#second is Günther from love in thoughts

[thatluckystrudel]

who iz your favourite august diehl character ❤️

Major Dieter Armin Hellstrom 🖤

[havana-syndrom]

My EESU headcanons nobody asked for:

I read through the works of @dresden-syndrome and worked up some things about the lore, mainly concerning comrade Erhardt and Radím:

Radím has heavy Czech accent when speaking German. Despite his best efforts for proper pronunciation, the accent still peaks through whenever he speaks.

Günther finds it very cute, though he would never openly admit it. Atleast not to Radím. Instead he teases him about it. Especially his heavy R's.

 Prior to his capture, Radím wanted to learn German as part of a plan to some day escape to Western Germany. The irony of his current situation makes him feel bitter. Now he’s learning German to communicate with his captor. To better serve the regime he worked so hard against. Knowing that he will never get more than a few feet away from Gunther, let alone getting away this god forsaken country.

 Radím dreamed about learning English and maybe make his way to USA. However there wasn't much opportunity in Czechoslovakia to learn English. In this political minefield, attempting to learn it instantly got you put on a watchlist. As a counter-revolutionary he didn't want to draw more attention to him so he didn't pursue it.

The top choices for second language in Czechoslovakia were Russian or German. Radím learned a bit of both but focused more on German since he saw it as his potential ticket across the iron curtain.

German grammar has so many opportunities to make a mistake. Der/Die/Das, mein/meine. Not to mention the pronunciation and the unforgiving word order. This basically gives Günther a green card to punish his pet anytime he feels like it. This way its more painful for Radím because he knows this could have been avoided.

Russian is the main language used across the soviet union. So naturally, Günther as a government official must know it. He can both and read and understand Russian pretty well. He can speak Russian too but only does so when necessary, since its pretty tough for a German to speak Slavic language.

Because of that, he can understand quite a bit from what Radím is saying when he speaks Czech. Most of the time he pretends he pretends he doesn't. Its a wonderful opportunity to peek into the thoughts of his prisoner.

Günther probably also knows some Czech basics since he worked in Czechoslovakia. Its a neighbouring country and lot of Czechs and Slovaks work in Eastern Germany, since its seen as a more developed country.

Radím suspects that his owner knows a few words or phrases in Czech. He avoids swearing in Czech at all costs, since that's the first thing everyone learns. And a thing that you never forget. But it slips out so easy when you're under pressure.

Don't hesitate to correct me or share some of your thoughts about the lore! I love the story so much I can't stop thinking about it <3

[dresden-syndrome]

Whumper: 16, 29; Whumpee: 50, 24, 6

Thank you for asking!! Sorry for being so late again🥺

I've had a really tough time last month but now I'm finally back on track💫

16) How possessive you are about your whumpee?

29) Did you know your whumpee before capturing them?

"Possessive isn't the right word, comrade. You wouldn't say "possessive" of any other property, would you? It's called being vigilant. You need it a lot in our work. One can't protect our country if he can't even protect his own belongings."

"My comrades in Czechoslovakia reported a riot in May '63 with some photos and tape records. There was a boy on a couple of them, standing at the top with that old bourgeois traitor flag. That was him. When the next uprising started - this time in Prague - I arrived there when our patrols were cleaning it up. There were crowds and crowds of corrupted capitalist parasites. Infesting the towns like invasive cockroach despite our Commander's best efforts.

That day I've seen him firsthand. He wasn't just some poor metal factory boy who listened to Radio Free Europe too much - it's a cold-blooded vicious enemy, with values of the West, trained to destroy. Look at him there for a second - it would be obvious. I've ordered to look out for that boy right then. Where there are vermin like him, there is destruction, revolt and decay. They cannot be cured - only put for the right use. That's what class 4 was made for.

Oh, it'd be a disrespect if I'd conceal from you, comrade. SB-7067 isn't only socially dangerous - he's particularly pretty as well. Incredibly pretty. A perfect state-supplied plaything."

-Erhardt Wilhelm Günther, Minister of the State Security

7/V-1964

6) Do your friends or family know you're here? Do you think they miss you?

24) How often does your whumper punish you? Why?

50) Share one of your happiest moment of freedom for us!

"The thing is, y'know - they all count me dead. That's it. You're sorted class 4 and from that there's no "you" anymore. Everyone say you're dead, the gov says you're dead, by law you cease to exist. I thought exactly like that back then. They all told me if you're gonna get class 4 it's a nine gram bullet to your head that awaits you. Even West radio said so. I get it why they did. The stuff they do to you, it's much worse than a bullet. It'd be an outrage if anybody found out.

I'm sure they miss me. Mom, dad, grandpa... I didn't know I'd miss them so much... My friends as well. They were all with me in the underground, I've seen half of them snatched. Chances are the rest were caught too. I don't want to imagine what they're going through. If only I could do anything about it...

I love them all but... after all of that i wish they'd rather forget me. I don't want anyone to see me like that."

"What did Günther "punish" me for? For talking back, for not doing exact what he said, for resisting anything, for asking wrong questions, for snacking on his food or drinks, for getting out of bed at night, for not studying Marxism-Leninism enough, for not cleaning room or office enough, for speaking Czech, for hiding, for running... Can I just say "for anything"? And of course when he just feels like it. Fucking sadist. Not surprising he made such a career."

"Happy moments in my life? Let me think... It'll be quite a lot. Wouldn't say life was any easy, but when you're locked for life, it's like... almost everything before counts as a happy moment.

For what I miss really much - definitely the summer of '62. Me, Evžen, Martin, other guys, we had so much fun back then. Everything was calm, no martial law, no curfews, no patrols out there. Not gonna lie, we already knew the government was shit, we snuck out to listen to radio in the woods without fear of getting caught somehow. I could just lie on the grass, maybe with the boys, or with Evžen alone, counting the clouds and snacking on the berries we picked along the way. In these moments you think like, hey, everything's gonna be fine, life's a great thing! I know it sounds so funny but me and Evžen dreamed of sneaking off to Austria and starting a new life there. We even discussed how tasty Austrian chocolate would be... Silly, isn't it?

... May I ask you for a small favor? If you ever see him anywhere, could you please send him a little bar of Austrian chocolate? If you have any, of course. Just don't tell him who it was from. Don't say anything about me. And try to give it in secret - having Western goods can get anyone arrested. Except those in high government of course.

-Class 4 subject SB-7067 (Radím Štušek)

7/V-1964

[lennies-blog]

Translation: Sky Sport Exclusive interview with Mick after his Haas exit

Source: Sky Sport F1 Germany

I: “Mick, good to have you here, after a difficult message I believe that you received yesterday. Tell us what especially your feelings are to get here to the paddock after such a decision, probably not easy.”

Mick: “Well of course.. yeah of course I would love to say that I will drive next year, but right now that’s not the case. Difficult, yes, of course it’s not easy, but I’m nevertheless happy looking back at the season. We continuously improved and did the best we could with this situation.”

I: “How was the situation yesterday? It has been speculated about for a while, where you had the feeling, everyone knew except yourself. Is that a wrong impression or was it really something that you only got to realise/know yesterday?”

Mick: “Yesterday was definitely the moment where it became real. I continued to fight hard, to give it my all, tried to give my best always and everywhere, therefore of course, disappointing. But on the other hand I know that I gave it my best and that’s what counts.”

I: “What were the reasons that Günther Steiner stated for why he couldn’t see a future, a future together?”

Mick: “Well they’re ultimately the reasons that he also stated in the interviews he gave. I think the biggest factor is experience. Ehm.. but on my part I also think that when we, or if we would’ve gone into the future together, it would’ve worked well. But in the end it was Gene’s and Günther’s decision and I have to accept that.”

I: “How did you see your development yourself? Because we certainly saw a constant improvement, especially after this difficult start to the second half of the season, where we always emphasised how calm you stayed, how collected, how convinced you were of your own work what then did end in points (what had been required). In Silverstone, in Spielberg - you had a lot of chances where it was prevented by your team, let’s phrase it that way, to drive into the points. So how do you see it yourself, regarding your development?”

Mick: “Yeah, the development is definitely palpable and also visible. Of course we would’ve liked a few more points to our name at the end of the season, but it went the way it did, that’s part of life, and that’s why I approach it like that. In the end I cannot turn back time, because I know that we left a lot of points to grab, especially at the beginning of the season, also on my part, but we continuously fought, gave it our best and that’s what counts for me at the end of this year.”

I: “I just talked to Sebastian Vettel, he said that every driver needs backup and he let on that he did was not really convinced by the leadership and the backup that came from Haas. What is the impression that you can tell us about? Did you have backup from Günther Steiner? From the team?”

Mick: “I had backup from Sebastian. I’m pretty happy about that. We always had a quite open communication between the team and I. We continuously worked on ourselves, we tried to improve everything that was there to improve. And I think if we look at the beginning of the season vs now that we kept this graph going continuously. The race pace was really good and the qualifying pace also improved towards the end, but yeah, was obviously not enough.”  

I: “What do you take with you after these 2 years with Haas – on a sporting and personal level?”

Mick: “Well of course I would like to thank everyone for those two years. It was amazing to be able to start here. Formula 1 is a dream that came true but also a dream that didn’t end, yet. It’s definitely my goal to be on the grid again in 2024. I’ll work hard on myself and will see that I will have all the chess pieces in the right position to hopefully be successful.”

I: “I think it’s impressive what class you’re showing in this situation you’re in at the moment, to thank the team, set a new focus, to – and I am certain about that – gather strength to get to the right and I’m sure better conclusions. Mick, your thoughts on your future now. What do they look like? Can you take us along what your current thoughts are about?”

Mick: “Yeah I think a saying that fits quite well is that you have to.. ehh burn? to get out prettier than before? (I think he means “like a phoenix rising from the ashes” 😂) I think there’s a saying for that! But yeah, I think there are several options and one thing I do have now is time. So I will take the time to look at the options that I have and see that I take the right decision to have the best chance to.. yeah be successful in the end.”

