#tom biller

[faeriecoma]

Warpaint recording “Jubilee” and their album “The Fool”

[stitching-in-time]

Voyager rewatch s4 ep24: Demon

I think I've actually never seen this one before! If I ever did, I've forgetten everything that happened in it, because it was totally new to me on this rewatch. I didn't like it much though. While I think the basic premise is good, the way they wrote the crew bothered me to the point that it pretty much spoiled an otherwise cool and creepy episode.

It starts off with Voyager shutting down all non essential systems as their power runs out. When they go looking for needed deuterium on a dangerous Class Y 'Demon class' planet, Harry and Tom take a shuttle to go collect some. Right off the bat, the writing felt off- when Harry suggested taking a shuttle to the planet, with Tom standing next to him, I was sure the next line would be Tom offering to go with Harry, but instead they had Harry press Tom into it, and Tom seemed bothered by it, which is incredibly out of character. From the very beginning, Tom has never hesitated to risk his life for other people, and from the moment he met Harry, he was his insta-bestie that he had to protect at all costs. There's no way Tom would ever let Harry go on that mission alone, or be annoyed at going with him. Idk why in season 4 they're suddenly trying to turn Tom into a douchebag, especially when they're making him obnoxious in ways that are completely opposite of his established character traits. I also feel like Tom and Harry's friendship got dropped a bit this season, and when they do give them scenes together, they're kind of juvenile, and involve a lot of rivalry and taunting that's out of step with their generally supportive mutual admiration society bromance.

And then the scene in the hallway and turbolift where Tom seems surpised that Harry spoke up in a staff meeting was also weird- Harry speaks up at staff meetings all the time?? They have Harry go on to say that he's a grown up big boy now who isn't afraid to speak up for himself, but Harry acting younger and more timid is a very recent thing. In the beginning, he wasn't afraid to make suggestions, or even disagree with the Captain on occasion- it feels like they've been making him act younger and less experienced this season than he ever did in the three seasons before, and it's just kind of a puzzling choice. It seems a little odd that they're trying to make it out that speaking up is progress for his character, when it wasn't even an issue until just now. Once again, not the greatest writing.

And then when Tom and Harry get down to the planet, they have them ribbing each other about being out of shape- which is not only out of character for people from a supposedly utopian future, but genuinely mean on the part of the writer to fat shame actors in an actual script of a TV episode. Garrett actually mentioned several times on the Delta Flyers podcast that the writers and producers would tell them that they needed to lose weight, so obviously that was hurtful enough to stick with him over 25 years later. I guess it isn't super surprising, given how Hollywood is obsessed with looks, and especially thinness, and god knows they shoved Jeri Ryan into a corset even though she was so skinny already. But it feels like a new level of low to write lines to force actors to body shame themselves on camera. What's wrong with you Ken Biller? And what's wrong with everyone else who thought that was okay and let it stay in the episode? Obviously Hollywood culture is super toxic, but Star Trek is supposed to be better. Good grief.

Anyway, aside from the awful dialog, the scenes on the planet are very creepy and atmospheric. I know it's just their usual paper rocks planet set, but the eerie red lighting, and the steam jets, and a glowing red sky backdrop all did a great job of making it look hellishly hot, yet still somehow weirdly beautiful. There's a feeling of Tom and Harry being watched by something even before we see anything, and it's very creepy when Harry gets pulled into the silver puddle they were collecting deuterium from. It's a pretty scary way to go to a commercial break with them both collapsing in their EV suits with their oxygen having run out.

Meanwhile, back on Voyager, we have a subplot of everyone needing to camp out in centralized locations so they can shut down life support on parts of the ship to conserve energy. For some reason, Tuvok won't let Neelix bring his extra pillows and blankets and a book to read, which doesn't really make any sense- how can it possibly make a difference to read a book or use an extra pillow??? It doesn't use up any more of the ship's energy! It was just a random 'let's have Tuvok and Neelix disagree with each other' scene that didn't add anything valuable. And then we have Neelix and the Doctor in a competition to be the most annoying when Neelix decides he wants to camp out in sickbay, and the Doctor objects. It's supposed to be funny watching them try to make each other miserable, but really it just shows off their worst traits- the Doctor's disdain for other people's feelings, and Neelix's inabilty to respect other people's boundaries. It's just unpleasant to watch them act like bratty children and be obnoxious to each other. At the very least, when there's an actual medical emergency, Neelix leaves sickbay just like he said he would, and the Doctor seems surprised that Neelix doesn't hold a grudge against him for his behavior. Apparently the Doctor is such a jerk that he's surprised when everyone else isn't as petty as he is.

In the meantime, they've landed Voyager on the planet, and when they lose contact with Tom and Harry, a concerned B'Elanna asks to go down and help look for them. Chakotay says no because he thinks someone with a cool head who isn't so close to them would be a better choice, so B'Elanna tells him to take Seven, because Seven doesn't care about anyone always has a cool head. Chakotay and Seven go down to find them. We have another eerie planet scene, where Chakotay ends up being rescued from falling over a precipice by Tom, who's somehow still alive, and not wearing his EV suit. Tom and Harry both seem able to breathe normally in the hostile atmosphere, and when they bring them back to Voyager to find out why, neither of them can breath regular air, and have to be put behind a forcefield filled with the planet's atmosphere.

While looking for clues to what happened, we get a rare treat of a short scene where B'Elanna and the Captain get to do science together, and they discover that the silver liquid they collected deuterium from has bio-mimetic properties. Eventually, when they discover the real Tom and Harry unconcious but alive in their EV suits on the planet, they realize the Tom and Harry in sickbay are bio-mimetic copies. The copy versions think they are them, and can't explain what they really are, until Voyager starts to get surrounded by the silver liquid, and has to repel it to break free. The particle bursts they use tp repel the liquid also negatively affects the copy people, and Harry's copy starts to remember and explain what he is and where he came from in an attempt to get Janeway to stop. He tells her that the silver liquid is alive, but never experienced sentience until it encountered the away team, and took on their forms to experience it more fully. They want to keep Voyager there so the liquid can copy more of them, and experience life as sentient creatures, but Janeway explains that they have to go back home, no matter what. Copy Harry protests and pleads to be given the chance to live, and Janeway realizes that they copied Tom and Harry without killing them, so she suggests that the crew can give them DNA samples to copy if they're allowed to leave in return. Copy Harry agrees, and the last shot is Voyager leaving a duplicate crew behind on the planet.

It's a very weird but kind of cool premise, though I'm not a fan of the sequel episode we got out of it, all the more so now that I've seen the first one- there's definitely some major inconsistencies between the two. But the weird characterizations bothered me more than anything, and kept this from being what could have actually been a very good episode.

Tl;dr: A cool, creepy sci-fi premise that got spoiled by bad characterization and mean spirited writing.

[mermaidsirennikita]

You have any recommendations where the hero hates everyone except her? 💕 Historical’s included if any.

Hmm...

Managed by Kristen Callihan. An all-time favorite contemporary romance. Hero is the uptight, strict manager of a rock band. He does love the guys as they're his longtime friends, but he's very snappy and standoffishness by nature. He hires the heroine as the band's photographer/social media manager, but he has insomnia and can only sleep when she's in the bed with him. So they become platonic nap partners. Naturally. Has a particularly incredible scene when he jacks off while smelling her dirty underwear and dodging her question from the other side of the door, before handwashing said underwear and hiding them underneath his mattress.

Hotel of Secrets by Diana Biller. Historical. The hero is less about hating people and more about being an extreme loner who doesn't want to get close to people. He's an American spy on a case, the heroine is this social butterfly who's trying to save this Viennese hotel her family has owned for generations. He saves her life, like, thrice. Also, he's a big ol' virgin and she is... not. SO good.

The Truth About Cads and Dukes by Elisa Braden. Historical. Again, he's more standoffish and he does love his siblings, just is exceptionally bad at expressing his feelings. The hero marries the heroine after his brother ruins her (in a non-sexual manner) and it's really largely your standard marriage of convenience book, but done very well with an excellent love confession. Heroine is plus size, which is nice. Maybe my favorite Rescued from Ruin book? I really like all the times his lust cannot be contained and he just tackles her.

How to Marry a Marquess by Stacy Reid. Historical. BIG this vibe. The hero is kind of ostracized by society because he claimed his illegitimate daughter and is raising her without shame. He's very FUCK ALL Y'ALL about it, but the heroine, who is this very proper miss type, is his longtime friend and he adores her. She's been in love with him for forever, but he doesn't think she can deal with being an outcast so he won't make a move. Which is why she asks him for lessons in seducing some TOTALLY RANDOM GUY she's FOR SURE IN LOVE WITH. Very hot, and leads to some fabulous angst towards the end.

What I Did for a Duke by Julie Anne Long. Historical. Super this. Hero is a jaded snappish duke pushing 40 who finds a local rake in bed with his fiance. He decides to exact revenge by seducing said rake's innocent, virginal sister (who's like, half his age). She's super smart, so she catches on immediately, but she wants her friend who she's into to make a move, so she kind of allows him to court her... But then he becomes genuinely fond of her and it gets real.

After Dark with the Duke by Julie Anne Long. Begins as light ETL, becomes more like this. 40-something war hero duke is staying at the same boarding house as 20-something scandalous opera singer while he's writing his memoirs. She bugs him, he offends her, in penance he offers to teach her Italian to help with her singing, and they develop a very sweet friendship that quickly shifts into major sexual tension.

Marrying Winterborne by Lisa Kleypas. Historical. Rhys Winterborne definitely has like, FRIENDS, but he's also kind of super grumpy and sort of socially awkward, lol. He adores Helen and would move heaven and earth for her, even if he's bad at giving flowers. Benefits from reading Cold-Hearted Rake first, as they begin as a secondary romance in that one. People will tell you Chasing Cassandra is this even more, and I guess it is, but... Idk, maybe I should reread that one because it didn't super do it for me, and I think Tom Severin would've been better off with a different heroine.

Dreaming of You by Lisa Kleypas. Historical. I think this absolutely counts, lol. Like, does Derek have one friend who isn't under his employ? Yes. But they're not as tight by the time the book begins because reasons, and he meets Sara Fielding when she shoots some guy to save him, and while he tries to be grumpy to her, he's quickly like "I've known Sara Fielding for five minutes and if anything happens to her I'll kill everyone in this room including myself".

My Darling Duke by Stacy Reid. Historical. Heroine pretends she's being courted by a recluse duke in order to help her sisters find husbands, but then recluse duke shows up in society for the first time in years to be like "and exactly what is happening rn". He's a recluse because he was super injured years back and is now a wheelchair user; he's very bitter about his disability. He makes the heroine continue the charade for a minute for his own reasons, but falls for her. I really liked how this book explored sexual dysfunction and like, having sex in a way that isn't the standard romance novel HE TOOK HER CONQUERINGLY manner.

Sworn to the Shadow God by Ruby Dixon. Fantasy. Gamer girl gets teleported to this fantasy world and becomes the sorta servant to the literal God of Death. Everyone hates him so he hates everyone. It's honestly very funny and sweet. He has this thing going on with him wherein he can't like... tell the truth... so everything he says is the opposite of what he means. This girl gives him head fairly on in the book and he's like "YOU'RE TERRIBLE AT THAT" (translation: you're great at that) during, and I think she bites his dick? He has a lot to work through after that. She thinks he hates her, but he actually adores her.

The Taming of a Highlander by Elisa Braden. Historical. Another, "he technically loves his family" guy. The hero was considered the golden boy of the family, but he was tortured and lost an eye after being wrongfully imprisoned for months, so he's not doing great. The heroine catches him attacking one of the people responsible for what happened to him, so she offers to marry him to keep from having to testify against him.

Shadowheart by Laura Kinsale. Historical. Hero is a total villain and persona non grata throughout Italy; heroine does initially dislike him, but quickly falls in love and she's like his treasured possession. Soft noncon in the beginning. The sex scenes are otherwise are super great, very femdom.

[mediaevalmusereads]

2022 Reading Wrap-Up: the Good, the Bad, and the Meh

Below is a list of books that I read in 2022. I've sorted them into 3 categories: the good (books I loved), the bad (books I didn't like), and the meh (books I thought were just ok). Other than these categories, the books aren't listed in any special order or ranking.

The Good

A Christmas Carol by Charles Dickens

Witches by Brenda Lozano (trans. Heather Cleary)

How the Dukes Stole Christmas by Tessa Dare, Lisa Kleypas, Sophie Jordan, and Joanna Shupe

A Holiday by Gaslight by Mimi Matthews

A Kiss for Midwinter by Courtney Milan

Cinnamon and Gunpowder by Eli Brown

Lady Chatterley's Lover by DH Lawrence

Red Clocks by Leni Zumas

The Prince and the Dressmaker by Jen Wang

Rebecca by Daphne du Maurier

A Ghost in the Throat by Doireann Ni Ghriofa

Possession by AS Byatt

The Good Girl's Guide to Rakes by Eva Leigh

Foote by Tom Bredehoft

The Siren of Sussex by Mimi Matthews

Supersex Ed. Anna Peppard

The Girl in Red by Christina Henry

A Rogue by Night by Kelly Bowen

The Book of Joy by the Dalai Lama and Desmond Tutu

Would I Lie to the Duke by Eva Leigh

Secrets of a Summer Night by Lisa Kleypas

My Fake Rake by Eva Leigh

The Governess Game by Tessa Dare

Morality Play by Barry Unsworth

The Meh

The Witches of New York by Ami McKay

The Iron King by Julie Kagawa

Not All Supermen by Tim Hanley

A Gentleman Never Keeps Score by Cat Sebastian

Witchy, Vol. 1 by Ariel Slamet Reis

The End Games by T. Michael Martin

The Companion by EE Ottoman

Grit by Angela Duckworth

The Invention of Murder by Judith Flanders

The Devil All the Time by Donald Ray Pollock

Last Night with the Earl by Kelly Bowen

A Duke in the Night by Kelly Bowen

Waiting for a Scot Like You by Eva Leigh

Forever Your Earl by Eva Leigh

The Duchess Deal by Tessa Dare

The Rogue of Fifth Avenue by Joanna Shupe

A Curious Beginning by Deanna Raybourne

The Highwayman by Kerrigan Byrne

The Silent Patient by Alex Michaelides

The Widow of Rose House by Dianna Biller

I'm Only Wicked with You by Julie Ann Long

Dangerous Women by Hope Adams

The Rakess by Scarlett Peckham

The Silence of the Girls by Pat Barker

The Bad

Once Upon a Winter's Eve by Tessa Dare

Aphrodite and the Duke by JJ McAvoy

The Arctic Fury by Grace McAllister

The Devil in Winter by Lisa Kleypas

Born to be Wilde by Eloisa James

[amymedbiller]

Unlock Your Future: Exploring Careers in Medical Coding and Billing

**Title: Unlock Your Future: Exploring Careers in Medical Coding and Billing**

**Introduction**

Are you looking ⁣for a rewarding career in the healthcare industry that doesn’t require ‌years of medical school or clinical training? If so, a ⁣career in medical coding and billing may ​be the ⁢perfect⁤ fit for you. Medical coders and billers play a crucial role in the healthcare system by‌ ensuring that patients’ medical records are accurately coded and billed to insurance companies.

**What⁣ is​ Medical ⁢Coding and‍ Billing?**

Medical coding involves translating healthcare diagnoses, procedures, medical services, and equipment into universal alphanumeric codes. These codes are used for billing purposes and to ensure accurate⁢ reimbursement from⁣ insurance companies. On the other hand, medical billing involves submitting and following up on claims with insurance companies to ensure payment for services rendered by healthcare providers.

**Why Choose a⁢ Career in Medical Coding and⁣ Billing?**

1. **In-Demand ⁣Career**: The healthcare ⁣industry continues to grow, creating a ⁢high demand ​for qualified medical coders ⁢and billers.

2. **Flexible Work ⁣Options**: Medical coding and billing professionals can work in various ‌settings, such as hospitals, clinics, insurance companies, and remote positions.

3. **Competitive ‍Salary**: According to the U.S. Bureau of Labor Statistics, medical records and health information technicians, including coders and⁢ billers, earn​ a⁢ median annual salary of $42,630.

**Benefits and Practical Tips**

– Develop strong attention to detail and analytical skills. – Stay updated on the latest coding guidelines and regulations. – Consider obtaining ‍a certification through organizations like the AAPC or AHIMA.

**Case Studies**

1. **Jane’s Success Story**: ⁤Jane started her‍ career ⁤as a​ medical coder in a​ small clinic and worked her way up to a coding manager position within five years. She credits her success to dedication and ongoing education.

2. **Tom’s‍ Remote Work⁤ Experience**: Tom transitioned ‌from an in-office coding job to a remote position, allowing ‌him to work‍ from ‌home and achieve a better work-life balance.

**Unlock Your Future in Medical Coding and Billing**

Embarking on a career in medical coding and billing can open up opportunities​ for professional growth, job stability, and financial success. Whether you ⁤are a recent high school graduate, career changer, or⁣ looking to advance in the⁣ healthcare field, exploring a career in medical coding and ‌billing may be the key to unlocking ‍your future.

**Conclusion**

a career in medical coding and billing offers a⁤ fulfilling path⁢ for those ⁤interested​ in the healthcare ‍industry. By developing‌ the necessary ‌skills, staying current with industry trends, and pursuing certifications, you can ​set yourself up for success⁣ in this in-demand field. Start your journey towards a rewarding career in medical coding and billing today!

https://schoolsformedicalbilling.org/unlock-your-future-exploring-careers-in-medical-coding-and-billing/

[mymelodic-chapel]

Warpaint- The Fool (Dream Pop, Neo-Psychedelia) Released: October 26, 2010 [Rough Trade Records] Producer(s): Tom Biller

[rainingmusic]

Silversun Pickups - Well Thought Out Twinkles 

[thejoyofviolentmovement]

New Video: MOMO. Shares Breezy and Wistful "Diz a Verdade"

New Video: MOMO. Shares Breezy and Wistful "Diz a Verdade" @teamclermont @jesusuk @TheYellowRacket

Marcelo Frota is a Brazilian-born singer/songwriter and multi-instrumentalist best known as MOMO. Frota has been a true global citizen: He has lived in Brazil, Angola, the US, Spain, and Portugal — and he currently resides in the UK. Frota’s critically applauded debut album, 2006’s A Estética do Rabisco quickly established the Brazilian-born artist as the forefront of a new Brazilian psychedelia…

[sinceileftyoublog]

Whitney Rose Interview: The Story Thief

BY JORDAN MAINZER

In our interview conducted a couple months ago and since on Twitter, Austin-via-Canada country singer-songwriter Whitney Rose has joked about the ill timing of an album called We Still Go To Rodeos, released on her own artist/management-run label MCG Recordings back in April. The joke’s on us, though: As is par for the course for Rose, throughout the record, she uses the symbol of the rodeo, and first-person narratives of interpersonal devotion and depression, as metaphors for and tributes to the twists and turns of the human condition rather than literal autobiography. A woman ruins her life for a man on rollicking, jangly opener “Just Circumstance”; a different woman ruins a man’s car after he cheats on her on “Believe Me, Angela”. Someone ironically uses the excuse of a breakup to finally get a king-sized bed on “Through The Cracks”. There are songs devoted to life’s simple pleasures--companionship and sex on the breezy “Home With You”, snow cones on the harmonica-laden, swaying title track. We’re not going anywhere, but we need stories more than ever.

Read my interview with Rose below, during which we talk about the writing and recording of the record, Forensic Files, live streams, and how she saved a baby blue jay during quarantine.

Since I Left You: Do you feel especially fortunate to have been able to release We Still Go To Rodeos, given the current economic climate, on your own label?

Whitney Rose: Yeah, absolutely. The biggest reason for that is I didn’t have to have a conversation with anybody. It was completely up to me. I have friends on record labels who for various reasons ended up having to have very long discussions slash arguments figuring out whether or not to release it on the date and when to release it. We don’t know when we’re gonna have the green light to get back on the road, which all of my musician friends are dying to do, myself included. Not knowing how long this is gonna go on, and why not give people new music right now? Hopefully, let it marinate, and it’s not too old by the time we’re able to get back on the road again. At this point, because this is so unprecedented, I have no idea whether it was a good decision or a bad decision, but I don’t regret it.

SILY: From a listener standpoint, I feel like people are pretty happy to get any kind of new art, whether music or shows or books or films. Not even just as a way to spend time, but if something has something to say, it can definitely be comforting to people right now.

WR: That was my hope. I hope my new record was able to do that for some folks.

SILY: In terms of the songs themselves, throughout the whole album, you seem to be singing from a number of different times in your life or to or about different people, if not from different points of view. Does the album follow a concrete narrative? Are songs about specific people?

WR: The record as a whole is a narrative, but I make fun of myself and call myself a story thief. I’m really close with my family, and I’m really lucky to have a lot of close friends who tell me things about their lives, and I definitely steal their stories. I do enjoy writing in the third person, but writing in first person comes more naturally to me. I draw from my own experiences, too. I tell my own stories. But even if I’m telling someone else’s story, I prefer to tell it in the first person. In terms of there being an overall [narrative], I like to think it’s cohesive enough, but it’s definitely not telling one story.

SILY: Do you find that people often assume you’re singing autobiographically?

WR: 100%, as soon as you say the word “I.” I would even go so far as to say [singing autobiographically is] not usually the case. Sometimes, it is, but definitely, people make that assumption.

SILY: The first track, for instance, is inspired by the different stories you’ve watched on Forensic Files.

WR: Not only that, but I don’t know if you’ve seen Orange Is The New Black, but I got really interested in the criminal justice system, specifically for females. It’s pretty incredible the stuff that goes on. Obviously, not only the female experience...the criminal justice system is pretty fucked.

It’s amazing, because I don’t know how much you travel, but I travel a fair bit, and [Forensic Files] is one of the only constants. I can count on it being on HLN when I get home from a gig or when I get to a hotel after a 15-hour drive. The narrator’s voice has become somewhat of a lullaby for me. Sometimes, I put it on and I’m asleep within 30 seconds. It’s that calming. It’s one of those constants you can depend on.

SILY: Do you think you’ve watched every episode?

WR: I don’t know about that, because they always go on loops. But I can tell you I’ve seen some episodes 4 times. I tend to exaggerate, and I’m trying to do that less, but I would not be surprised if I’ve seen 500 episodes of Forensic Files...but I don’t know how many episodes there are. I should be on Wikipedia right now [looking it up.]

SILY: My girlfriend and I are at the point where we can’t go on Netflix or anywhere it’s streaming and find an episode we haven’t seen. For a long period of time, it was exactly that: something to fall asleep to.

WR: Absolutely. And I only watch it on Netflix when I’ve been trying to sleep for an hour or two and I can’t. It’s that thing that will put me to sleep when it’s important for me to go to sleep. We always need rest when we’re on the road. But at home, when I can’t fall asleep, I go straight to Netflix and put on Forensic Files. It usually works pretty quickly.

SILY: The track “Believe Me Angela”, I’ve read that you started out wanting to write a revenge tale, but it ended up being one where the two women at the bad end of infidelity find solidarity with one another. The song is structured the same way: You think it’s gonna go one way, but on the final verse, the narrator talks it over with her friends and keys the guy’s car instead of the other girl’s. Was that trick intentional, or did it just happen that way?

WR: It absolutely just happened. But not easily, because--[sighs]--I don’t know, that day--you know some days, you’re not angry or enraged about anything, but you’re a little more spunky than normal. I was just in this really awful mood and felt like writing an angry song and calling someone out on their shit. So I thought, “Okay, I’ll write a cheating/revenge tune.” I sat down, and was writing it but I was not feeling it. The more I wrote, the less angry I got. I started feeling compassion for the characters. I got derailed, and it happened.

SILY: Does writing songs in general have that almost therapeutic quality to you?

WR: Absolutely. Even just strumming a guitar. It’s effectively my medication. Even if it’s just three chords over and over and over again for half an hour to an hour. I find it really really soothing. Usually, when I do that, I start thinking of melodies, and that’s how a lot of my song ideas come to me.

SILY: In terms of your lyrical delivery, the one that stands out most to me is “In A Rut”, especially the way you say the title really quickly. Did you do it that way to have it fit within the tempo?

WR: It’s funny; when I wrote that song, it’s probably the best example of what I just described, playing the same three chords over and over again. In this particular instance, I had just come off the road, and I wasn’t feeling the best. This isn’t how I approach every song--I don’t just write when I’m angry, I swear. But it actually started out a lot slower, and picking up my guitar for the first time in a few days, which doesn’t usually happen. Usually, even if for a few minutes, I play every day. But I was in a weird mindset, and I started playing these chords and singing these three words. It was a lot slower. But when we were in the studio, I thought it should be a little bit more of a rocker. I didn’t want to be sad, but a little more frustrated. The most effective way I could do that was try it as a rocker. My band on this album is amazing. They could have done anything--that could have been a ballad and they would have done an incredible job. But when I heard them playing that at a faster tempo, I fell in love with it. We just moved forward with it. We didn’t even go back to the country shuffle.

SILY: It’s almost an anthem, the way it turned out.

WR: Thank you! It’s really fun to play live. It’s one of the only tunes I got to play live with my band before this happened. I always have a lot of fun with it.

SILY: Your band is pretty steady throughout the whole record, but I do love that there’s an overall palate that occasionally introduces something new, like the banjo on “I’d Rather Be Alone” and the harmonica on the title track.

WR: Every musician on the record is so versatile. They can play any style. That’s one of the biggest reasons why they were hired. Matt Hubbard and Rich Brotherton, when they came to the studio, they were involved in the base tracks, with Lisa Pankratz on drums and [Dave Leroy Biller] on guitar and [Brad Fordham] on bass. It was all pretty much within the same week. When the piano and extra guitar player came in, they had a truck full of instruments. When we were helping them load in, we were like, “Holy shit! How many instruments do you have in here?” They didn’t know what we were looking for. Playing around with the extra instruments was so much fun. I’m sure that’s super nerdy. But Matt Hubard on harmonica on the title track, Rich Brotherton on banjo and acoustic guitar on “I’d Rather Be Alone”. Matt Hubbard on the Wurlitzer. Watching Gurf Morlix do his thing on two or three tracks was incredible. One of my favorite guitar players, Nichol Robertson, who is based in Toronto--timing didn’t work out for him to come down here, so I sent him a couple tracks, and he sent back some amazing stuff, like the outro for “I’d Rather Be Alone”. 

When I write, I write alone, so I have to imagine how it’s going to sound in my head. I’m just a strummer. I’m by no means a good guitar player. I enjoy it, and obviously I play guitar a lot, but by no means am I a maestro. Seeing people care about these little songs I’ve written, and having them listen to me and listen to what I want, and having it become a musical conversation. They are maestros, and they know so much more about that world than I do. Seeing what they bring to the table. I wish I could be in the studio all of the time. It’s such a learning experience. It’s so inspiring. The only thing it hasn’t inspired me to do at this point is actually get really good at an instrument.

SILY: The line on “I’d Rather Be Alone” that gives it its title seems to be prescient right now: “I’d rather be alone than lonely.”

WR: There are a lot of things on this record that aren’t the best timing. Everybody in the world right now just wants to be out in public. “I’d Rather Be Alone” is socially responsible, but what people really want is to be able to go out to dinner with their friends, go to a park, go out for coffee, go to a beach, go to a pool. That one is telling a story of a friend of mine who basically said half of the line. I was listening intently, trying to be a good friend and listener, but I couldn’t wait to get off the phone and write that song. [laughs]

SILY: The line on “Through The Cracks” about finally getting a king size bed after becoming alone again differentiates being alone and being lonely, too. You can be lonely, but not be alone. And part of aloneness can be these things that give you comfort.

WR: There is such a difference between alone and lonely, and a lot of people don’t realize that. I don’t think it’s groundbreaking or anything, but it could be helpful for people who hate being alone to have a better understanding of people in their lives who don’t need people around, to the point where they’re uncomfortable having people around. It’s something you can realize within yourself. “I’m alone right now, but holy shit, I’m not lonely, I’m actually really happy.” Vice versa, “I’m lonely right now, but I’m not alone, so what does that say about me.” Understanding people in your life who are different than you.

SILY: What’s the story behind the cover art?

WR: It’s kind of embarrassing, actually. I wanted to do something really simple. In the past, my artwork hasn’t been glamorous, but this time, I wanted to do something a little more natural and simple. My fella and I just went out for a drive one day. He took that photo, and I saw it, and I thought, “Let’s use this. That’s the album art.” My friend Tom Ionescu put the borders on. We worked together to maintain that simplicity with the fonts and how everything appears. I wanted something not really flashy. I have one hand behind my head. It was free. Why not?

SILY: Have you done any live streams?

WR: I haven’t, and it’s not for any reason except it’s gonna be the first time that these songs are for the most part being presented, and I want to present them properly. If I were to live stream just me and my guitar, I feel like it would be sending kids off to preschool but not putting any clothes on them. It doesn’t feel right. I’ve even recorded myself doing a live stream, and I’m not happy with where it is. Also, one of the times I did a test of a live stream, I knocked over my microphone. I couldn’t stop giggling. It feels really, really weird. To execute it really well is really, really difficult. The space in between songs is dead air unless you have something really clever to say. But I don’t want to say anything. I just want to play my songs. Basically, I’m just waiting out the really strict quarantine, and when I have all of the gear and cameras to have my band over to my house and practice distancing and do a live stream that way, instead of doing it just on my own. The best that I can go for with just me and my guitar is endearing, and I want better than that.

Even if it was a different record that I put out, it might make sense for me to do some solo live streaming, but for this record, I’m gonna wait until I can have my band.

[Editor’s note: Since this interview was conducted, Rose has been featured on two SiriusXM channels.]

SILY: In the meantime, is anything else coming up for you? Are you finding yourself writing?

WR: Yeah. I’ve been writing, and I’ve been practicing, and I’ve been doing what everyone else has been doing. And just like everyone else, some days, you wake up really inspired, and you read, and you exercise for a while, and I’ve been practicing French, so I’ll do 4 or 5 French lessons, and make a really nice meal. And then the next day, I’ll be like, “Oh, yeah, I’m gonna watch 5 episodes of The Office.” It ebbs and flows. The other day, a friend of mine said, “This is a really weird time. As long as you’re getting by, great. You don’t have to master that third language. Great if you do, but if you can just get through this, that’s enough.” I really appreciated her saying that. It really spoke to me. I’m sure there are a lot of people out there who feel the pressure to keep being productive. I’m not coming down on that mentality at all because it’s ideal. But for me, I’ll readily admit that it’s not sustainable. 

SILY: Is there anything you’ve been listening to, watching, or reading during quarantine or before that’s caught your attention, inspired you, or comforted you?

WR: I love the new [Lucinda Williams] record. She released it on the same day as [I released mine]. Two days after she released it, I listened to it 4 times. Right now, I’m reading Becoming by Michelle Obama. I can’t wait to watch the Netflix special. I’m almost done with that book. We rescued a baby blue jay, which took up about a week. The baby fell out of his nest in my yard, and the nest was too high to put him back. He was about to get eaten by a feral cat, so we took him inside. The next morning, we were gonna take him to animal rescue, but we saw his parents in the yard, so we ended up making a makeshift nest for him. By the end of that first day, his parents were coming to visit him and feeding him every 20 minutes. About a week after that, he flew away with his parents and I think one or two siblings as well. That was great. That took up some time.

SILY: Do you have any pets?

WR: I do not, no. I love animals, but with my old lifestyle, spending so much time on the road, it wasn’t really feasible. For a few months of the year, I’d have to find alternate care for a pet. It hasn’t felt right since I started touring full-time. Right now, I would even kill to have Ace back. I’m glad he flew away, and it had a happy ending, but I loved having him around.

We Still Go To Rodeos by Whitney Rose

[morganarchived]

an absolute list of films i’d like to watch (so far)

thanks to the Letterboxd community for always recommending the most unhinged pieces ever

Gummo, Harmony Korine (1997)

Hard Candy, David Slade (2005)

House, Nobuhiko Obayashi (1977)

Ichi the Killer, Takashi Miike (2001)

Kids, Larry Clark (1995)

Léon: The Professional, Luc Besson (1994)

Oldboy, Park Chan-wook (2003)

Once Upon a Time in America, Sergio Leone, (1984)

Fantastic Planet, René Laloux (1973)

Punch Drunk-Love, Paul Thomas Anderson (2002)

[REC], Jaume Balagueró & Paco Plaza (2007)

The Rocky Horror Picture Show, Jim Sharman (1975)

Shock Treatment, Jim Sharman (1981)

Sleepaway Camp, Robert Hiltzik (1983)

The Warriors, Walter Hill (1979)

Videodrome, David Cronenberg (1983)

Taxi Driver, Martin Scorsese (1976)

The Ninth Configuration, William Peter Blatty (1980)

Flowers for Algernon, Jeff Bleckner (2000)

Mona Lisa, Neil Jordan (1986)

The Machinist, Brad Anderson (2004)

Miller’s Crossing, Joel Coen (1990)

Apocalypse Now, Francis Ford Coppola (1979)

The Farewell, Lulu Wang (2019)

Trash Humpers, Harmony Korine (2009)

Pixote, Héctor Babenco (1980)

Julien Donkey-Boy, Harmony Korine (1999)

Last Night, Don McKellar (1998)

Duck Butter, Miguel Arteta (2018)

Stalker, Andrei Tarkovsky (1979)

The Pianist, Roman Polanski (2002)

Reservoir Dogs, Quentin Tarantino (1992)

Blue Velvet, David Lynch (1986)

At Eternity’s Gate, Julian Schnabel (2018)

Birdman, Alejandro González Iñárritu (2014)

Climax, Gaspar Noé (2018)

Shirkers, Sandi Tan (2018)

A Ghost Story, David Lowery (2017)

Carol, Todd Haynes (2015)

Lupin the Third: The Castle of Cagliostro, Hayao Miyazaki (1979)

Baby Driver, Edgar Wright (2017)

The Revenant, Alejandro González Iñárritu (2015)

She’s Gotta Have It, Spike Lee (1986)

I Don’t Feel at Home in This World Anymore, Macon Blair (2017)

It Comes at Night, Trey Edward Shults (2017)

Buster’s Mal Heart, Sarah Adina Smith (2016)

Cam, Daniel Goldhaber (2018)

Struggle: The Life and Lost Art of Szukalski, Irek Dobrowolski (2018)

I Think We’re Alone Now, Reed Morano (2018)

Skins, Eduardo Casanova (2017)

The Fundamentals of Caring, Rob Burnett (2016)

About Time, Richard Curtis (2013)

The Bad Batch, Ana Lily Amirpour (2016)

The Highwaymen, John Lee Hancock (2019)

Three Billboards Outside Ebbing, Missouri, Martin McDonagh (2017)

Natural Born Killers, Oliver Stone (1994)

XX, Karyn Kusama & Jovanka Vuckovic & Roxanne Benjamin & St. Vincent (2017)

Cargo, Ben Howling & Yolanda Ramke (2017)

Residue, Alex Garcia Lopez (2015)

Joan Didion: The Center Will Not Hold, Griffin Dunne (2017)

Joshua: Teenager vs. Superpower, Joe Piscatella (2017)

Chasing Trane, John Scheinfeld (2016)

Tallulah, Siân Heder (2016)

Expedition Happiness, Felix Starck & Selima Taibi (2017)

Bottom of the World, Richard Sears (2017)

Super Dark Times, Kevin Phillips (2017)

Notes on Blindness, Pete Middleton & James Spinney (2016)

Newness, Drake Doremus (2017)

ReMastered: The Two Killings of Sam Cooke, Kelly Duane de la Vega (2019)

Paddleton, Alexandre Lehmann (2019)

Juanita, Clark Johnson (2019)

Temple, Michael Barrett (2017)

Maya Angelou: And Still I Rise, Bob Hercules & Rita Coburn Whack (2016)

P, Paul Spurrier (2005)

I Am Happiness on Earth, Julián Hernández (2014)

Carrie Pilby, Susan Johnson (2016)

Belief: The Possession of Janet Moses, David Stubbs (2015)

I Called Him Morgan, Kasper Collin (2016)

A Family Affair, Tom Fassaert (2015)

Q, Sanjeev Gupta (2017)

Boyhood, Richard Linklater (2014)

Thelma & Louise, Ridley Scott (1991)

Brick, Rian Johnson (2005)

The Royal Tenenbaums, Wes Anderson (2001)

Moonlight, Barry Jenkins (2016)

Mulholland Drive, David Lynch (2001)

Solaris, Andrei Tarkovsky (1972)

Lake Mungo, Joel Anderson (2008)

War of the Worlds, Steven Spielberg (2005)

Tetsuo: The Iron Man, Shinya Tsukamoto (1989)

Mady, Panos Cosmatos (2018)

Raw, Julia Ducournau (2016)

The Neon Demon, Nicolas Winding Refn (2016)

The Love Witch, Anna Biller (2016)

Tusk, Kevin Smith (2014)

Black Swan, Darren Aronofsky (2010)

A Serbian Film, Srđan Spasojević (2010)

Antichrist, Lars von Trier (2009)

Paprika, Satoshi Kon (2006)

Audition, Takashi Miike (1999)

Fear and Loathing in Las Vegas, Terry Gilliam (1998)

Perfect Blue, Satoshi Kon (1997)

Suspiria, Dario Argento (1977)

Salò, or the 120 Days of Sodom, Pier Paolo Pasolini (1975)

Irreversible, Gaspar Noé (2002)

Teeth, Mitchell Lichtenstein (2007)

Guinea Pig 2: Flower of Flesh and Blood, Hideshi Hino (1985)

I Stand Alone, Gaspar Noé (1998)

Begotten, E. Elias Merhige (1989)

Dekalog, Krzysztof Kieślowski (1989)

Dancer in the Dark, Lars von Trier (2000)

Shoplifters, Hirokazu Kore-eda (2018)

Honey Boy, Alma Har’el (2019)

The Inner Scar, Philippe Garrel (1972)

The Handmaiden, Park Chan-wook (2016)

Funny Games, Michael Haneke (1997)

$9.99, Tatia Rosenthal (2008)

A Girl Walks Home Alone at Night, Ana Lily Amirpour (2014)

In The Mood for Love, Wong Kar-wai (2000)

Stranger Than Paradise, Jim Jarmusch (1984)

Quadrophenia, Franc Roddam (1979)

Blow-Up, Michaelangelo Antonioni (1966)

Do the Right Thing, Spike Lee (1989)

Christiane F., Uli Edel (1981)

Grey Gardens, Albert Maysles & David Maysles & Muffie Meyer & Ellen Hovde (1975)

The Tribe, Myroslav Slaboshpytskyi (2014)

Uncut Gems, Josh Safdie & Benny Safdie (2019)

Persona, Ingmar Bergman (1966)

Wild Strawberries, Ingmar Bergman (1957)

The Silence, Ingmar Bergman (1963)

Portrait of a Lady on Fire, Céline Sciamma (2019)

The Lighthouse, Robert Eggers (2019)

Promising Young Woman, Emerald Fennell (2020)

The Human Condition III: A Soldier’s Prayer, Masaki Kobayashi (1961)

As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, Jonas Mekas (2000)

X, Ti West (2022)

Everything Everywhere All at Once, Daniel Scheinert & Daniel Kwan (2022)

The Unbearable Weight of Massive Talent, Tom Gormican (2022)

The Conversation, Francis Ford Coppola (1974)

Sufjan Stevens: Carrie & Lowell Live, Aaron Craig & Alex Craig (2017)

La Haine, Mathieu Kassovitz (1995)

My Life as a Zucchini, Claude Barras (2016)

The Wolf House, Cristóbal León & Joaquín Cociña (2018)

Come and See, Elem Klimov (1985)

Noisy Requiem, Yoshihiko Matsui (1988)

Eyes Without a Face, Georges Franju (1960)

Angel’s Egg, Mamoru Oshii (1985)

Dogville, Lars von Trier (2003)

Pink Flamingos, John Waters (1972)

Are you lost in the world like me?, Steve Cutts (2016)

[theinglenookheir]

Halloween film recs for those who don’t like straight up horror

What We Do In The Shadows (2014) - dir. Jemaine Clement and Taika Waititi

A mockumentary about four vampire housemates living in New Zealand as they prepare for the annual Unholy Masquerade and deal with a newly turned vampire joining their ranks.

The Love Witch (2016) - dir. Anna Biller

Elaine, a young witch, is desperate to find love but has an unfortunate knack for killing the objects of her desire.

Young Frankenstein (1974) - dir. Mel Brooks

After inheriting his recently deceased grandfather’s castle, neurosurgeon Fredrick Frankenstein travels to Transylvania and decides to carry on his family’s legacy.

Shaun of the Dead (2004) - dir. Edgar Wright

A hapless electronics salesman is forced to get his act together when the zombie apocalypse strikes London.

Practical Magic (1998) - dir. Griffin Dune

After accidentally killing her sister’s abusive boyfriend, Sally Owens is forced to confront her hatred of magic to protect her family from an evil spirit.

Interview with the Vampire (1994) - dir. Neil Jordan

Brad Pitt tells an overly curious reporter about the time he found himself in the middle of a vampiric love square with Tom Cruise, Antonio Banderas, and 12-year-old Kirsten Dunst, who’s actually a 40-year-old lady.

Beetlejuice (1988) - dir. Tim Burton

Undead newlyweds Adam and Barbara have no luck scarring the Deetz family out of their home and make the terrible mistake of turning to the poltergeist Betelgeuse for help.

Only Lovers Left Alive (2013) - dir. Jim Jarmusch

Adam and Eve are vampires who have been married for centuries, though now live apart. While seeing each other in Detroit, their relationship is tested by the appearance of Eve’s sister, Ava.

[01sentencereviews]

2010-2019

top 25, by release date:

Halloween II [Director’s Cut] (2010, Rob Zombie)

Black Swan (2010, Darren Aronofsky)

4:44 Last Day on Earth (2011, Abel Ferrara)

It’s Such a Beautiful Day (2012, Don Hertzfeldt)*

Frances Ha (2012, Noah Baumbach)

Spring Breakers (2012, Harmony Korine)

The Bling Ring (2013, Sofia Coppola)*

Stranger by the Lake (2013, Alain Guiraudie)

Under the Skin (2013, Jonathan Glazer)

Maps to the Stars (2014, David Cronenberg)*

Unfriended (2014, Levan Gabriadze)

88:88 (2015, Isiah Medina)*

Happy Hour (2015, Ryūsuke Hamaguchi)*

Personal Shopper (2016, Olivier Assayas)*

Elle (2016, Paul Verhoeven)

Moonlight (2016, Barry Jenkins)*

The OA, TV Series (2016, 2019; Brit Marling + Zal Batmanglij)

24 Frames (2017, Abbas Kiarostami)*

Twin Peaks: The Return (2017, David Lynch)*

Assassination Nation (2018, Sam Levinson)

An Elephant Sitting Still (2018, Hu Bo)

“Beychella - Coachella Live Stream” (2018, Beyoncé Knowles-Carter)*

Vox Lux (2018, Brady Corbet)

“Fleabag” @ Soho Playhouse Theater (2019, Vicky Jones)

“The Irishman” @ Belasco Theatre (2019, Martin Scorsese)

+++, in alphabetical order:

“Adele - Hello” (2015, Xavier Dolan)

American Honey (2016, Andrea Arnold)

Annihilation (2018, Alex Garland)

The Assassination of Gianni Versace: American Crime Story (2018; Scott Alexander + Larry Karaszewski + Brad Falchuk + Nina Jacobson + Ryan Murphy + and Brad Simpson)

Big Little Lies, Season 1 (2017, Jean-Marc Vallée)

Blade Runner 2049 (2017, Denis Villeneuve)

Boyhood (2014, Richard Linklater)

Breaking and Entering (2017, Kelley Dong)

Call Me by Your Name (2017, Luca Guadagnino)

Cameraperson (2016, Kirsten Johnson)

Carol (2015, Todd Haynes)

Certain Women (2016, Kelly Reichardt)

Citzenfour (2014, Laura Poitras)

Climax (2018, Gaspar Noé)

Cosmopolis (2012, David Cronenberg)

End of the Century (2019, Lucio Castro)

Everybody Wants Some!! (2016, Richard Linklater)

First Reformed (2017, Paul Schrader)

The Gay and Wondrous Life of Caleb Gallo, Web series (2016, Brian Jordan Alvarez)

The Girlfriend Experience, TV Series (2016-17; Lodge Kerrigan + Amy Seimetz)

Girlhood (2014, Céline Sciamma)

Girls, TV Series (2012-2017; Lena Dunham)

God’s Own Country (2017, Francis Lee)

Gone Girl (2014, David Fincher)

"Grimes - Oblivion" (2012, Emily Kai Bock + Claire Boucher)

Heaven Is Still Far Away (2016, Ryūsuke Hamaguchi)

High Life (2018, Claire Denis)

Holy Motors (2012, Leos Carax)

The House That Jack Built (2018, Lars von Trier)

If Beale Street Could Talk (2018, Barry Jenkins)

In Chris Marker’s Studio (2011, Agnès Varda)

Interstellar (2014, Christopher Nolan)

Inside Llewyn Davis (2013, Ethan Coen + Joel Coen)

"Kelela - Frontline" (2018, Claudia Matè + Kelela + Mischa Notcutt)

The Knick, TV Series (2014-15; Jack Amiel + Michael Begler)

Knife+Heart (2018, Yann Gonzalez)

Lady Bird (2017, Greta Gerwig)

“Lady Gaga - Telephone ft. Beyoncé” (2010, Jonas Åkerlund)

The Leftovers, TV Series (2014-15, 2017; Damon Lindelof + Tom Perrotta)

Lemonade (2016, Kahlil Joseph + Beyoncé Knowles-Carter)

The Love Witch (2016, Anna Biller)

Mad Max: Fury Road (2015, George Miller)

Magic Mike XXL (2015, Gregory Jacobs)

Margaret (2011, Kenneth Lonergan)

Martha Marcy May Marlene (2011, Sean Durkin)

The Master (2012, Paul Thomas Anderson)

Melancholia (2011, Lars von Trier)

Mistress America (2015, Noah Baumbach)

mother! (2017, Darren Aronofsky)

Mountains May Depart (2015, Jia Zhangke)

“My First Film” @ Metrograph (2018, Zia Anger)

Nasty Baby (2015, Sebastián Silva)

Neon Bull (2015, Gabriel Mascaro)

The Neon Demon (2016, Nicolas Winding Refn)

No Home Movie (2015, Chantal Akerman)

Nocturama (2016, Bertrand Bonello)

The Ornithologist (2016, João Pedro Rodrigues)

Pain and Glory (2019, Pedro Almodóvar)

Palo Alto (2013, Gia Coppola)

Paterson (2016, Jim Jarmusch)

Phantom Thread (2017, Paul Thomas Anderson)

Post Tenebras Lux (2012, Carlos Reygadas)

The Real Housewives of New York City, TV Series (2008-present; Andy Cohen + Megan Estrada + Pam Healey + Lisa Shannon)

“Robyn ‘Call Your Girlfriend’ Official Video” (2011, Max Vitali)

RuPaul's Drag Race All Stars, Season 2 (2016; RuPaul)

Scott Pilgrim vs. the World (2010, Edgar Wright)

Shoplifters (2018, Hirokazu Kore-eda)

The Social Network (2010, David Fincher)

A Star Is Born (2018, Bradley Cooper)

"Star Wars: The Force Awakens Trailer (Official)" (2015)

Stray Dogs (2013, Tsai Ming-liang)

Sucker Punch (2011, Zack Snyder)

Support the Girls (2018, Andrew Bujalski)

Tangerine (2015, Sean Baker)

The Tree of Life (2011, Terrence Malick)

Uncle Boonmee Who Can Recall His Past Lives (2010, Apichatpong Weerasethakul)

Under the Silver Lake (2018, David Robert Mitchell)

World of Tomorrow (2015, Don Hertzfeldt) 

World of Tomorrow Episode 2: The Burden of Other People’s Thoughts (2018, Don Hertzfeldt)

Young Adult (2011, Jason Reitman)

[fionaapplerocks]

...It's 1 p.m., and Jon Brion is still in his pajamas and slippers. For the past three months, Brion, Tom Biller, an engineer, and the singer Fiona Apple have been living at the Paramour. Right now, Brion is noodling at a Casio keyboard, playing along to a mix of Apple's 'Oh Well.' 

'I cried the first time I heard her play this,' Brion says. 'We were at Ocean Way, Sinatra's old studio, and I just put my head down on the table and cried.'

   ~ Lost in the Music, 2003 interview

[drzito]

Las 241 películas que he visto en 2018 (parte 2)

121. El jefe de todo esto  (Lars von Trier, 2006).

122. La muchacha que saltaba a través del tiempo (Mamoru Hosoda, 2006)

123. The devil wears Prada (David Frankel, 2006)

124. À l'intérieur (Julien Maury y Alexandre Bustillo, 2007)

125. Casual day (Max Lemcke, 2007).

126. Concursante (Rodrigo Cortes, 2007)

127. It’s a free world (Ken Loach, 2007)

128. La question humaine (Nicholas Klotz, 2007)

129. Los falsificadores  (Stefan Ruzowitzky, 2007).

130. August (Austin Chick, 2008)

131. Bienvenido a Farewell-Gutmann (Xavi Puebla, 2008)

132. Flash of genius (Marc Abraham, 2008)

133. Gigantes de Valdes (Alejandro Tossenberger, 2008)

134. Slumdog millionaire (Danny Boyle, 2008)

135. Tokyo sonata (Kiyoshi Kurosawa, 2008)

136. Exam (Stuart Hazeldine, 2009)

137. New in town (Jonas Elmer, 2009)

138. Rien de personnel (Mathias Gokalp, 2009)

139. The box (Richard Kelly, 2009)

140. The damned united (Tom Hooper, 2009)

141. The informant! (Steven Soderbergh, 2009)

142. The scam  (Lee Ho-Jae, 2009)

143. Made in Dagenham (Nigel Cole, 2010)

144. Notre jour vindra (Romain Gavras, 2010)

145. También la lluvia (Iciar Bollain, 2010)

146. Wall Street: Money never sleeps (Oliver Stone, 2010)

147. Cinco metros cuadrados (Max Lemcke, 2011)

148. Moneyball (Bennett Miller, 2011)

149. The adjustment bureau (George Nolfi, 2011)

150. A puerta fría (Xavi Puebla, 2012)

151. Arbitrage (Nicholas Jarecki, 2012)

152. Beasts of the Southern wild (Benh Zeitlin, 2012)

153. Le capital (Costa-Gavras, 2012)

154. Promised land (Gus van Sant, 2012)

155. The Lorax (Chris Renaud, 2012).

156. Total recall (Len Wiseman, 2012)

157. Upside down (Juan Solanas, 2012)

158. Il capitale humano (Paolo Virzi, 2013)

159. These final hours (Zak Hilditch, 2013)

160. The internship (Shawn Levy, 2013)

161. The shadow people (Matthew Arnold, 2013)

162. Creep (Patrick Kack-Brice, 2014)

163. Deux jours, une nuit (Jean-Pierre Dardenne y Luc Dardenne, 2014)

164. Draft day (Ivan Reitman, 2014)

165. El futuro (Luis Lopez Carrasco, 2014)

166. Hermosa juventud (Jaime Rosales, 2014)

167. Jack Ryan: Shadow recruit (Kenneth Branagh, 2014)

168. Selma (Ava DuVernay, 2014)

169. Stonehearst asylum (Brad Anderson, 2014)

170. The one I love (Charlie McDowell, 2014)

171. 99 homes (Ramin Bahrani, 2015)

172. Amama (Asier Altuna, 2015).

173. Cerca de tu casa (Eduard Cortes, 2015)

174. Daddy’s home (Sean Anders, 2015)

175. El desconocido (Dani de la Torre, 2015)

176. Eye in the sky (Gavin Hood, 2015)

177. La loi du marche (Stephane Brize, 2015)

178. Techo y comida (Juan Miguel del Castillo, 2015)

179. Ares (Jean-Patrick Benes, 2016)

180. Colossal (Nacho Vigalondo, 2016)

181. Doctor Strange (Scott Derrickson, 2016)

182. Esa sensación (Juan Cavestany, Julian Genisson y Pablo Hernando, 2016)

183. Gold (Stephen Gaghan, 2016)

184. I, Daniel Blake (Ken Loach, 2016).

185. Kubo and the two strings (Travis Knight, 2016)

186. La doncella  (Park Chan-Wook, 2016)

187. La punta del iceberg (David Canovas, 2016)

188. Los del túnel (Pepon Montero, 2016)

189. L’outsider (Christophe Barratier, 2016)

190. Money Monster (Jodie Foster, 2016).

191. Shin Godzilla (Hideaki Anno y Shinji Higuchi, 2016)

192. Split (M. Night Shyamalan, 2016)

193. Teenage mutant nija turtles: Out of the shadows (Dave Green, 2016)

194. The brothers Grimsby (Louis Leterrier, 2016)

195. The founder (John Lee Hancock, 2016)

196. The love witch (Anna Biller, 2016)

197. The Osiris child (Shane Abbess, 2016)

198. The shallows (Jaume Collet-Serra, 2016).

199. The thinning (Michael J. Gallagher, 2016)

200. Toni Erdmann (Maren Ade, 2016)

201. Train to Busan (Yeon Sang-ho, 2016)

202. Zootopia (Byron Howard y Rich Moore, 2016).

203. Atomic blonde (David Leitch, 2017)

204. All the money in the world (Ridley Scott, 2017)

205. Brava (Roser Aguilar, 2017)

206. Corporate (Nicolas Silhol, 2017)

207. Creep 2 ( Patrick Kack-Brice , 2017)

208. Daddy’s home 2 (Sean Anders, 2017)

209. Detroit (Kathryn Bigelow, 2017)

210. Estiu 1993 (Carla Simon, 2017)

211. Fe de etarras (Borja Cobeaga, 2017)

212. I don’t feel at home in this world anymore (Macon Blair, 2017)

213. It comes at night (Trey Edward Shults, 2017)

214. La llamada (Javier Ambrossi y Javier Calvo, 2017).

215. Logan Lucky (Steven Soderbergh, 2017)

216. Numero Une (Tonie Marshall, 2017)

217. Pieles (Eduardo Casanova, 2017).

218. Selfie (Victor Garcia Leon, 2017)

219. The disaster artist (James Franco, 2017)

220. The lost city of Z (James Gray, 2017)

221. The post (Steven Spielberg, 2017)

222. The sacrifice of a sacred deer (Yorgos Lanthimos, 2017)

223. The shape of water (Guillermo del Toro, 2017)

224. Tulip fever (James Chadwick, 2017)

225. Under the shadow (Babak Anvari, 2017)

226. You were never really here (Lynne Ramsay, 2017)

227. Anihilation (Alex Garland, 2018)

228. Ant-man and The Wasp (Peyton Reed, 2018)

230. Avengers: Inifinity War (Anthony y Joe Russo, 2018)

231. Batman: Gotham by gaslight (Sam Liu, 2018)

232. Batman ninja (Junpei Mizusaki, 2018)

233. Black Panther (Ryan Coogler, 2018)

234. Hereditary (Ari Aster, 2018).

235. Hotel Transylvania 3: summer vacation (Genndy Tartakovsky, 2018)

236. Jurassic World: Fallen kingdom (JA BAyona, 2018)

237. Mission Impossible - Fallout (Christopher McQuarrie, 2018).

238. Spider-Man: Into the Spider-Verse (Peter Ramsey, Robert Persichetti Jr. y Rodney Rothman, 2018)

239. Teen titans go! to the movies (Peter Rida Michail y Aaron Horvath, 2018)

240. The incredibles 2 (Brad Bird, 2018)

241. The night comes for us (Timo Tjahjanto, 2018)

[lurlenecissell7-blog]

AZ (RAP ARTIST) