloat on Eurovision, but subjectively... it will take me several lightyears just to get over that severely cheap-ish chorus.

Follow-up factor: Again, it follows up the trail of Australia’s in Eurovision nicely, being so far something totally and completely unexpected from the nation’s, and something so daring in Eurovision overall (we got plain opera songs in the past, now here’s a more popera-musical crossover song that is not anyhow as schlagertastic as that one entry performed by Greta Thunberg’s mom 10 years ago!). A step in the right direction, even if it means that I am personally still inner screaming about it, lol.

Qualification factor: it’s perfectly capable of floating through a couple of places in the territory of both a safe qualification comfort and a hellish danger zone. I’ll leave it up for juries and televotes to judge it for themselves, but for me personally? If that pink foggy cloud from Greece underperforms with no chances to come back into a better shape, I think it could lend a spot to the Oz’s even-foggier thundercloud of joy, and it could even climb up higher if people aren’t overly charmed by the other game changers of the semifinal (like Iceland and Portugal, especially Portugal). But as of now, I guess I’m indifferent anyway the wind blows, and literally anything can happen. It’s truly one of those “anything can happen” songs, I assure you 100%, and it shall be fine, and any result for it will be perceived as spectacular, imo.

NATIONAL FINAL BONUS

FYI, if y’all want, you can rewitness the whole show here (before SBS sues off that for copyright reasons), but let me guide you through some of my personal highlights:

• If you guys that ever read these reviews know of any other Sheppard song than “Geronimo” then it’s okay, and it’s also okay if you don’t (and if you even haven’t heard of “Geronimo”)! I’m just saying that these guys were the first ever exciting sight in the Australia Decides lineup (along with KMH of course), and now, I’m not saying I wanted something that could top over the hit song of these guys in my personal opinion (well their actual NF song, “On My Way”, might be slightly on the path of suffering from the “it’s-no-hit-song-so-it’s-automatically-disappointing”-itis, which is incredibly contagious, especially for all the one hit wonders out there (and not only), but despite people accusing it of not being “Geronimo” here and there, I sat down, listened and simply liked it), I am just saying to stop throwing shit at the artist just because their management is worse than their music. Yeah! Remember the time it was uncovered that Sheppard is funded by their parents’ business being torturous? There are Papua New Guinean asylum seekers locked away in a faraway island where all kinds of shit happens - abuse, torture, rape... and the parent Sheppard is responsible for all this (well actually he’s only 1/3 of the responsible men), and he makes profit off it. That’s disgusting to the max, I know, and by no means I support this pasttime, but I really hope that the Sheppard kids don’t support the way their parents get the money to fund their hopes and dreams, otherwise... well anti-stans you were right. I might as well begin regretting stanning Sheppard now but for a dumb bitch I am there always exist a shard from a broken hope I can hang on to just in case things would get better. Just like the time when Kesha broke free from the Ke$ha image at the time it came out to light that her former producer, Dr. Luke, is THAT kind of guy. Anyway, if there are people down here that sometimes come for the music and not for the backstory, I’ll leave a video for Sheppard’s entry, which wouldn’t have come onto Australia Decides if not for the Sheppard fans (that they still had before the mentioned incident?) that encouraged them to go ^_^ Is your love for this song on fire? (probably not but I still am asking b/c fuck it)

• I know what you’re thinking, so I’ll include Electric Fields as well. And with a good enough cause because I liked their song too, just like many people did. “2000 and Whatever” mixes electronic music with a relatable message for all the millenials out there who don’t want to “live forever”, Aboriginal sounds and cool inclusion of new and unheard-in-Eurovision-before language(s?) and all in all would have definitely made a more kickass Australian entry for this year. And what’s the best about it? They didn’t need to have a big fanbase like Sheppard’s or a relatively middle-sized abroad but big inside like Kate’s. They did THAT by being incredibly fun and unique and gained both national AND international fans with their one year Australia Decides stint, and now the fans are hopeful to see this duo come out on another Australia Decides in the future. I salute their newborn fanbase for being so passionate and hopeful already. Oh, and of course, they got a meme out of their way at the same time without even needing to win (which wouldn’t have happened if not for SBS’s care to translate different languages than their own):

casually describing the jury chatter on National Finals like

But my favourite moment of the performance that they had is when the lead singstress let go of her headscarf to show off her beautiful long dreads to the viewing audience <3333

• For those combined fans of both ESC and RuPaul’s Drag Race, Australia fished out a special surprise with Courtney Act (what, you thought all drag race queens have had to be American of origin?!) being on the lineup as well! Together with several other dancers, she presented “Fight for Love” (not to be confused with Dami Im’s “Fighting for Love”) on the Gold Coast stage - just your typical soft club banger with tight red dressing reminiscent of Lady Gaga’s eccentric costume era and Courtney’s special stare:

I HAVE SPECIAL EYES

(what’s more hilolololarious is that Logo, who aired BOTH ESC AND RDP, has not gotten a renewed contract for Eurovision this year, which means that if Courtney DID win, the Muricans would not be able to see a drag alum they might have loved at some point! As they already cannot broadcast Lady Madge, the only American performing on show, flashing her covered-up sponge pudding. A devastation <3)

• Hey, let’s not underestimate the other acts, too! There were 6 others that I didn’t mention, and among them my favourites were Ella Hooper (as during her performance I felt like I was watching that Shania Twain concert DVD again with her outfit being as outstanding as in this video) and Alfie Arcuri (one of the other names I heard before just like Kate and Sheppard - it’s a homosexual guy that feels confident enough with his sexuality by turning his struggles to songs!), and Leea Nanos (a 16 year old girlie who, like Electric Fields, don’t really have fans, but she came here to have a good time and performed confidently enough for her age! *clap* *clap*) wasn’t so bad, either.

• Australia Decides as a whole is a thing to remember. Not too annoying hosts? Check. Beautiful introductionary postcards (involving the NF guys going around to enjoy nature, talking some more about themselves and a specific soundshape for each act at the end of each postcards)? Check. (Fun) Interviews with the contestants and interval acts?? Yeah, you can check that as well. Behind-the-scenes get-togethers of every one of the participants and them getting to partake in a fun questionnaire?? Wow, they even have that!!! All in all I admired this slick production, the smooth flow and the nice details that went into this whole event. Thumbs up on that one! First organisational pancake did not burn up.

• Then again, every single one of those nice ones have to have an ugly interval act hidden somewhere, like, the German drag-like caricature that appeared on AGT not so long ago, Hans from Adelaide, who did a Eurovision medley and included “Ooh Aah (Just a Little Bit)” in it as well... needless to say, the fandom didn’t approve of that, and obviously the Måns's version from EYD was better.

• Also also, what do other NFs don’t do that Australia Decides just did this year??? A REJECTED ENTRIES COMPILATION SHOWCASE!!! Damn straight! When was the last time you’ve seen one of these? At least SOME recognition given for those songs that were close enough but the NF compilers found much better songs than those ones so those other ones just didn’t get their chance... amazing considering I believe I’ve never seen a thing like that before. There indeed were some rejected NF songs that are marginably better than some from the actual list. And thanks to Australia Decides showing them, they’ll never be any other NFs rejects ever again, unlike the Melodifestivalen/DMGP/etc. ones. Yeehaw. Maybe this serves as a ladder of hope for those rejectees to get up and try again so we’ll see them in another edition?

• Let’s not forget Kate herself. She did come down at us as the Australian version of Statue of Liberty (as the title of this write-up suggests, youhouuuuu) that looks more like someone’s unused Miss Universe national costume, but still very goddamn dazzling. And the rando flying above her presence that couldn’t be “holding [her] down”. What would have been any other way to present a mental issues awareness song than that. Majestic. I’d printscreen her dress for this one in full motion but I’d rather put down this picture with a more interesting shirt choice walking nearby the Australian Eurovision songstress while she was getting down to be ready for her winner’s reprise. I’m sure you’ll be able to see the dress in this too!

(if only I could use some extra fries in life!! =( )

All in all, I applaud the Down Under-ners for a succesful kickstart in the NF business, and I really hope SBS invests in this more than just calling up DNA Productions again to find themselves a starlet from an old Australian Idol/X Factor season that’s of different descent as always and slap a pop tune onto their discography with which they gotta go with to ESC. Would be incredigood. Thanks.

I’ll wrap this cumbersome beauty up by wishing the whimsical beauty Kate all the best in Tel Aviv! Hope your infected foot did not ruin the fun for you, dear sis.

[evdarcy]

An Unusual Hero C11S2

Please remember, this is unedited and unfinished, but will hopefully fill in the holes that were left and answer some questions without leaving too many others. HOWEVER I will answer all and any questions if you want to leave me a comment.

Next update - Tuesday 28/06/2021

Sarah had been a barrel of nerves since the call to Edwards; bouncing from one chair to another, running out to reception to see if they had any maps—they had—then plotting four different routes for them tomorrow to Provo just in case.

So after twenty minutes of silence as she sat at the tiny table the room provided writing down who knew what on a piece of paper, Luc was starting to get annoyed. He was about to tell her to get some sleep as he settled down into the bed when as her head shot up.

‘Okay,’ she said, breaking the silence. ‘If you use a basic conversion rate of seventy-pence to the dollar, two and a half million dollars is 1.75million pounds. Do you know what I could buy with that back home? Man, I’d be set for life. Nice big house, no more than half a million, leaving me with just over one and a quarter left…’

‘Really? A big house for half a million?’ He wanted to laugh at the idea. No way could you get anything half decent for that much.

‘Oh, yeah,’ she said with a head bob. ‘Where I live, that would get you at least four, maybe five bedrooms, big garden, couple of reception rooms, driveway, definitely a garage. Although…’ Her words trailed off as she cocked her head to one side, clearly thinking about this imaginary house.

‘Have you noticed, you can’t fit cars in garages of new houses?’

‘What?’

‘New houses. They get built with garages, but you can’t get a car in them. The cars all sit outside them on the driveways and you can see that they’re too wide to go in. No, actually, you probably can get them in,’ she suddenly decided. ‘But then you can’t get out of them—you can’t get the doors open.’

Luc frowned, starting to consider that the silence was better. ‘Then what’s the point?’

‘Exactly!’ she said, throwing down her pencil and standing up. The little stubby piece of wood bounced off the pad and fell to the floor. Luc watched it land under the table, but Sarah was already moving towards the duffel bag with her clothes. ‘So what’s the point of even building them? Surely another usable room would be better—it’d certainly add more value to the house.’

‘Or they could just make them big enough for a car.’ Luc rubbed his eyes as he watched her pull out a set of clothes she was happy with. Why the hell were they discussing cars and garages? He peeked out over his fingertips and watched as Sarah bent over to put on her own pair of sweats. He almost swallowed his tongue when he saw the tiny scrap of fabric she was wearing. It barely covered anything and Luc briefly wondered what the uncensored version would look like. He bit his lip as she pulled the trousers up, covering her generous ass, and swallowed down a mew of disappointment. Her top was pulled off and Luc was rather disappointed by the display there. No lacy cups to see, no slip of a nipple, only a a bland nude coloured sports bra, with fat straps and a wide back held her breasts in place. And they weren’t coming out any time soon, Luc realised as she slipped the clean top over her head and tucked it into her sweatpants.

‘What are you doing?’ he asked as she hopped on one leg and tried to pull the top of her sock over the bottom of the pants.

‘I don’t want… any part of my skin… touching that sheet,’ she said as she tried to get the other sock to do the same. ‘There.’ She stood up, hands in a ta-da moment as if she’d just performed an exceptional piece of gymnastic wizardry.

