#now if you don’t mind I have a lot of Casey jr posts to read

[thejadecount]

I personally headcanon that before he started to use magic and wore himself out Mikey would dance ballet to relieve himself of the stress. Casey Jr saw him do it one day and asked him to teach him, and so he knows how to ballet. I’m going to manifest this into canon by sheer willpower.

[anundefinedwoman]

Lyrically Speaking

I love music. I think the older I’ve become the more transparent this has become for me. It’s always been a part of my life, but I remember during my childhood, college through part of my 30s, TV was where I would mostly lose myself . It was an escape. Of course there are iconic televisions series for me during my childhood, in college, or back in time that stand out. Certainly shows like The Walton’s, Eight is Enough, Little House on the Prairie, The Dukes of Hazzard, The Love Boat, Fantasy Island, The Facts of Life, Family Ties, Growing Pains, Highway to Heaven, Dallas, Dynasty, 90210, A Different World, Friends and Melrose Place all stand out. Funny enough, even though I watched plenty of shows after college/ my very early 20s (Melrose, 90210, Friends), none really stand out for me like this. Maybe Everybody Loves Raymond, only for the fact that the dynamic in the marriage between Ray and Debra, is reminiscent of the dynamic in my own marriage.

I digress. The point is, sure these shows can evoke a memory or a general feeling for me. But they are all happy, fun memories. Even if my childhood and youth was filled with abuse and neglect. This was my escape. I don’t really remember much of the abuse or neglect. I feel its effects, but remember? No. Why would I subject myself to watching something weekly or daily if I didn’t get some sort of pleasure from it? The best memories are the ones where a group of us would gather collectively so we could watch with the anticipation as a room full of banshees shrieked and swooned over how hot Jake or Dylan was. Or screamed at the TV for Ross just to tell Rachel how he felt about her already because we were all in love with him!!! Or wondering who the fuck shot JR, and why Krystal and Alexis had such huge shoulder pads and fought like trashy twits? (Yes, Dallas & Dynasty came way before, I know.)

But music is different isn’t it? It doesn’t always evoke happy memories. Maybe for someone who had an ideally happy past it would, but for me it does not. I think it’s apparent by now from the television shows listed, I’m not a millennial. As a Gen X’er born right in the middle our of generation (1972), I think it’s safe to say I’ve reached middle age. As much as it pains me to say, I’m not the person who remembers everything anymore. Although I didn’t have all my past memories with me from the beginning due to trauma in childhood, the ones I do (did) have, I was the type that would not forget. Mommy brain turned into Man brain. Sorry guys, but we’ve heard the excuse thousands of times. “I forgot.” We would think, “Sure you did.”, and we would fucking remember that time you didn’t remember something again. Til it happens to us. I say to myself with a sense of humor this must be my form of in-this life-karma being served in a big slice of humble pie. But I’m smart or considerate enough to write things down, and have learned the hard way to back them up to the cloud so I don’t miss important appointments should my calendar crash. In all this talk about forgetting, I forget where I was going in another digression. Music. Songs. Getting old, yes...

I can hear a song from my childhood and it can take me back. I can immediately say 6th grade, 1984. I can probably still remember all the words to the songs too. I may be able to recall some happy memory, a memory in my room, hearing something...

 When I was a kid after I had outgrown Saturday morning cartoons, I remember that it had become the day I had to clean my room. I mean really clean it.  White glove inspection clean (seriously - my kids have it so easy) And I spent a lot of time in there. I remember having my moms old stereo in my room that was a record/LP player; a radio with an 8 track tape deck on it. This was before big boom boxes had made it to mainstream, but technology had already advanced to the cassette tape of the Walkman. But I remember listening every Saturday morning to Casey Kasem’s America’s Top 40. My favorite part of his show was The Long-Distance Dedication portion of his show where his listeners would write him poignant, heartfelt, or sweet letter about someone in their life or a hardship perhaps they themselves had been enduring. Casey would read these with such compassion where you felt like your soul was being touched through the airwaves by the velvet of his voice in the pain these people endured. And at the end of each letter they closed by asking him to play a certain song or would leave it to him. But they would send it out to someone. Maybe that’s where I learned to attach such memories, thoughts, and in times of sadness and need, turn to music. I don’t know. (You should listen to recordings of this online.)

