#in love with Johnny Flynn voice

[greppelheks]

All that I have is a river The river is always my home Lord, take me away For I just cannot stay Or I'll sink in my skin and my bones

The water sustains me without even trying The water can't drown me, I'm done With my dying

[amymarchlavrence]

we all know i, a lesbian, love young leonardo dicaprio bc he had quite soft and feminine facial features but where is the explanation for my new obsession with aaron tveit

[sugasiren]

~ARIES~ The Queens of Romance 👑❤️👑

Aries Women are always the ultimate Leading Ladies in the most memorable Romantic Films. Have you ever noticed?! Especially in those with a classic or historical edge to them. And deeply whimsical ones that truly make you feel swept up in a Fairytale. ✨️ The examples are endless!

In most of these films, the female Protagonist knows how to challenge the man without losing her Feminine Essence. 🦋 She's authentic & stays true to her beliefs. Youthful yet mature. Lively, smart, adventurous & beautiful - she [Aries] easily captures the heart of her Knight In Shining Armor! 💪 And truly blossoms.

In addition to that, these women are often paired onscreen with Venus-Dominant Men who offer the perfect contrast to her Martian Energy. Venus + Mars together makes for a truly fiery & sensuously juicy romantic affair! ❤️ With much dignity still intact. It's also quite common to see these Aries Actresses matched with Plutonian Partners due to the loyalty factor & the deeply intoxicating intensity between them as Lovers. 🔥 And! the joint Mars-on-Mars Energy creates explosive passion for viewers to sop-up like a biscuit. So it all makes sense.

Pride & Prejudice (2005)

👑 Starring: Keira Knightley (Aries Sun)

👑 Partner: Matthew MacFayden (Libra Sun)

Dangerous Beauty (1998)

✨️ Starring: Catherine McCormack (Aries Sun)

✨️ Partner: Rufus Sewell (Scorpio Sun)

Romeo + Juliet (1996)

👑 Starring: Claire Danes (Aries Sun)

👑 Partner: Leonardo DiCaprio (Scorpio Sun)

Romeo & Juliet (1968)

✨️ Starring: Olivia Hussey (Aries Sun)

✨️ Partner: Leonard Whiting (Cancer Sun)

Bridgerton (Season 1)

👑 Starring: Phoebe Dynevor (Aries Sun)

👑 Partner: Regé-Jean Page (Taurus Sun)

Bridgerton (Season 2)

✨️ Starring: Simone Ashley (Aries Sun)

✨️ Partner: Jonathan Bailey (Taurus Sun)

Little Mermaid (2023)

👑 Starring: Halle Bailey (Aries Sun)

👑 Partner: Jonah Hauer-King (Gemini Sun)

Cinderella (2015)

✨️ Starring: Lily James (Aries Sun)

✨️ Partner: Richard Madden (Gemini Sun)

Maleficent/Sleeping Beauty (2014)

👑 Played by: Elle Fanning (Aries Sun)

👑 Partner: Brenton Thwaites (Leo Sun)

Sleeping Beauty (1959)

✨️ Voiced by: Mary Costa (Aries Sun)

✨️ Partner: Bill Shirley (Cancer Sun)

✨️💛✨️💛✨️

~HONORABLE MENTIONS~

Atonement 2007: Keira Knightley (Aries Sun), James McAvoy (Taurus Sun)

Emma 2020: Anya Taylor-Joy (Aries Sun), Johnny Flynn (Pisces Sun)

Little Women 2019: Saoirse Ronan & Emma Watson (Aries Suns), Timothée Chalamet (Capricorn Sun) & James Norton (Cancer Sun)

Sense & Sensibility 1995: Emma Thompson (Aries Sun), Hugh Grant (Virgo Sun)

Walk The Line 2005: Reese Witherspoon (Aries Sun), Joaquin Phoenix (Scorpio Sun)

Mr & Mrs Loving 1996: Lela Rochon (Aries Sun), Timothy Hutton (Leo Sun)

Beauty & Beast 2017: Emma Watson (Aries Sun), Dan Stevens (Libra Sun)

♈️❤️♈️❤️♈️

I hope you enjoyed the read! If this resonated with you please like, share and follow. ✨️

[bumblekastclips]

Sonic Bravo - Part 2

KYLE CROUSE: Here’s one from DDRMASTERM! “It’s the return of Sonic Bravo! With how poorly his advances went with Amy, he’s moved on to new targets. How does his flirt attempts with Rouge, Blaze, Jewel, Tangle, Whisper, and Lanolin go?” [chuckles] Dude, that’s too many names, you should’ve narrowed it down.

IAN FLYNN: Yeah, for a live show, let’s just pick the top three here, real quick. KYLE: Yeah. [moment of silence because it’s a live show and you can’t edit those out in real time] KYLE: Uh, you go for it. IAN: I didn’t get the whole list, so you— KYLE: Oh, Rouge. IAN: — you pick three names. KYLE: Okay. Uh, Rouge. Alright. IAN: I… pff, Sonic Bravo has zero chance. He is not remotely in her league, and he realizes that real fast. He’d roll up on her, [Johnny Bravo voice] “Hey there, pretty mama! I, uh, hm. I— I got nothin’.” KYLE: [chuckling] IAN: And she’s like, “No, you don’t. But you can leave anytime.” KYLE: Uh-huh, uh-huh, uh-huh. IAN: [as Johnny Bravo] “You’ll remember me! I’ll be back!” [as Rouge] “Oh, I’ll remember you, alright.” KYLE: [laughing] IAN: [continuing as Rouge] “And I’m sure you will be back… on your hands and knees.” [as Johnny Bravo] “Hey, if that’s what you want, pretty mama!” KYLE: [cackles] How about Jewel? IAN: [as Johnny Bravo] “Hey there, little mama, you’re all… sparkly and well put together, HOO-HA! How about you and me tour a museum?” [as Jewel] “That… that’s what I do. That’s my job.” [as Johnny Bravo, briefly awkward] “Ah… well, you know what they say. If you do what you love, you never work a day in your life!” KYLE: [chuckles] IAN: [as Jewel] “That’s surprisingly coherent, coming from you.” [as Johnny Bravo] “Thank you! Thank you very much!” KYLE: [laughs] And… let’s go Lanolin. IAN: [as Johnny Bravo] “He-hey there, pretty—” [interrupting as Lanolin] “No.” KYLE: [cackling] IAN: [as Johnny Bravo] “I didn’t mean to—” [interrupting again as Lanolin] “I know.” [as Johnny Bravo] “I just—” [as Lanolin] “Leave.” [as Johnny Bravo, let down] “...Alright then, be that way.” KYLE: Yup. [laughs] Kinda figured. IAN: And then later, someone’s like, “Who was that?” And Lanolin’s like, “Who?” “That guy you just blew off.” “There was a guy? I’m sorry, I think I just reflexively deflected something.” KYLE: [laughs, then makes the sound of a punch being deflected]

—— TRANSCRIBER’S NOTE: Please remember that nothing that is said on BumbleKast is canon! It’s just some guys and their opinions occasionally spitballing ideas. If you don’t like an answer, you don’t have to take it as Word of God or anything like that. It’s all just for fun!