Luc shook his head. ‘Just get in bed.’ He flicked back the covers and patted the sheet in question. To be fair it wasn’t as bad as she was making out, and while at first he’d had his own misgivings the place was just old rather than dirty. The décor could use updating, but it was clean.

Sarah grabbed another t-shirt as she walked over, and Luc sighed as she laid it out over the pillow. He settled into the bed and turned over, his back to hers as she made herself comfortable under the duvet.

‘Goodnight,’ he said as he leaned up and switched off the lamp. The room descended into darkness and Luc sighed contentedly as he snuggled further into the pillow, willing the Sandman to come sooner rather than later.

‘Luc?’ Sarah’s voice sounded loud in the darkness.

‘Yeah?’

‘Two and a half million isn’t a lot to you is it?’

‘No,’ he sighed. He’d been wondering when she’d get around to that. He’d seen the curious look in her eye all evening. ‘That’s almost my fee per episode for Destiny.’

‘That’s mad.’ Silence fell again, but he knew she wasn’t done. ‘Why do you need so much?’

He huffed as he turned over, propping himself up on his hand as he gazed down at her in the dark. ‘That’s what they offered—well no, that’s a lie,’ he corrected as he recalled Lars throwing back their initial offer, calling it an insult. ‘My agent negotiated. I leave fees and that to him. If people want to pay me that much for me to work, I’m not going to argue with them.’

She turned her head to gaze up at him as he spoke and he felt her eyes considering him. ‘But what do you do with it all? I mean there’s over twenty episodes a series—lets use twenty though—nice round figure and it’s an underestimate so we know the answer will be more.’

‘God, I forgot you’re a maths teacher.’ He rolled onto back and stared at the ceiling as she did the calculations.

‘So twenty lots of two million, that’s forty million a year. Holy shit! And five years…’ she fell quiet again as she realised the vast amount he’d been paid by the network while he’d been on the show. It was one of the reasons he never turned down any of their promo work.

‘What’s the tax rate here?’ she asked.

‘For God’s sake, Sarah,’ he said, losing his temper. ‘Go to sleep.’ He rolled over, his back to her once more.

It wasn’t him who’d wanted to negotiate so much, who had to eek out ever last dime from the networks and studios that hired him, Lars and Linda insisted contracts always went back, that they never accepted the first offer. Sarah was right, however, what the hell did he do with it all?

There were only so many houses they could own, so many cars they could buy. Truth be told, as big and lavish as his penthouse was, as gorgeous as his homes in exotic locations like the Maldives and Fiji, he’d always felt far more at home in Casey’s place. Even Marc’s mansion in Bel Air was too big. It never felt homely. BB’s house was… interesting and unique would be the polite term. Definitely not what he would consider a home though.

‘Luc?’ Sarah whispered, interrupting his thoughts.

‘Um-hm?’

‘Are you gay?’

His eyes flew open at the question. Well, that certainly woke him up. ‘What?’ he spluttered.

‘Do you prefer men? Is Linda a beard? Is that what you get from the marriage?’ Ah, she hadn’t forgotten about their earlier conversation. Damn. He had no idea why he’d said what he had, but it had felt good to tell her. To voice, for once, what everyone saw between he and Linda was a big, fat lie.

‘Oh, my God!’ Sarah exclaimed, sitting up suddenly. She leaned over him, shaking his shoulder slightly and he groaned, burying his face into the pillow, knowing exactly what she was going to say next. ‘The rumours about you and Marc, they’re true!’

‘No!’ he said. He hugged the pillow for a second longer, before finally giving into her shakes and rolling onto his back to face her. She leaned over him and switched on the lamp so she could see him.

‘Oh, c’mon, you can tell me, I mean, who the hell am I going to tell?’

‘I’m not gay.’

‘I think the lady doth protest too much!’ she wiggled her eyebrows jokingly.

‘Honestly, Sarah, I can say hand on heart, I am not gay. I tried it once—’

‘What!’ She shrieked as her eyes went as large as saucers.

‘—not with Marc, but it wasn’t for me.’

‘Prove it,’ she said, making him sigh and roll his eyes. There was only one way he could do that and he wasn’t about to.

‘Nice try,’ he said. She frowned down at him for a second, trying to work out what he meant and when she finally clued in on what she’d said her brows almost flew off her head. Her cheeks flamed red and she quickly retreated to her side of the bed, crossing her arms over her chest, as she muttered, ‘I didn’t mean for you to shag me.’

A wicked thought entered his mind, and he had to bite the inside of his cheek to stop the smile from spread across his face. ‘To be fair,’ he said slowly, ‘I wanted to kiss you in the shop the other day—when I grabbed your ass, I had to stop myself from getting a hard-on.’ He wanted to laugh when her eyes snapped back to his, blinking rapidly. It was almost like watching her mind break. He wondered how much it would take to do so.

‘Then when you were breaking into that cabin, you were on your knees and I had all sorts of thoughts about what you could do while you were down there. I almost kissed you earlier, but you had to charge the phone…’ He let that one sink in just for a moment.

‘You— you were—’ she stumbled as she tried to find the words.

‘Yup,’ he said, smirking as he rolled over. He had to carefully arrange himself so as not to show he was getting aroused right then, especially when the image of her bent over just a few minutes ago popped back into his mind.

‘Oh, and by the way,’ he added as he reached up and switched the light off again. ‘Robson is totally gay and wants my body.’

The strangled cry from Sarah made him laugh heartily as he snuggled back into the covers.

Any questions, please drop them in the comments. Next update on Tuesday!

[the-desolated-quill]

Mummy On The Orient Express - Doctor Who blog

(SPOILER WARNING: The following is an in-depth critical analysis. If you haven’t seen this episode yet, you may want to before reading this review)

Here I go, stepping into the unknown. I’ve never seen any episodes past Kill The Moon and I really didn’t know what to expect. It couldn’t possibly get any worse than that surely?

So this came as a rather pleasant surprise.

You’d think an episode titled Mummy On The Orient Express would be destined for failure. It just sounds too gimmicky for words. There’s a mummy on the Orient Express... in space! And yet somehow it works. It fact it works better than the majority of Series 8 has done until now. So kudos to Jamie Mathieson for doing such a stellar job.

Okay, so it’s set on the Orient Express... in space, and there’s a mummy onboard called the Foretold that only certain people can see, and when you clap eyes on it, you only have 66 seconds left to live. That’s an immensely creepy idea and they use it to great effect. Whoever designed that mummy deserves a fucking pay rise. It’s without a doubt the scariest thing ever to come out of New Who. When it first showed up, I actually screamed! The attention to detail is extraordinary, from the old bandages to the rotting, decomposing flesh. The gangly height of the actor playing him helps too. A lot of the shots are from a first person perspective, so when it reached out to the camera, I found myself instinctively leaning away from my TV. Even the Orient Express setting contributes to the horror. The tight, claustrophobic corridors of the train really bumps up the fear factor even further.

A lot of Mummy On The Orient Express has quite a classic series vibe to it. Obviously there’s the whole base under siege stuff, which has been a staple of Doctor Who since the beginning of recorded time, but there’s other things too like the mystery angle, the Doctor and the companion splitting up so that the story ends up becoming a two pronged narrative, the Doctor being suspected of being behind the killings (although thankfully it doesn’t last long), and the episode actually jumping straight to the heart of the action rather than wasting time on angsty ruminating like previous episode have done this series. There’s even a moment where the Doctor offers jelly babies. There are a few elements of New Who in here too, most notably the Evil Capitalist villain who wants to control the monster, but this really feels like a well executed homage to Classic Who. I could imagine Tom Baker’s Doctor and Sarah Jane Smith feeling right at home here.

But we don’t have Tom Baker. We have Peter Capaldi. How does he do?

I feel what’s really been letting Capaldi down is the scripts. The writers just can’t seem to make up their minds what direction they want to take this Doctor. Moffat keeps saying he’s darker and more serious, but then we get episodes like Robot Of Sherwood and The Caretaker where they try to incorporate quirky humour that just doesn’t suit this type of Doctor at all. It’s like putting a party hat on top of a skeleton. Thankfully Jamie Mathieson seems to have a better grip on what kind of Doctor he’s writing for here. The humour is a lot better here and while the Doctor is still eccentric, it’s been toned down quite a bit. For instance the way he offers the jelly babies is more casual and nonchalant. It’s noticeably strange, but at the same time it’s not so goofy it’s distracting. And there are some genuinely funny lines, which Capaldi delivers perfectly. My favourite is probably when he confronts the mummy at the end:

“Hello! I’m the Doctor and I’ll be your victim for this evening. Are you my mummy?”

I also got a kick out of the whole mystery shopper scene:

“I could do with an extra pillow and I’m very disappointed with your breakfast bar, and all the dying.”

It’s quirky, but it’s not too quirky. It’s pitched at just the right level so that it works for this particular Doctor.

But what I especially like is the callousness of this Doctor. When characters are being picked off one by one by the mummy, the Doctor is more concerned with getting more information about the Foretold rather than helping or comforting the victims. He’s not in the least bit apologetic like Nine or Ten would be. He just wants to find out as much about the mummy as he can from this death in the hopes that he can prevent the next one. At one point he even goes as far as to get Clara to trick Maisie into coming to the carriage so that he can seemingly sacrifice her to the mummy for more information (later we learn this was just a ruse, but it wasn’t beyond the realm of possibility. I could imagine this Doctor doing something like that). It’s very dark indeed and Clara is clearly appalled by this, accusing him of being heartless, but that’s not really true. If the Doctor really was heartless and uncaring, then yeah, this would just be horrible, but the reason it works is because of Peter Capaldi’s performance. Just look at the scene where the kitchen staff are flushed out into space by GUS. The subtle frown on Capaldi’s face speaks volumes I think. The Doctor does care about the deaths. He’s just internalising it, choosing instead to focus on the problem at hand, which comes off as callousness, but as the Doctor himself says, there’s no time to mourn. Standing there wringing your hands isn’t going to do any good. So the Doctor just gets on with what he has to do rather than get bogged down in sentimentality.

Are there any problems with the episode? Well... the ending is a bit of an anti-climax. I suppose it can’t be helped really, but the mummy is sort of thrown away at the end (I read some reviews and people seemed really confused by the ending. Why did the mummy salute the Doctor if he surrendered? How did it die? It seemed perfectly clear to me. The alien tech was controlling the mummy, absorbing the life force of people to keep it alive, the Doctor’s surrender deactivated it and the mummy saluted the Doctor as a way of expressing gratitude before collapsing into dust). The characters are a bit limp too. They’re not bad. They serve their purpose and the actors give decent performances. They’re just not very interesting. The engineer Perkins is probably the weakest. He just felt a bit bland and nothing-y to me and I’ve never been particularly fond of Frank Skinner.

And then there’s Clara. It was a little bit jarring seeing her again and seemingly getting on with the Doctor after Kill The Moon, but the episode quickly explains this is their ‘last hurrah.’ I really have mixed feelings about all of this. I had no problem with Clara calling the Doctor out for his supposed callousness, but it’s the context that bothers me. Clearly she’s still reacting to what happened at the end of Kill The Moon, which as I’ve said before is utter bollocks because the Doctor didn’t actually do anything wrong, and yet Moffat clearly expects you to be on her side... which I’m not... because she’s chatting shit. Later she realises, in a very clunky exchange with Maisie, that she’s not ready to give up her adventures with the Doctor and is prepared to overlook his faults (which begs the question what was the fucking point of the last episode then). But then it gets even weirder toward the end when she not only lies to Danny about ending her travels with the Doctor, but also lies to the Doctor, saying that Danny was the one that said she should give it all up. I’ve never liked Clara and I’ve completely resisted any attempt of Moffat’s to convince me she’s somehow the perfect companion, but here I’m utterly confused by what I’m supposed to think of her at this point. Why is she lying? She’s got no reason to lie as far as I can see. Why can’t she just be upfront and say she wants to keep travelling? It certainly demonstrates how fucking dysfunctional her relationship with Danny is, but is that intentional or is Moffat once again being an utter twit?

Nevertheless, I really enjoyed Mummy On The Orient Express. It’s a great throwback to the classic series with a truly creepy monster at its centre. I’d say this is my favourite episode of the series so far. Please let the rest of Series 8 be as good as this.

[merinathropp]

Tanz der Vampire - Hamburg 2017: Detailed Breakdown

It’s official, folks: I have finally, finally seen Tanz der Vampire live. After 17 months of hoping, dreaming and saving - my little dream came true, and I flew to Germany to see the show. So! In loving memorial, I’ve written up a stupidly long review of my experience below. I saw the show twice, but have combined the entire experience into this one post. If anyone has a particular question about a scene or song, please just shout at me :) I’m up for any excuse to talk more about this show, being the obsessed fan that I am...

First night - from stalls left Second night - from stalls front row, right in the middle Graf von Krolock - Mathias Edenborn Alfred - Tom van der Ven Sarah - Maureen Mac Gillavry Sarah - Anja Wendzel (alternate)  Professor Abronsius - Victor Petersen Herbert - Kiryll Zolygin (alternate)  Magda - Sara Jane Checchi Chagal - Jerzy Jeszke

GENERAL

- This trip was worth every dang penny. Hands down one of the greatest musical theatre experiences of my life I encourage everyone to save up, spend the money and fly to Germany to see this musical live, at least once your lifetime. You will not regret it. 

- What blew me away the most about my entire experience was coming to the realisation that Tanz der Vampire is a legitimately spectacular musical at its core, more so than I had ever given it credit for. Everything comes together to create an entirely immersive experience that sweeps you off your feet for 3 hours, and a shaky camcorder bootleg can never, never match its true glory.

- Orchestra was full and luscious, to my ears. No idea what all the complaints are about, Hamburg has definitely pulled out all the stops in this regard. There was a killer pianist banging out some stuff I’ve never even noticed on the CD! - The lighting was pure magic. My word, this show does not get enough credit having some of the most awe-inspiring lighting I think I’ve ever seen onstage. Highlights for me were the gleaming moonlight that floods the back of the stage during Tanzaal and the eerie golden glow of sunrise in Carpe Noctem.

- The sets are unearthly and gothic and stunning; the rotating cottage blanketed in snow, the graveyard swimming in mist with its wrought-iron gates in silhouette, the cavernous ballroom with its winding staircase, the maze of bookcases draped in cobwebs and dust...gosh, there are too many to name. I’ve always leaned more towards the Kentaur Revival sets, but having seen these ones live, I’m starting to seriously reconsider my opinion.

ENSEMBLE

- Is it just me, or are the German casts always uncannily brilliant when it comes to their mirror doubles? I swear this is one thing the Russian casts never managed to pull off. Even from the front row, it still looked like Alfred’s reflection was dancing with an invisible Herbert. And the trio at the end were perfectly synced, right down to drawing breath in unison. Absolutely ingenious.

- Roten Stiefel was sublime, especially the first time I saw it. The ensemble seemed to be dancing on air, every movement just flowed and Sarah literally flew around the stage like she was on cloud nine. I don’t think I breathed for the entire sequence.

- The coordination of the choreography in Ewigkeit blew me away. You just don’t know where to look during that number, it’s such a visual spectacle! Like a literal load of rotting corpses, each trying to keep themselves in one piece long enough to feed. One guy clearly had a case of Nearly-Headless Nick, one guy kept ‘popping’ his arms back into their sockets, one lady was totally spastic - they’re all so individual and creative!

- Nightmare!Alfred and nightmare!Sarah were haunting and lovely. Every movement between them was so gentle and full of longing. The way nightmare!Alfred looked at her, guh - tender and sweet, yet oddly aloof and mysterious, he was so interesting to watch! And his snarling at the end was vicious, like a mad dog or something, really chilling stuff. 

- Nightmare Solo 1 was replaced by HERBERT HIMSELF! Yes, it was HERBERT who appeared on top of the bed and introduced Carpe Noctem, cementing his ‘puppet master’ role 100%. He was so graceful and controlling throughout the entire number, moving his hands like he was ‘guiding’ each dancer into place. And I loved that the replacement meant that Herbert was the first and last character to leave the nightmare, he remained on the bedpost gazing down at sleeping Alfred until the very end of the singing, before drifting off upstage. Ugh, so many new Carpe Noctem headcanons...

- I was disappointed with our Black Vampire. He never threw himself into his movements, there was no power or danger in anything he did, just...perfectly okay dancing, and one really odd lacklustre jump. Bit of a let down :(

KROLOCK (Mathias Edenborn)

- You know how everyone in the fandom says you never forget your first Graf? Well...shoot, turns out they’re absolutely right. Mathias was magnificent and blew all my expectations away; I’ve never thought much of him, in the videos I’ve seen, but watching him live was an incredible experience. He was electrifying from the moment he glided onstage, and commanded the attention of the whole theatre. His Krolock was refined yet animalistic, powerful yet broken, charming yet icy cold, passionate yet subtle. He could also be raw and human when he needed to be, and for the first time, actually made me FEEL for the character. And he has this massive booming powerhouse voice to boot.

- During Vor Dem Schloss, he was very intent on Alfred, standing right up close to him and wrapping his cloak around his shoulders. He also did a lovely elegant gesture where he traced the outline of Alfred’s face with his fingertips. Tom was reacting so well to him, the two just played off each other beautifully throughout the whole scene, just this constant push and pull, like there was a magnetic force between them - brilliant stuff. That chemistry, I Am Here For It. 

- When he was talking about Die Fledermaus, he went: “Genial! (deadpan sarcasm, staring straight out into the audience) ...Ich war gefangen.” Ouch :)

- During Einladung, he examined the planks of Sarah’s door and ran his fingers over them in a mocking sort of way when he sang the word ‘sicherheit’ - like he was sneering at Chagal’s efforts and how feeble/useless they were.

- During Totale Finsternis, he did something very interesting; every time he turned away from Sarah, he seemed to be secretly struggling with himself, not from thirst, but almost as though he was overwhelmed by the sin he was committing, and feeling some measure of conflict over it? He’d reach towards her, and then shake his head and pull back at the last minute, and turn away from her with this broken expression and put a hand to his heart. Finally, at the very end of the song, when he turned to face her and saw she’d bared her throat - his face went entirely blank, cold and decisive, like he’d made up his mind in that moment. Such an interesting take on the number, turning it into a moral dilemma for Krolock even as he’s drawing Sarah into his web!

- During Tanzaal, at the very beginning when he first appeared at the top of the stairs, he greeted the retinue of vampires with a German word I couldn’t catch, and then held out a hand in Herbert’s direction, and announced “Sohn!” with great solemnity and I absolutely loved it :’) all the family Krolock feels.

- He had so much adorable interaction with Herbert throughout the rest of the number, it warmed my heart. They would laugh together and Herbert tapped his shoulder when Sarah entered the room, then leant over to say something to him and they grinned together like two gothic super-villains, it was AMAZING. When Sarah came down the stairs and revealed her full dress, Krolock glanced back at Herbert and raised his eyebrows, like he was saying “See? Told you she was something.” and it was the most adorable thing I’ve ever seen a Krolock do.

- When Alfred almost collided with him at the end of the minuet, he reached out a hand and sort of flicked/stroked Alfred’s open fingertips with one of his nails. It was so creepy and menacing, like Alfred was a mouse on a cat’s claw.

ALFRED (Tom van der Ven)

- Mixed feelings on Tom’s Alfred. I found his first performance dull as dishwater, he had this odd vacant expression for about 50% of the show and it was maddening how bland he made Alfred, even though his chemistry with Sarah and Krolock was fantastic. But! Low and behold! His second performance was much better: more reactive, more expressive, more everything. He brought the character to life, at least in most scenes, and won me over against all the odds. 

- I know I’m preaching to the choir here, but oh my word, he is the absolute cutest of cute Alfreds. If him and Sergey ever starred in Tanz together, the theatre would implode from sheer cuteness overload. He’s so small and slender with these big wide innocent eyes, you just want to hug him every time he walks onstage. He also puts on an oddly plaintive high-pitched voice for Alfred, which I found ??? initially, but I do think it works with his performance. Also: my relatives said his accent was distracting, but I didn’t notice. 

- I love, love, love how truly sincere and ardent he plays Alfred, during any interaction with Sarah. Wirklich Sehr Nett was a real love-at-first-sight moment for him: he spoke so softly to Sarah, he was tentative and gentle, but so genuine. He clearly meant every single word he said, and he gazed at her like she was the sun and moon and stars. My heart, it hath feelings.

- Another Sarah-related thing that he kept up through the entire show: whenever he was singing about Sarah, thinking about Sarah, even remembering Sarah in Ein Guter Tag (“Heut oder nie finde ich zu ihr!”) or Der Gruft (“Denk an Chagal’s Tocher!”) - he got this dorky, dreamy, crooked half-smile and gazed off into the distance like he’d been momentarily transported to Heaven itself and oh my gosh that smile could melt the coldest heart I swear...

- During Tanzaal, he didn’t recognise the Professor at first and just stood awkwardly beside him for a bit...before doing a double take, like “Oh Professor, it’s only you!” which was ever so cute. Then during his little step-toe dance across the stage, he picked his feet up SUPER HIGH like he was trying extra hard to be a Fancy Vampire and it made me giggle so much.

- Any Krolock/Alfred shippers in the house must have been having a field day, because he was so FOCUSSED on Krolock during Vor Dem Schloss, I don’t think he took his eyes off him for a moment. He’d take little stumbling steps towards him like he couldn’t help being drawn in, but then he’d shrink away and sort of ‘hunch’ in on himself in defence when Krolock came close. But when Krolock came right up behind him and shadowed him with his cloak (“Ich lehr dich was es heißt zu leben”), Tom actually turned his head over his shoulder and tilted his face up to gaze at Krolock, VERY reminiscent of Totale Finsternis (paralells!!!!! my favourite thing!!!!!) which was just awesome. 

- Der Gruft was a highlight of both shows, Tom was legitimately hilarious with perfect comic timing, but still so sincere that it broke my heart. When he dropped the hammer, he gazed out at the audience in total horror for a few seconds, before squeaking “Ich kann das nicht” in this tiny high-pitched voice that made the audience laugh so much. Then he delivered “...Aber ich kan dass troztdem nicht!” even higher and squeakier and the audience laughed again and a lady near me went awwww, because it was just so pitiful and sweet.

- I also liked that he went to stake Herbert’s coffin first, out of complete instinct, before the Professor called him back. Interesting that he would consider Herbert most dangerous on a purely subconscious level, even before the events of Wenn Liebe. 

- During Draussen Ist Freiheit, when Sarah booped his nose with her finger, he blinked and raised his own hand to touch his nose in wonder, like “Oh, she nose-booped me :3” and it was just. so. freaking. adorable. 

