#hannah the double 2013 | Explore Tumblr Posts and Blogs

gemtvusa · 11 months

Text

The Fall Guy (2024) Cast, Release Date, Trailer

"Slated for a March 1, 2024 release by Universal Pictures, 'The Fall Guy' is a fresh take on the 1980s television series, now reimagined as an action comedy film under the direction of David Leitch with Drew Pearce's screenplay. The film brings together Ryan Gosling and Emily Blunt, telling the story of Colt, a stuntman whose best days seem behind him. He's thrown into a twisty scenario on a movie set, doubling for an A-list star he once stood in for. The plot thickens when the star disappears, prompting Colt to unravel the mystery, especially as the film's future is at stake and his ex-girlfriend is in the director's chair." Directed byDavid LeitchWritten byDrew PearceBased onThe Fall Guy by Glen A. LarsonProduced byKelly McCormickDavid LeitchRyan GoslingGuymon CasadyStarringRyan GoslingEmily BluntWinston DukeAaron Taylor-JohnsonHannah WaddinghamStephanie HsuCinematographyJonathan SelaEdited byElísabet RonaldsdóttirMusic byDominic LewisProduction companies87North ProductionsEntertainment 360Distributed byUniversal PicturesRelease dateMarch 1, 2024CountryUnited StatesLanguageEnglish

'The Fall Guy': Release Date, Cast, Plot

Riding high from his Oscar-winning performance as Cliff Booth in "Once Upon a Time in Hollywood," Brad Pitt joined forces with David Leitch for the action-comedy "Bullet Train." Similarly, Ryan Gosling, after turning heads with his portrayal of Ken in Greta Gerwig's "Barbie," is already a favorite for Best Supporting Actor this year. Now, Gosling is set to collaborate with Leitch in "The Fall Guy," an action-packed romantic comedy inspired by the 1980s series featuring Lee Majors. This film promises to blend high-octane action with comedic beats, capitalizing on the rich potential of its Hollywood stuntman narrative and the high-caliber talent involved.

The Fall Guy (2024) Cast

Ryan Gosling steps into the shoes of Colt Seavers, a seasoned stuntman, in "The Fall Guy," evoking his memorable role as The Driver in "Drive." Known for blending humor with charm, Gosling's comedic timing, as showcased in "Barbie" and "The Nice Guys," is anticipated to shine once more. Emily Blunt, fresh from her role in "Oppenheimer," portrays Jody Moreno, Colt's ex and a former stuntwoman turned director. Aaron Taylor-Johnson reunites with Leitch post "Bullet Train," embodying the missing star Tom Ryder. The ensemble includes Stephanie Hsu, Winston Duke, Hannah Waddingham, and Teresa Palmer, with industry icon Lee Majors rumored for a cameo. The film has Gosling embracing stunt work, heightening the authenticity of his portrayal.

The Fall Guy (2024) Production

The development of a film adaptation of the 1980s series "The Fall Guy" has seen significant evolution over the years. Initially reported by the Los Angeles Times in July 2010, DreamWorks Pictures set the project in motion with producers Walter F. Parkes and Laurie MacDonald. Martin Campbell was in discussion to direct. The film's distribution was to be managed by DreamWorks through Walt Disney Studios' Touchstone Pictures label for certain regions, with Mister Smith Entertainment handling other territories. By September 2013, the production shifted with Dwayne Johnson in negotiations for the lead role and McG considered for the directorial role. Fast forward to September 2020, a new development surfaced with Ryan Gosling, director David Leitch, and writer Drew Pearce working on an "unnamed stuntman film" under Universal Pictures. It was in May 2022 when it was officially announced that this project was indeed the film adaptation of "The Fall Guy." This new rendition is backed by Universal with Leitch's 87North Productions and Entertainment 360, with production being led by Leitch, Kelly McCormick, Gosling, and Guymon Casady. Pearce serves as an executive producer along with Geoff Shaevitz and the original series creator, Glen A. Larson. Furthermore, the production received financial support from the Australian Government and the New South Wales state authorities, with contributions of A$30 million and A$14.5 million respectively. This investment by Australia was anticipated to significantly benefit the local economy, providing over 1,000 jobs for Australian cast and crew members, as well as involvement for more than 3,015 Australian film extras. Casting The casting for "The Fall Guy" film adaptation saw the addition of several notable actors over time. In September 2022, Emily Blunt was confirmed to join the cast. Around the same time, Ryan Gosling and his family moved to Australia to commence the filming process. A month later, in October 2022, Aaron Taylor-Johnson and Stephanie Hsu were announced as part of the ensemble, with Taylor-Johnson having previously collaborated with director David Leitch on the movie "Bullet Train" (2022). The cast expanded further in November 2022, with Winston Duke, Hannah Waddingham, and Teresa Palmer coming onboard. Filming Filming for "The Fall Guy" took place primarily in Sydney, Australia, with principal photography kicking off in October 2022. The production was set up at the Disney Studios Australia located in Moore Park, Sydney. The media captured scenes of night shoots at the Goulburn Street parking lot, where Ryan Gosling was spotted with long hair and a beard. A notable filming event included the temporary closure of the Sydney Harbour Bridge in January 2023 to accommodate scenes featuring Gosling. Filming concluded on March 2, 2023. Music The film's musical aspects were also given significant attention. Dominic Lewis was responsible for composing the score of "The Fall Guy." Additionally, country music artist Blake Shelton contributed to the soundtrack by covering "Unknown Stuntman," which was the theme song of the original series performed by Lee Majors.

What Is 'The Fall Guy' About?

"The Fall Guy" film adaptation centers on Colt Seavers, a stuntman currently without work, who receives an unexpected call from his former girlfriend, now making her directorial debut with a high-budget Hollywood film. He's brought on board to perform stunts for an up-and-coming, yet insufferable, action movie star. But when the star mysteriously disappears, Colt is thrust into a mission to locate and rescue him from the gritty depths of Hollywood, all while aiming to reignite an old romance, ensure the movie's completion, and cement his status as the top stuntman in the business. This narrative deviates from the original television series, where Lee Majors' Colt Seavers not only performed stunts but also led a double life as a bounty hunter, encountering a new adventure each week. Known for its spectacular stunts, action-packed scenes tailored to its budget, and a humorously self-aware tone, the series was a hallmark of its era. The upcoming movie intends to strike a different chord, with director David Leitch blending action with comedy in a fresh, engaging storyline that draws from his extensive experience in the stunt world.

The Fall Guy | Official Trailer

https://www.youtube.com/watch?v=j7jPnwVGdZ8 Read the full article

2 notes · View notes

deadcactuswalking · 1 year

Text

REVIEWING THE CHARTS: 09/09/2023 (Kylie Minogue, Kenya Grace, Tion Wayne/Nines)

Content warning: Discussion of death and some sex references

Doja Cat dethrones Olivia Rodrigo at #1 on the UK Singles Chart, with “Paint the Town Red” becoming her first ever song to top the chart. Welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with the notable dropouts, which are songs exiting the UK Top 75 (that’s what I cover) after five weeks in the region or a peak in the top 40. This week, we say farewell to “On the Radar Freestyle” by Drake and Central Cee, “FE!N” by Travis Scott featuring Playboi Carti and Sheck Wes - kind of - “Pakistan” by D-Block Europe featuring Clavish, “How Does it Feel” by Tom Grennan, “Everywhere” and “Dreams” by Fleetwood Mac, “Everybody Wants to Rule the World” by Tears for Fears, “Kill Bill” by SZA, “Another Love” by Tom Odell and finally, “Riptide” by Vance Joy. And stay out.

