#reviving the sopranos fandom | Explore Tumblr Posts and Blogs

mod-kyoko · 1 year

Text

school au headcanons!! pt. 1

fandom: danganronpa: trigger happy havoc

type: school au, no-ultimates

a/n: just how the characters would act in an au where ultimates don't exist!

if it seems like i'm being mean to any of the characters i'm literally not (except for hifumi i can't defend him but other than that i have nothing but love in my heart for them all)

♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧

makoto naegi

friends with a bunch of theatre kids but not actively involved, sees every show

doesn't really have any after school activities

spends his free time reading comics and playing video games

very extroverted but not popular, but despite that no one has beef with him

usually active in pep rallies and social events like school dances, but not any clubs or sports

sayaka maizono

choir kid - soprano

everyone in the choir loves her

she always gets the solos

on top of that she has the highest grades in every subject and is on the student council

literally everyone loves her

takes a lot of fine arts classes

always the female lead in the musicals and theatre kids are tired of it but no one says anything

byakuya togami

rich kid

so god damn intolerable

straight A's across all classes, primarily chooses social studies related electives

president of his class and student government

everyone kisses his ass hoping to get invited to his mansion or receive gifts of some sort

captain of model UN

parents definitely donate a fuck ton of money to the school

kyoko kirigiri

top 10% of her class, straight A's

not the most popular, but well-liked enough, no one has beef because she stays in her lane

in the archery club

favorite subject is english

gets so many guys but doesnt look their way

girlie is focused on her studies so she can get into a top university and go into law

celestia ludenberg

another born rich popular kid

everyone kisses her ass and she takes advantage of it

extremely smart without even needing to study

mommy and daddy donate money to the school

probably the single most popular girl

her favorite subject is social studies, specifically history

on the student council, national honors society, and part of the chess club

chihiro fujisaki

responsible for reviving the programming club

super well liked with the less popular students, but not paid attention to by the populars

volunteers for a program that teaches kids to code!

part of the school's GSA

super smart! often tutors people for free in all subjects

all of her time is spent in the computer lab

hifumi yamada

started the anime club

widely hated

does well academically but not socially

does have quite a few members of his club though

also on the creative writing team but gets the lowest scores because his style is more suited for comics/manga/fanfiction

mondo owada

popular with the guys and the girls

on the baseball team

former bully but mellowed out in high school

cannot go a month without getting a detention because he speaks his mind

bro's grades are kind of suffering

that guy who gets dropped off at school on a motorcycle every day

his teachers don't have a lot of faith in him

kiyotaka ishimaru

tight ass student council member who never breaks a single rule

not a super-narc anymore but occasionally reverts to his snitch ways

he isn't even popular with other student council members

but he is very popular with the teachers

straight A's

king of extracurriculars, part of model UN, the GSA, honors society, student council, government, and volunteers for many different organizations and charities

is well aware people don't like him because of the stick up his ass, but he is passionate and respects every single one of his classmates and teachers. truly doesn't dislike a single person

junko enoshima

equally as popular as sayaka

takes cosmetology

doesn't even need to study to maintain her good grades

she is a model and influencer, and often gets followed/recognized at school

she never gets tired of the attention though

she does equestrian!!! loves horseback riding and competes with other schools

mukuro ikusaba

poor girl lives in her sister's shadow, no one even knows her name

everyone knows her as "junko's sister"

she tries to join independent activities

she runs cross country

her grades are good because she spends a lot of time studying

her favorite subject is math, she is naturally gifted with it

doesn't really talk to many people besides her sister, but she has a very small circle

toko fukawa

carries the creative writing team to states every single year

everyone kind of just overlooks her, but with her modest style she is prone to teasing sometimes

is also a writer/editor for the school newspaper

all her time is spent in the library devoting herself to one of her extracurriculars

is one of the few people who actually enjoy studying

struggles in math

tutors english because her teacher begged her to

yasuhiro hagakure

floats around between social cliques because he's so extroverted and liked by most people

doesn't do too well in academics but studies and goes to tutors because he actually cares

does improv

in the culture club

in student government due to how popular and easygoing he is

leon kuwata

captain of the baseball team

has a garage band with his buddies

super popular with everyone

does alright in most classes, but not math

tenor in the choir

somehow has a new girlfriend every week

sakura ogami

first female student at her school to join the wrestling team, and be captain

super popular with the boys

also part of the culture club, and takes spanish

favorite subject is math

works on the school newspaper

aoi asahina

played so many sports before she settled on swim (soccer, volleyball, lacrosse, softball, track and field)

she is the captain of the swim team in the winter and on the basketball team in the spring

part of the honors society because her grades are great

super popular with the other girls

the kind of person who's nice to everyone, especially the kids who seem lonely or sad

she won't let a single person feel left out

♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧♤♧

#mod kyoko #danganronpa #danganronpa headcanons #kyoko kirigiri #aoi asahina #makoto naegi #celeste ludenberg

24 notes · View notes

brazenautomaton · 2 years

Text

My Fiction

These stories are fanfics, but all of them give you enough context to catch you up to speed on the relevant canon -- they’re made to be fandom-blind friendly.

Silent Partner, Unfinished Business

They told Naomi Misora she was dead for three minutes when paramedics revived her. She sure didn't feel alive. She couldn't even remember coming back to Japan, much less Kira taking her fiance, much less Kira sending her to suicide, maiming her and robbing her brain of speech. She had almost given up hope of recovery until a mysterious figure gave the promise of revenge: the chance to kill those who wronged her, if only she can find them.

Aphasic and adrift, Naomi's going to join the Kira investigation to win her life back. She's going to help Misa Amane discover who she is, and discover a connection with her. She's going to make Light Yagami have to think on his feet, and present him with a new opportunity. She's going to solve some serious problems for L, and then make some serious problems for L. And she's going to make a hell of a lot of things get a lot more complicated.

A tense, twisty, action-packed psychological thriller mystery about romance, revenge, redemption, and the Kuleshov effect. Recommended for anyone who liked Death Note, didn’t like Death Note, or didn’t see Death Note.

Has a romance-focused sequel (that may or may not be an AU) called Misa Amasora’s Pure Love Memorial.

Duet in SSS-Major

Kyrie awakens with strange demonic familiars inside a phantasmagoria of battles past, with no idea of how she got there. A single lock of white hair displays the trace of demon blood that resides within her now, an old project the Order called "Soprano Angelo". Great demon lords amass power inside a land of regrets, trying to earn the ability to return to life -- and with Dante and Vergil in the Underworld and Nero captive, it's going to be up to Lady, Trish, Lucia, Nico, and yes, even Kyrie, to save Nero and defend the human world once again.

But does she have the strength to fight demons just like her beloved? Did she willingly accept demonic power in order to bring back the Order of the Sword? Will her faith in Sparda carry her through the fires of perdition? Can the wholesome, motherly church girl also be a stylish Devil Hunter?

Can Kyrie attain true power?

A Devil May Cry fic that can serve as your introduction to the Devil May Cry game series or the stylish action genre in general -- a story where everything happens for in-character reasons yet also clearly is an expression of a video game. Kyrie is going to feel what you feel when you flub an input, get your ass kicked by a boss and run around the arena breaking objects for health refills, overuse that new move you unlocked when you really shouldn’t, feel awed by a much better co-op partner, figure out the extent of her moveset, learn from her mistakes, learn to apply tricks she heard about, and learn to finally git gud and master the game.

She’s also going to be tagged along by two adorably boneheaded artificial demon familiars, co-op with the whole cast, solve mysteries that didn’t need solving, and engage in musical theater duels. She sings a lot. So much so that I composed her own DMC-style battle theme.

youtube

Give these a look, I think you’ll like them!

#my fiction #death note #devil may cry #spub #duet in sss-major

53 notes · View notes

the-firebird69 · 1 year

Text

Emil Kolar | The Sopranos Wiki | Fandom

They're pretty sure that he's the AP guy has some funny videos that's going on in the statement and it's going on in the movie too just saying that Trump is Emil on the water side to hide the fact that he was washed ashore then I started to think about it he wasn't lost ashore he left and it exposes it so his son dying because his father gets killed all the time and has him hit exposes his father is one of the ones who berries DC in New York City with sand, it happens because the presence of the submarines forces to ship out fast and they had to deflect and it also blast the pile of sand into the city and this truth that that's what happens already and Trump is one of the conspirators and Dave okay Dan goes on to the Red October and they bring the submarine in as evidence and they tried to burn Trump in fact it was Jason's corpse and they put it out and found out it was him and they tried reviving him and it works and he got injured in Star Trek they said it didn't happen yet but it really did so this is all coming up and Dave AKA Dan is struggling against Trump he find out during the movie but then aka Dave is still messing around with the insurance cuz he's kind of cheesy and wants to get at his father that way and so his father sets him up a bunch of times and gets in a fight with him and get some hurt very badly and from that point on he's not taking that great and we don't think that he is on Segovia it looks like Bob birdies and it's a real s*** and it's a real weapon and he really goes head to head with the stone chip and what happens is quite amazing

Thor Freya

0 notes

vintagegeekculture · 7 years

Note

I know that the future is unpredictable, especially when it comes to entertainment & culture, but reading your Dead Fandom editorials make me wonder if it's possible to predict which of todays big fandoms will stand the test of time & which will fade & obscure. Just a neat idea I had & felt like sharing.

Thank you for reading. As for what fandoms will be around in the future, I hate to say this because I love the show and I think it’svery high quality, but based on what I know about how fandoms rise and fall, Ihave a hard time imagining a scenario that Babylon 5 fandom will be alive in5-10 years. It’s not a dead fandom yet, but one that has a terminal illness.

Mostly, it’s due to the fact that it isn’t available forstreaming on normal platforms people actually use, and due to the nature of thespecial effects (which you can read about here), there are challenges inconverting it to High Definition (a non-negotiable part of rebroadcastingsomething or streaming it in today’s world), so as a consequence, an entiregeneration went by that’s never heard of it. Most fandoms don’t recover from a lost generation. Hell, Babylon 5 isn’t evenavailable on Blu-Ray, which is a low bar to clear (I don’t actually know anyonein real life who owns a dedicated blu-ray player that isn’t a playstation or something).

Combine that with the fact that, tragically and due tounfortunate happenstance, at least half of the Babylon 5 cast is nolonger with us, you have a scenario where B5 can’t be legitimately continued,denying the fandom the oxygen of a revival or continuation.

Heck, Babylon 5 is already starting to fade fromconsciousness, which is amazing for something that was, at one point, like thesecond or third biggest active scifi fandom. Ask yourself: do you have aco-worker with a Starfury model on their desk? If you were to quote it, would anyone catch the reference? When was the last time you saw aBabylon 5 shirt? That’s kind of amazing when it comes to a show that does the Lilo and Stitch thing of repeating a phrase a dozen times until you get it (”Ohana means family”).

Also, the most notable thing about Babylon 5 is that it wasan arc show with one continuing story. That’s a problem because there’s nothingspecial about being an arc show now, with a single story through line; in thepost-Sopranos TV era, every single show is like that now. Even procedural crimeshows have arcs and season-long story through lines these days.

Also, B5 is out of step with modern aesthetics about what TVshows are like (and I am not referring to the special effects). If you think ofcreativity as biological evolution, most modern genre shows are descendants of B5’scontemporary, Whedon’s Buffy the Vampire Slayer: centered around quippydialogue, Scream-type genre self-awareness, reversals of expectations. Babylon5 is out of step with that, old fashioned, a bit overwritten; characters liketo monologue about Winston Churchill.

Again, I am not saying this is “bad”(I like B5 and it is what it is) but I can see how it can be offputting tosomeone looking at it with fresh eyes. TV fans are more oriented toward the newthan movie fans are, so TV viewers are more likely to be pulled out by thingslike black and white, stylistic acting, and so on.

Hey, remember how at the time, Babylon 5 was seen as adaring new breakthrough that would make television history, on the level ofTwin Peaks or something, and Star Trek: Deep Space 9 was seen as an awkward middle child cashin for an increasingly tired and oppressively omnipresent scifi franchise? It’s amazing howthe consensus view on both shows is now totally reversed; B5 is now seen as agood show but very, very much of its time and not a television breakthrough,and DS9 is now seen as, if not thebest Trek show, as maybe one of the high points of the entire Trek franchise?Rediscovery on streaming made the difference for DS9’s reputation, something B5 unfortunately didn’t get.

261 notes · View notes

lynchgirl90 · 7 years

Photo

How #TwinPeaks inspired #Lost and #TheLeftovers

Damon Lindelof tells EW why ‘The Leftovers’ would not be possible without David Lynch’s classic series

JEFF JENSEN@EWDOCJENSEN

Let us be first to remind you for the millionth time that Twin Peaks, the short-lived sensation created by David Lynch and Mark Frost, inspired much of the television that has obsessed us over the past 20 years. To name just a few that hold the cult classic’s peculiar dark spark: Chris Carter’s The X-Files, David Chase’s The Sopranos, Matthew Weiner’s Mad Men, Vince Gilligan’s Breaking Bad, Bryan Fuller’s Hannibal, Damon Lindelof’s The Leftovers, Sam Esmail’s Mr. Robot, and Donald Glover’s Atlanta. Since Twin Peaks also shaped modern TV tastes and watching — capturing the imagination for serialized mystery, supernatural fantasy, and cool irony; setting an early standard for internet-based conversation and theorizing — we can say Twin Peaks even influenced you. Especially if you’re a person of a certain age.

Of course, Twin Peaks doesn’t completely explain the vibrant state of TV. The radical transformation of the media business — the emergence of demo-driven networks that turned cult TV into a business plan — deserves more credit. There’s probably no X-Files without a network like Fox. There’s certainly no Buffy The Vampire Slayer without The WB. In his essential book The Revolution Was Televised, critic Alan Sepinwall identifies a critical turning point when TV went next level: 1997, when HBO, seeking to ramp up original programming, empowered the likes of Tom Fontana and David Chase — veteran scribes frustrated by the limits of broadcast TV — to pursue bolder vision with decidedly adult storytelling. The buzzy nerve of Oz and even more so The Sopranos spurred broadcast competitors to take more chances and basic cable to get into the game, and now, here we are, with “television” streaming out of every media orifice possible. That, kids, is from where TV babies come, in a terribly reductive nutshell.

Twin Peaks contains a version of this creation myth in its DNA, too. In 1989, ABC, looking for new hits, took a chance on a risky marriage with an avant-garde filmmaker (Lynch) and an accomplished TV writer (Frost) who wanted to make a splash by reinventing the prime-time soap with sophisticated edge and ostentatious quirkiness. Think of Twin Peaks as a kinky bridal dress: something old, something new, something borrowed, something Blue Velvet. The relationship didn’t last long. ABC ditched Twin Peaks after a year, the fast fade partly due to a broadcast network in flux that really had no clue how to manage Team Lynch or the wild, weird, FrankenGenre creature they had made. Yet can’t you see Twin Peaks thriving in today’s mediaverse? Maybe, say, on Showtime?

Mark Frost certainly could. In 2012, the Twin Peaks co-creator beheld the exciting things happening in TV and thought, I want to do that, too. He had the perfect creative vehicle for it, too, one with something TV networks love: a recognizable and marketable brand name. But he couldn’t do it alone. Wouldn’t dream of it, either. So Frost called Lynch and put forth a proposal: How about making more Twin Peaks?

Lynch had convinced himself over the years that there was no interest in Twin Peaks. “I felt that the thing had drifted away,” says Lynch, “so part of me kind of shut down about the possibility of going back.” He was wrong. Twin Peaks actually lingered like a ghost, and it was slowly gaining power. Twin Peaks was steeped in the creative fabric of television, as evidenced by many series. There were people who identified as Twin Peaks fans — cultists who could read about Twin Peaks forever and ever in books, websites, and fanzines like the legendary Wrapped In Plastic, plus many more who considered the show a generational marker. Twin Peaks was also starting to make new fans via DVD (the complete series wasn’t available on disc until 2007) and streaming services like Netflix.

Frost presented Lynch with several arguments for reviving Twin Peaks right here, right now. They had a story to tell — Twin Peaks ended with several unresolved cliffhangers — and their infamously bonkers series finale included a curious, memorable line that offered an irresistible hook. “I’ll see you again in 25 years,” the specter of Laura Palmer (Sheryl Lee) tells FBI agent Dale Cooper (Kyle MacLachlan). “Meanwhile…” And then she struck a pose and froze, as if a statue, or suddenly frozen in time. Frost — confident, ambitious, and maybe a little competitive — also argued that they had a chance to make some bold art, without compromise, in a new TV universe that allowed for greater creative freedom than existed 22 years earlier.

“What I saw was that the TV landscape had shifted dramatically and people were obviously hungry for storytelling that has broken out of the box over the last 10 years,” says Frost. “I felt it was time to take a kind of evolutionary leap forward and that we should be a part of that. David readily agreed. But we went in knowing we couldn’t just do what we did in the past — we’ve got to raise the bar. So that was our admonition to ourselves. This is a chance to keep pace with that evolving landscape, to contribute something new, to move the ball forward even more. And we had some unfinished business.”

And so it goes that the return of the show that inspired today’s TV was inspired by the products of its own legacy. Fun Fact! Lynch doesn’t watch much TV, but he cites Mad Men and Breaking Bad as two shows of recent times that he loved. Their hotly anticipated contribution to our Peak TV moment — an 18-hour limited series described by Lynch as an 18-part feature film — premieres on Showtime on May 21.

We recently asked several leading TV producers to share how Twin Peaks influenced them. Over the next couple weeks, we’ll be sharing with you EW’s conversations with them. We begin with Damon Lindelof, who co-created Lost with J.J. Abrams and The Leftovers with Tom Perrotta, now airing its final season on HBO.

Lindelof’s tale of Twin Peaks fandom takes us back to a time when TV watching was a family time activity, not a solitary, everyone-on-their-own-screen free-for-all. His very personal testimonial also shows how Twin Peaks was part of larger moment in which David Lynch was virtually atmospheric — beginning with his neo-noir masterpiece Blue Velvet in 1986 and including the hyper-pop nihilism of Wild at Heart, released at the apex of the Twin Peaks phenomenon — and saturated the public imagination. Here, Lindelof reveals how Twin Peaks influenced Lost, how Twin Peaks informed his approach to surrealism in The Leftovers, and how the legacy of Twin Peaks nearly cost Lost its legendary monster.

ENTERTAINMENT WEEKLY: When did you first watch Twin Peaks? DAMON LINDELOF: When it first aired. I watched it at my dad’s place. It was on his radar; he was very excited about Twin Peaks because of David Lynch. We had seen Eraserhead together, and I had loved it, and I remember him saying, “The guy who made Eraserhead has a new TV show and I think it’s going to be very good.” So we watched the pilot together, and once it was over, we watched it again, because he had recorded it.

This evolved into a ritual. Because I was with my dad every other week, there were some weeks I would watch it by myself, but the weeks I was with him, we would watch two episodes: that week’s new episode and the previous week’s episode again on VHS. He would do live commentary and we began to formulate theories. This was my first experience, in the pre-internet era, of theorizing about TV.

So you liked Twin Peaks. I loved Twin Peaks.

What did you love about it? The mystery. The music. The pacing. It was also my first exposure to soap operas. There was just this complex web of affairs that was delicious. Within the first couple of episodes of Twin Peaks, you understood that James and Laura had been together, but James and Donna were actually sort of secretly in love with each other. Laura was also dating Bobby, but he was also seeing Shelly, but Shelly was two-timing her abusive husband, Leo, who also had something going on with Laura and was dealing drugs to Bobby. Meanwhile, Josie Packard is having a secret affair with Sheriff Truman, except she’s also involved with Benjamin Horne, who was married, but also having an affair with Pete’s wife and Josie’s rival, Catherine, and also apparently messed around with Laura. The sexual intrigue was bonkers! And for me, a kid, it was new and exciting, particularly as it related to Laura, this teenage girl who was mixed up in some really bad, traumatic, dark stuff. That was really interesting and felt very fresh at the time.

And then there Agent Cooper. What an amazing character. His entrance in that pilot is a classic TV moment. I loved his quirkiness. He had these obsessions with coffee and pastry. The fact that he seemed to really be enjoying having just a grand old time investigating Laura’s rather horrific murder was provocative and entertaining.

The show had this very distinctive sense of humor. Deadpan and odd. The Log Lady! People remember her as weird, but I just thought she was really funny. And Ben and Jerry Horne, the brothers, their names are funny because of the ice cream, of course, but that scene where those two guys are eating these huge sandwiches and relishing the sensual experience of eating those huge sandwiches — just the fundamental bizarreness of it was hilarious.

One other thing that I loved about Twin Peaks was that it was scary. Cooper’s dream at the end of the third episode, when he’s in the old age makeup and we see Laura and The Man From The Other Place talking backwards — that creeped me out. I slept with the lights on after that episode.

I go on and on like this, because one of the ways that Twin Peaks impacted me was that it showed me that a TV show can be so many things at once — funny, scary, strange, sexy, melodramatic. It was the definition of unique. I had never seen anything like it, before or since. And then — when did Wild at Heart come out?

August of 1990, between the first and second seasons of Twin Peaks. I loved Wild at Heart. It was just so gonzo. Looking back on it, I can’t say I became a fan of David Lynch because of Twin Peaks. I was just a fan of Twin Peaks. But after Wild at Heart, I was just all the way in on Lynch. By the way, this is not to take anything away from Mark Frost, who is a big part of Twin Peaks. But again, my dad turned me on to the show particularly because of Lynch, and then with everything that followed, including Wild at Heart, it became about Lynch, and everything that came with him. The music! That Angelo Badalamenti score! I played the Twin Peaks soundtrack all the time when I was a junior in high school. I didn’t own many CDs — I had to buy them with my own money, and they were expensive — but I owned that one.

What did you make of the supernatural aspect? It became more important to the storytelling as the series progressed. We came to find out that Twin Peaks was a hotspot of uncanny and spectral activity because it was located near a portal into a mystical realm, not unlike the Hellmouth in Buffy the Vampire Slayer, or, of course, The Island on Lost. Did you enjoy that part of the show? That was interesting to watch unfold. From the start, you had Cooper’s dreams and you had his fascination with Tibet and a kind of mysticism that he associated with Tibet. That scene in the third episode of season 1, where he’s winnowing down a list of suspects through an intuitive process that involves throwing rocks at a bottle — that was funny and quirky, but it also suggested the supernatural, and obviously, the show became more and more supernatural as it went on.

But I didn’t see it coming. As my father and I were theorizing about Laura Palmer’s murderer, a supernatural possibility was not part of our speculations! But then we move into season 2, and you get the introduction of The Giant, and you have Major Briggs revealing that he’s been monitoring extraterrestrial communications in episode 2. Here, the show is openly declaring that everything is up for grabs. And I do remember loving that and being very excited by that stuff. But I experienced it as an escalation. The show didn’t start supernatural. It became progressively so.

When the show declared this supernatural aspect in season 2, a lot of people I knew who loved the show bailed. They wanted a naturalistic explanation. It reminds me that 25 years ago, TV was rather cool toward sci-fi/fantasy, although it was about to warm up to it. That want for a naturalistic explanation might have had something to do with the fact that Twin Peaks intersected with another trend of the time, serial killer pop. I don’t know exactly when The Silence of the Lambs came out, but my memory of it is that it came out before or during Twin Peaks. [The film version of The Silence of the Lambs starring Jodie Foster and Anthony Hopkins was released Feb. 14, 1991, during the middle of the second season of Twin Peaks. The novel by Thomas Harris was published in 1988.] When you watch the pilot of Twin Peaks, you immediately think it’s a serial killer story because of the clues and how they’re found, like when Agent Cooper knows how to examine Laura Palmer’s fingernails and look for these pieces of paper the killer has been leaving behind with his victims. So I can understand why an audience expected a naturalist resolution, because serial killer stories resolve naturalistically.

How did you feel about the way Twin Peaks ended? During the second season, I remember feeling at times, “This is not the show I fell in love with.” And then something would happen that would make me fall in love with it all over again. There was a storyline where Donna resumes Laura’s Meals on Wheels job and she comes into contact with this weirdo who grows orchids and is in possession of Laura’s secret diary. And I remember not liking that. But then Lynch would show up playing [FBI regional director] Gordon Cole, and I’d love that, or David Duchovny would show up playing DEA agent Denise Bryson, and I’d be like, “This is the greatest thing ever!”

Still, I was alternately in and out. The turning point came after all the big reveals with Laura’s murder, that it was Leland who was responsible for killing Laura, that he was inhabited by this evil spirit named BOB. Now, what is the show? Now, what’s the mystery we’re supposed to solve? It never quite locked into anything new that was as compelling as Laura Palmer.

By the time the show ended, my father and I were no longer watching it together, and it didn’t feel like it was appointment TV. I was still watching, but I wasn’t loving it… and then we got the series 2 finale. Wow. The sequence in The Red Room. Cooper getting possessed by BOB. Ending on him looking in the mirror and ramming his face into it. I remember thinking, ‘This is going to be cool! I’m back in!’ And then the show was canceled.

Did you see the prequel movie? Twin Peaks: Fire Walk With Me? Yeah. That was a year later, right?

Right, summer of 1992. I remember kinda liking the movie and still considering myself a Twin Peaks fan, but also sort of resigning myself to the fact that there wasn’t going to be any more Twin Peaks that resolved those cliffhangers and being kind of bummed about that. Still, I only had positive feelings about Twin Peaks. Even in college, in the mid-’90s, when my friends and I would talk about our favorite TV shows, Twin Peaks was always on our lists, even though it was only on for a brief time and even though it disappointed.

Why is that? Because it was a cultural moment for people, and especially for kids of that era. We were the age of Bobby and James, Laura and Donna and Maddy. Even though they were all clearly played by actors in their 20s, there was an identification with them. The perception was, even if the show strayed from the path and went off the rails a little bit, Twin Peaks was cool, and it was a shared, zeitgeisty thing. But more importantly, in our pretentious NYU film school heads, Twin Peaks was important because it was “cinema.” It was an auteur-driven story in a way a lot of TV wasn’t, but was about to be. And, of course, it felt like cinema because it was Lynch, and we were all obsessed with Lynch in film school.

Did Twin Peaks influence your storytelling? I’m thinking specifically of the phenomenal “International Assassin” episode of The Leftovers, in which Kevin enters a surreal realm that might be pure imagination, might be some kind afterlife, or might be something else altogether. There is no Leftovers without Twin Peaks, full stop. That said, when we tried to “do” Lynch — for example, Kevin’s dreams in season 1, where dogs are growling in mailboxes — we fell way short of the mark. It wasn’t until we embraced the absurd — like Patti pooping in a paper bag and labeling it “Neil,” or Nora simulating sex with a life-sized replica of a salesman while he watched, both aroused and disturbed — that we realized we were finally scraping the essence of Twin Peaks: weird and disturbing and spiritual all rolled into one. And yes, of course, the episode “International Assassin.” No way does that happen in a world where Twin Peaks never aired.

And Lost would never have happened if Twin Peaks hadn’t occurred, either. First off, the idea of mystery as the central premise of a television show came from Twin Peaks. Up until Twin Peaks, at least through my lens, a mystery show was, like, Murder, She Wrote. A procedural. Every episode, there’s a mystery, it gets solved. But the idea of a serialized mystery show, taking place over many, many episodes, was completely and totally revolutionary.

Now, there are downsides with mystery. You’re playing with fire. The minute you resolve the mystery, the show is over. Twin Peaks became a cautionary tale for that. Whether it’s true or not, fair or not, the perception is that once they revealed who killed Laura Palmer, there was no reason to watch the show anymore. I don’t agree with that premise, but I do think if you’re going to do a long-form mystery show, you have to have a plan for what to do once you resolve the central mystery. And the answer has to be, there just has to be multiple, multiple, multiple mysteries, so every time you knock one off, there’s still two unresolved ones in its wake, and you see how long you can play that game. This can become even more complex when the mysteries of your show are supernatural in nature or just plain weird. Which brings me to a story about Lost.

My memory might be faulty. I’m sure about some things in this story and less sure about others. But what I’m sure about is that, after J.J. and I wrote the treatment, ABC really only had two areas of concern. No. 1, which we have talked about ad nauseam before, was the idea that Jack, who would present as the main character, would die at the end of the pilot.

But the main area of concern was the idea that there was this monster on the island. In that meeting, present were Lloyd Braun and Susan Lyne, who were the co-presidents of ABC. Before I go on, let me just say, if Lloyd hadn’t been the president of ABC, there’d be no Lost, because he believed in this thing from the word go. It was his idea to do a plane crash on an island show, et cetera.

But I don’t think he wanted the monster. So in this meeting, he says, “I think this outline is dynamite, but I don’t think that there should be a monster in the pilot. If you guys want to work your way up to some of that weird stuff, it’s a conversation for another day. But definitely not in the pilot. It’s too weird. We don’t want to do a Twin Peaks.” I remember Lloyd very specifically saying, “I don’t want to do a Twin Peaks.”

This wasn’t good. All the things that J.J. and I were starting to get super-excited about were the weird things on the island. The monster is representative of the idea that if they’re just on a normal island, the show isn’t going to be very interesting. But if the island’s weird and supernatural and, more importantly, has a long history and mythology behind it — well, that was the stuff that was turning us on. If we had to take the monster out of the pilot, that would have meant that we’d have to take all the weird things that we had already been sort of talking about. So I was having this bad feeling in the meeting: “Oh, no, what’s going to happen now?”

And then J.J. jumped in and said some version of this: “It’s 2004. Twin Peaks has been off the air for 13 years and you’re still using it as a cautionary tale. But even if it is a cautionary tale, we should be so lucky if this show gets to be like Twin Peaks, because how many television shows get remembered the way Twin Peaks is remembered? Twin Peaks was amazing and maybe it didn’t end well, but we can learn from its mistakes. We should be so lucky to be compared to Twin Peaks! We should aspire to Twin Peaks!”

And Lloyd said, “Okay, do your monster.”

At this point in your working relationship with J.J., you had only known him —

A week!

Did you guys discuss Twin Peaks in your brainstorming? I don’t think so. We talked a lot about The Twilight Zone. We talked a lot about Dickens, in terms of how we would do coincidence and how that would be a big part of the show. But Twin Peaks influenced a lot of Lost. Easter eggs. Characters having secret motivations. A massive ensemble. These were not revolutionary ideas. Certainly not for soap opera. But when Lost came along, there weren’t really any shows on the air that were doing 14 series regulars. I think that the last time ABC had an hour-long drama with 14 series regulars was probably Twin Peaks.

I remember very specifically — although I don’t remember which season it was in — that we contemplated putting some Twin Peaks Easter eggs into Lost and then decided against it.

Why? I don’t know if you know this, Jeff, but back in the days of Lost, there were these people on the internet who were fervently theorizing about Lost to such an extent that, if you made, say, a, reference to The Black Lodge from Twin Peaks, just as a joke, the people who were analyzing the show beat by beat, would be like, “Is the Black Lodge on the island? Is it possible that Agent Cooper exists in the world of Lost?”

That would have been my greatest favorite thing ever. It would have.

What was thinking behind the idea? Why even make that joke? It could have been something like Sawyer making a pop culture wisecrack. Shannon would be walking out of the woods with some firewood and he’d say, “Hey there, Log Lady!” … My knee-jerk impulse memory is that it related to our awareness that the audience was trying to solve mysteries and that there would be some kind of wink-wink at that. Along the lines of, say, a character saying that trying to figure out where the polar bears come from is like trying to figure out who killed Laura Palmer. It was for the best we abandoned the idea. Lost making a reference to Twin Peaks as it related to the frustration of supernatural mystery? That’s radioactive. We couldn’t be that self-aware without eating a tremendous amount of s—. … But in all seriousness, you are literally playing with fire if you invoke Twin Peaks on a show like Lost. The shows shared similar issues, and in some ways now, similar legacies. Echoing what J.J. said in that first meeting with Lloyd, to be compared to Twin Peaks makes me very, very happy, whether the comparison is positive or negative.

I’ll tell you this much, though. We had three years to build up to our ending, and we got to do the ending that we wanted. Frost and Lynch did not get to do that. Now, they are. And that’s the other reason I’m super psyched for Twin Peaks coming back. I don’t know whether this is a season of Twin Peaks that will lead to more seasons of Twin Peaks, or whether it is the final chapter of Twin Peaks. Either way, I feel like it was a story that ended in media res, and now, the very same people who told the first chapters of that story are coming back to tell a new chapter. That’s exciting.

link (TP)

#Twin Peaks #LOST #Damon Lindelof #David Lynch #Mark Frost #TheLeftovers

9 notes · View notes

glassprism · 8 years

Note

As someone who loves studying the psychology of theater in general, I wondered what your thoughts were on Webber's Phantom in terms of development and later continued life? For example, what do you think has grown/changed about the show through each production and how the piece continues to evolve. I know with your collection, you have noticed the different tone/interpretation of each production. Even as someone who hasn't seen it live, I'd love to know YOUR thoughts!

Well, I can certainly give this a try! (Warning: I might have majored in psychology but I sure as heck haven’t tried to use it to look at theater, so who knows what this answer will be like.)

I think what’s really interesting to me is how much the show hasn’t changed - despite 30 years , the majority of productions continue to do replica productions, and non-replicas still appear to be fairly uncommon. I often compare Phantom to Elisabeth, which arguably has no replica production at all - almost every production that opens has their own design, and even when the show was revived in Vienna, it was modified pretty heavily. The most “common” version as of now seems to be that Stage Entertainment touring production that went around Belgium, Germany, and Vienna, and even that gets tweaked now and then every time it opens. Or if you look at Les Miserables, most productions that open now use that restaged tour design (e.g. US Tour, second Broadway revival, Madrid, Korea, Australian tour, etc.), and the ones that use the original production have been running that way since the beginning (e.g. London).

There’s probably a variety of reasons for this. One is that it’s simply easier to make costumes and sets when there’s already designs for it, and there’s so many of them in storage that some productions don’t even have to do much of that, just pull out ones in stock and modify them for their cast. Another is that Phantom is so popular that it’s look has become iconic - most people will probably have at least seen a photo of the chandelier, or the gondola scene, or the ‘Music of the Night’ pose. It can be hard to design something totally new without some influence from Maria Bjornson’s design. (Might be why every dressing gown, even in non-replica productions, is white. Whatever production designs a non-white dressing gown is going to shake the fandom, seriously.)

And finally… I feel like Phantom has a story that is so universal that most productions don’t feel a need to tweak anything at all? There’s a wonderful essay on the musical Elisabeth and how each production has changed blocking, costumes, sets, and interpretations to showcase (or downplay) aspects, depending upon the culture of the country or production it’s in: in Hungary her independence is emphasized, in Takarazuka a romantic figure and idealized figure, and so on.

But Phantom doesn’t quite have that; the beauty and beast tropes, love triangles, redemption through love - these are things that aren’t really set in one culture, IMO. Almost everyone has felt that, or read stories about that. So there’s little need to change the production to emphasize one aspect over another, and little reason to go down the route of Elisabeth and make EVERY production a non-replica. The one production that seems to do anything like this might be the Estonian production, which deliberately set their production between World War I and II and had a couple small allusions to events that occurred there. It’s possible that some of the other non-replica productions did this, but it’s difficult for me to tell - I just think all their stuff look anachronistic. And even then, little is done to change the actual story.

(Also if I keep referencing Elisabeth it’s because it’s the only musical I’ve thought much in depth about other than Phantom…. and Bat Boy, I guess. But there’s literally only been like, two official productions of Bat Boy, so that doesn’t make for great comparison.)

But I’ve digressed badly. So… stuff that has changed? The one that comes to mind for me is interpretation of the characters and the feel of the story, almost. They go hand-in-hand, honestly. I feel like the early interpretations were more… darkly romantic, in some ways, more fantastical in other ways, more high melodrama. Crawford played his Phantom with this incredible sensuality and vulnerability, Christine was this ethereal soprano, and Raoul was your knight in shining armor. But even with their first replacements, that started to change. Phantoms were played with more intensity, more anger and insanity, Christines became feistier and more willing to fight back, and Raouls… okay Raouls didn’t change that much, though some play up the arrogance and over-confidence of the character more. My feeling is that it’s a combination of wanting to move away from the original interpretations, actors bringing in the original source material, social movements asserting themselves more strongly (feminism and wanting Strong Female Characters may be why Christines are much more spirited now than before), and possibly wanting to be more “dark and gritty” in interpretation.

(Side note: I could probably write another paragraph on why I don’t like the “dark and gritty” stuff becoming a dominant theme of Phantom e.g. the way the restaged tour does it, but I won’t because length.)

As for the future? Like many, I want to see more diversity, and I’m glad some productions are heading down this way. (Some of this is probably due to influences from other musicals - like, I’m pretty sure Hamilton‘s popularity and the casting of the first Asian-American Christine and African-American Raoul on Broadway are connected. And they’re following it up with what I think is the first Hispanic Raoul?) I am also actually happy to see more non-replica productions coming, even if haven’t really been pleased by, well, any of them so far. New interpretations of the material beyond the replica are always interesting and can reveal more about this story that we haven’t thought about.

#alexielderavenswood #GP gets asks #I'm trying to be pretty general here #getting down individually to each production would be really fun but would also make my head spin

12 notes · View notes

magenta-fantasies · 5 years

Text

Two Season 8s: Game of Thrones and Winx Club

Game of Thrones and Winx Club couldn’t be more opposite, but they share one vital similarity: both have a Season 8 that premiered in April 2019, and I was psyched for both.

Game of Thrones ended a couple weeks ago (incidentally on the same day as Kids Con—more about that here.) I was astounded by the amount of controversy, ambivalence and outright bile online, to the point that nearly a million people signed a petition to redo Season 8 (like that will ever happen.)

Perhaps I don’t feel the negativity because I haven’t read A Song of Ice and Fire (though I plan to now that Game of Thrones is over.) I’ve met several book readers who enjoyed Season 8, so it’s hard to say. All I know is that people will be talking about Game of Thrones for a long, long, looooooong time. It will go down in history as a classic, like I Love Lucy, Star Trek, The Sopranos or The Dukes of Hazzard.

It’s not my favorite season, nor is it my least favorite season. Overall, I enjoyed Season 8, though I recognize its faults. The plot was rushed because there were only six episodes (I expected eight.) The first two episodes are slow. Though I enjoyed the plot twist where Daenerys snaps and becomes a villain as she torches King’s Landing, it feels unearned and needed more build up to be believable. She didn’t just jump the slippery slope into villainy; she triple somersaulted off the high dive over it. Even though I like her as a character, I enjoyed her death scene and couldn’t have envisioned a better end for her. On the topic of endings, I found the final episode to be anticlimactic and completely implausible. How in the world was Jon spared after killing Daenerys? It’s hard to believe her armies would allow everyone else to meet peacefully, and that Jon’s men would tolerate having their leader/former leader taken prisoner.

Season 8 also had many strengths. The production values are off the charts (honestly, movie quality if not better). I wouldn’t be surprised if the budgets for The Long Night and The Bells broke TV records. There were many dramatic and well-executed character deaths. The death scene with Cersei and Jaime was one of my favorite death scenes in the show. Like with Daenerys, I couldn’t have envisioned a better way for them to die. I really hoped that Jaime wouldn’t be the one to kill her (rumors about this floated around the fandom for years) and I don’t think they could have had a more emotionally compelling death. I cried when Cersei and Jaime died, one of the few Game of Thrones death scenes where I did so.

And onto that other Season 8…

As I said here, I was psyched for Winx Club Season 8, more because there was a Season 8 after a three-year hiatus with almost no news than because of the actual trailer. Actually, I had reservations about Season 8 based on the trailers, and some of these held true.

From the impression I had from the trailer, I didn’t think this would be one of the better seasons. However, even the “worst” Winx Club seasons (Seasons 2 and 5 are my least favorites) are still very enjoyable, so that doesn’t matter much. Granted, my opinion of Season 8 is skewed by the fact that I’m watching it in Italian and I don’t speak the language. The plot is easier to follow than I expected and I understand what’s occurring about 80% of the time.

Like with Game of Thrones, I’ve seen considerable ambivalence, controversy and hostility directed at Winx Club Season 8. Most of this is directed towards the new visual style. While I will never like the new visual style as much as the previous seasons (Seasons 5-7 in particular), it grew on me more than I expected. It aggravates me that the main characters were regressed in age, but at least the new art style is tolerable. The characters look less doll-like in animation than they did in the promotional images. I’m displeased with Valtor’s portrayal this season. He lost almost all of his menace and charisma from Season 3 that made him the most popular Winx Club villain aside from the Trix. Also, he no longer marks characters who ally with him.

Winx Club Season 8 has several positive qualities. The theme song is fantastic. I liked it from the moment I heard it. It has an extremely catchy tune, like Season 7’s theme, but the lyrics aren’t as childish. At least, that assessment is based off a snippet in English I heard on the official Winx Instagram. The animation is spectacular, as expected for Winx Club. Riven returns after he left at the end of Season 6, and his and Musa’s passive-aggressive behavior towards each other is amusing. I also enjoy the building tension between Bloom and Sky.

The new character Orion is great so far. He’s charming yet weaselly and overall fun to watch, as well as being handsome. He may have unscrupulous ways of solving problems, but from what I can infer from the animation, his intentions are ultimately good. It appears that he wants to revive his planet, and he doesn’t seem to know that Valtor is evil when he allies with the wizard. Twinkly and the Lumens are more endearing than most of the “cute mascot species” introduced in past seasons. They appear to hide great power, and I’m curious to see what direction this takes the plot in. Even the villainous purple blobs (I’m not sure what they are called in English) are oddly endearing. Obscuro is a somewhat entertaining “comic relief sidekick villain”, although he can be annoying. In those times it is satisfying to see Valtor sock it to him, usually by warping him into painful places, for example making him fall into a patch of deceptively cute spike creatures.

I’m not going to let internet reactions get me down over two Season 8s I’ve been looking forward to for a very long time.

#Game of Thrones #Winx Club #Season 8 #wall of text #essay #long post

1 note · View note

the-only-trans-sopranos-fan · 4 months

Text

i hate seeing that stupid scene where tony says carmela is his life on pinterest whenever i look up the sopranos, im like guys they are literally supremely unhappy in their relationship

#reviving the sopranos fandom #the sopranos #tony soprano #carmela soprano

10 notes · View notes

bronovaseven · 6 years

Text

Nina

Nikolina Bronova Mori, professionally known as Nina, is an american and naturalized bulgarian and japanese singer-songwriter, composer, multi-instrumentalist, dancer, choreographer and actress under Columbia Records. She is amongst a small group of entertainers who have been honored with an Emmy, Grammy, Oscar and Tony Award. Nina holds the record for the artist with the most singles to top the Billboard Hot 100. She is also one of the only artist to have all albums debut at the top of the Billboard 200.

Profile

Full name: Nikolina Bronova Mori (Николина бронова 森). Birth date: December 7th 1998 (19). Birth place: Washington, United States. Zodiac sign: Sagittarius. Chinese zodiac sign: Earth tiger. Height: 1.68cm. Weight: 52kg. Nicknames: Goddess Of Music, Queen B, Songbird Supreme and The Voice. Blood type: O. Voice type: Soprano. Vocal ranking: Star.

Curiosities

Animals: Miku (pomeranian) and Misha (rottweiler). Body type: Theatrical romantic (medium height, hourglass and voluptuous figure, medium to big bustline, small waist, fleshy arms and legs, small and delicate bone structure with a soft sharpness). Cup size: C. Ethnicity: Brazilian, bulgarian, japanese and portuguese. Face type: Classic (symmetrical and balanced features). Family: Shigeru Sugahara Mori (father), Katarina Montes Bronova (mother) and Karolina Bronova Mori (younger sister). Fandom name: Beehive. Hobbies: Reading, drawing, listening to music, singing, dancing, watching movies and television series, exercising, traveling, collecting pens and notebooks, taking pictures, riding her bycicle and writing music. Instruments: Acoustic guitar, banjo, banjo ukulele, baritone guitar, bass guitar, clarinet, classical guitar, drums, electric bass guitar, electric guitar, flamento guitar, flute, harmonica, harp, keyboard, piano, synthesizer and violin. Languages: Bulgarian, english, french, japanese, korean, mandarin, portuguese, russian and spanish. Nicknames: Goddess Of Music, Queen B, Songbird Supreme and The Voice. Religion: Catholic. Sexual orientation: Heterosexual. Shoe size: 7.5 (US).

Early life

Nikolina was born in Seattle, Washington, the daughter of a bulgarian lawyer and a japanese farmer. From the early age of five, she wanted to become a singer, and took various musical classes throughout her early years. After staring in the Broadway production of Lés Miserables and winning a Tony Award for her performance, she was discovered by a representative of Columbia Records and signed to the label.

Personality

Positive traits: Adventurous, brave, broad-minded, charming, compassionate, creative, determined, diplomatic, faithful, freedom-loving, friendly, good-humored, honest, humanitarian, independent, intellectual, intuitive, jovial, loyal, magnetic, modest, optimistic, philosophical, realistic, self-confident, sensitive, sympathetic, warmhearted and well-liked. Negative traits: Competitive, compulsive, greedy, escapist, idealistic, irritable, obsessive, resentful, restless, selfish and a worrier.

She is known for being very nice to her fans. Many of them report being well treated by her whenever they meet.

Physical appearance

Black and straight hair. Green eyes. Fair skin. Curvy. Dimples. Two piercings on her left ear and three on her right ear.One tattoo on her left ribcage (“to the stars to the moon”) and one tattoo on her right shoulder (japanese writing of “Mori”).

Vocals

Critic Of Music

Vocal type: Spinto-soprano. Positives: Legendary interpretive wit, thanks to incredible knowledge of musical phrasing and vocal pedagogy. A defining, trademarked voice. Incredible breath support, showing no signs of fatigue and carrying extensive legato passages with ease. Incredible utilization of dynamics, using all volumes from fortissimo to pianissimo and everything in between to craft incredible phrases. Great control of her passagio and incredibly balanced instrument. Powerful, resonant belts that are mixed with head voice, that are well-supported and healthy, projecting massive resonance with ease. A master of breath support. Able to rapid fire mid and upper belts. Her low notes are also well supported, dark and full. The head voice is resonant and piercing, full and fluid. Her vibrato is well developed and rolling, and can be executed with ease. Her timbre is velvety and luscious and makes for a perfect midrange. She is also able to sing complex melisma in all registers, with every register well connected. Her falsetto is light and sweet. She also has unparalleled register transitions, switching from chest to head, head to whistle, and even chest to whistle without as much of a pause. Pitch perfect in 99% of performances. Technically, a brilliant singer. Negatives: Occasionally raises her larynx in upper-belts.

Albums and singles

Vivid (2015) All I Want For Christmas Emotions I Wanna Dance With Somebody Love On Top No One Physical

Yours Truly (2016) Into You Love Me Better One Last Time Problem (ft. Big Sean) The Way Too Little Too Late

Revival (2017) Bills, Bills, Bills Bootylicious If I Were A Boy Independent Women Say My Name Single Ladies

Lemonade (2018) Can’t Feel My Face Diamonds How Can I Ease The Pain? Let’s Groove September Sexual Healing

Fever (2019) Bad Liar Dangerous Woman Do I Wanna Know? Psycho Killer Take Me To Church Wild Thoughts

Portrait (2020) Back To Black Chandelier Drunk In Love Love On The Brain Stone Cold Un-Break My Heart

Who I Am (2022) Because Of You Bleeding Love Fallin’ Halo If I Ain’t Got You Million Reasons

Spirit (2025) Hello Rolling In The Deep Send My Love Set Fire To The Rain Someone Like You

Time (2028) Can’t Make You Love Me I Have Nothing I Look To You I Will Always Love You When We Were Young

How Does That Grab You? (2030) Bang Bang (My Baby Shot Me Down) Dust In The Wind Every Breath You Take Killing Me Softly The Sound Of Silence

Katerina (2032) Bohemian Rhapsody Come Together I Want To Break Free Sign Of The Times Somebody To Love We Are The Champions

Waiting To Exhale (2035) Always On My Mind Don’t Let Me Be Misunderstood Hurt The Blower’s Daughter Wonderwall

The Diary Of Nina (2038) Can’t Help Falling In Love From This Moment On Here Comes The Sun Loving You Yesterday You’re Still The One

Glassheart (2040) A Change Is Gonna Come All The Man I Need Cruisin’ Greatest Love Of All Let’s Stay Together Say A Little Prayer

Bird Of Happiness (2045) Dreamlover Hero Love Takes Time Someday Vision Of Love We Belong Together

These Are My Blues (2050) At Last Feeling Good I Put A Spell On You Respect Something’s Got A Hold On Me This Is A Man’s World

Albums and non-title tracks

Vivid (2015) All That Baby, I Body Language Boy Problems Can’t Sleep Love Come Alive (ft. Toro Y Moi) Cry Dust Is Gone Finesse First Time Gimme Love Hard To Say No I Didn’t Just Come Here To Dance Maiden Making The Most Of The Night Run Away With Me Say You’ll Be There Schoolin’ Life Store The One Too Good To Say Goodbye Your Type

Yours Truly (2016) Bad Decisions Be My Baby Closer Fools For Him Gone And Found Greedy Higher How I Want Ya (ft. Jordan Fisher) How To Be A Heartbreaker I Don’t Care Just A Little Bit Of Your Heart Let Me Love You Never Wanna Know No Tears Left To Cry Only One Paper Heart Right There Sometimes Tattooed Heart Touch (ft. Canvas) Wild You’ll Never Know

Revival (2017) 10-20-40 Be Alright Countdown Cyber Stockholm Syndrome Ego Fantasy (ft. Amber Liu) Gave It Away Glow If I Ever Fall In Love (ft. Janelle Monáe) Knew Better Listen No Mythologies To Follow Oh No! Primadonna Girl Red In The Grey Ridin’ (ft. A$AP Rocky) Rose Gold Simple Things Slow Love Tears (ft. Clean Bandit) Ugly West Coast You Don’t Know Me

Lemonade (2018) 6 Inch (ft. The Weeknd) Adorn After The Love Has Gone A Lonely Night Bound Broken Clocks Coffee Done For Me Emotion Every Kind Of Way (ft. Wale) Falling For You Fetish (ft. Schoolboy Q) Fire Rides Heart Less In Your Bed Love Drought Love On The Weekend Lovely (ft. Khalid) Ocean Eyes Passionfruit Perfect Serial Killer Somebody Else Something About Us (ft. Daft Punk) Thinking About You Too Good (ft. Alan Love) Touch Me

Fever (2019) After The Storm (ft. Bootsy Collins and Tyler, The Creator) Are You Satisfied? Baby Boy Birth In Reverse Black Sheep Cupid’s Chokehold Empty Nesters Forrest Gump I Don’t Trust Myself With Loving You I Wanna Be Yours Miracle Alligner Night By Night No Control One For The Road Puppet Love Redbone Run Baby Run Self Control Someone New Stockholm Syndrome Strange Mercy To Be Alone Why’d You Only Call Me When You’re High? Yeah Right Your Teeth In My Neck Zombie

Portrait (2020) Belly Ache Betsy On The Roof Bored Broken Clocks Cake Copycat Drowning Eyes On Fire Hostage I Don’t Wanna Be You Anymore If These Walls Could Talk Liability Love Is A Losing Game My Boy Nicest Thing Pilgrim Reality Russian Roulette Talk Me Down Tears Dry On Their Own Teen Idle Tunnel Vision (ft. Shamir) Until We Bleed Use Me You Don’t Do It For Me Anymore You Know I’m No Good

Who I Am (2022) Almost Is Never Enough As Long As You Love Me Bad Religion Cannonball Crave You Draw Your Swords Every Little Thing He Does Is Magic Fireproof Freak Home I’m Not The Only One Just A Boy Let’s Get Lost Listen Malibu Midnight Bottle Moonlight Older Chests Start Of Time Talking To The Moon Tell Me That You Love Me Training Wheels Valentine Volcano Whatever You Like You

Spirit (2025) All I Ask Dark Paradise Hometown Glory I Can’t Get Started It Takes A Lot To Know A Man Love In The Dark Lucky Million Years Ago Never Been In Love Before River Lea Rumour Has It Sad Girl Salvation Speechless Sweetest Devotion Turning Tables Venus Video Games Vultures Water Under The Bridge Watch Young And Beautiful

Time (2028) 9 Crimes All Of You Can’t Pretend Caught Don’t Look Back Emotion Illuminated Jealous Lies Little Boy Blue Love Nick Of Time Nirvana Nitesky (ft. Robot Koch) Nostalgia One (ft. U2) Palace Religion Remedy Sandcastles The Chain Wolves

How Does That Grab You? (2030) All I Have To Do Is Dream Build Me Up Buttercup But Not For Me Heal The World How Long I Fall In Love Too Easily If I Had You I’ll Be There I’m A Ruin I’m Gonna Find Another You Immortal It’s My Party Look For The Silver Lining Make You Feel My Love My Funny Valentine Only Hope Pink Matter Quickie Slow Dancing In A Burning Room Solo (ft. Andre 3000) The Touch Of Yours Lips Want You Back Wonder You Don’t Own Me

Katerina (2032) Bloodsport Boogieman Come To Mama Daddy Lessons (ft. Dixie Chicks) Don’t Fall In Love With Someone New Holding On Ivy Japanese Denim Killer Queen Landfill Land Locked Blues Leave Me Lonely (ft. Macy Gray) Like Real People Do My Favorite Faded Fantasy Pain Please Don’t Leave Me Regret Sinner’s Prayer Sober Stop The World Touch When You Were Young Who Knew Yellow Brick Road

Waiting To Exhale (2035) A Heartbreak All The Way Down Blood Dazed In Daydreams Delicate Elephant Everywhere I Go Freedom (ft. Kentorey Johnson) Guiding Light Heart Beats Slow I Don’t Want To Change You In Chains Love Me Like I’m Not Made Of Stone Medicine No Such Thing One Flight Down Pink + White Put Your Number In My Phone Rootless Tree Run Say It To Me Now Ship To Wreck The Animals Were Gone You Don’t Have To Go

The Diary Of Nina (2038) Big Jet Plane Blackbird Burning Love Clementine Color Me In Creature Fear Dogs Don’t Know Why Falling Slowly Flightless Bird, American Mouth Gravity Happily He Was Too Good To Me Love Has No Pride Lua My Ideal Paper Aeroplane Slow Dancing In A Burning Room Stand Tall Strong The Long Day Is Over The Moon Song Time After Time Waiting On The World To Change

Glassheart (2040) All This And Heaven Too A Woman’s Worth Believe In You And Me Follow Rivers Hardest Of Hearts Honeymoon Avenue I Am Every Woman It’s Always You Like You’ll Never See Me Again Never Let Me Go One Night Only Picture Me Gone Radioactive Run To You The Light Is On Tired Of Being Alone Tomorrow (ft. Tame Impala) Valley Of The Dolls Want You Back You’re Still My Man

Bird Of Happiness (2045) Alterlife Always Be My Baby Anytime You Need A Friend Can’t Let Go Cosmic Love Drumming Song Falling I Don’t Wanna Cry I’m Not Calling You A Liar Lay All Your Love On Me Like Someone In Love Living Dead My All One Summer Night Shoot The Moon Suspicious Mind Take Me To The River The State Of Dreaming Wildest Dreams Without You

These Are My Blues (2050) Ain’t No Way Buy The Stars Cold Cold Heart Do You? Embraceable You How Deep Is The Ocean? Hypocrates I’d Rather Go Blind I Get Along Without You Very Well (Except Sometimes) I Want You I Was Here Lipstick Long Long Way Love T.K.O My Future Just Passed Too Much Heaven Valerie Voila What’s New? You Light Up My Life

Collaborations

2015 You Know You Like It (ft. DJ Snake)

2017 24k Magic (ft. Bruno Mars) Loyalty (ft. Kentorey Johnson)

2019 Get Lucky (ft. Daft Punk) Lose Yourself (ft. Daft Punk)

2020 Sensual Seduction (ft. Cardi B)

2022 FourFiveSeconds (ft. Paul McCartney and Rihanna)

2026 Digital Love (ft. Daft Punk) I Feel It Coming (ft. Daft Punk)

2031 Lost On The Way Home (ft. Chromeo)

2034 Beautiful (ft. Miguel)

2039 Stay (ft. Mikky Ekko)

2045 Empire State Of Mind (ft. Kentorey Johnson)

2058 How Deep Is Your Love (ft. The Bird And The Bee)

Soundtracks

Skyfall (2016) Skyfall

Black Panther (2018) All Of The Stars (ft. Kentorey Johnson)

Call Me By Your Name (2019) Redbone

La La Land (2021) City Of Stars I Won’t Say I’m In Love The Audition

Her (2024) The Moon Song

Breakfast At Tifanny’s (2026) La Vi En Rose Moon River Once Upon A Dream

The Hunchback Of Notre Dame (2033) The Bells Of Notre Dame

Pocahontas (2037) Colors Of The Wind If I Never Knew You Just Around The Riverbend Savages (Part One) Savages (Part Two)

Funny Girl (2041) A Piece Of Sky Don’t Rain On My Parade My Man The Man That Got Away Why Don’t You Do Right?

Anastasia (2046) Journey To The Past Learn To Do It Once Upon A December

The Nightmare Before Christmas (2049) Finale Kidnap The Sandy Claws Sally’s Song

The Prince Of Egypt (2058) Deliver Us When You Believe

Filmography (movies)

Black Panther (2018) Call Me By Your Name (2019) La La Land (2021) Her (2024) Breakfast At Tiffany’s (2026) Almost Famous (2031) The Hunchback Of Notre Dame (2033) Funny Girl (2041) Two Days, One Night (2044) Anastasia (2046) The Nightmare Before Christmas (2049) I Am Love (2053) The Prince Of Egypt (2058) Amour (2084)

Filmography (television series)

Pocahontas (2037)

Theatre

Lés Miserables (2013)

Covers (on YouTube)

2011 Everytime by Britney Spears. Like I’m Gonna Lose You by John Legend.

2012 E.T by Katy Perry. Paparazzi by Lady Gaga.

Cover performances

Super Bowl (2015) Star Spangled Banner by Francis Scott Key.

American Music Awards (2016) Got To Be Real by Cheryl Lynn (with Cheryl Lynn).

BBC Radio 1 (2017) Hands To Myself by Selena Gomez.

Grammy Awards (2018) Hallelujah by Leonard Cohen (with Pentatonix).

BBC Radio 1 (2024) Bad Romance by Lady Gaga.

NBA All-Star (2032) Star Spangled Banner by Francis Scott Key.

BBC Radio 1 (2035) Hold It Against Me by Britney Spears.

MTV Music Video Awards (2039) My Heart Will Go On by Celine Dion.

Super Bowl (2042) Star Spangled Banner by Francis Scott Key.

Partners

Tidiou M’Baye (2012) Owen Teague (2014-2017) Rahul Kohli (2018-2021) Sho Wara (2023-) *married in 2028

Children

Anton Wara (2031) Isabela Wara (2033) Luna Wara (2035)

0 notes

bronovaten · 6 years

Text

Nina

Nikolina Bronova Mori, professionally known as Nina, is a japanese and naturalized american, bulgarian, south korean and swedish singer-songwriter, composer, multi-instrumentalist, dancer, choreographer and actress under JYP Entertainment and Columbia Records. She is amongst a small group of entertainers who have been honored with an Emmy, Grammy, Oscar and Tony Award. Nina holds the record for the artist with the most singles to top both the Billboard Hot 100 and the Gaon Music Chart. She is also the only artist to have all south korean albums debut at the top of the Gaon Album Chart and all american albums debut at the top of the Billboard 200.

Profile

Full name: Nikolina Bronova Mori (Николина бронова 森). Birth date: December 7th 1998 (19). Birth place: Tokyo, Japan. Zodiac sign: Sagittarius. Chinese zodiac sign: Earth tiger. Height: 1.68cm. Weight: 52kg. Nicknames: Goddess Of Music, Million Dollar Smile, Nation’s First Love, Queen B, Songbird Supreme, The Voice and True Visual. Blood type: O. Voice type: Soprano. Vocal ranking: Star and Great Vocalist.

Curiosities

Animals: Miku (pomeranian) and Misha (rottweiler). Body type: Theatrical romantic (medium height, hourglass and voluptuous figure, medium to big bustline, small waist, fleshy arms and legs, small and delicate bone structure with a soft sharpness). Cup size: C. Ethnicity: Brazilian, bulgarian, japanese and portuguese. Face type: Classic (symmetrical and balanced features). Family: Shigeru Sugahara Mori (father), Katarina Montes Bronova (mother) and Karolina Bronova Mori (younger sister). Fandom name: Beehive. Hobbies: Reading, drawing, listening to music, singing, dancing, watching movies and television series, exercising, traveling, collecting pens and notebooks, taking pictures, riding her bycicle and writing music. Instruments: Acoustic guitar, banjo, banjo ukulele, baritone guitar, bass guitar, clarinet, classical guitar, drums, electric bass guitar, electric guitar, flamento guitar, flute, harmonica, harp, keyboard, piano, synthesizer and violin. Languages: Bulgarian, english, french, japanese, korean, mandarin, portuguese, russian and spanish. Nicknames: Goddess Of Music, Million Dollar Smile, Nation’s First Love, Queen B, Songbird Supreme, The Voice and True Visual. Religion: Catholic. Sexual orientation: Heterosexual. Shoe size: 7.5 (US).

Early life

Nikolina was born in Tokyo, Japan, the daughter of a bulgarian lawyer and a japanese farmer. She lived in Japan until the age of seven, when she moved with her mother and younger sister to Bulgaria, following her parent’s divorce. From the early age of five, she wanted to become a singer, and took various musical classes throughout her early years. She moved to South Korea as an exchange student in 2012 and, after staring in the Broadway production of L��s Miserables and winning a Tony Award for her performance, she was discovered by a representative of JYP Entertainment and signed to the label. In 2020, she made her american debut after signing with the label Columbia Records.

Personality

She is known for being very nice to her fans. Many of them report being well treated by her whenever they meet.

Physical appearance

Vocals

Critic Of Music

K-Pop Vocal Analysis

Voice type: Soprano. Strengths: The strongest female singer in South Korea and arguably the entire current music scene. Consistent support, very well connected head voice, transitions are flawless, extreme control of dynamics and mixing, runs are precise and well articulated, nasality is almost never present in her singing. Points for improvement: Head voice can show issues with upper-belts, complicated vowels can create tension in her voice. Agility: The top vocalist in terms of agility and precision amongst korean singers, able to keep control of and flexibility in her runs and melismas. Her runs are precise in pitch and generally very well separated, every note is clear and the overall flow is good and natural. Musicianship: Arguably her second strongest virtue, Nina is not one to be labelled as a “karaoke” singer. Taking note from the general idea of self expression and vocal freedom, she always shows creativity and never delivers vocal performances that are exactly the same as another, being generally filled with new vocal melodies, playing with rhythm and vocal runs added by Nina herself, notably being able to always deliver accurate and precise changes to covers and her own original song performances.

Albums and singles

Chat-Shire (2015) 11:11 Every End Of The Day I (ft. Verbal Jint) Instagram Pilot (ft. Woo Jiyoon) Why?

Modern Times (2016) Free Somebody Good Day Insane Monday Afternoon Seventeen The Red Shoes

Invitation (2017) Don’t Say No I Feel You (ft. Yubin) Night Rather Than Day (ft. Hani, Moonbyul and Seulgi) Peek-A-Boo Playing With Fire (ft. Kasper) Spring Day (ft. Dok2)

Relax Your Mind (2018) Automatic Galaxy Half Moon (ft. Gaeko) One Of These Nights Serendipity What To Do (ft. Crush)

A New Empire (2019) Bad Boy Come Back Home Gashina Home (ft. Yoon Mi Rae) Really Really (ft. Mino) Whistle (ft. Kisum)

Yours Truly (2020) Into You Love Me Harder One Last Time Problem (ft. Big Sean) The Way Too Little Too Late

Vivid (2021) All I Want For Christmas Emotions I Wanna Dance With Somebody Love On Top No One Physical

Revival (2022) Bills, Bills, Bills Bootylicious If I Were A Boy Independent Women Say My Name Single Ladies

Lemonade (2023) Can’t Feel My Face Diamonds How Can I Ease The Pain? Let’s Groove September Sexual Healing

My Voice (2024) Baby Baby (ft. Young K) Eyes, Nose, Lips Loser (ft. Yang Ye Ming) Missing You Palette (ft. G-Dragon) Why So Lonely (ft. Yezi)

Fever (2025) Bad Liar Dangerous Woman Do I Wanna Know? Psycho Killer Take Me To Church Wild Thoughts

Portrait (2026) Back To Black Chandelier Drunk In Love Love On The Brain Stone Cold Un-Break My Heart

Who I Am (2028) Because Of You Bleeding Love Fallin’ Halo If I Ain’t Got You Million Reasons

Spirit (2030) Hello Rolling In The Deep Send My Love Set Fire To The Rain Someone Like You

Time (2032) Can’t Make You Love Me I Have Nothing I Look To You I Will Always Love You When We Were Young

How Does That Grab You? (2035) Bang Bang (My Baby Shot Me Down) Dust In The Wind Every Breath You Take Killing Me Softly The Sound Of Silence

Katerina (2038) Bohemian Rhapsody Come Together I Want To Break Free Sign Of The Times Somebody To Love We Are The Champions

Waiting To Exhale (2040) Always On My Mind Don’t Let Me Be Misunderstood Hurt The Blower’s Daughter Wonderwall

A Flower Bookmark (2042) Autumn Morning Last Night Story Let’s Meet On Friday (ft. Jang Yi Jeong) Secret Garden Sleepless Summer Night Through The Night

The Diary Of Nina (2045) Can’t Help Falling In Love From This Moment On Here Comes The Sun Loving You Yesterday You’re Still The One

Glassheart (2048) A Change Is Gonna Come All The Man I Need Cruisin’ Greatest Love Of All Let’s Stay Together Say A Little Prayer

Bird Of Happiness (2050) Dreamlover Hero Love Takes Time Someday Vision Of Love We Belong Together

Last Fantasy (2052) Ending Scene Fine Hold Me Please Don’t Rain You Were Beautiful

These Are My Blues (2055) At Last Feeling Good I Put A Spell On You Respect Something’s Got A Hold On Me This Is A Man’s World

Albums and non-title tracks

Chat-Shire (2015) Across The Universe Chocolate Don’t Like Her Everyday With You Glasses Heart Peach Someday Stay

Modern Times (2016) Bye Bye My Blue Gemini Hard To Love Knees Red Queen (ft. Zion.T) Sailing Shouldn’t Have Sweet And Easy (ft. Kisum) Sweet Lies (ft. The Barberettes) To The Beautiful You

Invitation (2017) Faded Love Gone Hopeless Love John Doe (ft. Jiyoon) Look Magic Rebirth Rewind (ft. Yubin) Talk To Me Yes, I Am (ft. Moonbyul)

Relax Your Mind (2018) Answer Cactus Flower If You Lately, I (ft. Ant) Love Alone Moonlight Melody Night Reminisce (ft. Yang Da II) Star (ft. Heize) Take Me Where Are You?

A New Empire (2019) Back To You (ft. Yang Ye Ming) Bae Black Out (ft. Ravi) Fool How Why (ft. L.E) I Just Let Me Know (ft. DPR Live) To Him Walkin’ (ft. Hash Swan) You&Me

Yours Truly (2020) Bad Decisions Be My Baby Closer Fools For Him Gone And Found Greedy Higher How I Want Ya (ft. Jordan Fisher) How To Be A Heartbreaker I Don’t Care Just A Little Bit Of Your Heart Let Me Love You Never Wanna Know No Tears Left To Cry Only One Paper Heart Right There Sometimes Tattooed Heart Touch (ft. Canvas) Wild You’ll Never Know

Vivid (2021) All That Baby, I Body Language Boy Problems Calling All My Lovelies Can’t Sleep Love Come Alive (ft. Toro Y Moi) Cry Dust Is Gone Finesse First Time Gimme Love Hard To Say No I Didn’t Just Come Here To Dance Maiden Making The Most Of The Night Run Away With Me Say You’ll Be There Store The One Too Good To Say Goodbye Your Type

Revival (2022) 10-20-40 Be Alright Countdown Cyber Stockholm Syndrome Ego Fantasy (ft. Amber Liu) Gave It Away Glow If I Ever Fall In Love (ft. Janelle Monáe) Knew Better Listen No Mythologies To Follow Oh No! Primadonna Girl Red In The Grey Ridin’ (ft. A$AP Rocky) Rose Gold Schoolin’ Life Simple Things Slow Love Tears (ft. Clean Bandit) Ugly West Coast You Don’t Know Me

Lemonade (2023) 6 Inch (ft. The Weeknd) Adorn After The Love Has Gone A Lonely Night Bound Broken Clocks Coffee Done For Me Emotion Every Kind Of Way (ft. Wale) Falling For You Fetish (ft. Schoolboy Q) Fire Rides Heart Less In Your Bed Love Drought Love On The Weekend Lovely (ft. Khalid) Ocean Eyes Passionfruit Perfect Serial Killer Somebody Else Something About Us (ft. Daft Punk) Thinking About You Too Good (ft. Alan Love) Touch Me

My Voice (2024) Boy (ft. Miryo) Can’t Love You Anymore (ft. Dean) I Wish Jam Jam Perfect 10 Secret Too Good To Me (ft. Jeon Soyeon) Weekend (ft. L.E) Wine (ft. Changmo) Woo Yoo

Fever (2025) After The Storm (ft. Bootsy Collins and Tyler, The Creator) Are You Satisfied? Baby Boy Birth In Reverse Black Sheep Cupid’s Chokehold Empty Nesters Forrest Gump I Don’t Trust Myself With Loving You I Wanna Be Yours Miracle Alligner Night By Night No Control One For The Road Puppet Love Redbone Run Baby Run Self Control Someone New Stockholm Syndrome Strange Mercy To Be Alone Why’d You Only Call Me When You’re High? Yeah Right Your Teeth In My Neck Zombie

Portrait (2026) Belly Ache Betsy On The Roof Bored Broken Clocks Cake Copycat Drowning Eyes On Fire Hostage I Don’t Wanna Be You Anymore If These Walls Could Talk Liability Love Is A Losing Game My Boy Nicest Thing Pilgrim Reality Russian Roulette Talk Me Down Tears Dry On Their Own Teen Idle Tunnel Vision (ft. Shamir) Until We Bleed Use Me You Don’t Do It For Me Anymore You Know I’m No Good

Who I Am (2028) Almost Is Never Enough As Long As You Love Me Bad Religion Cannonball Crave You Draw Your Swords Every Little Thing He Does Is Magic Fireproof Freak Home I’m Not The Only One Just A Boy Let’s Get Lost Listen Malibu Midnight Bottle Moonlight Older Chests Start Of Time Talking To The Moon Tell Me That You Love Me Training Wheels Valentine Volcano Whatever You Like You

Spirit (2030) All I Ask Dark Paradise Hometown Glory I Can’t Get Started It Takes A Lot To Know A Man Love In The Dark Lucky Million Years Ago Never Been In Love Before River Lea Rumour Has It Sad Girl Salvation Speechless Sweetest Devotion Turning Tables Venus Video Games Vultures Water Under The Bridge Watch Young And Beautiful

Time (2032) 9 Crimes All Of You Can’t Pretend Caught Don’t Look Back Emotion Illuminated Jealous Lies Little Boy Blue Love Nick Of Time Nirvana Nitesky (ft. Robot Koch) Nostalgia One (ft. U2) Palace Religion Remedy Sandcastles The Chain Wolves

How Does That Grab You? (2035) All I Have To Do Is Dream Build Me Up Buttercup But Not For Me Heal The World How Long I Fall In Love Too Easily If I Had You I’ll Be There I’m A Ruin I’m Gonna Find Another You Immortal It’s My Party Look For The Silver Lining Make You Feel My Love My Funny Valentine Only Hope Pink Matter Quickie Slow Dancing In A Burning Room Solo (ft. Andre 3000) The Touch Of Yours Lips Want You Back Wonder You Don’t Own Me

Katerina (2038) Bloodsport Boogieman Come To Mama Daddy Lessons (ft. Dixie Chicks) Don’t Fall In Love With Someone New Holding On Ivy Japanese Denim Killer Queen Landfill Land Locked Blues Leave Me Lonely (ft. Macy Gray) Like Real People Do My Favorite Faded Fantasy Pain Please Don’t Leave Me Regret Sinner’s Prayer Sober Stop The World Touch When You Were Young Who Knew Yellow Brick Road

Waiting To Exhale (2040) A Heartbreak All The Way Down Blood Dazed In Daydreams Delicate Elephant Everywhere I Go Freedom (ft. Kentorey Johnson) Guiding Light Heart Beats Slow I Don’t Want To Change You In Chains Love Me Like I’m Not Made Of Stone Medicine No Such Thing One Flight Down Pink + White Put Your Number In My Phone Rootless Tree Run Say It To Me Now Ship To Wreck The Animals Were Gone You Don’t Have To Go

A Flower Bookmark (2042) By The Stream Dear Name Draw Me (ft. Yoon Mi Rae) Full Stop How Can Someone Be Like This? Lonely Nights Love In Color Now Try Your

The Diary Of Nina (2045) Big Jet Plane Blackbird Burning Love Clementine Color Me In Creature Fear Dogs Don’t Know Why Falling Slowly Flightless Bird, American Mouth Gravity Happily He Was Too Good To Me Love Has No Pride Lua My Ideal Paper Aeroplane Slow Dancing In A Burning Room Stand Tall Strong The Long Day Is Over The Moon Song Time After Time Waiting On The World To Change

Glassheart (2048) All This And Heaven Too A Woman’s Worth Believe In You And Me Follow Rivers Hardest Of Hearts Honeymoon Avenue I Am Every Woman It’s Always You Like You’ll Never See Me Again Never Let Me Go One Night Only Picture Me Gone Radioactive Run To You The Light Is On Tired Of Being Alone Tomorrow (ft. Tame Impala) Valley Of The Dolls Want You Back You’re Still My Man

Bird Of Happiness (2050) Alterlife Always Be My Baby Anytime You Need A Friend Can’t Let Go Cosmic Love Drumming Song Falling I Don’t Wanna Cry I’m Not Calling You A Liar Lay All Your Love On Me Like Someone In Love Living Dead My All One Summer Night Shoot The Moon Suspicious Mind Take Me To The River The State Of Dreaming Wildest Dreams Without You

Last Fantasy (2052) Dreamer Falling Out Foolish Goodbye Make Me Love You Meaning Of You (ft. Kim Changwan) My Medicine Only I Didn’t Know Voice Mail Zeze

These Are My Blues (2055) Ain’t No Way Buy The Stars Cold Cold Heart Do You? Embraceable You How Deep Is The Ocean? Hypocrates I’d Rather Go Blind I Get Along Without You Very Well (Except Sometimes) I Want You I Was Here Lipstick Long Long Way Love T.K.O My Future Just Passed Too Much Heaven Valerie Voila What’s New? You Light Up My Life

Collaborations

2015 Bom Bom Bom (ft. Roy Kim)

2016 Sseudam Sseudam (ft. 10CM)

2017 Dream (ft. Junho)

2018 Whisper (ft. Ravi)

2019 Anti (ft. Yang Ye Ming)

2020 You Know You Like It (ft. DJ Snake)

2022 Sensual Seduction (ft. Cardi B)

2024 Yesterday (ft. Crush, Dean and Yang Ye Ming)

2027 Digital Love (ft. Daft Punk) I Feel It Coming (ft. Daft Punk)

2029 Lost On The Way Home (ft. Chromeo)

2034 Beautiful (ft. Miguel)

2036 Stay (ft. Mikky Ekko)

2043 Empire State Of Mind (ft. Kentorey Johnson)

2047 You, Clouds, Rain (ft. Shin Yong Jae)

2058 How Deep Is Your Love (ft. The Bird And The Bee)

Soundtracks

Lés Miserables (2013) On My Own

Cheese Trap (2015) If It Is You I’m Serious (ft. Day6)

Skyfall (2021) Skyfall

La La Land (2023) City Of Stars I Won’t Say I’m In Love The Audition

Call Me By Your Name (2025) Redbone

Her (2026) The Moon Song

Breakfast At Tifanny’s (2029) La Vi En Rose Moon River Once Upon A Dream

Goblin: The Great And Lonely God (2031) Lost Love You Are

The Hunchback Of Notre Dame (2033) The Bells Of Notre Dame

Pocahontas (2037) Colors Of The Wind If I Never Knew You Just Around The Riverbend Savages (Part One) Savages (Part Two)

Funny Girl (2041) A Piece Of Sky Don’t Rain On My Parade My Man The Man That Got Away Why Don’t You Do Right?

Anastasia (2046) Journey To The Past Learn To Do It Once Upon A December

The Nightmare Before Christmas (2049) Finale Kidnap The Sandy Claws Sally’s Song

My Love From Another Star (2053) I Will Come To You We Loved (ft. 20 Years Of Age)

The Prince Of Egypt (2057) Deliver Us When You Believe

Filmography (movies)

Architecture 101 (2016) La La Land (2023) Call Me By Your Name (2025) Her (2026) Breakfast At Tiffany’s (2029) In The Mood For Love (2032) The Hunchback Of Notre Dame (2033) Funny Girl (2041) Two Days, One Night (2044) Anastasia (2046) The Nightmare Before Christmas (2049) I Am Love (2053) The Prince Of Egypt (2057) Amour (2084)

Filmography (television series)

Pocahontas (2037)

Theatre

Lés Miserables (2013)

Competitions

King Of Masked Singer (2015) “Somewhere Over The Rainbow” against Son Heon-soo. “Hurt” against Kyungri. “Con Te Partiro” against Lee Hae-ri.

Covers (on YouTube)

2010 Everytime by Britney Spears. Like I’m Gonna Lose You by John Legend.

2011 E.T by Katy Perry. Paparazzi by Lady Gaga.

Cover performances

Gayo Daejun (2015) Bridge Over Troubled Water by Simon & Garfunkel.

Golden Disc Awards (2017) Will The Circle Be Unbroken (with Lee Hi).

Super Bowl (2020) Star Spangled Banner by Francis Scott Key.

BBC Radio 1 (2021) Bad Romance by Lady Gaga.

Grammy Awards (2022) Hallelujah by Leonard Cohen (with Pentatonix).

American Music Awards (2024) Got To Be Real by Cheryl Lynn (with Cheryl Lynn).

BBC Radio 1 (2027) Hands To Myself by Selena Gomez.

NBA All-Star (2032) Star Spangled Banner by Francis Scott Key.

BBC Radio 1 (2035) Hold It Against Me by Britney Spears.

MTV Music Video Awards (2039) My Heart Will Go On by Celine Dion.

Super Bowl (2042) Star Spangled Banner by Francis Scott Key.

Partners

Tidiou M’Baye (2012) Yang Ye Ming (2017-2019) Bill Skarsgård (2021-2024) Sho Wara (2024-) *married in 2028

Children

Anton Wara (2031) Isabela Wara (2033) Luna Wara (2035)

0 notes