I don’t know how long I’ve been doing it, but I “think in song “. It’s the only way I know how to describe it. Gosh, I wish they were my own songs. I wish I had that ability; that talent. But no. What I mean is somewhere in my memory I have a jukebox - a storage drive so to speak of songs I don’t even realize I remember - or sometimes I even know. Sometimes a situation I have with someone, and it could be very obvious like being out with my girlfriends having a girls night with lots of laughter, wine and the song “Girls Just Wanna Have Fun” will be the song I hear in my mind. It isn’t usually the song title. It’s usually lyrics that speak to me. I think I equate or attach some sort of word association to the situation or feeling I am experiencing. We had a lot of rain recently. I start singing or rather thinking The Eurythmics,

 “Here comes the rain again,   falling on my head like a memory,    falling on my head like a new emotion...” 

Or since I hit 39-40, I would say my theme song has been Landslide, written by Stevie Nicks and performed by Fleetwood Mac.

Oh, mirror in the sky what is love? Can the child within my heart rise above? Can I sail through the changin’ ocean tides? Can I handle the seasons of my life?

~These are questions I ask myself OFTEN.~

Well, I’ve been ‘fraid of changin’ ‘Cause I built my life around you But time makes you bolder Even children get older And I’m gettin’ older, too 

Ah, take my love, take it down Oh climb a mountain and turn around And if you see my reflection in the snow covered hills Well, the landslide will bring it down 

This morning Heart’s song, “Alone” came to me. I was thinking in this song. Just because of what’s been going on in my life lately. 

Like I said in my “Sound of Silence” post, lyrics are so subjective. Music is an art form. Poetry is an art form. We take from it what we can relate in our own lives usually. Even though we may understand an artist may have meant X, our own interpretation can be different. That’s ok. They want to reach the masses. They want their work to resonate with you as much as it did them. We don’t have the same experiences, so why would our interpretations be the same?

If you feel color or think in song or taste experience, just let it happen. We evolve.

 Now it’s time for me to turn on some music. I’ve really been enjoying Post Malone lately.

[chrisoncinema]

The Year in Review: Top Ten Films of 2017

Well, we made it. We survived. Before getting into this list, I'd like to thank everyone who read, shared, or commented on one of my posts or videos this past year. It was a pretty monumental year for this blog and for my cinematic journey. I didn't go into 2017 with a plan to revive this blog but I'm happy I did. I ended up thinking about this very list for most of the year; giving me time to rediscover my love for movies and an excuse to watch way more movies than I otherwise would have. So let's get to the movies, shall we? This list is not a definitive, quantitative, or objective ranking of the films released this year. Rather, it is a rough sketch of the movies I enjoyed seeing the most. The movies that moved me, surprised me, or stuck with me. You can see my previous post for a listing of movies I missed and movies that didn't make it into my top ten. I hesitate to call these my ten "favorites" because, if you ask me in three months what my favorite movies from 2017 are, the list might look quite different. For today, though, I hope it provides something new, forgotten, or overlooked that you can take with you as we head into the new year. 10. It Comes At Night

In an apocalyptic near-future, a mixed-race family must protect their home and their health from foreign threats. Of all the horror movies I saw this year, It Comes at Night was the one I could never get out of my head. Whether director Trey Shults intended it or not, It Comes at Night became a meditation on many of the ills that plague America in 2017: from the failure of white saviors to a tribal and territorial fear of “the other.” What made the film feel special was its simplicity and focus. Shults was not interested in world-building or mythologizing. Without the visual formalism of The Killing of a Sacred Deer or the loaded narrative commentary found in Get Out and mother!, It Comes at Night is its own survival kit: stripped down to the bare essentials, without the fanfare or gloss of over-production. This is a movie with lace-up boots and dirt under its nails. A movie that, above all, feels like its about real characters who react uniquely to new conflicts and discoveries.

Joel Edgerton, whose face I admittedly often forget, gives one of his best performances. His family, played by Carmen Ejogo and Kelvin Harrison Jr. (who were both new to me) were standouts, and small parts by Riley Keough and Christopher Abbott (two of the greatest actors in the indie scene, Keough especially) round out the great cast. Throughout the movie I was reminded of Alien, another horror film that takes place in a claustrophobic environment, where it is just as interesting to watch all the characters converse as it is to see them get attacked by a giant space bug. Many people were let down by the absence of a horror they thought was implied in the title “It Comes at Night.” But, like Alien, they’re missing the trees for the forest. This is a human drama. What makes the film horrifying is its plausibility. Hell? Other people. What comes at night? Darkness, paranoia, emptiness. It doesn’t get scarier than that.