- HE TRIED TO KISS SARAH AT THE END OF DRAUSSEN, A PROPER KISS ON THE LIPS, MY BRAVE SON...and he mirrored the gesture in the Draussen Reprise as well, right at the climax of the song, he went for a big sweeping kiss right before Sarah bit him. My heart, it hurts. #GiveAlfredHisFirstKiss2k17.

- He also had a fantastic reaction to the bite. He was choking and lolling his head, jerking from side to side and crying out but not quite screaming; he made it believable that the Professor would never hear :(

- His voice has improved, he belted out the latter half of Fuer Sarah with all the warmth and passion in the world. He had a huge grin on his face, and after the end of the song, he let out his breath and collapsed back against the bed, like The Emotion had just overwhelmed him completely <3 

- During Wenn Liebe, his delivery of “Ich zittere niiiiieeeeeee!” was hilarious, his voice was so squeaky and he drew out the last vowel like pleeease noooo.

- He spent the whole dance with Herbert going ‘oof!’ and ‘ah!’ and brought out the protective mother bear in me, because he’s such a delicate guy and needs to be Handled With Care but alas, this is not a concept Herbert understands...

- One acting choice I will never understand from Tom: his very mild, bland facial expressions during certain scenes where the focus isn’t placed chiefly on Alfred, e.g. the whole Chagal-vampire-staking sequence and Wenn Liebe. It’s almost like he doesn’t think anyone will be watching him, during these scenes? But I find it very distracting. For example, when he and the Professor discovered Chagal was missing, he looked...vaguely surprised, rather than shocked/terrified. And during Wenn Liebe, most of the time he’d just stare blankly out into the audience, even when when Kiryll mock-kissed him or declared his love. I think Alfred’s reactions are a HUGE part of what makes these scenes work, and it feels like something is missing without them.

HERBERT (Kiryll Zolygin)

- Kiryll was fine, but he wasn’t my kind of Herbert. He was cold, vain and predatory. He strutted around the stage like a peacock, smoothing his hair back and sticking his chin up and posing just like his father. Very refined, very confident, very intimidating; definitely the Graf’s son through and through. There was nothing amusing about his Herbert, he was cool and prowling and Wenn Liebe played like a sinister game of cat-and-mouse. 

- He was also hard to read at times; his expressions were oddly closed-off and there were times when I honestly didn’t know what Herbert was supposed to be thinking/feeling. When he saw Alfred for the first time, he simply looked steadily at him, his face smooth and expressionless. Even throughout Wenn Liebe, he didn’t seem very besotted with Alfred, just amused - which made his groping extra-creepy and his declaration of love seem more ironic than sincere.

- Speaking of ironic, can someone tell this guy it’s okay to cosy the heck up to Tom when they’re dancing because I swear he was keeping about 3 feet of space between their chests and idk why Herbert von Krolock would ever keep Alfred at such a chaste, safe, heterosexual distance from himself...

- He had the sweetest, most delicate, most Herberty-y giggle I have ever heard in my life, it was perfect and made me smile every time I heard it.

- During Vor Dem Schloss, he did this amazing piece of catwalk nonsense in front of Alfred, striding back and forth like “yes admire me human, behold my glory” whilst Tom stared in bewilderment. My poor son, so confused :)

- He cracked appallingly in Carpe Noctem, both nights. I physically winced. The second time I saw him, he also broke off one of his notes way too early, which was obvious to everyone because Magda held hers perfectly. Poor guy.

- During Wenn Liebe, he mocked-kissed Alfred in the middle of the dance, but Tom didn’t react at all, and I felt bad for him because that’s actually quite a daring thing to attempt, but Tom’s lack of reaction made the moment fall flat. 

- This is a bit yikes but I have to mention it: he very slowly and obviously licked his lips whilst watching Alfred run away into the audience, which definitely takes the jackpot for Creepiest Herbert Gesture Ever.

- During Tanzaal, he came down to the front of the stage and looked RIGHT DOWN AT ME THE AUDIENCE and sneered down at us like we were all Mere Peasants who were unworthy of his presence. I actually shrank back in my seat a bit, it was incredibly intimidating! 

- One VERY interesting addition: he deliberately turned around and watched Alfred dragging his Ewigkeit vampire off-stage to steal his costume. He didn’t react much, just gazed after Alfred like "Hmmm..." - but it was interesting nonetheless, I’ve never seen a Herbert do that before. 

SARAH (Anja Wendzel)

- Both my Sarahs were fantastic, but Anja truly did steal my heart. Bursting with energy and emotion, radiating chemistry with anyone she shared the stage with, and her belt was to die for (plus the sweetest, prettiest head voice too).

- She was such a SULTRY Sarah! I couldn’t believe how flirtatious and sensual she was with Alfred during Wirklich, it was almost too much to watch, and Tom’s Alfred was a complete wreck by the end of it :’) she was also very teasing during the bathtub scene in Act 2, waggling her finger and leaning in towards him when she talked about having one dance free. Poor Alfred.

- During Draussen, she also did this hilarious thing at the beginning of the song: she’s tiptoeing around outside, and suddenly Alfred starts belting “UNTER DIESEM DAAAACH” and she panics and gestures frantically like “nonono shhhhh SSSHHHH!!!!!” and it was so fresh and absolutely hilarious :)

- During Red Boots Ballet, she’d gaze off into space and move in perfect unison with her dance double, lifting her arms a bit or swaying backwards and forwards, basically play-acting the entire dance sequence going on behind her.

- During Gebet, she did something so beautiful, it moved me almost to tears. When Rebecca started singing, she froze in place and her face lit up with recognition, and she whispered “Mama!” so softly. Then she unfolded her shawl, knelt down to pray, but as she prayed, she was shaking her head and trembling and fighting back tears, and finally she couldn’t stop them any longer, and she stopped praying and started sobbing - actually, properly sobbing. It was almost like she was grieving the life/family she was leaving behind. And then as the song built and built, she stopped crying and got this new expression of strength and determination, like she’d finished her mourning, and now she was ready to make her move and start her new life, and finally by the end of the number, she was belting out the final notes with so much passion, her voice was exploding off the stage in front of us, and it was breathtaking. 

SARAH (Maureen Mac Gillavry)

- This woman had a belt that could rival any Elphaba, and her Sarah was so vivacious and likeable, I think she made the entire audience fall in love with her alongside Alfred, which is my very favourite kind of Sarah tbh. 

- She ADORED Alfred, she seemed so giggly and awww over him during their interactions together. Even during Draussen, she clearly still thought he was sweet, she bopped him on the nose and it was simultaneously super cute and a bit patronising all at once - such an effective little gesture! 

- She also made me tear up when Chagal was beating her, she full-on sobbed and cried out at the top of her voice, and then begged him with clasped hands. It was very upsetting, the most harrowing rendition of the scene that I’ve ever watched, she was so raw and desperate in that moment, you just knew you’d do anything to escape if you were in her shoes. 

PROFESSOR (Victor Peterson)

- This guy was was...argh. Not my cup of tea. A very unsympathetic Professor, he came off as plain selfish and annoying. His self-obsession was unbearable in Wahrheit, there was nothing endearing about it at all, he was so shrill and simply came across as obnoxious and over-the-top, like he wanted the whole world to worship him. And half of his jokes didn't land, I swear the audience laughed more at Tom during Der Gruft than they ever did at him.

- His relationship with Alfred was downright cruel in places. He pushed him around and hissed at him really aggressively and pinched his cheek and gosh it was just Not A Good Time. No wonder Tom struggled to show any kind of real devotion to this guy; I usually live for the Professor/Alfred dynamic because it’s so heartwarming, but this was...gosh. This made me almost (almost!) want Alfred to leave him and serve Krolock & Son instead.

- His voice was brilliant. I cannot deny this, it was brilliant. He handled the falsetto sections with absolute confidence and every note was perfect.

MAGDA (Sara Jane Checchi)

- Magda belted stunningly twice...and belted badly twice. I think perhaps she had a bit of a cold, as she seemed to be straining on some of the high notes. 

- That being said, her portrayal was wonderful in every other regard; she was so sweet, so cautious and observant, and seemed to really like Alfred. She spent the whole of Knoblauch trying to get his attention, and seemed to find his ogling very endearing and sweet. Strange, because the patrons of the inn also ogle her like crazy, and grab her skirts etc. which she clearly hated. Maybe she saw Alfred’s ogling as more involuntary and therefore more innocent? (though tbh Tom could make robbing a bank look innocent, so maybe that’s moot point)

- She also gave Chagal a few little smiles during Nie Gesehen which was very unexpected, almost like she was disapproving of his behaviour on principle, but deep down thought he was quite amusing. Interesting take on that relationship.

- During Wahrheit, she and Rebecca were signalling back and forth, across the yard; Rebecca wanted her to eaves-drop on Alfred and the Professor whispering together, but Magda couldn’t make out the words as she was too far away. I love the idea of these two characters being in ‘cahoots’ so to speak.

CHAGAL (Jerzy Jeszke)

- I want to mention that Chagal was not only hilarious, but also slightly less lecherous than other performances I’ve seen. His voice was also fantastic, a very strong full sound, which made his more honourable moments (e.g. “Ich bringt sie wieder!”) surprisingly impactful. Good job, my dude, good job. 

[richincolor]

Need Some Romance?

One of the ARC’s I received at the LA Times Book Festival was Sarah Dessen’s new book. My friend is a big fan of her books, but I had never read anything by her so I decided to give the book a try. I found the book to be kinda bland and the romance was predictable, however I know that teenage me would have loved it. When I was a teenager I loved reading all sorts of romance novels rooting for the couple to beat whatever obstacles they were up against. I got lost in the fantasy of falling in love with your soulmate and riding off into the proverbial sunset. When I was a teen, however, there was not much diversity in YA contemporary romance, so I definitely missed seeing myself as the heroine/love interest. Times have changed, but not by much. While there are more YA romances with characters of color, the number of novels actually published is still very dismal compared to the number of romances featuring white couples. And, as a proponent of Black Love, I could barely think of any romances that focused on Black love or even Latinx love. I found that most titles were interracial couples (not that there is anything wrong with that), but that is an examination for another time. What I want to do is highlight some YA romance that I’ve read and loved, and that you should read too. Also, if there is a title that you’d like to share, please do so in the comments below.

*PS I would have included "When Dimple Met Rishi" but since we just discussed it just last week, read our discussion to learn what we all thought of the book.

PPS A few months ago I did a post about adaptations of Romeo & Juliet. Check out that list for more romance titles. Romeo & Juliet 2,0: Reflecting Our World.

Tell Me Again How A Crush Should Feel by Sara Farizan

High-school junior Leila has made it most of the way through Armstead Academy without having a crush on anyone, which is something of a relief. Her Persian heritage already makes her different from her classmates; if word got out that she liked girls, life would be twice as hard. But when a sophisticated, beautiful new girl, Saskia, shows up, Leila starts to take risks she never thought she would, especially when it looks as if the attraction between them is mutual. Struggling to sort out her growing feelings and Saskia's confusing signals, Leila confides in her old friend, Lisa, and grows closer to her fellow drama tech-crew members, especially Tomas, whose comments about his own sexuality are frank, funny, wise, and sometimes painful. Gradually, Leila begins to see that almost all her classmates are more complicated than they first appear to be, and many are keeping fascinating secrets of their own.

To All The Boys I’ve Loved Before by Jenny Han (Really the entire series)

Lara Jean’s love life gets complicated in this New York Times bestselling “lovely, lighthearted romance” from the New York Times bestselling author of The Summer I Turned Pretty series.