I: “But you definitely want to stay in Formula 1? That is certain?”

Mick: “Formula 1 is the only thing I’m interested in.”

I: “Formula 1, nothing else. That’s good, we’ll take it. What do you need personally? What kind of environment, which atmosphere do you need to be able to show your best self?”

Mick: “That’s what I have to look at. Of course, it’s hard to judge it from the outside, but ultimately I want to be in a place where I can grow, where I can show the performance I have in me and just see that we can go into the tight direction.”

I: “If we take a look at this weekend, which will be the last with Haas here in Abu Dhabi – how will you approach it?”

Mick: “Sorry?”

I: “How will you approach this last weekend with Haas here in Abu Dhabi?”

Mick: “First and foremost with fun. It’s another year that has past – last year we’ve also been here in Abu Dhabi which has been a bit different with covid and all, but this year is a bit more open, more people around probably, so the atmosphere will probably be different. The car should be quite okay, I think we’re just on the brink on tenth place. That means if we managed to get it all right again, after the second free practice, (then we can) hopefully have it all in order to have a good qualifying.”

I: “How will you say goodbye to your team, to your garage?”

Mick: “Ehh, I have to see what special (thing) I can do for the boys, they’ve naturally been amazing this whole year! We had a lot of fun together so therefore I would want to thank them in the right way.”

I: “And Mick, what has also been remarkable was that your post that – as well as you present yourself here – has shown a great deal of class/greatness, had SO many comments, also from colleagues. I don’t know everyone that has commented there, but Esteban Ocon, of course, your great buddy, but many others more, Angela Cullen, Lewis Hamilton’s physiotherapist. Have you been surprised or happy about it yourself to get this reaction?”

Mick: “Yes, of course it’s nice to see that there is support everywhere. I mean I said it several times – I love this sport. How many have said: “We come back stronger!” and that’s exactly what we’ll do.”

I: “How will the relationship develop with your team principle, with Günther Steiner?”

Mick: “Well I mean with Günther – we actually have an okay-ish relationship and I think that will stay that way.”

I: “Mick we’ll say thank you then. Good luck to what’s ahead of you. I have said it before I am certain that the energy that you’re getting here that’s being released will end in something great. We’re certain of it. We definitely wish you all the best.”

Mick: “Thank you.”

[infinitelytheheartexpands]

so! der rosenkavalier!!!

so first off, the elephant in the room: yes, there are some highly questionable elements of the plot that make me go “hmm! :/“ (to somewhat quote mean girls: “marie therese, step away from the underaged teenagers!”). for the purposes of not driving myself mad, i will try to refrain from discussing these for the remainder of the report.

anyway.

this music sings. this music delights. still not my fave strauss opera by any means but i would be lying if i wasn’t delighted. the presentation of the rose and the final trio and duet gave me full-body chills. i love the waltzes. so sugary sweet like the gelato i got after the show. there are so many golden little details in the score.

simone young did a great job imo—i’ve seen her get flak online about this run of performances but i don’t get it. she was great. the orchestra and chorus and many comprimarios were all fabulous.

it’s been a while since i’ve seen this production and it holds up really well!!! love the costumes and sets. LOVE them. not a fan of the wwi ending tho—just let octavian and sophie have their moment at long last 🥺 plus it doesn’t fit with the ending musically.

one other thing about the staging: i’m sure this was intentional but goddamn, a lot of the second act was UNCOMFORTABLE to watch, like make your skin crawl uncomfortable (and it did not help that several men in the audience at my theater were full-on laughing when ochs all but assaulted sophie all over that extended act ii sequence when he first shows up at faninal’s). god, baron ochs is such a fucking creep. and while i don’t like him as a person in the slightest, i have to hand it to günther groissböck for making ochs supremely unlikeable while still singing with strong command.

among the comprimarios and non-credited-in-the-intro people, special mention of alexandra lobianco (an excellent marianne) and tony stevenson (an absolute delight as the innkeeper in drag).

speaking of which, gotta say that even with them in new york and me in oklahoma, it was somehow comforting to see people in drag and same-sex kisses in this, given the political climate and the rising sentiments against drag and lgbtqia+ people. i thought about that a lot during the broadcast.

katharine goeldner and thomas ebenstein were HOOTS as annina and valzacchi. love them. rené barbera made the italian singer’s aria sound effortless (and looked GREAT in his white suit). brian mulligan did a great job as herr von faninal—i’d love to hear him in something italian though, his voice sounds made for italian rep.

and now for the three leading ladies, who were all divine both separately and together.

erin morley is one of my fave currently active sopranos right now and this sophie showed exactly why: voice like a dream, great actress, warm, intelligent, full of fire! i love her take on sophie so much. she GETS it. (and i may or may not have cheered when she slapped ochs in act ii.)

lise davidsen is another of my fave currently active sopranos right now (albeit a more recent discovery than erin morley) and her marschallin surprised me in a good way. what i remember most from her ariadne auf naxos hd last year was simply how stunningly powerful and beautiful and BIG her voice was, but this was equally amazing in a totally different way: she can rein it in too, baby! she can be so delicate and tender too and it just mesmerized me totally (and brought tears to my eyes a few times). and she made the part feel and look so natural! great singer and great actress? (and also gorg)—she’s the total package.

i was barely, if at all, familiar with samantha hankey before this but holy FUCK. she won my heart immediately. she is just a total delight and absolutely the real deal. that voice!!! it’s so creamy and beautiful and full of light!!! (and she can alter it at will too—her mariandel voice was SO different and so delightful). and she’s a totally natural actress, INCREDIBLY versatile and moving. octavian is a HUGE role and a VERY VARIED role and she totally fuckin nailed it and i want to see her in basically everything now. mark my words, y’all: she’s sensational. she’s gonna be the next big mezzo superstar.

anyway 10/10 plot weirdness inherent to the opera aside this is a definite recommend

edit: yes i was hoping to NOT have discourse about the plot but rereading this now i realize i may not have been clear about that in my choice of wording in the first few paragraphs. no hate to anyone who DID engage in discourse, that was my bad

[applejuizz]

laughter of youth.

the scout regiment has managed to rescue eren and recover annie’s crystal from their enemies, yet at the cost of many soldiers’ lives. levi learns a valuable lesson of trust. characters: levi ackerman x gn! reader (platonic!), historia reiss, sasha braus, jean kirstein, mikasa ackerman, eren jaeger, connie springer warnings: canon violence (vague descriptions), mentions of blood/wounds word count: 1.764 inspired by attack on titan 2: final battle and the story of “our man”, the customizable in-game character.

Paperwork after paperwork after all the paperwork...

Levi had come to dread the sound of hasty footsteps pacing up to his wooden office door and its prolonged creak as Miss Four Eyes allowed themselves in carrying yet another pile of experiment reports, barely containing their unreasonable excitement. While they fervently sought the tiniest free space to fit the monstrosity held in their arms, their flow of Titan anatomy ramblings never ceased.

Levi, you won’t believe what Eren managed to do today...!

Victor - who the hell is Victor? - stood awake the whole night and was as energetic as ever in the morning! This new breed of Titans is quite interesting!

I keep naming these Titans and I won’t shut up already and I should slap myself before you kick me across the fields, Levi! - he couldn’t possibly describe the joy these words would bring him coming out of Hange’s mouth. Too good to be true, unfortunately.

He shifted into his chair, straightening his back and shaking off the annoyance that had been constantly pulling on his nerves for three days already.

Thankfully, his office was quiet and the hallway was blissfully empty. Hange had taken a day off from experiments to let Eren rest. On that note, Jean and Eren had stopped arguing for once, Sasha had ceased her relentless search of meat and he could finally relish in the silence surrounding him. It wasn’t often that he got to have such quiet moments to himself.

And because they were so rare, only when he got the chance to savor them did he realize how much he actually hated them.

It wasn’t that he disliked being alone - on the contrary, he loved solitude a little too much for his own good. Instead, he found that whenever he allowed his mind to rest, he was assaulted by intrusive thoughts and memories that he’d rather bury deep in the back of his consciousness. Perks of being a soldier.

His eyes took in rows and columns of observations on the papers in front of him. His hand signed each and every one of them away promptly, yet his mind was drifting, conjuring up crimson fields, disgusting Titan flesh sliced in half, the blood-curdling screams of soldiers trampled off their horses or chewed to their demise. Nothing he wasn’t used to. However, that didn’t mean it didn’t make his skin crawl sometimes.

He thought back to commander Erwin, weak and thinning, laying in a hospital bed with only an arm left. Levi knew his superior was a strong man; he didn’t worry much about his recovery. What did plant the seed of doubt in his heart was the fact that somehow, the man he’d thought nearly invincible had been so badly wounded, and that alone was a strong indicator of the deep shit they all were in.

And of course, the one member in his squad that had never returned from the battlefield hung dark and heavy over his consciousness, a shadow of guilt, the same damn story repeating itself over and over again. No matter how much he tried to avoid it, it came crawling back like an awful nightmare, looming over him along with the deaths of all the other people he has trusted and cared for. Isabel and Farlan, Petra, Eld, Günther, Oruo… and now them too.

I won’t die on you, sir!

Like hell you won’t.

Their promise rang in his ears as if trying to mock him. The shadows of his consciousness sneered at him: look what happens when you decide to trust people, you twerp. Should’ve known better. Haven’t you learned your lesson?

“Tsk.” He set the cup he’d mindlessly lifted back on his desk. The tea had gone cold. He’d have to ask someone to brew him another. Not exactly pleasant, but enough to distract him from the dark path his thoughts had gone onto.

Before he could even stand up from his chair, though, loud voices boomed from downstairs through the whole hideout and caused the floor beneath his feet to vibrate. They were followed by clattering of pots and Jaeger’s unmistakable yelling, obnoxious and over dramatic as always.

So much for his quiet moment.