9. The Death of Louis XIV

Moving even smaller in scale, The Death of Louis XIV is a sad, funny, beautiful chamber-piece starring the one and only Jean-Pierre Léaud. Truthfully, a big part of what makes the film so enjoyable is the meta-narrative trip that comes with this casting. Léaud began his career at age 14 starring in one of the most influential films of the French New Wave, Francois Truffaut’s The 400 Blows. He is, quite literally, French cinema royalty and, though Léaud himself is only 73, this feels like his great swan song. As always, Léaud manages to be both funny and tragic; equal parts ornery and charming.

The film's lofty title may not seem like the most exciting or accessible subject matter but, while stuffiness abounds, there is simply too much to enjoy in this film to pass up and I’m shocked that more people aren’t talking about it. The cinematography is some of the best this year: every single shot looks like a candlelit oil painting. The blacks are endless, the reds are velvety, and the golds are radiant. Is the movie slow? Yes, absolutely. But I, for one, enjoyed drinking with the King, scheming with his advisers, and laughing at each new, ridiculous wig that appears on screen.

8. Lady Bird

As with every new work that seems to be receiving undue or hyperbolic praise, I was highly skeptical of Lady Bird before finally seeing it. So let’s start with all the ways I was right. This is a coming-of-age story and it contains all the usual suspects: a fast-talking, strong-willed protagonist who still has a lot to learn about how the world actually works; parents who just want the best for the protagonist who have trouble communicating with her and with each other; a quirky best friend who is briefly tossed aside while the protagonist tries to be popular; and a concluding event that reminds the protagonist of some little piece of wisdom that was dropped along the way. Despite all of this narrative predictability, there’s something undeniable about Lady Bird. It works because of the characters that writer/director Greta Gerwig has crafted. An incredibly gifted, funny performer in her own right, Gerwig understands that no relationship is black and white. The best scenes feature Saoirse Ronan’s titular Lady Bird and her mother, played by Laurie Metcalf. Though their relationship is often contentious, at a moment’s notice the two act like the best of friends. They are too similar to be compatible and yet it is this resemblance that keeps them together. If that’s not an accurate, human depiction of mother-daughter relationships, I don’t know what is. In the end, Lady Bird is endearing, warm, and human – genuinely funny and genuinely moving. Gerwig didn’t reinvent the coming-of-age dramedy, but she came close to perfecting it.

7. After the Storm

If you enjoyed the familial drama of Lady Bird, I highly recommend watching the criminally ignored Japanese film After the Storm. The movie centers on a dead-beat, divorced dad trying to reconnect with his young son and ex-wife – well, kind of trying. The film’s lead, Hiroshi Abe, is basically Gob Bluth from Arrested Development: he’s lazy and selfish but is able to skate by on his charm, social flexibility, and a bit of self-deprecation. Like Lady Bird, After the Storm is full of complex, three-dimensional characters, tenuous family dynamics, and lived-in wisdom that never feels hacky. Hirokazu Kore-eda shoots the film without pretension, keeping a careful eye on the little details of everyday life. It doesn’t have the pep of an American dramedy so many viewers might find their minds starting to wander but, like 2016’s Paterson or Kore-eda’s predecessor Yasujiro Ozu, After the Storm has a lot to offer if you’re in a receptive mood. Pair with tea and a rainy day (a monsoon, if you’ve got it).

6. Good Time

Good Time is a travelling carnival. It’s a fever-dream that feels familiar even though you never know exactly what you’re going to see. The music and lights are dizzying, the air is full of weed, sweat, and old cigarettes, and everyone is inexplicably dressed like it’s the 90s. Need I say more?

I didn’t know what to expect from Good Time having seen none of the Safdie Brothers’ earlier films, but I was intrigued by the trailer. The film did not disappoint. Beginning with a bank heist gone bad, Good Time is the story of two brothers played by Robert Pattinson and Benny Safdie. As many have noted, the film owes a lot to the 1970s cinema of Scorsese and Lumet but there’s an immediacy to the filming that feels unmistakably modern. Just when the gritty realism sinks in, the movie blasts into space thanks to a bold score from experimental producer Daniel Lopatin (aka Oneohtrix Point Never). It’s one of the best scores of the year, featuring a gut-wrenching, original song from Lopatin and Iggy Pop. The cinematography is equally manic: mid-winter greys mix with neon lights and vibrant reds. The Safdies keep their camera dangerously tight – detailing the desperation on a nearly-unrecognizable Robert Pattinson (and we’ll see him again before this list is over). Twilight? Never heard of it. You’re witnessing a movie star – a direct descendent of Pacino or De Niro. Good Time is grimy, thrilling, and occasionally very funny. Like all carnival rides, I went home feeling nauseous, head-pounding, and in need of a tetanus shot. 

5. Columbus

Columbus is a movie so personal to me that I can barely talk about it objectively – I kind of feel like I made it (but I can assure you I did not). The first feature by video essayist Koganada, Columbus is a movie about love, loss, and architecture so genuine it makes (500) Days of Summer look like the sloppy, insincere mess that it is. The film’s success is largely due to its two leads: Haley Lu Richardson, who I had never seen before but fell in love with immediately, and John Cho who is now, unarguably, a leading man. The third star of the film is modern architecture by the likes of Eliel and Eero Saarinen, I.M. Pei, and SOM.

Without giving away too much, Richardson’s Casey is a student who meets Cho’s Jin, a visitor to Columbus, Indiana: architectural mecca of the Midwest. Many of you don’t (and couldn’t) know that I went to school to study architecture. I, like Jin, skeptically engaged with bright, young minds like Casey and questioned what architecture really meant to culture, to a city, and to me. Why does architecture matter? That’s a question I’m still answering but I can tell you this: we need spaces of reflection, communion, and discourse. The best architecture provides that. Columbus is the proof. I’m so pleased that this film has made a number of year-end lists. It’s a little film about a simple story and, like the best architecture, I look forward to exploring it again.

4. Nocturama

Nocturama is perplexing, modern, and gripping from the first minute. Nocturama is the story of a small group of French radicals who plan a coordinated attack on Paris. Nocturama asks a lot of questions – Who are these people? How did they meet? Why did they choose to become terrorists? – but if you’re looking for answers, look elsewhere.

What makes Nocturamaso exciting is the immediate immersion in the intricacies of the plot. There is no Ocean’s Eleven-style voiceover guiding you through the plan, no diatribe or manifesto to take in, just the cold, hard act. Bertrand Bonello’s ensemble piece is a commentary on luxury, privilege, and the rebellious naiveté of youth. It’s also impossibly cool: our anti-heroes smoke, dance, and listen to pop music. They’re kids – just like the ones on your street, in your school, at your mall – and that’s what makes the film so challenging, scary, and dangerous. It’s easy to characterize terrorism as a foreign offense. Nocturama doesn’t want to be easy but if you��re not careful, it might seduce you. Nocturama lights a fuse and dares you to enjoy the flames. Either way, your palms will be sweating.

3. The Lost City of Z

I’ve been critical of James Gray’s big, melodramatic films in the past but with his most recent work, I finally got it. The Lost City of Z stars Charlie Hunnam – in what is far-and-away his best performance – as Percy Fawcett, a 20th century explorer searching the Amazon for the titular city of Z. It’s hard to describe exactly why this film works so well. Like the old epics of David Lean, we follow Fawcett from his humble beginnings as a promising, young military officer, we learn and struggle with him, we return with him, after his numerous expeditions, to see his family growing and changing.

The Lost City of Z offers a whole lot to take in and it’s a testament to the editing that this 141 minute voyage moves along as breezily as it does while also never feeling rushed. What helps keep the story going is breathtaking camera work by cinematographer Darius Khondji and a great cast that includes Sienna Miller, Robert Pattinson, Tom Holland, and Ian McDiarmid. Films like this don’t feel like they should exist anymore – The Lost City of Z is sprawling and beautiful but also quite smart: evoking questions of colonialism, masculinity, and the personal price of one’s work. It’s not perfect, but it’s a rare gem in a field of plastic.

2. Personal Shopper

Personal Shopper was one of the most unique theater-going experiences for me in 2017. It was a Wednesday evening when I spontaneously decided to drive half an hour to the only theater showing Olivier Assayas’ latest film. It was playing in a single auditorium – and a small one at that. I arrived early, as I always do, and waited for the few other moviegoers to trickle in. But they never did. And so I was treated to a personal screening of one of my favorite movies of the year. A movie that, rather fittingly, serves as a meditation for loneliness, isolation, and the vulnerability of predation.