What if all the crushes you ever had found out how you felt about them… all at once?

Sixteen-year-old Lara Jean Song keeps her love letters in a hatbox her mother gave her. They aren’t love letters that anyone else wrote for her; these are ones she’s written. One for every boy she’s ever loved—five in all. When she writes, she pours out her heart and soul and says all the things she would never say in real life, because her letters are for her eyes only. Until the day her secret letters are mailed, and suddenly, Lara Jean’s love life goes from imaginary to out of control.

The Weight of Feathers by Anna-Maria McLemore

For twenty years, the Palomas and the Corbeaus have been rivals and enemies, locked in an escalating feud for over a generation. Both families make their living as traveling performers in competing shows—the Palomas swimming in mermaid exhibitions, the Corbeaus, former tightrope walkers, performing in the tallest trees they can find.

Lace Paloma may be new to her family’s show, but she knows as well as anyone that the Corbeaus are pure magia negra, black magic from the devil himself. Simply touching one could mean death, and she's been taught from birth to keep away. But when disaster strikes the small town where both families are performing, it’s a Corbeau boy, Cluck, who saves Lace’s life. And his touch immerses her in the world of the Corbeaus, where falling for him could turn his own family against him, and one misstep can be just as dangerous on the ground as it is in the trees.

The Game of Love and Death by Martha Brackenburgh

Antony and Cleopatra. Helen of Troy and Paris. Romeo and Juliet. And now... Henry and Flora.

For centuries Love and Death have chosen their players. They have set the rules, rolled the dice, and kept close, ready to influence, angling for supremacy. And Death has always won. Always.

Could there ever be one time, one place, one pair whose love would truly tip the balance?

Meet Flora Saudade, an African-American girl who dreams of becoming the next Amelia Earhart by day and sings in the smoky jazz clubs of Seattle by night. Meet Henry Bishop, born a few blocks and a million worlds away, a white boy with his future assured—a wealthy adoptive family in the midst of the Great Depression, a college scholarship, and all the opportunities in the world seemingly available to him.

The players have been chosen. The dice have been rolled. But when human beings make moves of their own, what happens next is anyone’s guess.

Achingly romantic and brilliantly imagined, The Game of Love and Death is a love story you will never forget.

The Sun is Also A Star by Nicola Yoon

Natasha: I’m a girl who believes in science and facts. Not fate. Not destiny. Or dreams that will never come true. I’m definitely not the kind of girl who meets a cute boy on a crowded New York City street and falls in love with him. Not when my family is twelve hours away from being deported to Jamaica. Falling in love with him won’t be my story.

Daniel: I’ve always been the good son, the good student, living up to my parents’ high expectations. Never the poet. Or the dreamer. But when I see her, I forget about all that. Something about Natasha makes me think that fate has something much more extraordinary in store—for both of us.

The Universe: Every moment in our lives has brought us to this single moment. A million futures lie before us. Which one will come true?

Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Saenz

Aristotle is an angry teen with a brother in prison. Dante is a know-it-all who has an unusual way of looking at the world. When the two meet at the swimming pool, they seem to have nothing in common. But as the loners start spending time together, they discover that they share a special friendship—the kind that changes lives and lasts a lifetime. And it is through this friendship that Ari and Dante will learn the most important truths about themselves and the kind of people they want to be.

[nerdypipsqueak]

I posted 1,083 times in 2021

161 posts created (15%)

922 posts reblogged (85%)

For every post I created, I reblogged 5.7 posts.

I added 380 tags in 2021

#lawrence of arabia - 107 posts

#t.e.lawrence - 52 posts

#t.e. lawrence - 49 posts

#faisal i of iraq - 35 posts

#the modern royalty au nobody asked for - 29 posts

#personal - 29 posts

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#a dangerous man lawrence after arabia - 21 posts

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Longest Tag: 99 characters

#omg im hungry but eating is such a chore because im super fucking sick and i lost my sense of taste

My Top Posts in 2021

#5

Will Gentleman Jack make me cry?

24 notes • Posted 2021-11-16 19:01:29 GMT

#4

Lawrence After Arabia (SPOILER ALERT)

Today thanks to the generosity and hospitality of @aivelin @steblynkaagain and @willdudedoo​ I watched the new “Lawrence After Arabia” movie and boy oh boy do I have thoughts, vibes and general WTFery (in no particular order) for you. Buckle up, lords, ladies and supreme rulers of the universe!

1. The soundtrack is... questionable. But we knew that already because it got released, complete with music video, so much earlier.

2. The CGI was... not good. We also knew that because we saw a snippet of it in the music video. But I was not expecting to see the entire screen turn green (like solid green) halfway through the movie. I really understand that the movie was crowdfunded but dammit, if I were a benefactor and saw this I would be severely disappointed. Why I personally refused to donate to this movie is a separate matter; please feel free to DM me if you want details.

3. The acting wasn’t the best. It sometimes felt a bit like a school play.

4. The movie tried too hard to be educational, especially in the beginning when the church custodian tells the little boy about Lawrence, during the public inquiry, during the scene when the secret agents read Lawrence’s file out loud and in the end after the funeral.

5. The movie was actually filmed on location in Clouds Hill, on the grounds and inside the cottage itself. The National Trust (the organisation currently looking after the property) initially denied Mark Griffin (the producer) permission to film on location. He then took to the media (both traditional and social) and ranted about how the National Trust denied his biopic but allowed a “Jane Austen and zombies” movie to be filmed on one of their locations until the Trust gave in.

6. There was a shitload of really random details from Lawrence’s life. Some felt like they were shoehorned in to make the film more educational.

7. I was astounded by the sheer amount of very “in your face” references to “Lawrence of Arabia” (1962), from “nothing is written” to numerous visual references (goggles hanging on the bush, shadow in robes) to literally naming a character William Potter to literally using the quote “the trick, William Potter, is not minding that it hurts”.

8. So many conspiracy theories! From the black car theory to Feisal possibly being poisoned. In fact the entire film is built around the premise that Lawrence was taken out by two secret service agents in a black car.

9. I really wanted to like Tom Barber Duffy as Lawrence but his performance was just... IDK, bland? There wasn’t much feeling there. 

10. My notes here literally say: “did he just kiss Florence Hardy on the cheek?!” and that’s exactly what happened. We will revisit the Florence Hardy situation later.

11. I want the keffiyeh and the leather motorcycle gauntlets.

12. There’s a flashback to Ned’s childhood where he is seen receiving punishment from his mother. Sarah Lawrence displays a tactic I’ve seen among numerous Christian fundamentalists: she tells Ned she loves him and gives him a hug, then quickly pushes him away and proceeds to administer punishment, complete with the “I do this because I love you” messages.

13. Tom Barber Duffy’s visible piercings sparked joy in me. Thank you @aivelin​ for the screenshot.

14. I was quite excited to see Laurent C. Lucas as Feisal simply because of the resemblance but, damn, he was disappointing and his attempt at a Hejazi accent wasn’t great.

15. Lawrence gets called a “bloody sadomasochistic little bastard” by the head of the secret service. So many opportunities for an intelligent short joke were missed in this movie.

16. “Feisal gives him status of son”. I thought that was Hussein? Am I confusing them? Can someone please help?

17. “If someone isn’t going to annihilate this little shit then I will”. Again, so many short joke opportunities...

18. SO MUCH talk about Ned and Oswald Mosley. I felt that at one point it was suggested that Ned may have sympathised with Mosley but I may be mistaken.

19. I have a weird feeling that Mark Griffin (the producer) was inspired by Matthew Eden’s infamous “The Murder of Lawrence of Arabia”.

20. Cally the dog is a very good boy and so far my favorite character. Cally’s performance was the best and is the only thing about this movie that deserves an award.

21. OMFG NED JUST FULL ON HUGGED FLORENCE HARDY

22. Is Mark trying to make Ned straight?!

23. What the fuck is going on with Ned and Florence Hardy and why does it look like Mark is shipping them?! During the 2 hour feature Ned kisses Florence on the cheek, Florence cups Ned’s face in her hands and kisses his cheek while he turns his head like he’s trying to get a kiss on the lips and then stops himself, Ned and Florence hug, Ned helps Florence down a fence/wall type thing and they have one of those moments where they stand a little too close, still holding onto each other and looking into each other’s eyes, then they hold hands while they walk to the village.

24. Ned pulls a gun on a journalist and almost shoots him. I’m sure this is a reference to that one time Lawrence punched a journalist for asking invasive questions.

25. Is Laurent C. Lucas in brownface make up?!

26. Why TF is Ned bathing in a basin if he has a whole-ass bathtub on the property?! Filming restrictions probably.

27. The secret service agents called Ned “a queer”. No context was provided as to why they would say that.

28. It would appear that the two secret service agents “were roommates” and “there was only one bed”. That is the actual setup of their room and they are filmed sitting on the one bed.

29. At this point my notes say that the soundtrack composer may have been inspired by the BBC News theme tune.

30. The accident is just a major WTF moment.

31. The blood pouring down Ned’s face is just... a lot.

32. Why was there a beep like when someone flatlines on a medical show?!

33. OMFG THAT DICK JUST WENT IN THERE AND INJECTED NED WITH SOMETHING

34. I liked Ned racing the train and the plane on his motorcycle. It was a fun touch.

35. Y’ALL LEAVE POOR MR BROUGH OUT OF YOUR SCHEMES, YOU SECRET SERVICE DIPSHITS

36. The dipshit blackmailed Mr Brough with a picture and I really want to know what was in that picture. Did I miss something?

37. Mark is really going to ride the whole black car thing to the death.

38. The inappropriately happy and upbeat version of “Jesu, Lover of My Soul” was used as the background for Ned’s funeral procession. It was supposed to be a march.

39. Mark Griffin has inserted himself into the movie as a secret agent and a voice-over guy.

40. Deraa was mentioned exactly twice, once as “an allegation” and referred to only as torture. No further context was provided.

41. Dahoum is referenced numerous times but without any context. I feel that Mark struggled to choose between the LGBT theory and his own heteronormative projections on Lawrence and decided to roll with both.

So there you have it. Two hours of my life that I will never get back.

27 notes • Posted 2021-11-05 23:18:51 GMT

#3

Ok, so the top photo popped up on my IG feed. Look at the man circled (by me) in red. Is that Ali of the Harith?

31 notes • Posted 2021-06-26 22:19:11 GMT

#2

I can’t believe my eyes! I can’t believe my fracking eyes! Look at the colour! So vibrant after all those years!

(Yes, that’s a lock of Lawrence’s hair, which he gave to Florence Hardy)

46 notes • Posted 2021-07-17 11:28:32 GMT

#1

Okay, so MyHeritage has this thing called Deep Nostalgia which animates photos and gives you these lovely little clips.

I am totally not crying over this. Totally not.

63 notes • Posted 2021-03-02 03:30:10 GMT

Get your Tumblr 2021 Year in Review →

[justanothercinemaniac]

Epic Movie (Re)Watch #151 - The Phantom of the Opera (2004)

Spoilers below.

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: Blu-ray

1) The attempt to bring Andrew Lloyd Webber’s iconic stage adaptation of The Phantom of the Opera to the screen started all the way back in 1989. Back then, it was going to star Michael Crawford and Sarah Brightman (who originated the roles of The Phantom and Christine, respectively). The project was ready to begin filming in 1990 with a November 1991 release date, but then Lloyd Webber divorced Brightman (they had been married) and production was stalled. In the interim, John Travolta, Heath Ledger, Matthew McConaughey, Meat Loaf, and Antonio Banderas were considered for the role of the titular character (with Bandera specifically training his voice for the role for years, only getting a chance to sing it during a Royal Albert Hall celebration of Andrew Lloyd Webber). At one point it was going to star Hugh Jackman and Anne Hathaway, but Jackman was busy with Van Helsing and Hathaway had The Princess Diaries 2 to film. Charlotte Church and Kate Winslet were also considered for the role of Christine before Emmy Rossum was cast. Through that time, Joel Schumacher had always been Lloyd Webber’s choice of director because of his work on The Lost Boys. In fact, the screenplay used was written by the pair all the way back in 1989. That means between writing of the screenplay and release, fifteen years went by. Now that I’m done with that fun fact...

2) I think this film improves on the Broadway shows prologue. The use of black and white is a nice touch, as is the decision to age up Patrick Wilson’s Raoul instead of having an elderly actor play the part. It is the first inkling of how the adaptation is able to use the differences between filmmaking and the stage to its advantage.

3) I first saw the stage production of this in August of 2009, then the film a few months afterward. It took me an embarrassingly long time (think years) to figure out that the broken chandelier was lot 666.

4) This adaptation REVELS in the freedoms you have in film versus what you have on stage, mainly through it’s use of three-dimensional space. On stage you have to present all the action in a single location and then orchestrate a scene change. But we get to see how the opera house is as much a character in the film as its titular Phantom of Christine. The film also utilizes the ability to shift POV between characters quite well, as again on stage your POV is stuck with whoever is in front of you. Here we can cut between characters in between scenes and get a fuller view of the picture. All this - as well as its well done use of special effects - gives the film a grander film. It is easy often times for a stage-to-film adaptation to feel stunted, but the team behind Phantom sure as hell knows how to avoid those problems. It’s one of the best parts of the adaptation.

5) Patrick Wilson as Raoul.

So at the risk of offending Phantom purists (something I maybe should have put as a disclaimer on this post), I have always found Raoul to be remarkably bland. No matter how good the performance is, I just have never found him an enticing character. He’s literally just there to be the healthy alternative to The Phantom’s love for Christine. I actually think Wilson does quite well as Raoul, making him the most interesting I’ve ever seen. He is able to make Raoul a bit more aggressive, a bit more strong headed, especially when going after The Phantom. But that’s about it. I think Wilson does admirable and he’s always been a favorite of mine, but I just find Raoul so damn boring.

6) Miranda Richardson as Madame Giry. 

Otherwise known as, “The only French character based on a French story in a musical which takes place in French who has a French accent.” Richardson is a talented character actress, as I noted in my Sleepy Hollow recap. She is able to make Giry compelling, interesting, mysterious. You understand that she’s hiding things, but her suspicion never makes her dislikable. To the contrary, the way Richardson plays the part makes Giry all the more fascinating. In my opinion, Giry is as mysterious as The Phantom in this film because of Richardson’s performance.

7) Okay, Firmin (one of the theater owners) making eyes at Christine is weird. Depending on the translation of the novel you read, she’s fifteen. And yes the actress was eighteen at the time of playing her, but still. Creepy. Also when Madame Giry says she’s an orphan this seems to encourage Firmin’s advances and I gag a little.

8) A little wink to another work of Andrew Lloyd Weber’s

Former Theater Owner [on how to deal with Carlotta]: “Grovel. Grovel, grovel.”

(One of the songs from Joseph and the Amazing Technicolor Dreamcoat was “Grovel Grovel”.)

9) Minnie Driver as Carlotta.

I love Minnie Driver and she is absolutely perfect as Carlotta in this film. She is able to play the conceited diva MARVELOUSLY well (claiming to channel an old neighbor she had in Venice for the part). She totally loses herself in the part. This isn’t Skylar from Good Will Hunting, this isn’t Debi from Gross Pointe Blank, this is someone who is totally new. Driver is phenomenal in the part, although she didn’t do her own signing. She is a singer (contributing her vocals to the end credits song “Learn to Be Lonely”) but not an opera singer, so she had to be dubbed in. Nonetheless, she is an incredible addition to the film.

10) Emmy Rossum as Christine Daaé.

The protagonist of the film (more-so than The Phantom even), this was one of (if not THE) biggest roles the 18 year old had at the time. Rossum is great in the part, abel to capture Christine’s vulnerability without making her weak. Her honesty without making her naive. Christine is a character defined by her massive heart. She has incredible passion for music, a deep connection with her long dead father, incredible sympathy with The Phantom, and a wonderful friendship-turned-romance with Raoul. But she never come across as a damsel or as a fool. I think Rossum’s performance is a big part of that. You’re rooting for Christine and you love that she makes you do so.

11) Christine’s first number is her big performance of “Think of Me” for the opera house. During the neighbor the filmmakers gave her this angelic glow which I find...really distracting. Like it’s weird to me. I get they’re trying to emphasis her purity, but she looks a bit like a ghost.

(GIF source unknown [if this is your GIF please let me know].)

12) I do like the chemistry Rossum and Wilson have as Christine and Raoul. It’s not hot sweats pure passion chemistry, but it is a trust and honesty they have with each other. They’re old friends and that comes through in their performances. You get that they’re the right fit for each other.

13) Gerard Butler as the titular Phantom of the Opera.

The casting of Butler has been a controversial one following the release of the film. He’s not a classically trained singer and at times it shows. When it does show it can be distracting, but that’s not to discredit his performance as a whole. For the most part his singing is top notch, I would say 95% of the time. It is just you can be a little thrown off when there’s that 5% that isn’t what you were expecting.

I personally do not find Butler to be bad in the part. Quite the contrary, I think he’s pretty great. In my recap of The Bounty Hunter I noted he didn’t have the right kind of charisma to play the romantic comedy angle. This is not true here. To start, Butler fills out The Phantom’s physicality very well. Just the look he has in the mask and the cloak is a powerful visual. More than that though, he is able to portray all facets of the Phantom with expertise and grace. His passion, madness, obsession, instability, sorrow, and later heartache all are done with the appearance of ease by the Scottish performer. There are times when he breaks your heart, there are times when you hate him, but you are never bored by him. He always holds your attention and I think that is key in playing such an iconic character. And again, Butler is just great in the role.

14) Nowhere is Andrew Lloyd Weber’s skills as a composer better showcased in this film than the double billing of “The Phantom of the Opera” and “Music of the Night.”

To start with, the titular song is able to be creepy, macabre, invasive, chilling, fascinating, and eerie all at the same time. It perfectly represents just the horror and mystery The Phantom carries with him. Then turn around right into “The Music of the Night”...

This is the song which particularly gives us an amazing glimpse of who The Phantom is as a character. Nowhere in the film is he quite as voluntarily vulnerable as he is right now. His hearts is on his SLEEVES as he sings to Christine of his world, of who he is as a character. Through the seamless transition from the chills of “Phantom of the Opera” into a piece of music which is moving, heartbreaking, gut-wrenching, and just as fascinating, “Music of the Night” is quite possibly the best song in this whole film.

Having said that, it is a song which requires acting to match it. And Butler is at his best during this number. That previously mentioned vulnerability is on full display through Butler’s performance. You can understand his compassion for Christine, not only through his voice but also through his physicality. He plays the heart of the scene incredibly well. Rossum is great here too, showing off her fascination and wonder of The Phantom and his own through no words or song, just movement and expression. They both do a great job of elevating the number as it should be.

15) When listening to “Music of the Night” I believe that The Phantom’s obsession is not exclusively about finding a romantic love with Christine, but more about finding someone to be with him in the night. He is devastatingly lonely and wants a companion with him in the darkness. Who is a more devoted companion than a spouse?

16) The scene where Christine unmasks The Phantom only for him to fly off the handles makes something perfectly clear: the mask is as much for him as it is for everyone else. The Phantom deals with INCREDIBLE amounts of self loathing and metal health issues. He is afraid of being the monster people call him, he is afraid of letting them define him. The mask is an attempt to define himself. As I will explain later, it doesn’t work as well as he would hope.

17) Notes/Primadonna.

The double billing of the song begins as a nice peek into the relationship with theater owners Firmin and Andrew and their friendship (romance?). It also begins to illustrate just how deep the conflict between The Phantom and the egotism of the Opera/rules of the world in light run. You begin to see the hinges coming off of The Phantom as he tries ordering around everyone, setting up the drastic lengths he will go to later on.

The “Primadonna” half of the number serves as a fine montage. Showing just how the owners convince Carlotta to participate in the show and what lengths they are willing to go to to keep her. And it continue the film’s use of movement through a three dimensional space to convey sense of scope and plot, something which cannot be done to such an effect on stage. It’s a nice number but - again, at risk of offending Phantom purists - could it have been cut? It works fine on the stage but this film is two-hours-and-twenty-three minutes long. Would it not have been as effective to cut it for the screen and just had a standard scene of dialogue and score to convince Carlotta to stick around? I know it is blasphemy to consider cutting any number from one of the most iconic Broadway musicals of all time, but I can’t help but wonder if the film would have been better off without it.

18) It was during “Primadonna” when I realized something:

Carlotta’s goal is the same as Lina Lamont’s from Singin’ in the Rain.

They are both incredibly popular actresses with annoying voices looking to destroy the careers of an up and coming actress to ensure their own future success.

Now that you can’t unsee that...

19) The duality of Christine’s compassion/sympathy for The Phantom mixed with her fear of him later one creates a nice conflict for her. Something which is interesting to watch and should parallel the audience’s own feelings.

20) “All I Ask of You”

The number serves mostly as a nice moment of trust and honesty between Christine and Raoul. It is here where one would start shipping them, so to say. Yet while in most productions of the stage play you learn that The Phantom was there the entire time AFTER the song is done, you see his reaction to hearing Christine’s and Raoul’s love DURING the song. His constant presence is heartbreaking, an emotion Butler plays so well. It’s not just that Christine is choosing Raoul over him, she’s choosing the light. She’s choosing day instead of night, cementing the Phantom’s loneliness. Making it all the more heartbreaking for him. This was his once chance to not die alone and he just lost it. And it breaks your heart.

21) “Masquerade”

This is my favorite number in the film. Largely because it is one of the few light moments in the production, but more than that it ties into The Phantom’s own personal struggles in a way you don’t first understand upon listening. The “heroes” of the day (in a kind of elitist way) are practically gloating at The Phantom’s disappearance in a way which is mocking to his pain. They wear masks for fun, he wears a mask because he has to. Because he has been beaten and torn down because of his face. The lyrics take on a much sadder meaning with the reprise later in the film.

22) How fitting is it that The Phantom shows up to the masquerade dressed as The Mask of The Red Death?

“The Mask of The Red Death” is a short story written by Edgar Allan Poe where wealthy noblemen attempt to hide from a plaque known as the Red Death by hiding in an abbey. There, they host a masquerade ball when a figure disguised as a Red Death victim enters and makes his way through each of the rooms. His presence marks the deaths of every guest by the hands of the same disease they were so desperately trying to avoid. Basically a bunch of elitists try to hide from those beneath them and in their arrogance sign their own death warrants. I like that.

23) Briefly Raoul pursues The Phantom into a secret compartment under the opera house and finds a room full of mirrors, unable to determine which is the reflection and which is the man. This is not an element of the stage play, but an instead of the original novel. The Phantom would lock victims up in this room to drive them mad. I like the nod.

24) I first saw this stage production while it was traveling in 2009, then again when my alma mater put it on just a year after I graduated high school. I don’t remember Madame Giry going so in depth about The Phantom’s origins so much on stage, but I’m sure as hell glad the film has it.

Once again, the movie does an excellent job of utilizing point of view to add elements. Seeing just how terribly The Phantom was treated is devastating. As a child he was beaten, mocked, and treated like an animal for years. Referred to only as “The Devil Child” by his captors he only free himself by killing a man and then being forced to hide in the Opera House ever since he was a boy. No wonder the man went mad. No wonder he hides his face. He’s terrified of being exactly what people said he was, and because of the way he was treated that cruelty he’s afraid of is linked directly to his deformity. By hiding his face, he hides the monster. Or so he thinks.

25) I love this line, because it shows just how much we don’t know about The Phantom.

Giry: “He’s an architect and designer. He’s composure and magician. He’s a genius, mousier.”

If I’m not mistake, in the original novel The Phantom DESIGNED the opera house (as well as a palace for a Persian king). He is portrayed as being the greatest artistic mind of the century and the most mad. All in service of more depth to his character.

26) Again this is probably blasphemy to Phantom purists, but I always tune out during “Wishing You Were Somehow Here Again”. Rossum is great in the song, conveying the sorrow she feels over missing her father, but come on. Do we need a three to five minute number just to understand, “I really miss my dad, I wish he was here with me?”

I must admit the song is a beautiful piece of heartache and sorrow, while also giving us our best peek into Christine’s relationship with her late father, but it just slows down the pacing too much for me personally.

27) Similarly, the action of the following sword fight between The Phantom and Raoul is another thing that on its own I really like. The decision to add a bit more action to the film as well as giving Raoul more to do is something I appreciate. But it just slows down the pacing too much for me, personally.

28)

Christine [after they plan to use Christine as bait to lure out The Phantom]: “Raoul I’m frightened. Don’t make me do this.”

Can I just say I would like Raoul so much more as a character if he said, “Alright, I won’t make you do this. We can run for it. Just you and me.” I would love that, I would love if Christine came to the decision herself as, “No, even if I’m afraid I have to do this.” She sort of does that in the film as is but I would have liked both Raoul and that decision more if Raoul weren’t pressuring her to do it.

29) So the opera is performing The Phantom’s play Don Juan and the actor playing the titular Don steps off stage and The Phantom steps back on in costume as the don.

And I’m just thinking: really? No one immediately notices that the actor’s height, weight, and voice has changed? No one stands up and shouts, “Hey, that’s The Phantom!” and they just shoot him before he gets to close to Christine? They just roll with it? Do they people in the audience actually believe this is the tubby guy from before? Am I overthinking this?

30) Naming a song “The Point of Return” makes it pretty clear what is happening in the musical at this point, but beyond that the composition of the number does an excellent job of conveying its title. You feel the weight in the music more so than the lyrics, and that’s where the power is.

31) So The Phantom is ugly. He wears his mask to hide a hideous deformity that the world has totally shunned him for. It is this deformity which have caused him to be beaten repeatedly, tortured, and called the Devil’s Child as a kid. And then Christine goes to remove his mask and we FINALLY see the blood curling horror which is The Phantom’s face...

(GIF source unknown [if this is your GIF] please let me know.)

I do enjoy this film more than some others do, but come on. This is supposed to be one of the most hideously disfigured characters in all of fiction. He’s not even supposed to be human!

Anyway...

33) The decision to put the chandelier crash at the end of the film instead of the end of the first act I think is a smart change. When you’re doing a Broadway show you need a solid ending to act one, in film you usually want to hide the structure as well as you can. There’s no three acts (or at least there’s not supposed to be), there’s just one story. So it makes sense to have the chandelier at the end.

34) The film’s entire climax is incredibly key to The Phantom as a character, and Butler is absolutely stellar in the scene.

THIS is his madness as its greatest. His desperation and his pain has become total to him. There is nothing else. It is here that it becomes clear that the ugliness of his face has entered his soul. He has come the monster he was said to be as a child not because of any physical deformity but because of the mind crippling loneliness that deformity has brought him. He just doesn’t want to be alone anymore, and it is that decision that drives him to madness. And it is the first sign of companionship which brings him back to some form of reason.

Christine: “God give me courage to show you you are not alone.”

That is all The Phantom ever needed. Something real, something which showed him that he could be loved despite his face. He doesn’t lose Christine because of his scars. He loses her because of his actions. And the kiss shows him that. And he lets them go before listening to the music box singing the lyrics to Masquerade.

Phantom: “Masquerade...paper faces on display. Masquerade, hide your face so the world will never find you.”

35) Okay, ever since seeing the original stage production, this image of Meg finding the Phantom’s mask while dressed the way she is makes me want them to go on swashbuckling international adventures.

I really enjoy this adaptation. I think it conveys the stage musical in an effective and equally macabre way, that it uses the change in format to it’s advantage, and that it is acted remarkably well (even the controversial casting of Gerard Butler I think is pretty great). I just really enjoy this film and the heart it carries with it. If you’re a fan of musicals, horror, Andrew Lloyd Webber, any of the actors involved, or Andrew Lloyd Webber, I recommend giving it a view.

[patricksilvrrozartistry]

Current Music Obsessions: February 1 - 14, 2017

I know I'm a bit late for the first post for this month, but I've been doing a lot of other things that have been keeping me distracted from doing so. BUT NO MATTER, let's get into my obsessions for the first two week of February!

Starting out with the honorable mentions.

Voices from the Fuelsage - Meteorites Sirenia - Playing with Fire Sirenia - Fifth Column One Desire - Hurt The Unknown - Lullabies Hell City - Victorious Anthology - Labyrinth of Evil Helioss - Santhara Sacred Groove - Waiting for the Rain Distorted Harmony - Natural Selection Last Leaf Down - The Theme Sleep of Monsters - Poison King Eveline - All Against Me Cinnamun Beloved - Another Day William Control - Mother Superior The Hourglass - Magdalene The Hardkiss - In Love Red Queen - Insidious

Now it's time for the main obsessions, and I've got quite a few.

1. Jonathan Young - Phantom of the Opera feat. Malinda Kathleen Reese

I talked about this guy not too long ago and decided to check out more of his covers and came across this EPIC cover. BRUH. I've heard some really good covers of The Phantom of the Opera, and I think this one is my favorite! HOW DID HE MANAGE TO OUTDO NIGHTWISH'S LIVE PERFORMANCE OF THIS??? I have no clue, but what I do know is that he KILLED IT!

2. Tarja - The Shadow Self

I noticed that I had been listening to a lot of the songs from The Shadow Self album, so I couldn't just list like 5 different songs off it. The Shadow Self is definitely my favorite from Tarja's double album and is also one of my top 20 favorite albums of 2016 (the video(s) will be coming soon). It's so beautiful and dramatic. I never listened to Colours if the Dark so I can't say if it outdid it, but it sure as hell outdid her other releases! If you're considering listening to the double album, DEFINITELY listen to this one! More specifically, listen to Demons in You (feat. Alissa White-Gluz), Diva, Undertaker, Calling from the Wild and ESPECIALLY Too Many.

3. Plugs of Apocalypse - Tears feat. Sarah Moon

I've known of these guys for a hot minute, but only knew of their song Erictho featuring Veronica and Tommaso from Fleshgod Apocalypse. I think I started following them on IG and they had a link to a new song/video and decided to give it a listen and fell in love. This song is absolutely gorgeous. I never expected to hear something like this from this band, EVER. It's so peaceful, yet heavy, and I love it so much!

4. Graveshadow - Blood and Fire

I'm pretty sure I talked about these guys last month, so I'm not going to introduce them. But I decided to listen to more after hearing the first song since that song showed more dimensions to Heather's voice than most of her songs with Helion Prime did, so I wondered if there were more that I didn't knew existed. I'm so glad I decided to check out another song of theirs, because this song is so gorgeous and epic that I can't handle it! SO GOOD!

5. Constraint - Enlightened by Darkness

I decided to give this symphonic metal band a listen because the lead singer of this band is the female singer of Chocobo Band (a Final Fantasy tribute metal band) and I must say, this song is really great. It's a bit heavier and it's the first time I've heard a lot of variation in Beatrice's voice. I'm definitely going to look into more from these guys.

6. Beyond the Black - Shine and Shade

This is a song that I rekindled my love for randomly one day. Beyond the Black are a symphonic power metal band that I discovered about a year ago. This song is probably my favorite off the Lost in Forever album. It has everything you want from a symphonic power metal band: a female singer with an enchanting and powerful voice, growls that don't ruin the fantasy vibe and choirs that are too cinematic for the sound. It's such a fun song to jam out to and it's pretty catchy. HIGHLY recommend this one!

7. The Murder of My Sweet - Loud as a Whisper

The Murder of My Sweet has always been a band that I haven't heard a bad song from. Given that, I haven't listened to a full length album of theirs yet, but I do plan on listening to their new release which this song is from. It's a simple song, but there's something to it that's just absolutely wonderful.

8. Theatres des Vampires - Autumn Leaves

Candyland is definitely a different album for Theatres des Vampires. Riff wise, it's more aggressive. But when it comes to Sonya's singing, it's way more beautiful than Moonlight Waltz. It's not a dark album, but more of an emotional one, which is pretty different for them. It also doesn't have a strong vampire theme to it like ALL of their past releases have had, so it definitely throws you off a bit. The only strong vampire theme to this album is definitely the looks of the band members. ANYWAYS, this song has to be one of the prettiest songs off the album. So haunting and so beautiful. I always love it when Sonya sings beautifully and less dramatically, but I still absolutely love her unique voice and wouldn't trade it for nothing.

9. Xandria - Call of Destiny

After hearing We are Murderers, I was under the impression that Xandria were going in a much more aggressive direction, but this song here says that they might be just experimenting with it. This song is kind of bland and typical, but the bridge and the catchiness of this song are what truly makes it great. Also, RETURN OF THE ANIMATED FACIAL EXPRESSIONS!!! I LOVE seeing Dianne perform. It's so fun and entertaining. I want to see them live again!

10. Linda Leen - Who is in Charge

I randomly came across this song in the recommended videos on YT and quickly got into it. It has such a groovy feel to it and has a powerful lyrics. But the thing that threw me off a bit was that this song was recommended while I was listening to djent one day and this song is NOT djent, it's not even metal. It's more like pop-rock. I really want to check out more from her, so if you have any recommendations, send them my way!

11. Headstrong - Tears feat. Stine Grove

I came across this song on Facebook one day and immediately fell in love with it. It's such a beautiful song. So peaceful, slow and haunting. The singer's voice is just absolutely beautiful and truly makes you feel things. If you're into ambient piano type of songs, definitely give this a listen.

12. The White Swan - Jet

Mercedes Lander (Kittie's drummer) is in a new doomy sludge/synth rock band and I am so excited about this project. I wish I would've learned about them sooner so that their EP could've had a chance to make it onto my top 10 favorite EP's list, but no matter, I'm still gonna listen to it. ANYWAYS, this song is sludgey and slightly psychedelic and I am in LOVE with it. Mercedes has such a pretty voice and I can't wait to listen to more from this band!

13. Cyclocosmia - Immured Part II

This is the first single Cyclocosmia released featuring their new front woman and I was excited to hear what new dimensions she would bring to their progressive, symphonic doom metal sound. In the beginning of the song, I was a bit turned off because her voice is so unique and unlike anything I've ever heard, so I had to adjust to it. But when that chorus kicked in and she started screaming, my party tit jumped off my body and began dancing on the floor. LISTEN TO THIS SONG IMMEDIATELY.

14. Betraying the Martyrs - Let it Go

I was trying to find the next song on my list and came across this one while looking for it and rekindled my love for it. I HATE the original. The singer has this EXTREMELY annoying voice and I can't stand it, but this is very tollerable. I love the expressions the vocalist makes throughout the video and I LOVE the last grunt he gives right at the end. Just yes. Love it.

15. Thy Art is Murder - Fur and Claw

This is song that I've known of for a hot minute, but randomly got stuck in my head a few weeks ago. It's metalcore, and I know I've said that I'm not that big into it, but it's starting to grow on me bit by bit. This song just has such an epic feel to it and the chorus and the bit after it is EVERTHING.

16. Starset - Satellite

Starset is a band that I randomly discovered a couple months ago, and so far, I'm really liking them. They're a cinematic rock group that has some pretty strong electronic elements to them, but not so much that it's trancy or synthrocky. I'm more than likely going to listen to their new album, Vessels, soon, because this song is so good! There's this chill atmosphere to it that I just absolutely LOVE and can't get enough of. HIGHLY recommend it!

17. Rob.b - What's Your Lyfe Lyke?

I decided to give Rob.b's new album a listen and it's pretty good. 701 and this song are my favorites off it. This song just has this epic beat and pacing that it gets me pumped up and moving. His voice is just as sexy as he looks and I just can't handle it! If you're looking for a gay rapper, definitely give Rob.b a listen!

18. Dark Sarah - Ash Grove

The Puzzle is such an epic album. So epic that you can't simply pick a favorite. All the songs are of stand out quality, and this song is definitely one of the biggest ones for me. It's just so beautiful and dramatic (and we all know how I am about dramatic songs). If you ever get the chance to listen to The Puzzle, DO IT.

19. The Autist - The Sanctuary feat. Polina Psycheya and Alina Lesnik

I've talked about The Autist quite a few times now, and this is hands down the most epic track they have released so far. The music video is so gorgeous and Alina looks absolutely STUNNING. Alina and Polina's voices go so well together and it's absolutely AMAZING. I LOVE the doomy nature to this song. It gives a new dimension to this band that I haven't experienced yet and I'm loving it! I can't wait for The Coldest Sun to be released. All these singles are hyping it up so much that I can't stand it!

That's all I got for these past two weeks! I REALLY need to purge my watch later list so that way I won't overload it once I get to listening to new releases from this year. Hope you guys enjoy these!

[gyrlversion]

How The Bold Types Women-Powered Soundtrack Elevates The Show

What do Lizzo, Maggie Rogers, and Sigrid have in common? Aside from releasing breakout albums in 2019, each artist has had her music featured on the third season of Freeform’s hit dramedy The Bold Type. Part juicy journalism drama, part Sex and the City-esque comedy, the series — which chronicles the lives of three besties working for a glossy women’s magazine in Manhattan — has resonated because it tackles vital issues that young women face today, like sexism, cancel culture, and Internet harassment. But the show also shines thanks to its soundtrack — like The O.C. and Grey’s Anatomy before it, The Bold Type uses fresh and relevant tunes that weave into plot lines, making the music a central thread of the show’s fabric. Notably, that thread spotlights women in ways no other series on television is doing.

In April, the show’s music supervisor, Rob Lowry, tweeted, “We only use artists on #TheBoldType that identify as a woman or non-binary (there are very few exceptions). Yes, this is purposeful. I had to fight for this creative decision. It is important.” His mentions were promptly flooded with positive feedback from some fans who had already picked up on the show’s female-driven soundtrack, and others who hadn’t. After all, Lowry had never explicitly acknowledged that creative decision, but as he recalled to MTV News a few weeks later, he wanted to highlight the fact and make it known that The Bold Type‘s musical blueprint puts it in a league of its own.

Lowry, who has worked on The Bold Type since the series premiered in June 2017, didn’t set out with the intention of exclusively using music made by women. In fact, about half of the songs used in the pilot episode were by male artists. But as the show found its footing over the course of Season 1, its musical identity began to take shape.

“If I was working on a show that took place in 1972, I would only want to use songs from 1972 or beforehand. I see Bold Type and the soundtrack playing a role in the show in a similar way,” Lowry explained. “This is a show about strong women, diversity, identity, empowering yourself, and feeling comfortable in your skin. So it only makes sense that the people soundtracking the show would also be women talking about these things.”

Lowry gives the example of a scene from the second episode of Season 1, when Kat proves herself an invaluable friend by gamely helping Jane get a Yoni egg unstuck from her vagina. “What does a male perspective and voice have to comment on that situation?” he asked.

Showrunner Amanda Lasher recalls that when she joined The Bold Type for Season 2, Lowry and series creator Sarah Watson were keen to continue evolving the women-powered soundtrack, because the audience was “really responding to it.” She explained, “I think that there’s a depth to the feminism and the female lens of the show. The more levels it’s baked into, the more it’s going to resonate.”

While music may be an afterthought for some television shows, Lasher described it as an integral component of The Bold Type. It gives real-life context to the progressiveness and inclusivity viewers see onscreen.

“Everybody is cognizant that they’re working on a show that has a point of view and is portraying women in a way that is empowering and that’s intentional,” she said. “And I think, more than some of the other shows I’ve worked on, people are really proud of the message that The Bold Type is putting out there, so they bring a thoughtfulness to their choices.”

That’s not to say that the team’s music strategy went immediately unquestioned. As Lowry indicated in his tweet from April, he faced some “resistance” from higher-ups who worried that his music choices were too monotonous.

“I remember there was a scene in particular where we got a note about, ‘Why isn’t there a male vocal here?'” Lowry recalled. “Because it was all women singing, I think some people felt like it was just a wall of music and you weren’t really able to differentiate between the songs or the vocals or the sound. Which is kind of silly to me, because when you hear a Dua Lipa song, you know that’s not Camilla Cabello. That’s a pretty bland note, and it’s kind of a lazy note.”

And while the team’s creative decision does, technically, restrict them by giving them fewer options for songs, Lowry has never felt hindered by it, simply because of the sheer quantity of music available. “It does put us in a box in a sense, but to me, it’s exciting. I like the challenge,” he said. More importantly, it’s a challenge with a purpose — that creative decision, he says, is about heightening and deepening the narrative of what’s happening onscreen, especially because the show is “telling underserved stories.” It also has ripple effects behind the camera; the stories seen onscreen are supplemented by the stories of female artists sharing their own music, their own words, and their own experiences.

Singer-songwriter FLETCHER, whose song “Gold” was featured in Season 1, told MTV News, “The fact that it’s a show about the female perspective and female stories, who better than to have narrating the storylines and the music behind it than female and non-binary artists? There’s not enough women on radio or on playlists, and I love that this show is a space for female artists like myself.”

Part of the way the show shares those stories of female and non-binary artists is by using their music intentionally. This season, for example, there’s an episode called “Plus It Up” that centers around an elaborate Queer Prom fundraiser. The episode featured primarily LGBTQ artists and specifically women of color, like Lao Ra and Kehlani. Doing so enhanced the story being told onscreen while also highlighting underrepresented artists and sharing their music in a way that took their own identities into account.

As Lowry conceded in his tweet, there are exceptions to the show’s “women only” music rule. In the third episode of Season 3, there’s a storyline involving Alex, a male writer at Scarlet who takes a hard look at his dating life after realizing he’s the subject of a viral #MeToo exposé. During a pivotal scene for him, the song that plays is “I Know” by the male electronic producer Bayonne — it was a musical choice that fit Alex’s perspective and the scene’s transition, Lowry explained. Exceptions like that are few and far between, though, especially now that the show’s musical DNA is firmly established. To hear Lowry explain it, “female-driven” is only part of that identity; more than anything, it’s about the feeling the music conveys.

“Even talking about how we only use female artists, I’m not entirely sure how to say that because ‘female’ is not a genre; it’s not an identifying factor for a piece of music,” Lowry said. “But obviously, women being at the forefront is a huge part of it. Beyond that, a lot of [our music] does feel anthemic. It feels empowering. These songs have a lot of emotions packed into them. For a lot of them, we do the goosebumps test, where it’s like, did that song give you goosebumps in that moment? If it didn’t, we’re going to find something better.”

That litmus test has given way to some of the series’ most thrilling musical moments to date, from Selena Gomez’s “Hands to Myself” playing over Jane and Pinstripe’s first kiss, to MILCK’s “Quiet” soundtracking the climactic Season 1 finale that shined a light on sexual assault survivors. This season, the music has only continued elevating — Lowry scored a coveted Taylor Swift sync, and the premiere episode featured a performance from Betty Who, appearing as herself. Who is a longtime fan of the show, and she explained to MTV News why it’s important to her that the show uses art in a thoughtful way.

“It’s so fucking cool. I love that the show is so progressive and they care about their impact in the choices they make,” she said. “They don’t have to. [Lowry] could just pick whatever songs he wanted and nobody would think about it twice because nobody does music by female artists only. But they were like, ‘No. We have the opportunity to do something that’s important. Let’s do it.'”

Last week, Freeform announced that The Bold Type has officially been picked up for Season 4, meaning fans are in for more of Jane’s digital drama, Sutton’s styling schemes, and Kat’s political prowess. Accompanying it all will be Lowry’s carefully curated soundtrack, and while he has lofty goals in mind for future seasons — he’d love to do a musical episode and is gunning for a Carly Rae Jepsen cameo — the first priority is keeping the show’s unprecedented musical mission reverberating.

The post How The Bold Types Women-Powered Soundtrack Elevates The Show appeared first on Gyrlversion.

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[antmrankingsfr]

12. Ebony Taylor

Early outs from early cycles always are people I hardly remember off, and this was exactly the case with Ebony from this cycle. And after rewatching the cycle, the only thing making her somewhat memorable was the fact she spent the entire first episode saying « don’t get it twisted ». It’s no wonder how she went on to mysteriously disappear from my mind.

As a model, I don’t think Ebony had a single shining moment on the show. I don’t think she was a terrible performer, but she just sort of fail to impress me. I think the only reasons she placed above Sarah, though unlike her she doesn’t have a single redeeming photo in her portfolio, is the fact that she didn’t really had tragic moment. Her walk might was slightly forgettable, I didn’t remember it for being atrocious or awkward, but not for being spectacular either. She probably had the potential to grow in that area as she started ok, but we didn’t really got the occasion to actually see it as she was cut so early.

Her portfolio is a rather lackluster one. Her first photo eventually reached by bottom 10 list because of deep blandness and amateurism in the approach of the concept, while the second one despite not being horrible, felt incredibly weak in comparison of the level of amazingness the majority of the other girls delivered in the same week. I don’t think that Ebony did particularly horrible during her time on antm, but she definitely flew under the radar.

It’s not necessarily what could gets you out in only a couple of weeks, but with other competitors performing really well from the start it definitely puts you at an unsafe spot, which leads me to not being shocked after she was eliminated second. Though she deserved in my eyes to be a spot higher than Sarah, because she felt more ready to handle this industry, had an equal portfolio (a consistently mediocre one while Sarah’s is composed of one average, one excellent and one disastrous picture), as well as a better walk. Some may think she was weaker in personal appearance, especially after her makeover, but for some reason I really liked the braids they gave to her, I thought it gave her sort of a natural elegance. Therefore, Ebony is my pick for the 12th spot.