Always infinitely more interesting are our notable gains, which this week includes “Party All the Time” by Hannah Laing and HVRR at #57, “DNA (Loving You)” by Billy Gillies featuring Hannah Boleyn at #54, “I Remember Everything” by Zach Bryan featuring Kacey Musgraves at #50, “Rave Out” by Turno, Skepsis and Charlotte Plank at #41, “Feel It” by Jazzy at #35, “Bittersweet Goodbye” by Issey Cross at #23, “Rush” by Troye Sivan at #22 thanks to a remix featuring PinkPantheress and Hyunjin of Stray Kids (it’s alright), “Asking” by MK and Sonny Fodera featuring Clementine Douglas at #14 and finally, Fred again.. and Obongjayar get their first top 10 hits as credited artists with “adore u” - even if I’m not a fan of the song, still happy for them at #9.

Our top five on this week’s UK Singles Chart is pretty standard: we have Peggy Gou’s “(It Goes Like) Nanana” at #5, “What Was I Made For?” by Billie Eilish at #4, “vampire” at Olivia Rodrigo down to #3, “Cruel Summer” by Taylor Swift at #2 and of course, “Paint the Town Red” at #1. Now off to look at our interesting list of new entries.

NEW ARRIVALS

#75 - “HONEY (ARE U COMING)” - Maneskin

Produced by SLY and Rami

As soon as I saw this title, I had my concerns about this Italian rock band dipping into incredibly unsexy “I WANNA BE YOUR SLAVE”-esque territory, but whilst the double entendre may still be there, the song is more about sheer adrenaline… and it goes hard as balls. I’ve never been a fan of Mr. David’s nasal delivery, but he rides the riff pretty effectively here, even going into a falsetto he can’t even really hit for the purpose of just having chaotic fun, which seems also to be the reason for the switch between a slimy sing-songy flow in the chorus and its ending screech. The riffs here are infectious, with some great subtle overdubs in the verses, and once again, Ethan Torchio on the drums does a lot to keep this song’s momentum going with a basic but propulsive drum pattern that hits heavy in the chorus and plays really well off of the nastier bass as it rattles around the mix during that post-punk-esque bridge. I do wish the final chorus had a better build up than the smash-in technique it goes for here, but this still kicks a decent amount of ass, even if it’s not all that interesting or unique for this band.

#73 - “Back on 74” - Jungle

Produced by J. Lloyd

It is incredibly painful to see a song called “Back on 74” debut at #73. So close. Anyway, Jungle are a real unique group - you could call them a soul group, an electronic music group, but I don’t think they can effectively be pigeon-holed really. They’re probably best described as a funk group active since 2013 and consistently snatching top 10 albums in the UK. It was of no surprise to see their latest, Volcano, peak at #3 there but it is a bit of a surprise to see them on the singles chart, this being their highest-peaking song in the UK Singles Chart ever and first since 2014’s “Time” which peaked all the way down at #94. I’ve yet to listen to that album yet, but this is a great cut with Lydia Kitto on lead vocals, keeping in a breathy, sometimes clipping higher register amidst a rolicking groove and cute acoustics that exemplify probably the most appealling part of this song to me: sincerity. It’s a nostalgic-feeling jam with seemingly the best intentions with each little vocal harmony, especially when the guys join in on the second verse with Kitto or provide that deep-pitched “oh-oh” doo-wop lines during the chorus. Kitto has some really flailing vocal riffs here too, poking out of the mix kind of desperately in a way that reflects that mantra of “let it go!” The warm synth keys, almost reminding me of Tyler the Creator in how they replicate what would be a brass instrument in an older song, come in later and really seal the deal for me, trickling down until… the song just kind of ends, abruptly, and slightly disappointedly. We do return for a soulful acoustic outro consisting mostly of vaguely psychedelic improv, but it doesn’t feel like a substantial conclusion to a song with so much drive. Otherwise, I mean, it’s still a good ride to hop on, just could have found a better destination. I would be surprised if this stick around too but, hey, I wouldn’t be complaining - it’s rare that something like this ends up even this high.

#72 - “Miillion Dollar Bill” - Beyond Chicago, Majestic and Alex Mills

Produced by Beyond Chicago and Majestic

This is a bit of a deep cut, guys! For context, “Million Dollar Bill” is a throwback-sounding disco and funk track by the legend Whitney Houston herself, released in 2009 and produced by Alicia Keys and her husband Swizz Beatz, yet somehow not ending up sounding in any way modern. This is probably a good thing for Whitney, as her performance here and the instrumental she’s on has never felt perfectly right to me; she still had the pipes in 2009 obviously, but she approached the song in a way that didn’t feel as youthful as it should, as proven by Alicia Keys’ fresh-faced backing vocals that kind of just make me wish she kept the song for herself. It’s also just kind of a boring song, with very little up its sleeves other than relying on sheer belting prowess from its lead star. Regardless, as the lead single from her final album, it still peaked at #5 in the UK, and is clearly remembered enough for a remix by UK DJs Beyond Chicago and Majestic, who you may know from his remix of Boney M.’s “Rasputin” which peaked at #11 just a few years ago. Now on one hand, this song does what the song should have always done, increased the punch of the percussion and picked the pace up a bit. On the other hand, we no longer have the iconic Whitney Houston and are stuck with the completely serviceable - most of the time - Alex Mills, who covers the song without the subtlety that Whitney inherently brought at times in that original version. That’s mostly a good thing when it comes to the incessant French house flip that this song has, still maintaining a replicated version of some of the original, more organic percussion for the pre-drop but going all-out elsewhere on basically digitising this single. I’m still pretty torn on it - it makes the song what it was probably written as, with little regard to who it was written by or for. It slaps harder but less interestingly, it’s got more vocal leap but less personality. It’s structurally completely fine so it’ll function in a club, and I guess that’s this song’s only real purpose so I’m sure it can be a fully ignorable version of a pretty uncommonly-brought-up single from the tail end of a legend’s career.

#65 - “I KNOW ?” - Travis Scott

Produced by OZ, Coleman, Travis Scott, Buddy Ross and BBYKOBE

When listening to UTOPIA, this song may have been the track that exemplified just how much I was bored and frustrated by Travis, as this entire song seems like an exercise in testing patience. It’s plopped right in the middle of the album, between the mysterious Beyoncé-featuring “DELRESTO (ECHOES)”, an aimless, wandering lecture on how to lose all momentum, and the album’s attempt at a grimy banger, “TOPIA TWINS”, so the link between the two complete opposites kind of needs to be substantial, or smooth or at least effectively transitional. This is a piano-led stodge with distorted and time-stretched samples placed in and out as haphazardly as possible to connote “experimentation”. This could potentially fit into a hypnotising, drugged-out atmosphere as Travis has often fell into before but the layers of synth aren’t there, the vocal samples cut in and out, including his own ad-libs which are mixed interruptingly loud, and he has twenty girls sucking him “like bisons”. Regardless, the mindless repetition is enough to make this a catchy song, and hence a fan favourite that has lasted way longer than I expected in terms of its streaming traction. It’s not offensively bad like many other cuts on that album, or even all that frustratingly boring like the rest of it given its shorter runtime, but it’s still just about as worthless.

#53 - “Demons” - Doja Cat

Produced by d.a. got that dope

This series has for the most part always been “all about the music, man”, even if I do often get political or make off-hand comments about scandals. The one thing I tend to avoid - half because I just don’t care enough and half because it accentuates that musical focus - is the music video for a song. I will rarely ever watch a video for a song, genuinely, and this hurts several songs that I end up reviewing. This was a bigger deal from the mid-2010s and earlier, dating back to the 1980s, where videos were a big event that often came with the song to create cultural phenomena, but it’s not like we’ve had a “Thriller”-level match of phenomenon single and cinematic video since, well, maybe “This is America”? Music videos are a lot less important it feels nowadays, at least in the Anglosphere, and I bring this up because the video for “Demons” seems like it was made completely in conjunction with the song. Doja’s teeth-grinding yelps aren’t as villainous without the cloned pitch-black devils echoing them, the trap metal beat from d.a. got that dope of all people doesn’t blast as well without the knowledge that it’s the endless soundtrack to this helpless woman and her kids trying to escape the demonic creatures, and Doja’s sing-songy cadence sounds childlike without the condescending looks and that typewriter scene that practically explains why the second verse’s flow is so awkward. I’m not a music video reviewer though, I review songs and yes, surprise, surprise, I still like this. The horror movie strings are immediately punctuated by a shoddily-mastered bass and maniacal laughter from Doja, who cuts off her own gasping-for-air ad-libs with creepy empty space that is even more noticeable when the stiff beat seems like it should be doing more to cover her minimal, nursery rhyme verses. I’ll admit that the hook gets a bit stale, but the sarcastic pettiness and gross sex bars in that second verse increase the theatrics in a very typically unsubtle way that ensures this won’t fade from memory anytime soon. I’m dying on a very risky hill here, but hey, if Baby Keem needed to be a woman rapping over slasher film soundtracks all this time for me to like him (her?), then Doja found the formula before he could get to it.

#46 - “Last Time I Saw You” - Nicki Minaj

Produced by Hendrix Smoke, ATL Jacob, Bak, Frankie Bash and TooDope

The Queen of Rap is back with her sequel to her debut, Pink Friday and just like the original, there are sugary tacked-on pop singles. This particular one is a bit of a new lane for Nicki though, considering it’s a slow synthpop jam, held together by a ringtone lead synth and some of the worst straw-sounding drums I’ve ever heard on this kind of production backing a harder backbeat that actually functions, perhaps a bit more than Nicki’s mush-mouth singing that is still quite limited, even if it’s far from a bad performance, and coated in enough reverb and Auto-Tune to drown out many of the flaws. In fact, this restrained, kind of muted singing fits pretty well for a song about regretting being not as close as she could in a relationship before it ended. The rap verse may not really take the restraint angle, and it’s not exactly a good verse for Nicki’s standards, but it functions basically as a guest-rap verse on her own song, which is a cute decision, and doesn’t distract much from the song’s flow. In fact, on repeated listens, I began to really like this. Content-wise, the song is just vague enough to reflect any relationship, but does make it clear that it’s not purely romantic, and makes some leads toward it being about her late father, with her struggling to complete the sentence “I killed it”, which resonates with me particularly because there’s always a sense of guilt and loss that you weren’t the perfect person for someone when that person close to you dies, and being as closed-off as Nicki as in this performance, not really wanting to talk about it, was my instinctual reaction too when my father passed. The bridge is what really sold me on this though, with that speck of ambiance amidst all the backing vocal layers, a distant electric guitar signifying his death, before Nicki observes the stars in a nostalgic interpolation of Madonna’s “Lucky Star”, naming her father as the first star she notices in the sky that night. Then the vocal and synth layers continue to pile up, repeating mantras of sentences, whilst the drums transfix into this jerky Jersey club rhythm that never fully comes to a conclusion, just fading into a drumless chorus that is honestly pretty beautiful, especially with what sounds like a subtle male backing vocal harmonising with Nicki on the first line of that final hook. I… may have just talked myself into loving this one. I’ve got to stop doing that.

#43 - “AMEN” - Tion Wayne and Nines

Produced by Smokey.jam and GUSTO

The two grit-voiced UK rappers team up for a collaboration that makes all too much sense and yes, whilst it is mostly a Tion Wayne song with a Nines guest verse, Nines still must have injected some fury in Tion here considering how he comes in with a lot of violence here, making his typical pop culture potpourri of references just that more fun. He’s over a pretty nasty beat too, blending shuffling boom bap drums with an eerie acoustic loop and some gorgeous female vocals standing airily in the back of the chorus. The call-and-response with the choir in the chorus is a brilliant choice to make this song anthemic, and to my surprise, Nines doesn’t really mess it up either. He comes in as sloppy and conversational as he’s always been, but his lowkey basically-just-talking flow is a nice respite from Tion’s aggression and he occasionally sounds smooth even. As a whole piece, this may not be perfect - it’s not exactly the most potent either have been - but it’s a great pumping rap banger outside of the trap and drill subgenres, which I feel like we’ve been missing lately. Hell, if this whole G-Unit revival sound in the UK is going to bring songs like this, I can’t be too upset at Digga D for helping start that.

#20 - “Strangers” - Kenya Grace

Produced by Kenya Grace

This one kind of came out of nowhere, especially for a top 20 hit, but this is Kenya Grace, a singer from London with just a few songs out as of writing, and this is her massive breakout hit, “Strangers”, which I see as a more futuristic and cinematic version of what PinkPantheress has been doing, replacing her more vintage-sounding samples with a plastic 80s synth and ominous vocal loops, whilst keeping the rhythmic, wistful delivery. Sadly, the chorus really doesn’t hit here, as it’s just two extended, kind of awkward lines with that “uh-huh” mantra filling in the blanks. Interestingly, just like PinkPantheress, the song feels unfinished, but in a completely different way, not that there’s a great song that just needs a proper emotional climax, but in that this song feels like a template for what could be a brilliant track, and never gets there, which is especially annoying since it uses the momentum of a drum and bass track to propel itself, which makes it incredibly unsatisfying when nothing aligns together as it should. It’s a good effort but I’m more hoping for a more realised follow-up than listening to this one anytime soon.

#19 - “Tension” - Kylie Minogue

Produced by Duck Blackwell and Richard “Biff” Stannard

And from a singer who was a practical unknown until recently to perhaps the most established and no-introduction-needed artist in this list. The second single and title track from her upcoming album, is “Tension” going to live up to the big comeback of “Padam Padam”? Well, perhaps it won’t be a similar phenom, but it applies a similar formula with the robotic repetition and bordering-on-cringeworthy lyrics amidst a slightly bubblier production than the last single, going for a 90s piano house lead and very fizzy synth bass plucks following every angle of the mix, even in the intensely-filtered pre-chorus which is practically a call-and-response, but with Kylie’s heavily affected cooing that eventually transforms into this completely unrecognisable glitched fabric mixed sloppily onto a slap house rhythm as the bass dominates the mix until what is practically a drop-within-a-drop, that brings in a freaking sick bass guitar line and releases a lot of airier synth soundscapes. The second verse has some fantastic choir-like backing vocal layers, and the rest of the song’s progression just continues to overwhelm in a way that seems set to establish Kylie’s sexual and pop culture dominance. As she’s basically a mystical figure in pop at this point, this new practically alien futuristic house sound that’s minimal in idea, maximum in execution, is a sound I really love for her. It actually brings her into the modern pop scene a lot smoother than you’d think, because it incorporates elements of her existing stage and media persona. This is great - silly, but not bordering on stupid like “Padam Padam” - instead, it’s just fantasical and out of this world in a really gripping way.

Conclusion

What a good week. There are only three songs of nine I wasn’t a fan of and even then, they’re far from terrible. Travis Scott does end up with Worst of the Week for “I KNOW ?”, but a Dishonourable Mention isn’t needed. Instead, how about two Honourable Mentions for “Back on 74” by Jungle and “Last Time I Saw You” by Nicki Minaj which was very close but does mean that Best of the Week goes to Kylie Minogue for “Tension”. There was a lot of good stuff this week though; I’ve yet to listen to Olivia Rodrigo’s newest but I hope she brings some of that same quality next week. As for now, thank you for reading, rest in peace to Steve Harwell and I’ll see you then!

#uk singles chart #tion wayne #nines #kylie minogue #kenya grace #song review

4 notes · View notes

rowanb3rries · 4 months

Text

music i listened to in february

rise and fall, rage and grace | the offspring (2008)

appeal to reason | rise against (2008)

seal the deal & let's boogie | volbeat (2016)

new wave | against me! (2007)

dear catastrophe waitress | belle & sebastian (2003)

pretty hate machine | nine inch nails (1989)

lateralus | TOOL (2001)

up your alley | joan jett & the blackhearts (1988)

double dare | waterparks (2016)

dirty honey | dirty honey (2021)

hannah wicklund and the steppin stones | hannah wicklund (2018)

GLOOM DIVISION | I DONT KNOW HOW BUT THEY FOUND ME (2024)

another eternity | purity ring (2015)

adventure | madeon (2015)

white women | chromeo (2014)

the talon of the hawk | the front bottoms (2013)

paranoid | black sabbath (1970)

january | february | march | april | may

#music 2024

0 notes

heavenforblog1111 · 5 months

Text

So, Miley Cyrus is quite a huge name in and of itself. She was the main star of the serial Hannah Montana where she had a double life. A lot of young kids grew up watching her while she was also growing up simultaneously. In this article, we'll talk about Miley Cyrus and her 2013 MTV VMA performance. The music industry is known to produce all sorts of disgusting and obscene content. As much as people find it entertaining there is no denying that the industry has a weird mechanism of operation. If one takes a look around and observes what goes on with artists like Britney Spears, Katy Perry, Kesha etc, one would realize that there are dreadful things happening behind the scenes. https://www.youtube.com/watch?app=desktop&v=mYU__NdT1ic Miley Cyrus 2013 VMA performance is a testimony to what the industry really wanted to promote to the audience and also to the young 'fans' of Miley Cyrus. Miley came out of the teddy bear sticking her tongue out and sent shock waves all over the world. You immediately knew something was going down. I think everyone watching her knew that it was too much even for a party in the USA. We had Miley shamelessly walking around and twerking like she thought she was the only person out there in the world. Not only that, the performance turned up the notch on obscenity as Rob Thicke entered the scene performing 'Blurred Lines' along with her. This event had provided most people with a conversation they would have for weeks or months or perhaps even years. I believe it doesn't seem so horrific compared to the content we are being shown nowadays like 'WAP', 'Industry Baby' etc. But, it was definitely among the most shocking performances ever displayed till that time. Meanwhile, you guys can let me know what you think about this in the comment section. Have fun take care and bye.

0 notes

sonmelier · 5 months

Text

Avant-cuvée 2024 : 2/8

Deuxième épisode des avant-cuvées 2024 en cette fin du mois d'avril, avec 6 nouveaux disques verrouillant d'ores-et-déjà leur place dans mon futur top 100 musical de l'année.

Ahmed | Wood Blues

🏴󠁧󠁢󠁥󠁮󠁧󠁿 Angleterre | Astral Spirits | 59 minutes | 1 morceau

Ce quartet de jazz fondé à Londres est composé des britanniques Pat Thomas (piano) et Seymour Wright (saxo), du suédois Joel Grip (basse) et du français Antonin Gerbal (percussions). Depuis maintenant une décennie, il revisite les compositions du jazzman défunt Ahmed Abdul-Malik (bassiste et joueur d’oud) en les poussant dans de nouveaux retranchements. Ici, c’est un morceau daté de 1961, Oud blues (d’une durée de 4 minutes seulement) qu’il transforme en une improvisation live avant-gardiste et tourbillonnante de près d’une heure. Un hommage époustouflant de créativité et d’énergie brute.

🎧 Wood Blues

Donato Dozzy | Magda

🇮🇹 Italie | Spazio Disponibile | 51 minutes | 6 morceaux

Le maestro romain de l’ambient techno nous plonge ici dans un paysage sonore aquatique d’une douce et belle sérénité, livrant son meilleur album depuis plus de dix ans (et son remarquable Plays Bee Mask de 2013). Rappelant par endroits l’esthétique minimaliste accueillante du double album de référence Voices From the Lake (produit avec son compère Giuseppe Tillieci en 2012), Magda est une bande son tout aussi réconfortante que captivante, délicieusement propice aux instants de réflexion et de contemplation.

🎧 Le Chaser

Hannah Frances | Keeper of the Shepherd

🇺🇸 Etats-Unis | Ruination Record Co. | 37 minutes | 7 morceaux

Dans la plus pure tradition d'un folk progressif séculaire, à la fois mystique et rédempteur, ce troisième album d'Hannah Frances livre une fresque sonore et poétique absolument éblouissante. Profondément terrien mais majestueusement audacieux, il transforme le deuil (la perte du père) en une méditation aussi vibrante qu'hypnotique, aussi émouvante que sophistiquée. Instants suspendus beaux et apaisés, fulgurances orchestrales qui emportent tout sur leur passage : l'artiste se montre brillante dans chacun de ces registres, parée d'une voix et d'une plume d'un magnétisme à toute épreuve.

🎧 Keeper of the Shepherd

Mary Halvorson | Cloudward

🇺🇸 Etats-Unis | Nonesuch Records | 48 minutes | 8 morceaux

Mary Halvorson fait partie des esprits les plus affutés de la création artistique contemporaine. Elle a d’ailleurs reçu en 2019 la prestigieuse bourse MacArthur, dont l’objet est de libérer de toute contrainte financière pendant 5 années (afin qu’ils puissent se consacrer entièrement à leurs travaux de recherche) une vingtaine de citoyens américains se distinguant par leur intelligence, leur créativité et leur motivation à innover. Avant-gardiste et exploratoire, l’œuvre de la guitariste de jazz n’en est pas moins marquée par une profonde humilité, cherchant toujours à équilibrer l’improvisation libre avec des compositions structurées et expressives. Une patte absolument inimitable, laissant son empreinte de manière durable (les vibrations d’Amaryllis ne se sont toujours pas dissipées) et qui ne cessera jamais de nous transporter (comme ici, vers les nuages).

🎧 Desiderata

Helado Negro | Phasor

🇺🇸 Etats-Unis | 4AD Records | 35 minutes | 9 morceaux

Peu d'artistes inspirent autant de sympathie que Roberto Carlos Lange. L'avoir vu en concert ne fait que renforcer ce sentiment. Au delà de la bonhomie du personnage, il se dégage de sa musique et de ses textes beaucoup de délicatesse et une douceur pleine de sagesse. Pour autant, l'expérimentation fait partie intégrante de son approche créative et la simplicité apparente de ses morceaux repose sur un travail en profondeur (textural comme émotionnel). Une très belle suite au Far In sorti en 2021.

🎧 Best For You and Me

Lord Spikeheart | The Adept

🇰🇪 Kenya | Haekalu | 37 minutes | 13 morceaux

Martin Kanja est une des figures les plus importantes de la scène électronique expérimentale de Nairobi. On avait déjà pu mesurer l’ampleur de sa force de frappe à travers différents projets, dont on retiendra prioritairement le groupe noise/indus Duma (avec un album éponyme qui avait fait grande sensation en 2020). Son premier opus solo, sous l’alias Lord Spikeheart, est une expérience sonore surpuissante et implacable, fusionnant métal, noise et rap dans un déferlement incessant de percussions explosives, de basses tonitruantes, de guitares distordues, de textures électroniques abrasives et de chants tantôt lugubres tantôt stridents. Aucun répit n’est offert pendant 37 minutes, avec en prime le renfort d’une véritable internationale bruitiste venue du Japon, du Venezuela, d’Europe ou encore d’Indonésie.

🎧 Nobody

#avant-cuvée 2024 #free jazz #ambient techno #progressive electronic #progressive folk #singer-songwriter #avant garde jazz #chamber jazz #art pop #chillwave #power noise #industrial hip hop

0 notes

tvctionary · 12 years

Text

The Real Sex and the City?

Hannah is a 26-year-old intern in a publishing house who, after being cut off by her parents, is struggling to survive in Brooklyn while writing her first novel. Her roommate, Marnie, works as a gallery assistant and is sick of her loving but clingy boyfriend. Her friend Jessa introduces herself as an artist, probably as an excuse for her bohemian lifestyle that prevents her from staying in the same place for over a month. And then there is Jessa’s 21-year-old cousin, Shoshanna, who sees the world through her rose-tinted glasses and has Sex and the City dreams. At 27, Lena Dunham writes, occasionally directs and stars (as Hannah) in HBO’s hit series Girls, garnering Emmy nominations for her roles in acting, directing and writing the series. Daughter of the famous painter Carroll Dunham and the artist Laurie Simmons, Lena, whose 2010 feature film Tiny Furniture instantly struck a chord with critics and viewers alike, seems determined to make us forget all the clichés that have been plaguing TV series for the past decades, and in so doing she is using the most candid autobiographical approach possible. And it goes without saying that she has been criticized for being a privileged New Yorker who cannot tell stories about struggling twenty-somethings in 2013 New York. This, however, is not the case. Her writing style is more akin to fiction prose than to script-writing, often having hilarious Woody Allenesque undertones. Creating unbelievably realistic scenes and a series of stories and characters that make up a modern fairytale, just as all fairytales should be written from now on, Dunham gives us the new Carrie Bradshaw. She’s a little on the big side, has a double chin, owns far less pairs of shoes, and has Adam on her side. And Adam, episode after episode, makes you forget the macho Mr. Big, makes you fall in love with his big nose, until you finally exclaim “Hey, I want someone like him too”. Watch it and you won’t regret it!

Filming for the third season of Girls is set to begin in late March.

#girls #hbo

0 notes

fundie-predictions · 2 years

Text

Name Predictions for Caldwell-Duggar #4 - Girl

This is part two of name predictions for Joe and Kendra’s rumored fourth baby, girl edition! As mentioned in the first post, I strongly suspect this baby is a boy, but I might as well cover my bases. Plus girls’ names are a little more fun in this case since they already have two daughters to go off of vs. only one son.

Previous Naming Information

This was discussed at length in the previous post, but Joe and Kendra have three previous children: Garrett David (b. 2018), Addison Renee (b. 2019), and Brooklyn Praise (b. 2021). Their only son, Garrett, was given a family name as his first name. Garrett is both the middle name of his father Joe and the first name of Joe’s mother Michelle’s father Garrett Ruark. David does not have any family ties that I know of (other than Joe’s brother John David - probably a coincidence), but is a classic, Biblical name.

The girls’ names are a different story. Both of their first names are a style I like to call “trendy in 2013.” Additionally, all children have names with double-letters thus far, which could be unintentional, but also might suggest a pattern. For the middle names, Renee is Kendra’s middle name, like Garrett is Joe’s. Brooklyn’s middle name of Praise completely throws me for a loop though. I guess we could take this to mean we can expect virtue names moving forward, but I don’t know since I would have excepted Grace, Faith, or Hope long before Praise.

Preliminary Predictions

I like to make a list of all the double-letter names from the Social Security Administration’s list of top 500 baby names, so I will do that here. I will exclude any first names belonging to other GrandDuggars, as well as any that don’t make sense for Joe and Kendra due to language, religious affiliation other than Christian, etc. Names that aren’t exactly the same as another GrandDuggar but are really close, or names that have been used as middle names for other GrandDuggars are included but struck out.

Emma (#2)

Charlotte (#3) / Charlee (#272)

Isabella (#7) / Isabelle (#117) / Izabella (#370)

Gianna (#13)

Ella (#16) / Ellie (#30) / Elle (#357)

Scarlett (#20)

Willow (#39) / Willa (#353)

Stella (#41)

Hannah (#44)

Lillian (#51) / Lilly (#218) / Lilliana (#371)

Aaliyah (#61)

Savannah (#68)

Kennedy (#70)

Quinn (#80)

Allison (#82) / Allie (#411)

Gabriella (#83) / Gabrielle (#448)

Anna (#84) / Annie (#230)

Rylee (#97)

Brielle (#118) / Briella (#328)

Adalynn (#119) / Adelynn (#347) / Addilyn (#417)

Elliana (#131) / Elianna (#360)

Kaylee (#139)

Summer (#141)

Arianna (#145)

Reese (#147)

Sienna (#149)

Ariella (#171) / Arielle (#359)

Millie (#174)

Callie (#177)

Juliette (#178)

Brianna (#184)

Molly (#186)

Brynlee (#187) / Brynn (#362)

Aubree (#190)

Gemma (#191)

Arabella (#195)

Journee (#197)

Noelle (#202)

Oaklynn (#204) / Oaklee (#486)

Alyssa (#233) / Alessia (#436)

Lennon (#236)

Sutton (#244)

Vanessa (#253)

Lucille (#276)

Camille (#281) / Camilla (#311)

Maggie (#285)

Tessa (#287)

Joanna (#291)

Julianna (#301)

Rebecca (#304)

Kendall (#305)

Vivienne (#316)

Hallie (#317)

Mckenna (#319) / Makenna (#367)

Collins (#326)

Gracelynn (#335)

Avianna (#354)

Giselle (#361)

Danna (#369)

Melissa (#372)

Everlee (#376)

Annalise (#385)

Michelle (#394)

Alessandra (#400)

Poppy (#401)

Paislee (#420)

Daniella (#430) / Danielle (#443)

Colette (#454)

Marlee (#457)

Hattie (#459)

Holly (#465)

Braelynn (#472)

Cassidy (#476)

Jessica (#481)

Madelynn (#490)

Jennifer (#493)

Of these, the names that stand out to me as potential choices are Charlotte, Savannah, Lillian, Hannah, Everlee, Brianna, Paislee, Lucille, Summer, and Alyssa.

And some non-double-letter names that might be a fit? Perhaps Olivia, Sophie, Kinsley, Madeline/Madelyn, Natalie, Haven, Reagan, Emerson, Presley, and Kimberly.

For the middle name, I'm thinking virtue names, but not just the more typical virtue names like Grace, Faith, Hope, and Joy. Going off of Praise, maybe more unusual ones like Mercy, Shalom, Glory, Charity, Constance, Agape, and Patience. Maybe Kendra will pick Christina after her mother, but I kind of doubt it.

My Final Predictions

Even if Joe and Kendra do publicly announce this baby (which is seeming more unlikely every day), I really really think it is a boy. I guess this list could be applied to any future girls they have though! I mentioned in the boys’ post that I prioritized names ending in “-t” because I thought that would pair well with Garrett. I like the similar idea of names ending in “-n” for girls in theory, but that isn’t necessarily reflected in my top choices. If they do have a double letter theme, I think it will be Charlotte for a girl. I think this would go well with all three of her older siblings’ names, is a similar length to the siblings’ names, and would even establish an “A, B, C” pattern for girls’ names. If the name doesn’t have double letters, I'm feeling Natalie. Natalie reached its peak in popularity in 2008 and has decreased consistently since then.

I think Faith has a really good chance of being chosen as a middle name, especially sharing the “long -a” sound with Renee and Praise. Part of me really really wants her to pick Glory though as it’s a guilty pleasure name of mine.

And we’ll end with the top ten list!

Charlotte Faith

Natalie Faith

Savannah Joy

Lillian Glory

Everly/Everlee Grace

Emerson Mercy

Lucille/Lucy Shalom

Kinsley Agape

Olivia Charity

Summer Constance

#fundie #fundie pregnancy #name predictions #baby names #fundie predictions #pregnancy speculation #joe and kendra #caldwell duggar 4 #duggar family #caldwell family #baby girl #may 2022?#june 2022?

5 notes · View notes

travllingbunny · 4 years

Text

Master post: my gifsets, meta etc.

Because stuff you’ve put effort in can get lost in faraway corners of your blog.

There’s more meta here because I’ve only figured out how to make gifsets lately. This is still not an exhaustive list, there’s a lot of older meta (especially not-The 100 related) I will try to find and add later, especially tons of A Song of Ice and Fire and (anti) GoT meta.

A Song of Ice and Fire/GoT/House of the Dragon

Analysis of the House of the Dragons opening credits - and the way they depict the Targaryen bloodlines up to the timeline of the show

Dance of the Dragons - seeds of the story: mentions of the Dance in the 5 main A Song of Ice and Fire books (1996-2011) - how it all started and developed before GRRM came up with the fully story that was published as The Princess and the Queen (2013), The Rogue Prince, The World of Ice & Fire (2014) and Fire & Blood (2018) and finally got adapted into House of the Dragon.

Thoughts on HotD playing with/referencing the Aegon the Unworthy/Naerys/Aemon the Dragonknight dynamic and rumors from the books

Daenerys, the fandom and double standards - this old post from a few years ago was mostly about the book fandom’s antis and their sexist double standards in judging Dany vs some of the male characters. It really blew up later, especially with how season 8 treated Dany and how the showrunners tried to retcon her. Some more comments on counterarguments including the “poor slavers” argument

Jon’s real name is... wait for it... Jon

my view on whether it’s “wrong” to ship Jon/Dany and how much it is or isn’t incest (which sums up my views on “incest ships” in general)

an answer to some black-and-white thoughts on Jaime Lannister

For my anti-GoT rants and reblogs of rants going back to season 5, see https://travllingbunny.tumblr.com/tagged/anti-got

Dark

Gifsets

These are very angsty and dark (no pun intended) and full of season 3 spoilers, so I’ll just give these code names for the sake of all those that are still watching or will watch this show.

Light

Shadow

Martha’s room (new gifset!)

Memes

Nothing like funny memes about a dark angsty show. It’s amazing how well Dark goes with The Onion headlines.

Dark + text posts

Dark + The Onion headlines:

Part 1 (Season 1 - 1x01-1x06)

Part 2 (Season 1 - 1x09-1x10)

Part 3 (Season 2 - 2x01-2x02)

Part 4 (Season 2 - 2x03-2x06)

Part 5 (Season 2 - 2x07-2x08)

Part 6 (Season 3 - 3x01-3x04)

Part 7 (Season 3 - 3x05-3x08)

Meta

Over the last six months, some 80% of my blog have been rants about The 100′s horrible final season. You can find all of them under the #anti The 100 season 7 tag.

(including the Shortest and most succint post I've ever made about The 100 finale)

Meta I made before the show self-destructed:

Reviews

Season 1 - rewatch

1x01 Pilot 1x02 Earth Skills and a bit of discussion about how we felt about the characters during the first watch 1x03 Earth Kills 1x04 Murphy’s Law 1x05 Twilight’s Last Gleaming 1x06 His Sister’s Keeper 1x07 Contents Under Pressure 1x08 Day Trip 1x09 Unity Day 1x10 I Am Become Death 1x11 The Calm 1x12/1x13 We Are Grounders (Part 1&Part 2) and season overview

Season 2 - rewatch

Overview 2x01 The 48 2x02 Inclement Weather 2x03 Reapercussions 2x04 Many Happy Returns 2x05 Human Trials 2x06 Fog of War 2x07 Long into an Abyss 2x08 Spacewalker 2x09 Remember Me 2x10 Survival of the Fittest 2x11 Coup de Grâce 2x12 Rubicon 2x13 Resurrection 2x14 Bodyguard of Lies 2x15 Blood Must Have Blood, Part One 2x16 Blood Must Have Blood, Part Two

Season 3 - rewatch

Overview

Episodes 3x01-3x02

Episodes 3x03-3x05

Episodes 3x06-3x10

Episodes 3x11-3x16

Season 4 - rewatch

4x01 Echoes 4x02 Heavy Lies the Crown 4x03 Four Horsemen 4x04 A Lie Guarded 4x05 Tinder Box 4x06 We Will Rise 4x07 Gimme Shelter 4x08 God Complex 4x09 DNR 4x10 Die All, Die Merrily 4x11 The Other Side 4x12 The Chosen 4x13 Praimfaya Season 4 and the greyest morality ever (meta mostly relating to The Chosen - which was originally meant to be a part of it)

Season 5 - rewatch

5x01 Eden

5x02 Red Queen

5x03 Sleeping Giants

5x04 Pandora’s Box

5x05 Shifting Sands

(I wrote these during the hiatus mid-season 7... and then I lost any desire to continue writing any The 100 reviews after 7x13 aired)

Season 6 (reviews posted weekly during the season)

6x01 Sanctum 6x02 Red Sun Rising 6x03 Children of Gabriel 6x04 The Face Behind the Glass 6x05 The Gospel of Josephine 6x06 Memento Mori 6x07 Nevermind 6x08 The Old Man and the Anomaly 6x09 What You Take With You

6x10 Matryoshka 6x11 Ashes to Ashes 6x12 Adjustment Protocol 6x13 The Blood of Sanctum

Season 7 (reviews posted weekly during the season)

7x01 From the Ashes

7x02 The Garden

7x03 False Gods

7x04 Hesperides

7x05 Welcome to Bardo

7x06 Nakara

7x07 The Queen’s Gambit

+ My authentic live reaction to 7x07 The Queen’s Gambit

7x08 Anaconda

7x09 The Flock

7x10 A Little Sacrifice

7x11 Etherea and some additional thoughts about Bellamy’s experience in the cave

7x12 The Stranger

Various

Clarke’s Commander of Death nickname

Clarke’s relationship with Finn

Clarke’s relationship with Lexa and the follow-up post about Lexa herself and the Commanders in Grounder culture

Semi-humorous summary of The 100

Reply to falafel14′s meta about Maya Vie

Why Charles Pike doesn’t deserve all the hate

About Bellamy’s decisions in season 5 regarding Madi and the Flame

Favorite episodes

Could Bellarke have confessed their feelings for each other in the season 4 finale?

About the show’s portrayal (or lack of it) of Clarke’s grieving for Wells

The writers are bad at math: time dilation inconsistencies between season 6 and season 7

Some questions and answers about the plot of season 7

Fanon vs canon: a comedic post about the popular fanon versions of The 100 characters (the replies and reblogs with comments to this post are also well worth reading, particularly @kizo2703‘s summary of two fanon versions of Raven)

Speculation

The 100 Final Season Speculations (general speculation posted after the end of season 6)

The 100 speculation: Anomaly Stone, Eligius 3, Second Dawn (posted after 7x02) and speculation: part 2

Where is Bellamy? and more on time dilation possibilities and Etherea again

Other shows/franchises

Tribes of Europa season 1 - review

Black Widow impressions/very brief film review

If these Buffyverse characters had a child together... (something fun for fans of Buffy, Angel, Agents of SHIELD, Dollhouse and/or Dr Horrible’s Sing Along Blog)

General meta

What even is “Draco in Leather Pants”? - this old post was me getting snarky and fed up with people bringing up this ‘trope’ as I’ve come to think it’s mostly, at best, an excuse for fandom w*nk/attacks on fans who dare to like characters they don’t, and at worst, another exercise in sexism in fandom. Many of the replies and reblog-comments I got are pretty great, too - see the discussion here.

A long, rambling answer to a ship tag game

53 notes · View notes

anthonycrowleymoved · 4 years

Note

As a non-American whose only experience of jeopardy are screencaps from tumblr and three (3) SNL clips, I don't understand jeopardy at all like? How do you win? You bzz bzz a statement and give another statement and they go wweee like wtf was rhat what's going on what i don't what huh what?

okay please understand i am not making fun of you but good lord i’ve been watching jeopardy since i was about two because my grandma used to watch it religiously and she’d babysit me and my whole family it was like. a bonding time in my youth so seeing someone who thinks this is what it is is like. a bit of a trip. anyway i am going to attempt to explain something that is ingrained into my psyche since childhood for the nonamericans who Don’t Get It please stand by sorry if this is confusing

okay, based on this post i think your biggest point of confusion is actually how the question is answered. what they do is give you a statement and you have to give the answer in the form of a question, as opposed to other trivia shows where you just. answer the question. so think of it this way: if the clue they give you is something like (and i’m giving an answer i think a lot of people will be able to follow) “this pop star, who previously played hannah montana on a disney channel show, reached number one in 2013 with her hit wrecking ball.” the contestant would buzz in and answer “who is miley cyrus?” in order to answer correctly. like, you’re basically answering the question in reverse, which sounds confusing, but you get used to it.

there’s two rounds, jeopardy and double jeopardy (where the clues are worth double the points), and each round has *checks notes because somehow this still confuses me* six categories of five questions each, which can be literally anything. the questions go up in value (in the first round they’re worth $200-1000 each, going up by $200 intervals. in double jeopardy the amounts are doubled), and typically the lower value questions are easier and the high value questions are harder. if you answer it correctly the value of the question is added to your score. if you answer it incorrectly, it’s deducted. the only confusing bit here is that there’s one or two daily doubles (one in the first round, two in the second). if you answer a question correctly, you get to pick the next question that’s read, and if it’s a daily double you don’t have to compete against anyone (there’s usually three people who buzz in if they know the answer. in daily doubles it’s one person who can answer on their own, and they have a bit longer to think about the answer. also, they tend to be a bit more challenging, but that’s not always the case), and you can choose how much money you wager. if it’s a category you know nothing about you can bet nothing, if you think you’ll know the answer you can bet all of the money you’ve accumulated.

at the end of the two rounds, there’s final jeopardy, where the contestants all have to answer one question. they’re given a category and they make a wager based on how much money they’ve accumulated and if they think they know enough about the category. then the question is read and they have.....30 seconds?......to write down their answer. (also the final jeopardy music is iconic if an american asks you a question and it takes you a minute to answer and they start going da da daa da da da da daaaa it’s an inside joke with the whole country) if they get it wrong their wager is deducted from their score, if it’s right it’s added to their score. the player who at the end of all that has the highest score wins and is awarded however much money they won during the game and the opportunity to play again the next day (the other two players are given $2,000 if they came in second place or $1,000 if they came in third).

alright, that’s basically gameplay, or at least how i can explain it to the best of my ability, but i feel like also using this space to like. explain WHY it’s so universal here. so like, jeopardy is one of those shows that’s been running forever, on basic cable. i’m. not completely sure how it is in the rest of the world but we have like, pbs, which is a public nonprofit channel probably most similar to the bbc, but then we have like four or five for-profit channels that tend to be local broadcasts that you can usually pick up on antennas and may not even have to pay for, as opposed to cable packages which you can’t do that with. jeopardy airs on those local channels, so even if you didn’t have cable you probably have access to it. on top of that, it airs every weekday, usually at 7 or 7:30 (paired with wheel of fortune, which is another show that i think is more widely adapted and also i don’t want to get into here), which means it tends to be in the middle of local news and prime time shows that air nationally. so like, culturally, even if you don’t watch it regularly, it’s at sort of a weird time where everyone is usually home but not a whole lot is on, particularly on local channels, so you’ve probably at least caught the occasional episode. also, the show has been on since the 80s (and i think a bit before, but they kind of revamped it and the format hasn’t changed significantly since then, but i digress) and the host (who always struck me as a really good guy btw) just died, so it kind of feels like the end of an era. like i would use my one valid parasocial relationship card on mr trebek because he often ate dinner with the fam, and i think a lot of americans feel that way (even though the dude was actually canadian). so anyway, that’s the quick and dirty overview of jeopardy. it’s a good time

#nonny mouse #inquiries

41 notes · View notes

maplesleep · 7 years

Photo

“It’s terrible to be alone too much.”

#the double #the double 2013 #movies #the double hannah #my art #maplesleep art #i couldn't resist doing this screencap ; 3 ;#also tho i've been binging the WEIRDEST damn movies with yamoguchi and i'm gonna do a screencap from each in a big post later i think

10 notes · View notes

doublism · 3 years

Note

not that I don't know your thoughts but it's been a minute so.... the double :-) ☕

you know it really is insane like conceptually that this movie that was made by some british comedian who is literally just some middle aged guy (he’s also hottest man alive but that’s another thing) and flopped like flopped HARD is what i’ve built like an entire life philosophy around for coming on three years of my life now? but at the end of the day it’s like. when i get asked what my favorite movie is rarely do i ever actually say the double (i say the social network or when harry met sally depending on the person) but when i do say the double i provide two caveats number one is that it’s the 2013 one starring jesse eisenberg and that there is a different movie by the same name that’s just some spy movie but i want to be clear that my favorite movie is like this dark philosophical indie underground thing and not a movie about the cia. number two is that i’m hesitant to recommend it because i can totally see how someone would find it to be an incredibly dull film? and like in fact plenty of people do find it to be that. i think you can be totally captivated by it and really just want to keep digging and digging into it like you and i were or you can think it’s the most boring shit ever and i think that’s totally fair. what continues to strike me about it is that it’s an incredibly meticulously made film? which i think is because richard (train passes by me so you can’t hear) but also because it’s just so deliberate about what it’s trying to do like the details that always hit me the hardest are the visual parallels between simon and hannah because contrary to a surface level reading they are NOT foils theyre actually literally the same like she has her own double in her own way because we ALL do like victoria justice voice i think we ALL have evil doubles. the second thing that always hits me is the sound design like i could write a whole essay (and possibly even have i honestly don’t remember) on the use of train noises alone in this movie. and it’s ALL deliberate like none of this stuff is for nothing richard doesn’t miss ANYTHING with this movie. but mostly i believe it’s an incredibly hopeful film about overcoming isolation and betterment of the self and battling the inner potential for evil that we all have and a million other things. anyway when i get my magritte not to be reproduced tattoo what then. i’m not proofreading this i’m just hitting post but love you maggie and i do believe you were the one who first brought this movie to my awareness? in like august 2018 i think. so i have you to thank/blame/mostly thank <3

#ask

11 notes · View notes

thunderheadfred · 5 years

Text

Fred’s Fic Index

Sorted alphabetically by fandom, then from newest to oldest. See #fred writes for all writing posts, including WIP snippets.

Ace Attorney

Proxy — AO3

The truth is simple: Phoenix Wright no longer wishes to associate with Miles Edgeworth. Or: This is how, two weeks too late to do anything about it, Edgeworth learns of Phoenix’s disbarment.

Phoenix/Miles - found family Mature - explicit sexual content 37,000 words - Mar. 2020 ✓

reunion scene // Phoenix/Miles - E - 1,700 words

The Arcana

riddles // G

cost // Asra+Muriel - T - 670 words

egg // Asra+Nadia - G - 970 words

aether // Asra/Julian - E - 3,750 words

stop that // Asra/Julian - T - 540 words

the cave // Asra/Apprentice - E - 1,420 words

memory // Asra/Apprentice - T - 530 words

first kiss // Asra/Apprentice - T - 790 words

letter // Julian/Apprentice - T - 370 words

stiff drink // Julian/Apprentice - T - 780 words

Avatar: The Last Airbender

stealing Appa // Aang+Appa - G - 880 words

sneaking // Aang+Gyatso - G - 270 words

BNHA

Todoroki x Reader Headcanons

Aizawa x Reader Headcanons

Shigaraki x Reader // HC’s - The Second Worst

Bakugou x Reader Headcanons

Hawks x Reader Headcanons

Kirishima x Reader Headcanons

Dragon Age

fraternizing // Zevran/Warden, T, 390 words

fireside // Zevran/Warden, T, 450 words

glad to have you // Zevran/Warden, T, 370 words

Good Omens

Incense — AO3 / PODFIC

Not you. I know what You smell like.

Crowley/Aziraphale - gender, magical realism Mature - explicit sexual content 16,000 words - Sep. 2019 ✓

—

scent // T - 500 words // [podfic]

sleep // Crowley/Aziraphale - T - 675 words

Mass Effect

Double Blind — AO3

Professor Solus was curved the same way scalpels were: not rounded for safety, but precisely honed, so sharp that Shepard wouldn’t feel the edge until she was six pints lighter. The promise of so much gratuitous blood loss made her dizzy. Dizzy… and something else.

Femshep/Mordin - Omega, PWP Explicit - BDSM, violence, blatant disregard for canon 14,000 words - Sep. 2018 (WIP) #tagged - playlist

a new toy // E - perfect 100

werewolf girlfriend // M - 234 words

a kiss for luck // M - 485 words

smile // M - perfect 100

sharp // M - perfect 100

weakness // M - perfect 100

cupcake // M - perfect 100

hair // M - perfect 100

—

In the Yellow Time of Pollen — AO3 / FFN

Velocity and time make for curious bedfellows, especially when Kallo Jath flies out to meet his biological imperative.

Sara/Kallo - unreliable narrator, non-chronological Mature - sex pollen trope, awkwardness 15,000 words - Mar. 2017 (WIP) #tagged - playlist

height difference kisses // T - 725 words

a kiss to give up control // T - 228 words

washing machine // T - perfect 100

another lifetime // M - perfect 100

a kiss meant to be gentle // M - 1.8k

—

A Pretty Taste for Paradox — AO3 / FFN

After being resurrected by Cerberus, Shepard is a raw nerve, a stranger in her own skin. Why else would the never-ending nattering of Professor Mordin Solus send a shiver down her spine?

Femshep/Mordin - asexual romance, vignettes Mature - angst, violence, suicidal ideation 10,000 words - Jan. 2017 (WIP) #tagged - playlist

casual, in joy // T - 620 words

the end of the world // T - 420 words

jealousy // T - 370 words

a kiss to shut them up // T - 240 words

juggling // T - 370 words

balance // T - perfect 100

unable to open their eyes // T - 0.4k

topaz // G - perfect 100

date // G - 300 words

routine kisses // G - 0.7k

kisses meant to distract // G - 1.8k

mordin solus // G - perfect 100

—

Red Streak — AO3 / FFN

During the surrender of Shanxi, ex-Marine Hannah Shepard agrees to parley with the fleet captain of the invading turian Blackwatch. Two decades later, Hannah’s daughter Jane lives in the shadow of that infamous truce.

Shakarian- first contact, novelization, shifting POV Mature - excplicit sexual content, violence 100,000+ words - Sept. 2016 (WIP) #tagged - Red Streak Index

Shakarian:

passionately, in a rush of adrenaline // T - 350 words

a kiss on a scar // T - 330 words

drunk message // T - perfect 100

window // T - 200 words

a gentle “I love you” whispered after a soft kiss // M - 1.4k

breaking the kiss to say something // M - 1.2k

synthetic insights // M - 800 words

Hannah/Albacus:

a hoarse whisper // M - 875 words

lazy morning kisses // M - 320 words

throwing their arms around the other person // M - 1.2k

when one person’s face is scrunched up // G - 500 words

Jane + Albacus:

growing pains / T - 3k

—

Misc. ME Drabbles

Zombie AU // T - 380 words

Citadel NPCs // T - 730 words

Tattoo Parlor AU // Shakarian - M - 500 words

Even More Bullshit

Rigor Mortis // Beetlejuice / 2010 / 4.9K / explicit Sex with a dead guy is hard… get it? AO3 / Tumblr

Shine On You Crazy Diamond // Cowboy Bebop / 2010 / 4K / mature Grown Ass Ed + Spike / post-series, and not as stupid as you think AO3 / Tumblr

Sublimation // Half-Life / 2011 / 8.4K / explicit It is his turn now, he realizes, his half of the conversation. AO3 / Tumblr

Lacuna // Historical Fiction / 2012 / 2.6K / mature A pornographic exploration of Austrian fin de siècle composer and conductor Gustav Mahler, which is probably not the sort of thing a person sees every day. Tumblr

Nebenstimme // Historical Fiction / 2013 / 3.7K / explicit Nebenstimme (Ger) under part; i.e., a secondary contrapuntal part, always occurring simultaneously with, and subsidiary to, the Hauptstimme. Tumblr

10 notes · View notes