Personal Shopper stars Kristen Stewart as a self-proclaimed medium trying to make contact with her deceased twin brother. Less of a horror film and more a dramatic character study, if you were ever doubtful of Stewart’s acting chops, this film should convince you. I was completely transfixed by her performance. She, and I say this without a hint of irony, is our James Dean. Sporting a leather jacket and a cool, androgynous demeanor, Stewart’s Maureen Cartwright is everyone who has ever slouched with hands stuffed deep in their pockets, anyone whose hands have shaken from an unexpected text message, anyone who’s had the eerie feeling of being watched by someone just out of reach. Personal Shopper is all about atmosphere: chilling, evocative, and sensual. I suppose I understand how people looking for plot-points found this film messy and inaccessible. As for me, though, I’ll be chasing the specter of that first screening. Going to the movies is a kind of séance and I’m thankful to Olivier Assayas for showing us a visionary Kristen Stewart.     

 1. Dunkirk

I know it’s basically a cliché to even talk about Christopher Nolan at this point, but this is where we find ourselves. NOLAN. BROS. FOREVER. Christopher Nolan doesn’t just make films as if each one is the last he’ll make. He makes films as if they’re the last film that will ever be made. Dunkirk is an absolute spectacle and it is, by far, Nolan’s best work to date.

As I’ve discussed before, Nolan came to prominence at the same time I was discovering film. I was in awe of The Dark Knight and Inception when they came out, but by the time The Dark Knight Rises and Interstellar were released, my fan-boy-dom had faded. Interstellar is a very good but very flawed movie. It wants so badly to capture the humanity of early Spielberg and the grandeur of Kubrick but, sadly, fails to reach either. Still, the best decision Nolan ever made was swapping out his longtime cinematographer Wally Pfister for Hoyte Van Hoytema. Van Hoytema, who has done great work with the likes of Tomas Alfredson and Spike Jonze, brought a much needed flair for richness to Nolan’s pragmatic sensibilities. With Dunkirk, finally, there is a rich screenplay to match.

It seems Nolan actually listened to the critics who, for years, decried his overly-expositional dialogue and choppy editing. Dunkirk, not unlike Kubrick’s 2001 is pure visual storytelling. The difference is that Nolan was still determined to tell an intimate, human story and, calling upon the cinema gods from Murnau to Hitchcock, he did it.

There was no cinematic experience more breathtaking this year than seeing Dunkirk in IMAX. The sound design is so fierce and the score is so relentless it felt like a deep tissue massage for my brain. I left the theater after each successive viewing feeling invigorated in a way no film has affected me before. Nolan has always tried to make films that could capture the attention and imagination of any viewer (that’s why it was so important for this film to have a PG-13 rating) and he finally did it. The structural experimentation that Nolan was known for from the start is used here to turn the entire film into one of his signature, cross-cut sequences: one long, thrilling crescendo. And he did it all, God bless him, in under two hours.

Nolan-mainstays Tom Hardy and Cillian Murphy are as cool as they’ve ever been, and seasoned pros Mark Rylance and Kenneth Branagh bring much-needed warmth and pathos, but the film belongs to the new faces that Nolan introduces: Fionn Whitehead, Aneurin Barnard, Tom Glynn-Carney, Barry Keoghan, and, of course, Harry Styles. They are the young men who have history thrust upon them – dropped into a giant, dangerous world with the weight of a nation on their shoulders. And they fail. They fail their mission and, occasionally, they fail each other. They return home distraught, ashamed, and confused.

“All we did was survive,” they say.

“That’s enough.”

Perseverance is noble. Support is bravery. Survival is victory. That’s Dunkirk’s message. It’s the one we needed this year.

[auburnfamilynews]

Let's look at where we are going into Spring Practice.

Look, by now you know the questions that face Auburn heading into Spring Practice tomorrow. You've seen the lists. You've read all of the "5 Burning Questions" articles elsewhere. Some even have 10 or more. So, let's rank a bunch of them by varying degrees of heat.

What Will Chip Lindsey's Offense Look Like?

It's going to look a lot like Gus Malzahn's, that's how it's going to look. At least to the uneducated (like me). I do think there will be a lot more Run-Pass Option plays and the passing game will definitely have new life breathed into it. Auburn's running game, though, should stay close to the same.

Oh, and hopefully it will look fast.

Here's the thing about it, though: we may get a glimpse of what it's going to look like during A-Day, but until Auburn hits the field against Georgia Southern next Fall, we're not really going to know anything. Auburn played at a break-neck pace in A-Day the past few years and that hasn't translated to the regular season. And don't even think you're going to see any innovative new wrinkles in A-Day. They're not going to show the rest of college football what we're going to look like until the season starts. That's why this earns a relatively cool ranking. Do we really want to know about it? Absolutely. Are we going to learn something this spring? Probably not.

Heat Status: Sweet, delicious ice cream sitting in the freezer. It's ice cold right now, but we can't wait to warm it up a bit and consume it later on.

What Will the Offensive Line Look Like?

I mentioned in my position group analysis that this could go so many different ways that it almost doesn't warrant going into detail on it. We'll probably have a decent idea of what the line will look like once Spring ends, but don't forget that transfer Casey Dunn isn't arriving until summer. He'll have a chance to win a starting spot.

This one is a bit warmer on the rankings scale because it's very important. It's still in the relatively cool stage, though, because I trust Herb Hand to build a solid unit no matter who is on the field and because it's another one that we're not going to get complete answers on until Fall Practice. So, it's interesting, but it's not exactly burning.

Heat Status: As cold as the bowl of Texas chili Lydon B. Johnson got mad about and threw against the wall of the Air Force One and then demanded it be cleaned up and the carpet replaced before he got back on the plane an hour later that a former Air Force One Steward I met in the VA once told me about. That guy was awesome. The Steward, not LBJ.

Who Will Fill Josh Holsey and Rudy Ford's Spots on Defense?

Rudy Ford was a key part of Auburn's defensive success last year and so was Josh Holsey. It's a shame that Holsey was left out of so many of the traditional post-season NFL showcase events. He'll get his chance to shine at Auburn's Pro Day, though, and hopefully, will find his way onto a roster.

Now, Auburn has to replace them. There are quite a few candidates to choose from, too. Daniel Thomas did a pretty good job filling in for Ford during the Iron Bowl. Montavious Atkinson could slide back and play Nickel in a role similar to Robenson Therezie at the Star spot a few years back. Stephen Roberts and Nick Ruffin have been building towards more playing time. Then, there are the younger guys. Marlon Character Jr. Jayvaughn Myers. Jeremiah Dinson should be back from his injury.

Those were two key players in Auburn's success last year, and we're going to need some word that someone - preferably more than one - are stepping up to fill the void.

Heat Status: Burning the roof of your mouth on hot pizza that you knew you should have let cool off a bit before you ate it, but dang it, you can't wait that long. It gives you some mild discomfort for a day or two, but it was worth it.

Who Wins The Starting Quarterback Job?

We're going into Spring with a few viable options here, and that feels really good. Will John Franklin III flourish under Chip Lindsey? Will Sean White be healthy enough to compete in the Spring? Will Tyler Queen get his shot? Can Malik Willis make an impact as a true freshman? Is Woody Barrett ready? Will we all laugh at this as Jarrett Stidham rolls through the competition and earns the starting nod?

It's a big question. It's also another one that's not going to get answered this Spring unless Sean White is able to give it 100% during Spring drills. That's why it earns this spot behind the final question.

Heat Status: The first day I was in Kuwait back in 2006, stepped out of a tent with a cool bottle of water I got from a refrigerator, walked 300 yards to another tent, and the water was already warm and my rifle was already too hot to touch without gloves because 135 degrees isn't just hot. It's DAMN hot. And you know it's going to last a long time because it's the desert, so you might as well just get used to it. Like we're going to have to get used to wondering about this question for a few more months.

Who will replace Montravius Adams and Carl Lawson?

Auburn's defense was a big part of last season's success. A big part of the defense's success came from the wrecking crew of Adams and Lawson. This probably would have earned the spot above QB no matter the circumstances, honestly. Just look at the 2014 season and the part of 2015 when we didn't have Lawson and therefore didn't have a good edge rusher. The defense did not play all that well.

Marlon Davidson is a definite candidate on the edge. So is Paul James III. Nick Coe could put his name in the hat as a redshirt freshman. On the inside, I look for Derrick Brown to really step into a big role. Dontavius Russell could have a monster junior season with more playing time. This could also be the time for Byron Cowart to really shine on the interior.

Someone could also pull a Davidson and come out of nowhere. If anyone does that, I'd look for Antwuan Jackson or Nick Coe.

Auburn's offense is probably still going to fight some hiccups along the way. We need to have that dominant defense, again, and that dominant defense begins with a dominant defensive front. That's why this, to me, is the biggest question going into the season. Auburn has struggled severely in seasons where the Tigers don't have a serious pass-rushing threat and otherwise stout defensive line. We have to have that again in 2017.

Heat Status: Hot as the fire of the sun. I ran out of food examples, and this one is really the one on my mind more than anything, so if there's one that deserves true "burning" status, it's this one. I think it really is that important. More so than the QB question, because I think we can win with one of a number of the QBs on the roster as long as the defense can hold.

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