[qqueenofhades]

For a winter-themed prompt: our favorite time travelers and something involving piles of blankets?

"Lucy," Flynn says, with just enough bite in the growl of his voice to make it plain that this time, he really means it. "Come over here."

"Just a minute." Lucy doesn't look up from the stack of essays scattered across the kitchen table, which are making her lose the will to live the longer she beholds them, but if she doesn't finish them now, she'll have to worry about them and/or work on them over Christmas, and that sounds even worse. "I'll be right there."

"That's what you said ten minutes ago," Flynn points out, with his usual sardonic unconcern. "And twenty minutes before that. I'm sure the world won't end if Johnny Freshman doesn't officially earn his C- in the next three hours." He considers, then shrugs. "Though if we're going by the excerpts you were reading to me earlier, I think that might be generous."

"These grades were due to be submitted yesterday, and the department only gave us an extension because MyWeb crashed." Lucy's voice, by contrast, is increasingly brittle. "I don't have time to just throw that aside, even if I want to. I have to finish this first."

"Ah." Flynn regards her shrewdly. "It's your mother talking in your head again, isn't it?"

Lucy flinches. It is truly unsettling how well this man knows her -- and yes, the shrill taskmaster in her head does sound suspiciously like Professor Carol Preston, reading Lucy's own essays with red pen and making any number of helpful suggestions. But it's true that she has end-of-term responsibilities that cannot just be errantly flung aside, no matter how tempting it is to just snuggle with Flynn on the couch in front of the tree, and she looks back down at the essay. Which is a mistake, and she groans aloud. "Another AI-generated one, are you kidding me? Aren't these kids supposed to be smart?"

Flynn looks at her with a I-seriously-doubt-it expression.

"Right. Forgot who I was talking to." Lucy sighs, writes PLEASE EMAIL ME TO DISCUSS THIS on top of the page in large capital letters, and sets it aside. She's grimly reaching for the next one, hopefully not "written" by ChatGPT, when Flynn pulls out the chair next to her, sits down, and whisks the pen out of her hand. She goggles at him. "What are you -- "

"If these need to be finished," Flynn says, "I'll finish them. Go sit."

"What? You don't -- it would be against the rules for you to grade my papers, when this is my class and I'm the faculty of record -- "

At that, Lucy stops short, shakes her head, and sighs deeply. She and Flynn stare each other down, which as usual, he wins. She rubs her eyes, gets up, and leans to briefly kiss the top of his head. "Please don't fail everyone, all right?"

Flynn makes a sound as if to suggest he makes no promises, then gets to work, ripping through the papers with his usual terminator efficiency: whether altering history or grading history, there is nothing and no one that can stand before his stubbornness, and it is, if she's being honest, definitely one of the sexiest things a man has ever done for her. She pads to the couch, wraps up in the blankets, and lets her exhausted brain veg out, staring at the glowing tree, until Flynn signs off on the last one, gets to his feet, and crosses over to join her, settling on the couch with a creak. He puts his arms around her, and Lucy burrows into his chest, letting him hold her close. "Thanks," she murmurs, as he tucks the blanket around them both and pulls them into a more comfortable position. "I love you."

Flynn grins into her hair. His voice, this time, is very soft. "I know."

[vizual-demon]

some thoughts on netflix ripley

i say this as a tom ripley book fan and an andrew scott fan

but

this show was a boring and frustrating mess lmao

so many bizarre choices

the long stretches of silence with no music or dialogue

the lack of suspense or tension or even drama

i can't remember anyone laughing, crying, raising their voice?

the characters had zero personality

everything is relentlessly cold, miserable and moody

i love you andrew but you're 20 years too old to be playing this character

where was the homoeroticism of the book??? tom and dickie had no real connection or attraction, therefore ripley's obsession was purely about the money and that is frankly really dull

johnny flynn does not possess the charisma (or good looks) of dickie greenleaf

that freddie miles casting (??????????????)

while the cinematography was great and i loved the idea of it being black and white, they needed to compensate for the lack of colour on screen with a better soundtrack and more interesting dialogue

the pacing is terrible

this did not need to be 8 hour-long episodes

overall this just feels like a missed opportunity

maybe we should leave this character alone for a while until someone has something interesting to bring to a screen adaptation

[ridleymocki]

So I finally watched Netflix’s Persuasion and yes, I pretty much hated it, but not for the reason you’d expect. My Austen-loving friend and I set aside a whole night for this. We watched three films as follows:

Appetizer: Persuasion (2007) with Sally Hawkins and Rupert Penry-Jones

Main course: Persuasion (2022) on Netflix with Dakota Johnson and Cosmo Jarvis

Palate cleanser: Emma (2020) with Anya Taylor-Joy and Johnny Flynn

Watching things in this order really threw some things into relief. Now, obviously as an adaptation Persuasion 2022 is inaccurate in ways people have already explained. There are significant disparities between the film and the source text (Anne’s a wine lush now?). There are also egregious anachronisms in costuming, hair, and makeup (through pure oversight the side characters end up being the most historically accurate). But, that aside, in my writerly opinion this isn’t even a competent stand alone film. You know the whole rule of “show don’t tell”? This film is fundamentally incapable of following that rule. Everything its told -- verbally, explicitly, almost condescendingly -- to the audience.

There seems to be a fundamental lack of trust in the audience, and our ability to interpret visual cues like facial expressions and tone of voice. There literally is nothing in this film that is conveyed subtly on good faith that people will understand what’s going on.

This is a faith that Austen herself and previous adaptations had in abundance. A key theme in much of Austen’s work is that because of social mores and the rules of propriety, people couldn’t just say what they meant, but had to obfuscate and convey intention through subtlety like double-speak, tone, facial expressions, etcetera. Think Darcy helping Elisabeth into the carriage in Pride & Prejudice (2005). Emma (2020) also does this particularly well; a good example is when Mr Martin runs after Harriet to advise that the road is flooded and she should take another route - meanwhile their facial expressions are full of an aching longing and pain, and while he’s talking about roads he’s really saying I still care for you even though you rejected me. And the Sally Hawkins Persuasion (2007) spares no amount of film in showing longing, yearning looks between characters, while Hawkins does something I would call ‘lung-acting’ where she conveys emotion merely by how she struggles to take a breath.

Netflix’s Persuasion wouldn’t know subtlety if it hit it over the head. The writers, for example, presume that we need not only the image of Anne crying in the bathtub to understand that she is sad and anguished, but that for proper comprehension we also need Anne telling us directly how awfully terribly sad she is (and this is one of the better parts of narration she has).

The choice to have Anne talk directly to camera, in some misguided attempt to replicate the charm of Fleabag, means that Johnson spends much of her dialogue in pure exposition which is neither interesting nor necessary. Plot points that could be made obvious from making the characters actually, you know, interact are substituted with sweeping faux-prophetic explanations of Anne’s relationship to others from her own mouth.

Moreover, other characters make a particular point to express how wonderful Anne is, verbally and very on-the-nose. I can’t direct-quote because I can’t bring myself to watch it again, but Louisa, Mr Harville, Mr Elliot and others all verbally extol Anne’s virtues in a rather heavy-handed attempt to convince the audience that Anne is really, truly, a very good and clever woman. But the thing is, you don’t need that if your character is behaving in a way consistent with those aforementioned virtues. Because then we can just see it. Show, don’t tell. And fundamentally, Johnson’s Anne Elliot does not behave consistent to how others describe her.

In the 2007 adaptation with Sally Hawkins, we as the audience see her exhibit deeply capable and compassionate behaviour, so that when characters later on sparingly praise these characteristics in her, the audience already agrees with it from the evidence of our own eyes. By contrast, the Netflix adaptation alters some fundamental points at which we see these virtues displayed.

When Little Charles falls from the tree, this is how it plays out in the book: “ Anne had every thing to do at once; the apothecary to send for, the father to have pursued and informed, the mother to support and keep from hysterics, the servants to control, the youngest child to banish, and the poor suffering one to attend and soothe; besides sending, as soon as she recollected it, proper notice to the other house, which brought her an accession rather of frightened, enquiring companions, than of very useful assistants.”

Ron Bass and Alice Winslow (the writers of the script for the Netflix adaptation) have Johnson’s Anne peace-keepingly agree to miss the party and watch over the boy purely to diffuse Mary’s complaining. Then, she gets drunk on a windowseat overlooking the party, presumably while the child himself is asleep downstairs. She opens the window and yells out to Wentworth, ducking down below the window when he hears and looks over. She accidentally knocks over a gravy boat in her inebriated stumbling and the gravy drips onto her head where she sits hiding on the floor.

This disparity between book and film is not just a quibble about wanting the source material accurately honoured. It is a problem because through making this change to the plot the narrative loses the characterisation of Anne that it fundamentally needed in order to be coherent. The audience requires scenes of her deftly handling the crisis with little Charles’ fall in order to validate Anne’s characterisation as capable, good in a crisis, level-headed, and strong. We need to see that this is the case, not merely be told it is so.

For another example, the case of Anne and Mrs Smith is treated thusly in the book (skip to tl;dr if you cbf): “ Anne had gone unhappy to school... and Miss Hamilton... had been useful and good to her in a way which had  considerably lessened her misery, and could never be remembered with indifference... ”

And also: “She was a widow and poor.  Her husband had been extravagant; and at his death, about two years before, had left his affairs dreadfully involved.  She had had difficulties of every sort to contend with, and in addition to these distresses had been afflicted with a severe rheumatic fever, which, finally settling in her legs, had made her for the present a cripple.  She had come to Bath on that account, and was now in lodgings near the hot baths, living in a very humble way, unable even to afford herself the comfort of a servant, and of course almost excluded from society. Their mutual friend answered for the satisfaction which a visit from Miss Elliot would give Mrs. Smith, and Anne therefore lost no time in going.  She mentioned nothing of what she had heard, or what she intended, at home.  It would excite no proper interest there.”

and: “ Anne found in Mrs. Smith the good sense and agreeable manners which she had almost ventured to depend on, and a disposition to converse and be cheerful beyond her expectation.  Neither the dissipations of the past--and she had lived very much in the world--nor the restrictions of the present, neither sickness nor sorrow seemed to have closed her heart or ruined her spirits.”

Tl;dr: Mrs Smith is Anne’s old school friend who is widowed and poorly. Despite being of significantly higher social status than Mrs Smith, Anne goes to visit her in Bath on the pretense it will raise Mrs Smith’s spirits and doesn’t tell her family about it. Anne rekindles an affectionate friendship with her, even admiring her for her optimism.

But... Mrs Smith is erased from the Netflix version.

Again, this is not a quibble about accuracy, it’s about whether the text can actually function coherently.

In losing Mrs Smith, we lose everything that this friendship contributes to the text. We lose the understanding that Anne values the qualities of other people’s characters over their social status or wealth (particularly when we contrast her like for Mrs Smith with her dislike for Lady Dalrymple). We lose that insight that she has this mentality contrary to the values of the rest of her family who are insufferably social-climby -- i.e.: unlike them, Anne’s not a snob. To wit, we lose the evidence that Anne’s rejection of Wentworth eight years ago was definitely not for classist reasons, as here she is having a social connection to a poor and disabled widow without a care for their class difference. We also lose the second example (along with Wentworth) of how Anne’s affection for someone can be long-running and endure many years without contact, and thereby, how in this respect her character is constant and loyal despite the logical conclusion from her mistake eight years ago and Wentworth’s suppositions.

We as the audience not only need these things, the other characters need it, too, in order to judge Anne’s character as highly and praisingly as they do. The showing of these qualities in her through her actions legitimises all the conclusions other characters make about her, and helps those characters and the audience both to comprehend how and why the plot plays out as it does, with Anne and Wentworth’s eventual reconciliation.

The absence of this observational evidence from the Netflix adaptation means that the other character’s insistence on Anne’s virtuousness is compensatory. It aims to do what the movie visually and narratively has not provided. I can only presume that the writers realised they were writing-out these character-building moments in favour of snappiness and comedic scenes, and sought to reinstate Anne’s integral characteristics through dialogue.

But, it doesn’t work.

We end up with characters doing one thing and saying another. And I as an audience member felt particularly patronised for having all the authorial intentions spelled out to me.

And so, even if I put some mental blinkers on and pretend the source material doesn’t exist. Even if I pretend the anachronisms in the worldbuilding, dialogue, costuming and plot are deliberate and considered a-la Bridgerton. Even if I try to the see the merits of the film for themselves (I thought Cosmo Jarvis was quite good and wish he was in a better version, and Mia McKenna-Bruce was kind of delightful as Mary in a way Mary never is). Even with all that, the Netflix version is not a functional text. And it’s not bad because of any of those other reasons, it’s bad because of that. It’s badly written. It condescends its audience. And the facts of the events don’t match the testimony of the characters. It just, makes no sense.

[cliozaur]

Last month, "The Motive and the Cue" moved to the West End (originally staged at the National Theatre), symbolically finding a home at the Noël Coward Theatre, where John Gielgud played Hamlet back in 1934.

After less than two weeks of our read-along of "Emails from an Actor," I was so excited to see this play that I could hardly breathe when I saw "Day 1, The Play’s the Thing" projected on the black curtain! Honestly, this has been the best play I’ve seen in the last four or five months (and I go to the West End almost every week). The entire production revolves around the captivating power struggle between the legendary John Gielgud and the flamboyant Richard Burton, with Elizabeth Taylor acting as a calming force. Act one, aptly titled "The Motive," explodes with conflict, culminating in a public humiliation of Gielgud by Burton, and the second act, “The Cue,” focuses on the peace process and completes with reconciliation and a successful premiere. It’s rare to find an end of the play stronger and more cathartic than an end of the first act, but this play achieves it beautifully.

Johnny Flynn breathes life into Burton, portraying him as charismatic, expressive, and loud, yet hinting at hidden demons. However, I felt that he was trying too hard to mimic Burton's voice and mannerisms. Flynn's natural voice doesn't have the same level of hoarseness, so much of his performance feels more like an impersonation.

Tuppence Middleton steals the show as Taylor. Her captivating presence shines in every scene, offering a nuanced portrayal that deconstructs the stereotypical image of the airheaded Hollywood beauty. The connection she forms with Luke Norris' William Redfield, based on their shared childhood experiences as actors, is a delightful highlight. Redfield is arguably the most prominent supporting character, and his presence is impactful. But, unfortunately, there was no Sterne.

The real star and the absolute best part of it all was Mark Gatiss as John Gielgud. He is so natural in this role: knowledgeable, gentle, charismatic, witty, and extremely vulnerable. (By the end, you yearn to offer him a comforting hug.) This is exactly how I imagined Gielgud from what I’ve read so far in Redfield’s and Sterne’s texts. During the first rehearsals, Mark Gatiss even did something mentioned by Sterne: “he was also acting all the parts with the actors, mouthing the lines, reflecting the emotions in his facial expressions, and kinesthetically making all the gestures.” It was so lovely! And he did many things described by Redfield as part of Gielgud's ‘directing style.’ It was amusing to recognize quotes from both Redfield and Sterne throughout the whole play, even if repurposed for different situations.

The staging was both beautiful and smart. They used three locations: the big white rehearsal room, the smaller red hotel room (of Burton and Taylor), and the smallest blue room (of Gielgud). This last room was the most intimate space, where Redfield came for acting advice (and Gielgud told him that his advice cannot make him a better actor) and where Gielgud himself brought a sex worker boy ('I just wanted to do something reckless') – this is the most touching scene! I also liked the production’s attention to details: for example, when Taylor and Burton host a party in their room, we see vases with flowers – roses and tulips, and when we return to their room a few days later, we see these same flowers withered!

I really enjoyed the play. It was a captivating blend of wit, intelligence, and genuine tenderness. And it was nice to see our guys 'alive.' Gatiss/Gielgud is my big love! The whole experience made me very emotional.

The three rooms:

Our boy William (Luke Norris):

Mark Gatiss/John Gielgud:

[creepercraftguy]

OMORI - Voice Actor Headcanons.

While I haven’t exactly finished this game yet, I am close enough to the end and have met basically all the characters, so I think it’s time I got around to doing my good ol’ series of VA headcanons for a game that either doesn’t have one, or doesn’t have an English Dub.

This time we’re doing Omori, a game I started playing at the beginning of this year and have fallen in love with very very quickly. I’ve been through a very painful time of my life recently and this game helped me work through it letting me know that it doesn’t matter how I grieve, just that any way I can is correct. 

And the way the characters work together in the game is also incredible, and I was eagerly awaiting to get to the point that I’m at so I could do a VA headcanons section for this. So before we get started, let me once again go two things.

This is NOT CANON. These are HEADCANONS and are unofficial. It’s just a hypothetical situation. If the characters were voiced, this is who I imagine would voice them.

Every major character in the games is included here, so there are HEAVY SPOILERS for the game’s main storylines. DO NOT READ THIS POST IF YOU HAVE NOT PLAYED THE GAME OR DON’T WANT TO BE SPOILED.

Without further ado, let’s get into this.

Omori/Sunny - MILES LUNA

Also Voiced:

Jeane Arc (RWBY)

Migas Garza (gen:LOCK)

David (Camp Camp)

Cliffjumper (Transformers: War for Cybertron)

Kel - JOHNNY YOUNG BOSCH

Also Voiced:

Yu Narukami (Persona 4)

Vash the Stampede (Trigun)

Hajime Hinata (Danganronpa 2)

Ichigo Kurosaki (Bleach)

Izaya Orihara (Durarara)

Aubrey - MAE WHITMAN

Also Voiced:

Katara (Avatar: The Last Airbender)

Amity Blight (The Owl House)

Tinker Bell (Tinker Bell series)

Yuffie Kisaragi (Kingdom Hearts)

Batgirl (DC Super Hero Girls)

Hero - KYLE HEBERT

Also Voiced:

Son Gohan (Dragon Ball)

Fatgum (My Hero Academia)

Kaito Momota (Danganronpa V3)

Miles Edgeworth (Ace Attorney)

Kamina (Gurren Lagann)

Basil - JUSTIN BRINER

Also Voiced:

Izuku Midoriya/Deku (My Hero Academia)

Ryota Mitarai (Danganronpa 3: The End of Hope’s Peak Academy)

Clanne (Fire Emblem Engage)

Alfonso San Valiante (Garo)

Mikaela Hyakuya (Seraph of the End)

Mari - AMANDA WINN LEE

Also Voiced:

Yukiko Amagi (Persona 4)

Rei Ayanami (Neon Genesis Evangelion)

Magnolia Arch (Bravely Second: End Layer)

Yoshino Haruzawa (Shin Megami Tensei: Devil Survivor Overclocked)

Heather Mason (Silent Hill HD Collection)

Kim/Berly - ERIKA LINDBECK

Also Voiced: 

Futaba Sakura (Persona 5)

Celica (Fire Emblem)

Milady (Soul Hackers 2)

Cheelai (Dragon Ball)

Jessie (Final Fantasy 7 Remake)

Vance/Van - CRAWFORD WILSON

Also Voiced:

Beat (The World Ends With You)

Jet (Avatar: The Last Airbender)

Sagi (Baten Kaitos Original)

Robin/Dick Grayson (Batman: The Brave and the Bold)

Angel - GRIFFIN BURNS

Also Voiced:

Tartaglia/Childe (Genshin Impact)

Cyril (Fire Emblem: Three Houses)

Kaito Kid (Detective Conan)

Doppio (Jojo’s Bizarre Adventure: Golden Wind)

Muichiro Tokito (Demon Slayer)

Mikal/Mikhael/The Maverick - ARIN HANSON

Also Voiced:

Snaggleback (The Owl House)

X (Omega Strikers)

Scott (Monster Prom)

Gateux (Mighty Magiswords)

Mancubus Bloodtooth (Borderlands 3)

Charlene - ASHELY BISKI

Also Voiced:

Layla (Genshin Impact)

Minato Shishiuchi (PuraOre! Pride of Orange)

Amy (Project “Gemini”)

Juliet (The Nutty Boy)

Captain Spaceboy - YURI LOWENTHAL

Also Voiced: 

Sasuke Uchiha (Naruto)

Yosuke Hanamura (Persona 4)

Suzaku Kururugi (Code Geass)

Marth (Fire Emblem)

Peter Parker/Spider-Man (multiple)

Pluto - PATRICK SEITZ (who else?)

Also Voiced:

Dio Brando (Jojo’s Bizarre Adventure)

Scorpion (Mortal Kombat)

Franky (One Piece)

Endeavour (My Hero Academia)

Ragna the Bloodegdge (Blazblue series)

Sweetheart - ASHLEY TISDALE

Also Voiced:

Candace Flynn (Phineas and Ferb)

Stealth Elf (Skylanders)

Sabrina Spellman (Sabrina: The Teenage Witch)

Camille Leon (Kim Possible)

Mr Jawsum - SUNGWON CHO

Also Voiced:

Kage (Ousama Ranking)

Tesso (Lost Judgement)

Vaseraga (Granblue Fantasy Versus)

Mustard (Pokemon: Twilight Wings)

Holst Sigeswald Goneril (Fire Emblem: Three Hopes)

Hungry Humphrey - IAN SINCLAIR

Also Voiced:

Brook (One Piece)

Whis (Dragon Ball)

Dandy (Space Dandy)

Yomotsu Hirasaka (Future Diary)

Mezo Shoji/Tentacole (My Hero Academia)

Molly - NATALIE HOOVER

Also Voiced:

Sonia Nevermind (Danganronpa 2)

Tomoyo Daidouji (Cardcaptor Sakura)

Yamada (New Game!)

Elizabetta X (Welcome to Demon School Iruma-kun)

Eru Aharen (Aharen is Indecipherable)

Marina - DINA SHERMAN

Also Voiced: 

Yachiru Kusajishi (Bleach)

Diona (Genshin Impact)

Ara (Elsword)

Ayame Oguni (Rurouni Kenshin)

Carbine (Biker Mice from Mars)

Medusa - XANTHE HUYNH

Also Voiced:

Haru Okumura (Persona 5)

Marianne Von Edmund (Fire Emblem: Three Houses)

Ui Hirasawa (K-On)

Hanayo Koizumi (Love Live)

Kanon Tachibana (NEO: The World Ends With You)

Doughie- JESSICA DICOCO

Also Voiced:

Flame Princess (Adventure Time)

Lynn Loud/Lucy Loud (The Loud House)

Giffany (Gravity Falls)

Turner (Craig of the Creek)

Yukika Saegusa (Fate/Stay Night)

Biscuit - RICO FAJARDO

Also Voiced: 

Mirio Togata/Lemillion (My Hero Academia)

Daryun (The Heroic Legend of Arslan)

Kyosuke Munakata (Danganronpa 3: The End of Hope’s Peak Academy)

Leon Luis (Garo)

Fu (Dragon Ball)

[cedarboots]

Butch4Butch Persuasion Playlist

What the title says! Lots of land/sea metaphors; some songs by real life butch lesbians; a lot of Johnny Flynn.

Song list below the cut: They are arranged in roughly chronological order and most are designated Anne Songs, Fred Songs, or Both.

1. The Night My Piano Upped and Died - Johnny Flynn  Anne Song: Lost in dreams and crumpled pride/The night my piano upped and died

2. Fare Thee Well Northumberland - The Cottars Anne Song: Although I’ll go where the Lady takes me/She’ll never tell what’s in her hand/I do not know what fate awaits me/Fare thee well, Northumberland

3. Barnacled Warship - Johnny Flynn Fred Song: Think I’ll fight a war, I don’t know what for/But I’ll learn when I’ve got my gun

4. Not the Ghost - The Crane Wives Anne Song: See what a life you lead:/You’re an anchor for all the heaviest/Regrets inside you

5. Siuil, a Run - Clannad Anne Song: I wish, I wish, I wish in vain/I wish I had my heart again

6. After Eliot - Johnny Flynn Fred Song: And lost I was for all the time/We never shared thereafter

7. The Bonny Ship the Diamond - John Spiers etc. Fred Song: We wear the trousers of the white/The jackets of the blue/When we return to Peterhead we’ll have sweethearts anew

8. I Get Along Without You Very Well - Nina Simone Fred Song: I’ve forgotten you/Just like I said I would/Of course I have/Or maybe except when I hear your name/Someone’s laugh that’s just the same

9. Devotion - Tracy Chapman Anne Song: What if you find a fault/Between my purpose and my deeds/Deem me beyond salvation/Judge me to be unworthy/Of your devotion

10. Young Munro - The CottarsBoth Song: If you see that handsome fellow/With a red coat trimmed in blue/Tell him if he loves another/My poor heart shall break in two

10. Sailor’s Jacket - Jerry Bryant and Starboard Mess *Navy-inflected Regency dancing noises*

11. Bonny Portmore - Laura Marling and Jonathan Wilson Anne Song: And the more I think on you, the more I think long/If I had you now as I had once before/All the boys in Old England could not purchase Portmore

12. My Old Addiction - k.d. lang Primarily Anne Song: My old addiction/Is a flood upon the land/This tiny lifeboat can keep me dry/But my weight is all that it can stand

13. Detectorists - Johnny Flynn Both Song: Will you swim through the briny sea for me?/Roll along the ocean’s floor/I’ll be your treasure

14. Cold Bread - Johnny Flynn Both Song: Did you learn just how I loved you?/Did you see how far I’ve been?/Would you meet me in an hour/?I could tell you what I’ve seen

15. Matters of the Heart - Tracy Chapman Fred Song: I lose my head/From time to time/I make a fool of myself/In matters of the heart

16. Home and Dry - Johnny Flynn Fred Song: And though the sea calls/Your voice is my compass/I’m pulled out by the swell

17. Suddenly I See - KT Tunstall Primarily Fred Song: She makes me feel like I could be a tower/The power to be/The power to give/The power to see (this is also a Looking at Older Lesbians Song)

18. Haul Away - Grace Petrie Primarily Anne Song: I’m bound to follow oceans, I know no other way/Haul away, haul away/And make me who I am today

19. When the Ship Comes In - The Chieftains and The Decemberists Anti-Elliot Family Song: Oh, the foes will rise with the sleep still in their eyes/And they’ll jerk from their beds and think they’re dreaming/But they’ll pinch themselves and squeal/And they’ll know that it’s for real/The hour that the ship comes in

20. Agnes - Johnny Flynn Both Song: I've waited for you since though/I've only known you're near

21. The Land & the Sea - Hannah & Maggie Both Song: I am the land, you are the sea/And I’d walk a thousand miles to the coast so we can meet

22. Collapsed in Sunbeams - Arlo Parks Both Song: We’re all learning to trust our bodies/Making peace with our own distortions/You shouldn’t be afraid to cry in front of me

23. Lullaby - The Chicks Both Song: How long do you want to be loved?/Is forever enough, is forever enough?

[queenaeducan]

Character Songs tag game!

Tagged by @anneapocalypse! Tysm!!

I’ll be doing my girl Thora b/c she is admittedly my only OC with a spotify playlist of any length. Also doing lyric snippets b/c Anne Was Right to do that.

Sleeping Giants by The Crane Wives

I feel the mountains, I feel the mountains Shifting under me The sleeping giants are finally waking Waking finally My pulse is clear, rushing in my ears I hear something calling me

Sun by Sleeping At Last

We are the dust of dust We are the apple of God's eye We are infinite as the universe we hold inside

The Call by Regina Skeptor

Pick a star on the dark horizon And follow the light You'll come back When it's over No need to say goodbye

Go the Distance by Roger Bart

I have often dreamed of a far off place Where a hero's welcome would be waiting for me Where the crowds would cheer, when they see my face And a voice keeps saying this is where I'm meant to be

Queen Bee by Johnny Flynn

I'll speak love's truth with oak and ash for you Sing through April's tears I will weave the body flowers of spring for you I will walk for years

Tagging @theshirallen, @weptfreedom, @dreadfutures, @rosella-writes, @rakshadow, @oxygenforthewicked, and anyone else who wants to play! I’m sure most of you have been tagged already so if so just drop a link.

[thewomanwhowatchedchristmas]

Scrooge: A Christmas Carol (2022)

I actually watched this last year, but for some reason didn't review it. Anyway, I needed a re-watch to remember all the gory details.

This Netflix animation is a good one, friends. They've really hit their sweet spot with Christmas animation. It's the classic Christmas ghost story we know and love with Ebeneezer Scrooge (Luke Evans) introduced at the top as a miser with a soft spot for his dog, Prudence. Honestly, the addition of Prudence made this redemption arc a lot more believable for me. Anyway, so, Mr. Scrooge bumps into his nephew Harry Huffman (Fra Fee), who invites him to Christmas dinner as Mr. Scrooge is shaking down Tom Jenkins (Giles Terera) for 25 pounds on Christmas Eve. Of course, Tom Jenkins doesn't have it and Scrooge doesn't have patience for Tom or Harry (maybe he would for Dick, but who's to say), so Scrooge doubles his debt and heads back to his office with Bob Cratchit (Johnny Flynn).

As usual, the first ghost who visits Scrooge is his late business partner, Jacob Marley (Jonathan Pryce). He tells Scrooge about how his greed in life lead to him being chained in death and how Scrooge needs to change his ways to save himself.

Then, the ghost of Christmas Past (Olivia Colman) shows up and takes him through past Christmases with his sister Jen (Jemima Lucy Newman), his old love Isabel Fezziwig (Jessie Buckley), and his old boss Mr. Fezziwig (James Cosmo). Scrooge relives some of the best and worst moments of his life.

The second ghost, of course, is the ghost of Christmas Present (Trevor Dion Nicholas). Present shows him Harry's Christmas party that Scrooge blew off yet again where Harry's wife Hela Huffman (Sheena Bhattessa) goes on about how much Scrooge sucks. A similar scene unfolds at the Cratchit residence during toasts.

Finally, the silent ghost of Christmas Yet to Come takes Scrooge to the future where we find Tom Jenkins and all the other people who owe Scrooge money are celebrating his death with song and dance. Inappropriate, but I would do the same if one person dying meant my student loans stopped existing. Scrooge also discovers the unfortunate death of Tiny Tim Cratchit (Olliver Jenkins and Rupert Turnbull).

We know that when Ebeneezer Scrooge wakes up on Christmas day, he's a changed man and he saves Tiny Tim and makes up with his nephew Harry. It's a classic story told several times in several different ways. So what's special about this one? Well, the original songs are a nice touch. It's a little spooky, which it should be! It's a ghost story! The voice actors in this are phenomenal, and the animation is also really beautiful. Overall, 4.5 stars.

[princesssarisa]

A Christmas Carol Holiday Season: "Scrooge: A Christmas Carol" (2022 CGI animated feature)

The 2022 holiday season gave us something I never expected: a CGI animated remake of the 1970 musical Scrooge. In his last project before his death in 2021, renowned composer-lyricist Leslie Bricusse co-produced this Netflix original movie with director Stephen Donnelley, and co-wrote its script with Donnelly based on his original 1970 screenplay. This new Carol has gained quite a fan following on Tumblr, because its version of Scrooge (voice of Luke Evans) is a surprisingly handsome "silver fox." Naturally, I was eager to see it.

This film features five of Bricusse's original eleven songs from the 1970 musical: "Happiness," "I Like Life," "The Beautiful Day," "Thank You Very Much," and "I'll Begin Again." But it also has one new song by Bricusse, "I Love Christmas," and three new songs by Jeremy Holland-Smith and Stephen Donnelley, "Tell Me," "Christmas Wishes," and "Later Never Comes." The screenplay also carries over many details from 1970: Fred is again renamed Harry (voice of Fra Fee), Belle is renamed Isabel (Jessie Buckley), Bob Cratchit (Johnny Flynn) is again a lively, playful young man, and in Christmas Yet to Come, Scrooge's death is celebrated with a musical parade led by his elated ex-debtors. But the old songs are re-orchestrated, and the new songs written, in a contemporary style, and the script is revised freely.

The mischievous Ghost of Christmas Past (Olivia Colman) is a lady sculpted of wax with a candle-flame on her head, who shape-shifts into other characters at will. The other ghosts are more traditional, but Present (Trevor Dion Nicholas) is a black man, and Marley's Ghost (Jonathan Pryce) seems to be sculpted of ice, but with burning gold coins for eyes. Meanwhile, in the earthly realm, Scrooge has a bulldog named Prudence, recalling Debit from the 1997 version. His childhood is also rewritten to mirror that of Dickens (as in the Alan Menken musical), showing him laboring in a boot-blacking factory, his father in debtor's prison. There's also added emphasis on Scrooge's sister Jen (as Fan is renamed), of whom Tiny Tim is portrayed as reminding him. 1970's notorious "Scrooge in hell" scene is also cut. And in a politically correct touch, diversity is everywhere, with many minor characters portrayed as black or East Indian.

So what are my feelings about this version? Mixed. The animation is pretty, with spectacular imagery of ghostly magic, but its sparkly flamboyance isn't very Dickensian. I have mixed feelings about Scrooge himself too. Luke Evans gives a fine performance in both acting and singing, but not only is his Scrooge handsomer than most others, he's less bitingly cruel and more likable from the start, especially in his constant sarcastic wit. This makes the Ghosts' messages seem disproportionate. Still, as a whole, this is a charming Carol, with an excellent voice cast and enjoyable songs and visuals. It will probably always have a devoted cult following.

This new Scrooge can't replace the 1970 Scrooge, or any other of the great Carol adaptations, but all the same, I'm glad it exists.

@ariel-seagull-wings, @faintingheroine, @thealmightyemprex, @reds-revenge, @thatscarletflycatcher

[bumblekastclips]

Sonic Bravo - Part One

KYLE CROUSE: Here’s a question from Armored Turtle. “Sonic CD, but the only change is that Sonic is the one who gets a crush on Amy rather than vice-versa. How does the rest of the Sonic series play out?”

IAN FLYNN: [chuckling] You finish the uh, Stardust Speedway race and free Amy, and she’s just kinda like, curtsy, “Thank you!” and wanders off, and Sonic’s like, “Aw...” KYLE: [as Sonic] “Oh, whoa, whoa, hey…” IAN: Uh… not a ton to work of— uh, off of in a lot of the Classic stuff in general. Not official, anyway, ‘cause she’s mostly cameo and there’s not a ton of story with her in it… we get to Modern, and I guess by Sonic Adventure, she’s running away from ZERO with Birdie, and Sonic’s like, [suavely] “Hey, you uh, come to this town often?” And she’s like “Running away from a giant robot! Help! Later, bye!” KYLE: [chuckles] IAN: [as Sonic] “Ah nuh nuh nuh— I can help! See, I fight robots! Amy, look at me, I’m fightin’ the robot!” We get to Twinkle Park. [as Sonic, suavely] “Hey, says here, uh, cute couples get in free. What do you think? …Amy? [then, frustrated] Augh, it’s a freakin’ robot! Come on, man!” KYLE: [laughs] Yup, yup… pretty much. IAN: Amy breaks into prison island to bust him outta jail for old times’ sake. [as Sonic] “Ah, so you came all this way to marry me, huh?” [as Amy] “That’s it, leaving the door locked.” [as Sonic] “No, wait, wait, wait, I was kidding! Open the door! Come on!” KYLE: [laughing, then reading chat] So basically Sonic becomes Johnny Bravo? That’s what I’m— IAN: [uproarious laughter] KYLE: [unintelligible] That’s what’s comin’ around here, that’s what the chat says. [laughing] IAN: [really insanely good Johnny Bravo voice] “Do the Monkey with me!” KYLE: [laughs] Oh no! Oh no… IAN: [like, REALLY good Johnny Bravo voice] “Gonna hit me with a hunk ‘a, hunk ‘a piko-piko hammer.” KYLE: [laughing] No… IAN: [as Johnny Bravo] “Come on, Amy, gimme some sugar! Gotta speed, keed!” KYLE: Ohhh, no… IAN: [chuckling, then as Johnny Bravo] “Whatcha see is whatcha get! I’m just a hedgehog who loves adventure!” KYLE: [wheezing laugh] Well… IAN: Okay, add to to-do list, ‘Re-dub entire Sonic series as Sonic Bravo.’ Got it. KYLE: Got it, alright. [laughing] You do that really— IAN: [as Johnny Bravo] “It’s not speed, he’s using a Chaos Emerald to warp!” KYLE: God, why do you do that so well? IAN: [chuckling] KYLE: Why? IAN: [as Johnny Bravo] “No snacks or in-flight movies, I’m outta here! Hyah!” KYLE: [laughing] IAN: Okay, next question, or I’m gonna be doing this all night. KYLE: Yeah, yes, yes, yes. No, no, no, we— we need to move on.

—— TRANSCRIBER’S NOTE: Please remember that nothing that is said on BumbleKast is canon! It’s just some guys and their opinions occasionally spitballing ideas. If you don’t like an answer, you don’t have to take it as Word of God or anything like that. It’s all just for fun!

[denimbex1986]

'There are some familiar faces in the cast of the 2024 Netflix limited series Ripley. Created by Oscar-winning screenwriter Steven Zaillian, Ripley is a psychological thriller miniseries based on Patricia Highsmith's 1955 crime novel The Talented Mr. Ripley and subsequent book series. Though set in the 1960s, Ripley will still follow the same story of the career criminal, Tom Ripley (Andrew Scott), who is hired by a wealthy man to retrieve his spoiled and freewheeling son, Dickie Greenleaf (Johnny Flynn), from Italy, a task that quickly turns dark as Tom becomes more and more obsessed with Dickie.

Originally set to air on Showtime, Ripley will instead premiere on Netflix on April 4, 2024. Zaillian, who wrote the Oscar-winning screenplay for Schindler's List, also wrote and directed all eight episodes of Ripley, which appear to have been shot entirely in black-and-white. Ripley marks the first full-length TV series based on Highsmith's books, but there are a number of The Talented Mr. Ripley film adaptations, including the 1999 film starring Matt Damon, Jude Law, Gwyneth Paltrow, and Philip Seymour Hoffman. It will be tough to beat that lineup, but the cast of 2024's Ripley definitely looks promising...

Andrew Scott As Tom Ripley

Andrew Scott Is 47 Years Old

Actor: Andrew Scott was born on October 21, 1976, in Dublin, Ireland. A prolific theater actor to this day, Scott first broke big onscreen as Moriarty in the BBC's Sherlock series (2010-2017).Scott's performance in Sherlock as the titular detective's nemesis earned him a BAFTA TV Award for Best Supporting Actor. He gained further prominence as The Priest (often called "The Hot Priest") in season 2 of Fleabag in 2019. Most recently, Scott played the lead role of Adam in the 2023 romantic drama All Of Us Strangers, for which he received a Golden Globe nomination for Best Actor...

Character: In Ripley, Scott plays the titular murderous con artist, Tom Ripley. Scott is the latest in a string of talented actors to take on the role of the mysterious grifter. Most notably, Matt Damon played Tom in The Talented Mr. Ripley (1999).

Johnny Flynn As Dickie Greenleaf

Johnny Flynn Is 41 Years Old

Actor: Johnny Flynn was born on March 14, 1983, in Johannesburg, South Africa. During his tenure as Dylan Witter in the Netflix sitcom Lovesick (2014-2018), Flynn gained prominence for playing a young Albert Einstein in season 1 of the biographical anthology series Genius in 2017. He went on to play Mr. Knightley in the 2020 film adaptation of Jane Austen's novel Emma and David Bowie in the 2020 biopic Stardust about the music legend. Flynn also starred in The Outfit (2022) and One Life (2023). He is also the frontman of his eponymous band, Johnny Flynn & The Sussex Wit...

Character: In Ripley, Flynn plays Dickie Greenleaf, the handsome and affluent object of Tom Ripley's twisted affection. Flynn will be following in the footsteps of Jude Law, who portrayed Dickie in 1999's The Talented Mr. Ripley.

Dakota Fanning As Marge Sherwood

Dakota Fanning Is 30 Years Old

Actor: Dakota Fanning was born on February 23, 1994, in Conyers, Georgia. Fanning's breakout role was playing Sean Penn's daughter Lucy in the 2001 film I Am Sam, just one year after her acting debut. Fanning went on to become a prominent child star in 2000s, starring in films like Uptown Girls, The Cat in the Hat, and War of the Worlds. From 2009-2012, Fanning played Voluri member Jane in The Twilight Saga. She also voiced the titular role in Coraline and played Cherie Currie in the music biopic The Runaways. In 2023, Fanning reunited with Man on Fire co-star Denzel Washington in Equalizer 3...

Character: In Ripley, Fanning plays Dickie's friend and on-and-off love interest, Marge Sherwood. As shown in Netflix's Ripley trailer, Marge becomes Tom's rival as she grows more and more suspicious of his intentions. In the 1999 film adaptation of Highsmith's novel, the role of Marge was played by Gwyneth Paltrow.

Ripley Supporting Cast & Characters

Eliot Sumner as Freddie Miles: Best known as a musician, Eliot Sumner plays Dickie's school friend Freddie Miles in Ripley. Sumner has also appeared in films like The Gentleman (2020), No Time to Die (2020), and Infinite Storm (2022). Sumner is following in the footsteps of the late Philip Seymour Hoffman, who played Freddie in The Talented Mr. Ripley (1999).

Maurizio Lombardi as Inspector Pietro Ravini: Italian actor Maurizio Lombardi plays Inspector Pietro Ravini in Ripley. Lombardi has starred in a number of Italian films, including Tutta Un'altra Vita (2019) and Amusia (2022). Lombardi is also known for his work in 2019's Pinocchio and the HBO miniseries The New Pope (2019-2020), which also stars The Talented Mr. Ripley star Jude Law and Lombardi's Ripley co-star John Malkovich.

Margherita Buy: Though her role has not yet been identified, Italian actress Margherita Buy is set to appear in Ripley. Buy has primarily starred in Italian films, including La stazione (1990), Le fate ignoranti (2001), Giorni e nuvole (2007), Mia madre (2015), Il sol dell'avvenire (2023), and Volare (2023). She also starred in Romeo è Giuletta, a 2024 Italian film adaptation of Romeo and Juliet, with Ripley co-star Maurizio Lombardi.

John Malkovich: John Malkovich briefly appears in the Ripley trailer in an unidisclosed role, in which he can be heard telling Tom, "I like the name." Malkovich's presence in Ripley is notable as he played Tom Ripley in the 2002 film adaptation of Ripley's Game, the third book in Highsmith's Ripley series. Malkovich is also known for starring in Places in the Heart (1984), Dangerous Liaisons (1988), In the Line of Fire (1993), and Burn After Reading (2008), and for playing a satirical version of himself in 1999's Being John Malkovich.'

[jacnaylor]

listening to entire musical backlists update

so, we were doing fleetwood mac. i got up to the tango in the night album. i am going to carry on but i'm actually having a break bc tbf i am quite familiar with a lot of their songs.

i decided to listen to johnny flynn's entire backlist after hearing his songs again on the tv and i've been obsessed. OBSESSED. mostly with his current album. (the sun also rises is probably one of the best songs ever)

now i'm 3 songs into the latest sam fender album and i might be. also becoming obsessed. basically i loved his cover of winter song and im just in love with his voice.