With an exasperated sigh, Levi picked up his cup again and left his desk and the piles of papers behind, shaking off the last of his melancholy. These damn brats can’t get anything done without wrecking havoc first…

The kitchen was right beneath his office, so all he had to do was climb down the short flight of stairs, put the cadets back in their place, ask horseface to brew him some more tea and go back upstairs. Simple enough.

He came to the sight of Eren, Jean, Mikasa, Armin, Sasha and Connie all hunched around in a compact group, chattering loudly and all over each other. Historia’s dulcet tone surprisingly prevailed amongst deeper voices, although she was nowhere to be seen.

“Wait! You need bandages before anything else! The gash in your side isn’t looking good…”

“Yeah! You’ve literally been through hell and back!” Jean marvelled.

“No, guys! They need food!” Sasha exclaimed as if she'd made a grand discovery, grabbing a half-boiled potato straight out of the pot.

“Sasha, no! The potatoes aren’t done yet-”

“Oi, what the hell is going on here?!”

“C-Captain Levi!” Jaeger stumbled back on his feet, broom in his hands, his headscarf sitting askew on his head. The huddle immediately dispersed, everyone had gone dead silent. Levi scanned the room quickly, not paying much attention to the soldiers’ faces and rolled his eyes.

“I thought I told you to clean up the kitchen, not turn it into a pigsty!” He passed a critical hand over the table, gathering up the dust in his palm and making a grimace. Cleaning supplies, pots and cups were scattered all over the floor and the table, as if the cadets had all come to a mutual agreement of dropping everything at once just to see how many white hairs Levi would gain in his hair.

“B-but-”

“Get back to work and stop yelping, you’re turning my brain into mush.”

But before he could open his mouth to bark another order at Jean, his eyes finally landed on who was once the centre of the huddle: Historia Reiss holding on to a hunched figure’s arm, obviously attempting to provide support, but ending up resembling more of a lost puppy clinging to someone’s sleeve.

“Captain Levi!” the petite girl exclaimed, a hint of relief present in her voice, “I-I went to get water from the fountain and I found them there! They seem stable, but I think they might need a doctor-”

His thoughts were running at light’s speed, yet he couldn’t get his body to wake up from its frozen state at the bottom of the stairs. What must’ve only been seconds felt like hours. As if time had decided to finally slow down, to finally stop the nonsensical blurry of days, months, years passing by only to give him a chance to breathe. A chance to understand. Was it just too good to be true?

“Captain…?” Springer trailed off, eyes bulging out of his little bald head, and quickly recoiled as Jean subtly elbowed him in the stomach. Only then did Levi notice that he had been standing among the shattered porcelain of what used to be his teacup, his hand still hanging in the air as if clinging to the ghost of the object.

The cadet finally raised their eyes from the floor, face bloodied and battered, yet still brightened by youth and devotion.

“Captain Levi… sir.” They saluted in a weak voice, raising two fingers to their temple.

Their last name rolled off Levi’s lips in a stronger tone than he thought he’d manage, yet still trailed off a bit in disbelief. Clearing his throat, he stepped over the broken porcelain.

“So. You came back, huh?” Out of all the words piled up on the tip of his tongue, begging to spill out, the best he could come up with was a rhetorical question. But the soldier still let out a dry chuckle, straightening their back as much as their wounds allowed them to. Their legs wobbled and the Ackerman girl, who had been quietly watching from the sidelines, immediately jumped in to offer extra support. Seeing the usually stone-faced Mikasa’s facial expression filled with a flurry of emotions similar to those churning in his heart allowed him to relax a bit.

“Of course.” The wounded cadet answered. “I made a promise, didn’t I?”

Levi gave a slight nod, features stoic, yet he felt his heart grow with pride in his chest. The same glint of determination glowed in their eyes as it did back then, during their rookie days, when they had placed their fist over their heart and had sworn to stay alive. He had heard the same promise come out of so many of his dead comrades’ mouths that realistically, he shouldn’t have expected this particular soldier to honor it. Yet for some reason, unknown even to himself, he had chosen to place his fragile trust in them. Maybe it had been their thirst for revenge, or their sheer willpower which, dare he say, could surpass Eren’s; whatever it had been, he did not regret it.

He drew closer, steps light as feathers on the wooden floor and took advantage of their hunched position to card his fingers through their hair, ruffling it affectionately. These damn kids keep getting taller… he thought bitterly to himself. The gesture managed to transform their wince of pain into a look of total and innocent wonder. The look in the eyes of a kid who's just got the utmost gesture of validation from a parent.

“You’re a good kid,” he conceded, patting their scalp twice before letting his hand fall back to his side. He could barely recognize the gentle tone of his own voice. “Although were you not wounded, I’d have roundhouse kicked your ass for scaring everyone like this.”

The phrase hadn’t even been that funny, in his opinion, but they let out a joyous, loud laugh, contagious to the people around them. It even pulled a chuckle out of Mikasa.

And as he stood there in the kitchen, surrounded by the laughter of youth, he finally understood. Placing his trust in these kids, fighting alongside them, protecting them with the price of his life were worth all the risks because they were humanity’s last hope. And he would do anything to one day see their joyful faces wiped clean of crimson wounds and dirt and death. Anything.

[philhoffman]

The penultimate Monday Philm, A Most Wanted Man (2014), dir. Anton Corbijn

This is a really beautifully-shot film, which isn’t a surprise considering how much I love Anton Corbijn’s photography and other work. The use of color — from gray Hamburg days to bright neon lights to the warmth of Bachmann’s apartment — makes it so enjoyable just to look at, it was hard picking just ten frames for this post. The close-ups are gorgeous and the city is shot in such a way that it's a worthy backdrop if not a character itself.

Spy thrillers aren’t usually my thing, probably because I have a wandering attention span and the second you lose focus you lose the plot. But with enough motivation and a well-paced narrative coming in just under two hours, I think I got this one. The cast was outstanding — Willem Dafoe, Rachel McAdams, Grigoriy Dobrygin’s Western debut, Robin Wright, Nina Hoss, Mehdi Dehbi, even baby Daniel Brühl and Vicky Krieps (Alma!). The scenes between PSH and Dafoe were among my favorites, I felt grateful we get to see these two monumental actors working together. Genuinely nerve-racking, nail-biting conclusion with unbearable tension. Hardly allows you to catch your breath before kicking the air right back out of you. Those damn Americans, poor Bachmann.

Günther Bachmann, one of Phil’s somewhat rare non-American characters. Even though he frequently doubted his accent skills on any film, I thought he sounded pretty good, subtle and even (though I defer to my German friends!). This is a neat role because PSH really disappears into the character here. I almost wasn’t expecting that based on the stills I’d seen before, because he looks a lot like Phil!, but the voice, the movement, the eyes — again I think of that Mike Nichols quote about PSH’s ability to reconstitute himself from within, you look in his eyes and see something... different. Bachmann’s got a weariness to him, but he hasn’t let go just yet. Even after that final shot, I don’t know, maybe he’s still got something left in him.

I really appreciated that scene of Bachmann in his apartment. Corbijn mentions in the behind-the-scenes photo book that he felt it was important to show Günther at home, off duty, alone. 

I recently heard a comment (criticism?) that PSH’s later roles are all the same, which I disagreed with immediately and even more so after seeing A Most Wanted Man. It feels like this was a new kind of performance from him. He’s always had a special energy, command of the room when he wants it, his magnetic pull on the camera, but Phil brings a stillness to Bachmann, a quiet gravitas that he was acquiring with age and work. More solid, sophisticated.

Just the other week I was thinking about how Phil was so excited to work with older actors, like Robert De Niro and Christopher Walken, how they motivated and mentored him. He himself was a titan from a relatively young age and already idolized by younger actors but I think he was reaching a new level, it’s clear to see in Wanted Man. And how sad that he didn’t get to enjoy that position, to mentor and inspire other artists, one of his favorite things in the world, for the next ten, twenty, forty years. How devastating.

“And all that damage we leave behind. All those lives. All those empty rooms. What would they have been for? You ever ask yourself that question?”

He’s really beautiful and leaves me awestruck in a new way every time.

[myimaginarywonderland]

Okay, so this post will talk about Lance but I will also give my opinion on the Lando situation since I think it is important.

First off, I think it says a lot about Lando that he made an apology. Now, be it because of the backlash he faced, because he actually saw the harm he was causing or because he genuinely regrets it, that is something I don't know. What I do know is that by apologising for it, he acknowledges that his behaviour was wrong and that is really important because it shows that he reflected on himself.

While I do still feel irked by something about the message, be it that he isn't naming Lance or Lewis who he both targeted with his actions in different ways and apologise to them directly which he might have done in person, so I am not able to judge it or be it the weird sorry at the end, I can put aside my feelings and say that this was the right thing to do and is also setting an example for his fans who were one of my main issues with all of this. They then know that saying that was not right and might learn from it themselves.

But this post isn't about Lando. This post is about Lance.

As most of you might have heard, Lance was really affected by what happened on track. He can clearly see that he is anxious and uncomfortable in his post race interview and what happened afterwards tells the story (I don't really want to talk about it because this is something private that he did not share and it is like with the story on Twitter something that was shared by other people who he didn't give the right to share it too so I don't want to spread it any further.)

This is who Lance is.

Someone who is sensitive and takes a lot of things personally.

You want to know why? Because he has, as a person, always been blamed for his dad's wealth. As if he choose to grow up with a billionaire dad. As if he is somehow responsible for it.

And he has always been painted out as someone undeserving, someone that doesn't have talent and totally owns his position to the money of his dad.

Now, let me just give you some data because I want to totally discredit this made up stuff with no roots.

In 2015, he won the Toyota Racing Series. He won by a bit over 100 points. The second finisher was his teammate. You might now some of the other drivers who competed in this series for example one Callum Iliot or Artjom Markelow.

Or in 2016,his first season in Formula 3, he finished fifth. The winner of that year was Felix Rosenquvist (a great driver) who was also Lance teammate and had only one DNF in comparison to Lance 5 and a DSQ. Now, there are two other drivers, one that was the runner up in Antonio Giovinazzi and a fourth who was Charles Leclerc. Pretty competitive field if you ask me and to finish 5th as a rookie,is impressive.

Now, fast forward a year to when he won the F3 championship. He won over his teammate by a margin of over 150 points which is so impressive, even with the two more DNFs his teammate, Maximilian Günther (another great driver) had that is quiet a lot.

Now, if you really want to use the argument that he skipped F2 against him, there is another driver you should be discrediting just as much. You guessed it, M*x V*rstappen. He also went straight into F1 which was a definite mistake but nobody ever likes to say that. I would also like you to remember that Lance did not drive for F1 as a regular driver immediately after he won the championship, no in 2016 he was a test driver, so he could slowly get used to F1. (This is not official but I would guess it's the thought process behind him being a test driver.)

Now, in 2017, his first F1 season, he was teammates of Felipe Massa. Might have heard of him, lost his championship to Lewis by one point, was teammate of Micheal Schumacher and a generally way more experienced driver. Yeah, you wanna know what the difference between him and Lance was in Lance first season? 3 points. And Lance had 2 more DNFs. You know what else he got in his first season? His first podium. In his first season, he became one of the youngest people to ever achieve a podium. With just 7 rounds into his first F1 season, in an okay midfield car with a way more experienced and older driver he was up against, he achieved a podium. And during the entire course of the season, that would remain the only podium for the Williams team that year.

Now, onto 2018. Williams was not as bad as in 2019 but they were still nowhere in terms of pace and he still didn't finish last in the championship (but I don't think we can count this season.)

In 2019, Checo became his teammate. And Checo in my opinion is one of the best midfield drivers, so there was already a lot he had to go up against and he was still so young and had less experience. There is a 30 point difference between them. Make of that what you want but for me, sure it was not Lance greatest season but now you have to think if Racing Point where really that good go be the fifth best car or if maybe, Checo just got more out of the car with his experience and talent. And than, you have to consider that he was still young and only had one season where he was truly competitive (that 2018 Williams was not something you could truly challenge anyone with.) And to then be up to one of the best midfield drivers who is widely appreciated and adored by the paddock, is a lot. Maybe for some of you it was too big of a gap which is alright.

However, don't dismiss his talent. He has had a good junior career and was up to some of the drivers you love and call talented, he even beat some of your faves. Maybe you don't see him as the next great driver but he is not a bad one and truly deserves a seat if you consider his achievements. Maybe he could have proven himself more if he had a season in F2 which is fair but that doesn't take away from anything he has achieved.

And even if you don't see him as talented, that gives you no right to bully him online. He can't change who his dad is.

Now,onto the money. I see a lot of people saying that he is only in F1 because of the money (which I hope you have by now realized is not the case.) But really, let's talk about the money.

Money is something that sadly plays a big role in F1. F1 is above all still a business. And businesses want money. So, why not take someone who has money and talent like Lance? Where are you all saying Michael only got his seat because of money (he is a pay-driver after all or at least he was one when he came to F1.) And now let's talk about his move to Racing Point. Can you truly blame Lawrence for wanting to make his sons dream come true? Wouldn't any father if they had the resources do this? Wouldn't any father want to fufill his son's dream, even if it might be seen as unethical by some or criticized? Would you really care if you saw how happy your kid was? Would you really care if you saw the glow you kid had? I don't think so.

I already said it but he was at Williams before he was at RP. His dad doesn't own that team or have any chairs in it.

Let's forget his profession for a second. Let's say you don't find him talented as a driver or just don't like him, fine. You are entitled to your opinion and sometimes we just don't like people, it happens.

What else would you have against him?

He doesn't post on social media often because people already bully him enough for his family. There is basically nothing you can dislike about him there.

And as a person? He is quiet and basically does nothing to anger people. He is literally just a normal dude. He goes on trips with his friends, he does sports to stay in shape and watches sports. He is not even posting personal stuff because he doesn't want to give people more room to bully him.

If you saw him on the street, would you think he is from a rich family? He does not look like it at all, he looks like that guy from your local sport who is literally just a college student trying to get through life.

And not only was he discredited for all his accomplishments because of something he had no control over but he also saw another driver proudly display a symbol that has been used by people who killed people who belonged to his religion. He saw a driver weat that symbol in cooperation with a company whose boos seems to be a Neo Nazi.

Lance has had to go through to so much shit just because his dad was rich (which Nicky's and Lando's also are, yes I know it's less but it's still more than any of us will probably ever have.)

This boy does nothing wrong.

Did he make a mistake with the maneuvers on Lando? Yes. But he is still so young and also new to F1, he can still learn and is growing as a person and driver. He is expected to perform more just so he proves his worth which he already has because people discredit him for having a rich dad.

Have you seen what he has done this season? He would be in the top 5 had it not been for the last races where none of the DNFs where his fault. Neither was getting Covid or being ill but people literally made fun of him for being in pain, saying stuff like "Did Daddies boy have a little stomach ache?" Yeah, because F1 drivers aren't trainex to perform no matter what, aren't putting their health last when it comes to these things and might have to be really bad if they can't drive and are not even going out of their room.

He has improved so much, he is not blaming other drivers even if they clearly hit him (see Charles) and he stays calm. Because he can't afford to be to emotional since some people would hate him for rightfully calling out others mistakes and just maybe saying that their faves are not flawless and make mistakes (like Charles.)

He has to act a certain way or be a certain way because what would happen if he just showed more of his personality? You call him dull, boring but you don't even try to get to know him. You don't even look up videos where he is more open and comfortable.

He is awkward infront of the press because he has to fear to be discredited or to be questioned about his worth every second.

And all of this pressure, this mask and this pretend eventhough he is just as human as the rest of us. And you see how hard it is, how much he questions himself, how his self-doubt increases and ultimately what happened has happened.

Because while it is just an easy insult for you that you can post anonymously online, it is one of thousands for him.

And you know, he didn't grew up in Europe. Sure he competed with some of the European drivers later one but he didn't have any of them when he started racing and he might already have been an outcast because people would already have seen him as different since his family didn't need to make sacrifices to get him to wear he is now. At least not financially ones. And then, when he came to Europe there were these already formed friend groups and it wasn't easy to get into them. The only friend he had was Esteban and I am so glad. This seems like such an unlikely friendship because they are from totally different backgrounds but that might have been what connected them in the first place. So, with basically only Esteban who liked him from the competitive times, it must have been pretty bad (not to say that the others hated him but I don't think they really cared for him.) I am so glad to see that he now also has Checo and that they get along and I hope that stays this way eventhough all of what has happened (which is also not his fault and I am sure that if he had any say in it, it would have been done differently.) Maybe we can even see their friendship when Checo stays on the grid. And with the potential of Seb next year, that might be the only other friendship or friendly connection he might form.

He is so strong for having to endure the dislike of so many people and he is still so kind and so sweet.

This has been a long post but one that I have wanted to make for a long time. If you got this far, I applaude you.

[officialwagnerrant]

Wagnerrant Review #6 - Tristan und Isolde

Work: Tristan und Isolde Bayerische Staatsoper Date of performance: 31.07.202

Team Director: Krzysztof Warlikowski Conductor: Kirill Petrenko With: Jonas Kaufmann, Anja Harteros, Okka von der Damerau, Wolfgang Koch, Mika Kares, Manuel Günther, Dean Power, Christian Rieger

Review: @beckmessering

Here’s an entirely hypothetical question: when not very familiar with an opera, is a Regietheater production with hotly anticipated role debuts the best opportunity to form an emotional understanding? Answers may vary, but take it from a someone whose opera education had a shamefully large Tristan-shaped hole: Krzysztof Warlikowski’s Tristan und Isolde at Bayerische Staatsoper is a production to to gnaw on – conceptually elusive and a puzzle with many pieces, but finally a great reward in scenery and in music.

Jonas Kaufmann lends Tristan his well-known baritonal timbre, although it’s not quite as prominent as usual. His voice is dense and rich, though not artificially darkened, and brings delicate piani as well as strength to the role. The third act with Tristan’s near-incessant monologues of increasing volume and intensity provide an audible challenge that doesn’t leave Kaufmann’s voice untouched: he sounds somewhat taxed by the time he’s finally allowed to collapse once and for all. Granted, it’s a punishing and brutal feat; the sheer amount of energy required to sing oneself to death likely isn’t equivalent to the amount a badly wounded man would still have. Kaufmann thus doesn’t quite look to be on death’s door despite a shirt soaked in progressively darker shades of red, but he nonetheless he provides a well-grounded interpretation of one titular character. He steers away from classic hero territory into something more nuanced and disconcerting if one only looks closely enough – Isolde, for that matter, hits the nail on the head when she replies “Frag deine Furcht!” to his “Und welchen Feind?”. He’s scared – or perhaps haunted by thoughts that won’t leave him alone, unable to keep his hands and his gaze still when not singing. He doesn’t outright long for death, but from the very start, he sure doesn’t seem at ease with life, either. Something isn’t quite right with Tristan – and just the right person is needed to unleash it fully.

That just-right-person is Anja Harteros as Isolde, who deserves perhaps the audience’s grandest ovation. Vocally, she is still in excellent shape until the last measures of her delicately sung Liebestod, having preserved her gleaming heights and pristine sound over all three acts. Her middle register, uniquely crystalline and incredibly poignant, could conceivably serve to distinguish her voice from thousands. Yet her singing by far isn’t too pretty to show feelings – Harteros’ voice suits a seething young woman with a rich inner life that progressively unfolds throughout the opera. “Lass’ uns Sühne trinken!“ is an actual threat, one that Tristan wholeheartedly embraces. After losing herself in love in the second act, she reemerges from it lonely and bitingly aware of it. Her grief, like her rage, is controlled yet bone-deep, and it inevitably leads her to die. Perhaps something wasn’t quite right with Isolde, too.

Wolfgang Koch sings Kurwenal with a vivacious, robust baritone that energetically prizes life – a great contrast to Tristan’s inclinations. However, Koch stays far from acting clownish, particularly in the third act, where he wears the worry about his friend on his sleeve, but ultimately remains powerless against Tristan’s impending death. While the latter ecstatically sings himself into delirium, Koch remains comparatively static, demonstrating his character’s inability to help and by extension, vastly different attitude towards life.

Okka von der Damerau’s Brangäne is a well-meaning figure trying her best to put Isolde at ease in this admittedly highly tense situation. While initially reminiscent of a caring aunt, the two women’s bond becomes far more sisterly in nature once the first act’s dialogue – or perhaps conspiracy – around Isolde’s secret potion stash unfolds. She braves the act’s finale with top notes of impressive volume and provides a surprisingly bright, silvery metallic sound for a mezzo. Considering the standout dynamic between the two women, it’s perhaps fitting that her voice blends so smoothly with Isolde’s and even elicits comparisons to a soprano’s sound.

Mika Kares as King Marke packs much disappointment into his clear, well-articulated bass, though it’s about far more than the good old besmirching of honour – this betrayal is personal to him and runs deep. Regrettably, he’s given little to do once he has discovered the wrongdoers in each other’s arms except stalk back and forth between Tristan and Isolde, so he resorts to various pronounced eye movements that verge on accidentally amusing. Brangäne’s single look of horror upon assessing the scene says more than any eye movement could.

Kirill Petrenko’s conducting is fluid, gentle, a statement in and of itself never at the cost of the singers. He crafts the prelude into an intensely lyrical treat, promising much and delivering on that by keeping the orchestra’s sound light yet rich enough to satisfy. He eschews heaviness, but never at the expense of intensity. Particularly the tense moments of the first act are played out very well, and the performance is audibly a successful collaboration between singers, conductor and orchestra: the singers are never drowned out, the orchestra makes its mark, and Petrenko himself brings both together with excellent timing to savour a spectrum of emotions.

Director Krzysztof Warlikowski transplants the setting into a wood-panelled room with high ceilings that traps all characters within its high ceiling, allowing them little escape from what troubles them. This room serves as a continuous backdrop throughout all three acts, although each act adds elements uniquely suited to the current happenings. During the prelude, two silent dancers dressed as almost frighteningly life-like dolls, one male and one female, appear. Their movements are tentative, childlike, evocative of a fragile state as they interact and cautiously touch each other. In the second act, a projection that previously illustrated the view outside a ship’s porthole serves as perhaps an emotional window into the lovers’ psyche. It shows grainy, black-and-white footage of Isolde sitting – waiting – alone on a bed, suggestive of a security camera’s spying eye. In the film, Tristan enters only during “O sink hernieder” and the two sit silently next to each other sans any eye contact, while the real-life Tristan of course has of course entered the stage some time ago. While both of these elements receive their resolution in the final act, the act two film is already subtly reflective of the singers’ actions onstage. While the first act was far more dynamic in terms of interaction, much of this movement disappeared once Tristan and Isolde fell in love, causing the lovers to remain comparatively static during their time together. This takes some time to notice and even more time to get used to, but it allows for much inference on the nature of this love. It’s of the paralysing sort, and it can’t coexist with normal life and regular interaction. There is wallowing in this love or interacting with the rest of the world – but ultimately, a choice will be have to be made. It’s a consuming love, yet clearly not of the physical or even romantic sort, judging from the frequent lack of touch and eye contact – perhaps it’s more of a kinship, a matter of two people having found a part of themselves in each other that they had lost. In any case, the concept avoids the stylisation of Tristan and Isolde’s love as something bright or pure – they may be enraptured, but their state of intoxication doesn’t induce wishful thinking in the audience. The music, more than anything else, connects the lovers with the onlookers. It’s a maddeningly subtle concept of interaction that can easily be taken as stiff or confused with lack of ideas, and the only time it doesn’t pay off is during King Marke’s confrontation in the second act, where Mika Kares isn’t given enough space to physically communicate the emotions of the normal world.

The place of Tristan’s youth in the third act finally unites the previously introduced ideas: Tristan awakes at a table surrounded by dolls seated at a dinner table and dressed like the one representing him in the prelude. As he recalls the early death of his parents, the suggestion that he grew up in a boarding-school atmosphere and carried the burden of being orphaned plants the core idea that he comes from a place of loneliness. Absent a place of emotional safety and affection, his outlook on life is shaped by the inner fragility and unsteadiness he was instead endowed with, and causes him to escape into a love – or a construct – that opposes this life. The question of whether his love is static and at odds with life by nature or rather by Tristan’s nature remains somewhat open, but both are conceivable. During Isolde’s Liebestod, the projections return, showing the lovers lying side by side on the bed again while the room floods with water. As the two inevitably drown, they gaze into each other’s eyes for the first time while the film turns colourful. What initially seems oddly romanticising of death and clichefully pleasant becomes exceptionally poignant when seen as the lovers’ attitude towards death and final fulfilment rather than the director’s views.

It’s an interpretation that becomes more wrenching the longer one thinks about it – multi-layered, elusive, and it refreshingly strays from unduly heroic characterisations that don’t fit the story well. Admittedly, the focus is somewhat aimed at Tristan, and by necessity of the set, much of the psychologization of Isolde in the first act has to occur in the same setting Tristan’s mind will eventually be dissected in. Partially bound by the story and partially by the staging, she can’t be given the same due, which, considering Harteros’ standout Isolde, is a slight shame. Nonetheless, the production doesn’t feel uneven, and when adding music and singers, it becomes a harmonising whole entity. I myself may have closed my eyes in an attempt to fall in love, and I don’t see anything more befitting this opera.

[rememberblackhorizon]

DRIVE TO SURVIVE

Season 1. Episode 1

Yeah, you just read that and thought whaaaaat she is really late to the party - and yes, I am. But nevertheless I will give my valuable comments about this show because I love F1 (well, watching for a while now, but hype started at the end of October 2020). So, let's get this party started (I might also create a name for this whole thing). I also would love to read your comments on my thoughts and questions!! 💞

||

First of all: wow, season 2018. I can hardly remember anything. The show starts with a lovely sum-up of how F1 works and I already squeaked because of the drivers.. I mean Hülki (um Hulk) was still there, Max & Daniel in a team, phoenix dad being younger phoenix dad, Seb being younger german dad. *sighs* Ok, stop simping before it starts.

Well, it starts with Dan in Australia. Well, obvious because first race is Australian GP.

Huh, there were still fans. Oh my, I want to be there too, any race would be fine.

"There's so much anticipation being drawn to that first race in March." - Daniel Ricciardo. I think we can all agree on that being in the winter break.

Wow, was it really a thing, that Daniel had sort of a final shot in 2018 for being world champion? Had no clue. But yeah, I heard that DTS is "a bit" dramatic.

Wow, Sebs peak haircut. Didn't knew this was in 2018.

Btw I love all the accents! Can't unhear all those german homies LOL.

Nawww the recap of Sebs Red Bull titles.

Whoops, that was a dramatic shot of Valtteris crash in qualifying. Sorry to say so, but I'm also a fan of destruction in general and loved the slowmo (but I do not take joy in drivers being hurt!).

I love the fact that this show is also a rewatch of the season. Magnus and Romain being happy there. Lewis takes pole, Kimi second. Kids, do you still remember these times? *grandma voice* Seb third, Max fourth, Kevin fifth.

Wow, unusual hearing "[Kevin Magnussen] managed to get past Max Verstappen". And then team radio telling Max after complaining "We don't got time for this". Lol

Holy mac n cheese balls, we fans act like being their parents when we watch and react to the race, right? I keep gaining insights here.

Another wow, but it shows how mentally absent I was in 2018: Stoffel drove actual F1 races for McLaren?!?!?!

Oh no, Kevin and Romain both retiring from a good place because of a fucked up tyre change, reminds me of Sakhir 20 *cries in the corner*

"We lost it all in two laps. In Formula One, the highs are very high, the lows are very low." - Günther Steiner.

Seb wins the race, Lewis second, Kimi third, Daniel fourth.

"Every race should have a story, and the story should not be all the time Mercedes or Ferrari wins, because that story gets old pretty quickly." - Günther Steiner. Bold of him to assume there would be any change huh? Ferrari out, Red Bull up in 2020.

||

That's it. That's the post.

[jj-lynn21]

Bill Skarsgård: It's a bit of a messy life, easy to get lost

The actor on "Burn All My Letters", playing the "perverted" old man and dad life

"Burn all my letters" is the first Swedish blockbuster to premiere this autumn.

Bill Skarsgård, 32, plays Sven Stolpe, the grandfather of Alex Schulman who wrote the book. A big challenge for the actor.

- I think you should humanize even disgusting people. And it's fun, it's real brain gymnastics, finding it in someone you have a hard time liking or sympathizing with," he said.

Many, about 320,000, have bought Alex Schulman's book. Which depicts the true love triangle that took place a short period in the summer of 1932. The right newlywed Karin Stolpe (1907-2003) deceived her husband, already established cultural profile Sven Stolpe (1905-1996), with the future acclaimed writer Olof Lagercrantz (1911-2002). Something that made the two men hate each other for the rest of their lives.

Asta Kamma August, Bill Skarsgård and Gustav Lindh play the roles.

Sven Stolpe – who was Alex Schulman's maternal grandfather – is undoubtedly the "villain" of the drama. He more or less scared his wife into staying with him.

- I had just finished filming "Clark". Another real person in which there were both opposites and similarities. They liked themselves, both of them," he says with a laugh.

"I'm too young to have a relationship with Sven Stolpe. My grandfather and father knew him very well and that he stood for everything that they did not stand for.

"Colorful character"

Clark Olofsson who you played was a kind of charming, maybe it wasn't Sven Stolpe, directly ..?

- Nope... but he had some sort of charm, I guess. In the SVT archive there were mostly pictures of him as an old man. There he was a very colorful character and talented speaker. He probably had a bit of a career renaissance towards the end of his life, as the angry conservative old man on the television screen. Sharp as hell. Today, he'd probably have had a podcast.

"As a youngster, as I played him, there were only a few moving pictures. I read a few books by him from that time, to get an insight into how he thought.

"He enjoyed the thought"

Your Sven Stolpe both moves and talks in a very special way. What were your thoughts there?

" A lot of a character is in the voice. If you find it, the other falls into place. In those days, people talked in a different way. Stolpe used the vocabulary as a way to rule over people.

full screen

- And the stiffness... he was sick all his life, it was something I could use, he focused incredibly much on self-discipline, the self-loathing was in him from an early age.

" I also think there was something perverse in Sven that he enjoyed the idea of Karin deceiving him. It gave him ammunition that justified his behavior towards her, that she was a guilty sinner.

Did you talk to Alex Schulman about this?

- The book was an incredibly good source, the script doesn't differ that much. Then I talked to both Bjorn (L Runge, the director) and Alex. Alex's perspective on this is, of course, incredibly charged to him. I have to understand and empathize with Sven Stolpe, but not necessarily sympathize.

Expecting her second child

Recently, Bill Skarsgård came home after several months of filming in Prague of "The crow," a remake of the 1994 action movie.

Partner, actress Alida Morberg, 37, and daughter Oona, 4, have been around from time to time.

"I've had them with me as best I can. Or as best they want. They've come and gone a little bit like they've wanted, greeted in a week or two, it's not always that fun because I haven't had much time for them.

And now a second child is expecting?

- Mmm... it's going to be a blast. In November. So now I'm going to take it a little easy. Then I have a thing I'm going to do this winter, it's not official what yet. It's a bit of a messy life, easy to get lost when you go from one movie bubble to another.

This is Bill Skarsgård

Name: Bill Istvan Günther Skarsgård. Age: 32. Lives: Stockholm. Family: Partner Alida Morberg, daughter Oona, 4 years. Current: At the cinema in "Burn All My Letters" which premieres tomorrow.

Bill Skarsgård on...

... his early swedish films:

- "The sky is innocently blue" and "In space there are no feelings" both have a special place in my heart. Made the same summer (the films came out in 2010). One with Hannes Holm as director, which was established at the time, a personal film for him. And one with Andreas Öhman who was only 23 years old and we pieced it together despite a small budget. A project where we were all at the beginning of our careers.

... how often he gets to talk about the fact that many Skarsgårdare – brothers Alexander, Gustaf and Valter – have also followed in his father Stellan's footsteps and become actors:

"Every interview (laughter).

... The "It" movies, after Stephen King's best-selling novel:

"These are the films the most people have seen me in. After all, they have become phenomena. I met Stephen King when we were both simultaneously in "Good morning America" on American television. We hung out in the green room. We had a lot of fun, he liked what I had done in the movies and I've read several of his books. A fun thing: he has in his "rides" that there must be Twinkies there, he had a whole mountain with it.

New interview with Aftonbladet

[liloelsagranger]

Tag Meme - Revenge

I was tagged by @rocketshippingassbutt, thanks mate :)

last

drink - black tea

phone call – my boyfriend

text message - my boyfriend

song you listened to – Move it by Technotronic

time you cried – just a few minutes ago

ever

dated someone twice? – no

kissed someone and regretted it – yes

been cheated on – I think so, yes

lost someone special - yes

been depressed – unfortunately, yes

gotten drunk and thrown up – no, I’m emetophobic, throwing up scares me so I try to keep within bounds

fave colours

ice blue

lavender

orange

in the last year have you…

made new friends – YES! A., M. and N. and N., plus my lovely friends I met on tumblr

fallen out of love - no

laughed until you cried – yeah, my dad’s solutions for questions from the Asperger’s test were just freaking hilarious

found out someone was talking about you – oh yes, those stupid brats at my last job called me “worthless” and “a wimp” for having graduated in Near Eastern Archaeology, that’s how they congratulated me...

met someone who changed you – no

found out who your friends are - yes, S. is my angel

kissed someone on your facebook friends list - my boyfriend

general

how many of your facebook friends do you know irl – Pretty much everyone, except for 2 or 3 people

do you have any pets -  I had a dog called Blacky, she almost turned 16, but died in 2012, I miss her so much

do you want to change your name - I’m quite happy with Melanie and my second name sounds nice too

what did you do for your last birthday – My boyfriend and I went out for dinner at a local restaurant in my hometown

what time did you wake up today – about 7.15 a.m.

what were you doing at midnightlast night – sleeping

what is something you can’t wait for – more income, getting accepted for Graduate School

what are you listening to right now – nothing, but I’m def going to watch some Netflix later

have you ever talked to a person named tom – yes, that was my ex-Latin teacher’s name and the name of a renowned lecturer in Fribourg

something thats getting on your nerves – for the last five years, I’ve been feeling nauseous after every meal... it drives me crazy

most visited website - Facebook

hair colour – dark dark brown

long or short hair – long hair

do you have a crush on someone – James from Team Rocket

what do you like about yourself – My eyes and my rap-skills

want any piercings? – never, that mus hurt so much

blood type – not sure

nicknames – Mele, Melä, Meli, Salami, Köbi, Efeu, Hermine, Jessie, Melusch, Zwärg

relationship status - in a relationship

zodiac - Sagittarius

pronouns - ? not sure what I’m supposed to answer

fave tv shows – The King of Queens, Pokémon, Scooby Doo, The Smurfs, Cold Case, CSI: Las Vegas, Mannezimmer, Fascht e Familie

tattoos – none

right or left handed - right handed

ever had surgery - no

piercings – none

sport – football

drinking – I enjoy a Baccardi Breezer at the beach

i’m about to watch – Netflix, probably the second episode of “Mindhunter” or “Vampire Diaries” or just another scary movie

waiting for – better days

want - have lunch or dinner without feeling nauseous afterwards, join Graduate School and find some motivation to update my fanfictions and my dissertation

get married – I really want to get married one day

career – lecturer at the University, wrestler, rapper or actress

which is better

hugs or kisses - kisses

lips or eyes - eyes

shorter or taller - taller

older or younger - older

nice arms or stomach - don’t care

hookup or relationship - relationship

troublemaker or hesitant - I would love to say troublemaker, but I’m a coward, so I go for slightly hesitant, but still up to do some crazy stuff once in a while

have you ever

kissed a stranger - yes, blah

drank hard liquor - yes, oh Ochse, what wonderful times

lost glasses - no

turned someone down - yes, he wanted to kiss me, so I just turned away, haha

sex on first date - no

broken someones heart - yes and I’m terribly sorry, but he was so much younger than me and I thought we were just good friends

had your heart broken - yes, but he’s been my boyfriend for over five years now, so I forgave him ^^

been arrested - hmm, no

cried when someone died - yes

fallen for a friend - yes

do you believe in

yourself – sometimes, I believe in my rap-skills

miracles - yes, I do

love at first sight – well, it happened to me, so yes

santa claus - not really

kiss on a first date - why not

angels - yes, because I know S.

other

best friend’s name - Sina

eye colour – dark dark brown

fave movie - Drei Männer im Schnee, The cat and the canary, Cube, Scream 3, Final Desitnation 3, Jumanji (the original!), Road House, Dirty Dancing, Disney’s Aladdin/Alice in Wonderland (cartoon)/Lion King/Mulan/Herules/Tarzan/Lilo and Stitch, Harry Potter

fave actor – Günther Lüders, Paul Dahlke, Claus Biederstaedt, Nicole Heesters, Margarethe Hagen, Emma Watson, David Hewlett, Nicole de Boer Hmm, I tag @lalalastilldreaming and @estrelarabyss :) Feel free to do it, you don’t have to though

[hope4strays-blog]

Just over a year ago I saw this little old creature. She was abandoned in public shelter by those that were supposed to be her humans , blind, deaf and otherwise in bad shape. With the first view it was clear that Grandma May (I became her godmother and was allowed to choose the name) is “my dog” and has to come to me. Together with Gertrude I could convinced Aniela that Grandma May was allowed to travel to me. Aniela did everything to make me aware of my responsibility. “You know that she is very old”. Yes I know. Sometimes she barks without reason and does not stop. No problem. Maybe she will not live much longer. Yes that can be. And she also has to pee more often than younger dogs. Also no problem for me … and so on and on…



So in August 2017 Grandma May came to Germany.  A small, thin, scrubby something … not a handful of size.

At the beginning, we really thought we talk about weeks … but grandma was getting better and better. We became optimistic and talked about months … and now? Now she is with us for almost a year and we say that this cute little dog will probably survive us.

Grandma loves life. She shows us every day! She loves her people, her pack and her meals.

    Grandma will only have a limited time with us, we know that! But we will enjoy every second of this time together. If she has to go someday, she will not do it alone. She will be in the circle of those who love her. Yes we love her more than words can say!!!!

Why did we choose a stray? Why not?

  But to answer the question, because they deserve a life in safety as well. Why did we choose an old dog? Everyone of us is getting old and everybody wants safety in their old age … that’s why we decided to give home to an “old” dog.

Would we decide that way again? Definitely!!! Next to Grandma May we have Günther and Herbert from Bucov – also two seniors who make our “nursing home” all around perfect.

Hugs and Kiss Jill & Grandma May #PleaseAdoptAndDoNotShop

    Grandma May – a little old dog you can hardly describe in words Just over a year ago I saw this little old creature. She was abandoned in public shelter by those that were supposed to be her humans , blind, deaf and otherwise in bad shape.

[how2to18]

THERE IS A riveting scene in the documentary Finding Pictures (Bilder finden, 2002) by German filmmaker Benjamin Geissler, when Agnieszka Kijowska, part of the team searching for remnants of a mural painted in 1942 by the Polish writer and artist Bruno Schulz, scrubs layers of paint from the pantry wall of a house in a Ukrainian village, formerly part of Poland. As she scrubs, an image, slowly and miraculously, reveals itself. “Here’s a little face,” she says in disbelief. “Mr. Wojciech,” she repeats, referring to Wojciech Chmurzyński, an expert in Schulz’s visual art, “Here’s a little face.” Offscreen a man’s voice answers, “Wonderful! Oh my God! […] It’s reminiscent of his self-portraits. Oh my God! This is it! How true.”

It’s an uncanny moment, a flash discovery of something thought forever lost. The whimsical face exhumed from beneath the decades-old paint is an auto-portrait of Bruno Schulz, Jewish author of The Street of Crocodiles (Sklepy cynamonowe, 1933) and Sanatorium Under the Sign of the Hourglass (Sanatorium pod Klepsydrą, 1937), and creator of phantasmagoric drawings. Schulz’s artistic talents had for a time earned him refuge in the home of Felix Landau, a Nazi officer who had charged him with painting murals in his children’s bedroom. But on November 19, 1942, this reprieve came to an end when another Nazi officer, Karl Günther, shot Schulz on the streets of Drohobych, Ukraine, the village that had inspired so much of his creative work. And from that moment, two absences were established: a vanished body, as Schulz’s burial place isn’t definitively known, and an unpublished novel, The Messiah (Mesjasz), whose whereabouts still remain a mystery.

The Messiah is one of eight lost manuscripts conjured up in Giorgio van Straten’s In Search of Lost Books: The Forgotten Stories of Eight Mythical Volumes, translated from the Italian by Simon Carnell and Erica Segre. The director of the Italian Cultural Institute of New York and author of, among other volumes, My Name, A Living Memory — a book that traces and imagines his father’s Jewish roots from 19th-century Rotterdam, Netherlands, to 20th-century Italy — van Straten is undoubtedly drawn to memory. And in his latest work, the focus is not on people long gone or places now vanished, but on the books that disappeared. They include, in addition to Schulz’s The Messiah, a manuscript by the Italian writer Romano Bilenchi, which van Straten, a friend and mentee of the writer, had read but regretfully not saved; the burned memoirs of Lord Byron, deemed too scandalous by Byron’s family and a former male lover; an early Ernest Hemingway manuscript that disappeared when the suitcase containing it was stolen in Paris’s Gare de Lyon; a Sylvia Plath novel that vanished following her suicide; the manuscript of Walter Benjamin, believed to have been in the black suitcase he carried in 1940 as he tried, unsuccessfully, to flee Jewish persecution in France and ended up taking his own life in the village of Portbou on the Spanish border; and two manuscripts lost to fire: the second volume of Nikolai Gogol’s 1842 Dead Souls — purportedly burned by the author himself — and a 1,000-page masterpiece by Malcolm Lowry that was destroyed in a house fire.

Van Straten reconstructs each tale of loss with the perseverance of a sleuth, the passion of a bibliophile, and the conviviality of a raconteur, without abandoning the raw sense of wonder that leaves open the possibility — as happened with Schulz’s murals — of a rediscovery. As he writes in the introduction,

Every time I have chanced across the story of a lost book I have experienced something like the feeling that gripped me as a child when reading certain novels which spoke of secret gardens, of mysterious cable-cars, of abandoned castles. I have recognized the opportunity for a quest, felt the fascination of that which escapes us — and the hope of becoming the hero who will be able to solve the mystery.

He assembles each narrative with information gleaned from the eight authors’ diaries and letters, historical and contemporary sources, interviews with critics, and conversations with his own literary friends and colleagues, so that the book feels both scholarly and intimate. And while each loss he invokes is unique, an overarching question emerges from the litany of voices assembled for each chronicle: what is society’s responsibility (if any) to a creative work?

Tensions often surround a common debate: what to do when an artist wishes to have their unpublished work destroyed after death, while a survivor’s responsibility lies in delivering to posterity — and humanity — an invaluable work. (A famous example of the latter winning out is the case of Max Brod, who, after the death of his friend Franz Kafka, didn’t destroy Kafka’s manuscripts as he had been instructed.) But van Straten explores scenarios that distinctly eradicate the possibility for posthumous publication: namely, the destruction of a deceased writer’s work by family and friends despite the writer’s wish to have it endure (as with Lord Byron, and possibly Bilenchi and Plath), self-censorship (which was the case for Gogol and to a certain extent, the perfectionist Lowry), and annihilation during wartimes (as occurred with Walter Benjamin and Bruno Schulz).

This last form of vanishing — via war and persecution — is perhaps most heartbreaking, because the aggressor can’t be whittled down to a single person or simple bad luck. It is, rather, a form of collective assault, against not only an individual but also a creation that never had a chance to see the light of day. It is, in short, an act of societal violence against creation itself.

And Walter Benjamin’s case is equally tragic in this regard. A “consummately refined revolutionary,” as van Straten describes him, Benjamin left his native Germany in 1933 after the Nazi seizure of control and moved to Paris, where he wrote the texts that would turn him into one of the 20th century’s most influential thinkers. Among these was the unfinished The Arcades Project (Das Passagen-Werk), about 19th-century Parisian life, whose photocopy he would go on to entrust to his friend Georges Bataille prior to his eventual ill-fated escape from France. Another was “The Work of Art in the Age of Mechanical Reproduction” (Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, 1935), an essay on the ways in which mechanical reproduction of an artwork strips it of its aura. On June 13, 1940, just a day before the Germans occupied Paris, Benjamin decided to leave the city for Marseille, France, hoping to continue from there to Portugal and make his way to the United States. But while he had a permit to enter the United States, he lacked many of the exit and entry documents that would have allowed him to make his labyrinthine way out of Europe. Hence the last-ditch attempt to flee Marseille for Spain, the black suitcase containing the mysterious manuscript, and the eventual suicide that would put an end to the man, his suitcase, and his writings.

As well as the societal, cultural, and existential tensions tied to the moment of the vanishing, there is another that runs throughout van Straten’s book: the tension between the hope of discovery and the futility of the search, or what van Straten, quoting Marcel Proust, calls “the risk of an impossibility.” Proust invokes this risk as a prerequisite for love between humans, and van Straten extends the definition to love between a human being and a lost book, fueled by “that combination of impulse and melancholy, of curiosity and fascination, which develops with the thought of something that existed once but that we can no longer hold in our hands.” In other words, the tension of searching for the work is inextricable from the story of its recovery, even if the tangible recovery is impossible.

And his emphasis on the lost object’s former existence is important. For van Straten, lost books are not those “that were not even born: conceived, expected and dreamt of, but prevented for one reason or another from ever being written.” On the contrary, they are ones that did in fact exist but subsequently vanished. This distinction reveals the value he places on a writer’s self-actualization while reinforcing the intimacy of his book, which not only shares the narratives of eight vanished manuscripts dear to him, but also prompts readers to define for themselves what constitutes loss, and more specifically, the loss of a book. Because it is likely we all have different criteria for what makes a book “lost.” What of those books attributed to an author with a certain level of celebrity, but secretly penned by a relative or lover? Is proof of the manuscript’s former existence necessary, or can one simply take the author’s word that such a book once lived? And perhaps most importantly, must the book have been actually written to be lost, or does it qualify if it might have been written had circumstances permitted it?

Reflecting on lost books brought to my mind Imre Kertész’s novel Kaddish for an Unborn Child (Kaddis a meg nem született gyermekért, 1990), an elegiac book about a Hungarian Holocaust survivor’s inability to bring a child into the world. In Christopher C. Wilson and Katharina M. Wilson’s 1997 English translation (titled Kaddish for a Child Not Born), the narrator describes his long “road of self-liquidation” and his lifelong conversation with his unborn child, who becomes for him a lingering shadow. Kertész’s narrator even goes so far as to frame his “existence in the context of [the nonextant child’s] potentiality.” Just as there are offspring left uncreated because of their potential parents’ failure to actualize them, are there books that never came into existence because their authors lacked agency in a world that for one reason or another stripped them of it? Might one, in other words, recite a kaddish for an unborn book?

That, I suppose, depends on the definition of loss. But however you define it, it is certainly not a bygone event. Books are undoubtedly being lost every day. Given the political volatility of our time and the continuous displacement of millions of people (68.5 million in 2017, according to the United Nations Refugee Agency), how many manuscripts — written and unwritten, by authors known and unknown — are vanishing daily? Perhaps in a generation or two, someone will sift through the wreckage and create a new bibliography of lost books.

But as van Straten emphasizes, the story doesn’t end with loss. In fact, the story doesn’t end at all, for absence itself can become a catalyst for creativity — as was the case, for example, with Schulz’s Messiah: Schulz appears as a fish in David Grossman’s 1986 novel See Under: Love, and, most famously, as the protagonist’s claimed father in Cynthia Ozick’s The Messiah of Stockholm, published a year later. He is even the namesake of a Polish rock band. This echoes philosopher Abraham J. Heschel’s idea, explored in his book Who Is Man? (1963), that “[t]he dignity of human existence is in the power of reciprocity.” One of our primary experiences as humans, says Heschel, is to obtain and seize things we care for in childhood, and, upon entering maturity, to give and provide for those we care for. Maybe in this ideal of reciprocity, where “[k]nowledge is a debt, not a private property,” knowledge of an absence may be repaid through transformation: an inherited loss into a new creation.

Still, despite its inevitability and potential to bring about renewal, loss causes grief. And the act of writing, besides all else it does, often serves as an attempt to accept this grief. This attempt was famously captured by Elizabeth Bishop in her poem “One Art,” a villanelle whose narrator simultaneously laments and relinquishes losses, both small (“lost door keys” and “the hour badly spent”) and vast (the beloved’s “joking voice” and “two cities, lovely ones”), and tries in vain to “master” them through writing. It could be argued that societies and cultures that experience repeated loss may develop a stronger compulsion to reconstruct an absence, to reinvent it and thus to refuse its irrevocability — in other words, to write it. As van Straten explained in My Name, A Living Memory, translated by Martha King,

The most dreaded Jewish curse says: May your name and even your memory be forgotten. Therefore, to save a man you must repeat his name, as in a liturgy. But the memory? That […] dies with the people who preserve it. Unless someone decides to transform it — to write it down, for instance.

In order to regenerate the memory of his ancestors — and his surname — he worked with family myths and stories, birth and death certificates, wedding invitations, heirlooms passed down the generations, and, inevitably, his own imagination. In his latest book, too, through the act of writing, he straddles the line between elegy and reincarnation, aware, all the while, that “if on the one hand [lost books] continue to elude us, […] on the other they come back to life in us — and ultimately, as in Proustian time, we can lay claim to having found them.” What he offers, as he tells the reader, is “the memory of absent books,” with both sorrow and fresh wonder, reflecting Schulz’s wish as he expressed it in a 1936 letter to a friend: “My ideal goal is to ‘mature’ into childhood.”

Though grief may be inevitable, van Straten’s book makes clear that loss is not absolute so long as memory, and the chance for transformation, persists. The memory must be conjured up without fossilizing it, must be breathed — or written — into a new form. This is what van Straten has done, in this slim, beautiful homage to eight absences.

¤

Dalia Sofer is the author of the novel The Septembers of Shiraz (2007). Her new novel is forthcoming from Farrar, Straus and Giroux (2020).

The post The Chance for Transformation: On Giorgio van Straten’s “In Search of Lost Books” appeared first on Los Angeles Review of Books.

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[myimaginarywonderland]

My dream FE teams for now

First off, this is more focused on getting competitive teams than the one I would like to see but there is also my personal bias in some.

If someone wants to discuss this feel free and also share your teams!

Audi: Nico Müller and Réne Rast

I feel like this one is pretty self explanatory? Réne (no matter what opinion you might have about him) is an outstanding driver and the fact that he has outscored Lucas, one of the best Formula E drivers, just shows his talent. If they don't take him, they would he stupid. Also, I have heard him giggle today and my opinion changed from "I don't like you" to "I want you to get this seat", so here we are.

I originally wanted to put to Amna Al Qubaisi here as I really want her to be in Formula E ( she has some really impressive records and looks promising and I want to see her true potential someday.) However I think putting her here in the next years would be too early as I think she still needs to get some more experience in order to improve as a complete driver. We know how much of a leap FE is in comparison to other championship so I didn't want to just throw her in here. So, Nico seemed like the best and safest choice for now eventhough I will need him to prove hot show his talent a bit more. With Nico and Réne Audi would be one of the strongest line ups and I am sure that they would be one of the most competitive. I don't entirely want to rule Amna out, let's see how she develops and where she goes so we can compare her performance a bit to Nicos. For now though, Nico and René would be safe and obviously talented choice so I went for them in the end.

BMW: Maximilian Günther and Oliver Turvey.

For sure I would keep Max at BMW. He has a bright future and great potential/talented. I am excited to see him battle more at the front next year.

I really wanted to keep Alex but since my goal was to change basically every line up, I decided not to.

And thus, Oliver Turvey was put here. This is for two reasons. One being, he is a driver with a lot of insight and patience (since he stayed with Nio this long) which could for sure benefit the BMW team and potentially help them figure out the problem they had in the second half (or maybe we just thought they were better than they actually were). The second reason being, that I just want him to get a good car and finally show the potential he has. That man has not had the chance to prove himself for so many seasons which needs to finally end.

This would be the most quiet and shy team on the whole grid but somehow I could actually see this working out in a way.

Techeetah: JEV and Antonio Felix Da Costa

No doubt about this. 100% want to see them go more head to head next year. Probably the current team with the most talent. Also, JEV can never leave Techeetah (or I'll have a breakdown) and Antonio seems like he is really getting along with the team and bringing out the best in JEV. I am excited to see how they push each other in the coming year.

This will not be changed and be the only team that I will keep like this mainly so I I can see how much they actually help be the other be a better and complete driver.

Envision: Robin Frijns and Alice Powell

I want Robin to stay at Envision and have shot at a championship. Also, I feel like he really fits in with the team.

I mean, Alice has had some good performances in here past and since FE is the most competitive grid with the best teams, get her in there asap.

Also, I would really enjoy someone more reserved and quiet next to Robin. I have a feeling they would get along and really help each other develop as drivers.

Dragon: Sergio Sette Camera and Jérôme D'Ambrosio

How hesitant I was to put Jérôme here. I was truly struggling. But I feel like the team need a practiced and capable driver like Jérômeuno to get back on top again. Also, I couldn't just let him go and him going back to the team he started with would be really nice.

Sette Camera has been amazing so far and when I saw how happy he was to get this chance and how much he wanted to stay I knew I had to give him a place here. I also feel like he has really gotten how the Dragon car works so that's just another bonus.

Mahindra: Daniel Abt and Alex Lynn

This would be my favourite line up, ever.

Daniel is one of the drivers that has been on the grid the longest and he deserves a seat in a front running team. Also, I feel like this would be the perfect team for him. A family atmosphere, people that appreciate him and a team where he isn't automatically second driver (I might he pissed about this but I definitely get why Audi did it. This is not to say that he was always restricted in his driving, he definitely had races where he was great but I feel like being in a team where he isn't seen as second driver or the son of the owner could truly make people realise that he is a talented driver by himself without any relations.) Let's see how well he does when he has to prove himself. l know he might not be the best driver but he for sure is consistent and has some great results. That consistency and experience could really help Mahindra get back on top since this year they were nowhere near the front.

Alex I really want to stay here for next year. He has had amazing qualifyings and I feel like he has also shown his race peace this year. Give him a chance in a good team.

And besides, if there is a team that I will always adore it is Mahindra. The family atmosphere, pure emotions and happiness as wells as passion that they have and that Dillbagh brings to this team is just incredible. And pair that with Daniel's friendly character and Alex's joy when being in FE and you could have to most happy team in the grid.

Mercedes: Stoffel Vandoorne and Nyck De Vries

This might be the other line up I want to keep. Purely because Mercedes is truly becoming more and more competitive and the pace they have is also quite good.

Stoffels win proved this and then Nyck second place further added to this.

And I am so excited to see what Nyck can do as he has had amazing qualifying results and showed that he isn't afraid to make a move. This duo is not only cute and they genuinely get along really well but they could also push each other. And let Stoffel have competitive car.

Nio: Sam Bird and Alex Sims

Listen. I didn't originally want to do this. But then again, this team deserves something. And I think that something could clearly be there if they had this duo. Sam brings the skill, the knowledge that could help them improve and together with Alex I actually think they could help the team get better. Also, I didn't have the heart to let Sam go yet. The more I think about it, this would actually be beneficial to the team. A knowledgeable drivers as well as one that brings patience and the necessary skills for development. I think if a duo could help this team it would be these two. Also? I would really like to see them as team mates? It could totally work out but also not. I think this team needs a total change which both Alex and Sam would be.

Nissan: Oliver Rowland and Sebastian Buemi

This will be the last team I keep like they were.

Why would I change it? Oli and Seb get along so well and truly bring the team forward. Another bonus is that both are really talented and Oli is not afraid to make moves as well as challenge Seb which he is able to because he is really talented and great driver. He is truly an aggressive driver (in a good way) which Nico never was so Seb did not have any that really threatened his position which Oli is able to.

And they both are in the mix for podiums as well as wins (Oli's win this season was incredible and frankly showed why they choose him in the first place.)

Also, I didn't know who else to put in this team next to Oli and I can't see Seb leaving them somehow. He has been with them since season 1 and they have done so much together, so the only instance in which he would leave them would in my opinion to retire which is still way too early. He is one of the best if not the best driver and still as good as ever. The car was lacking but I think that during the break they caught up to the others and will be on their level next year.

Jaguar: Mitch Evans and Sascha Fenestraz

Mitch is pretty obvious. That man has some serious pace and is a competitor through and through. He is also the one that (in my opinion) brought Jaguar to the position they are in right now. Next season (if they have the constant pace to be a challenger) he will for sure be a threat.

And Sascha has had such a good junior career I don't know why he isn't in a higher series. Get this boy a seat somewhere. And where better than the most competitive, hardest and crazy series than FE? I am excited to see what he does in the future and I would love him to get a seat here someday.

Porsche: Pascal Wehrlein and André Lotterer

I mean, who wouldn't want that? And we even got it, hell yeah.

André is really great at Porsche and I think if they develop more, they could for sure be a competitor. From the driver he was at Techeetah, either crashing/being out of the race or getting a podium to the driver he is now, consistently getting points and also good results, he has truly progressed and also understood FE more.

I feel like both of them fit into the Porsche brand (the one I have in my head being drive fast and be pretty) and I am so excited to see the content and racing they will provide next year. Probably the team I am most looking to.

I want Pascal here because since his rookie season he has been impressive but I feel like there was always something lacking (on the cars he drove) and that something could definitely be found here.

Venturi: Edoardo Mortara and Neel Jani

Hear me out everyone. Edo for sure has to stay at Venturi because this is where he belongs. I can't really explain it but I think he perfectly is the lead driver of the team and he has proven again and again that even if the car is not that good, he can perform in it. I don't want to see him anywhere else because I feel like he has a connection to the team (his crying because he couldn't win for them being one example) that will even be stronger if they are more competitive.

As for Neel, I have got to say and the beginning of the season I didn't really care for him and probably wouldn't have given him a place here but the way he just got on it at the end of the season really convinced me otherwise. He was struggling but something just clicked and I think that in his second season he could show that he has understood the racing and pull out some great results. And where else than in Venturi? I think he could benefit from having Edo as a teammate as Edo has a lot of experience and could probably help him become a fuller driver.

Also, I feel like having this driver line up could push Venturi as a whole to become the competitor everyone always thought they were.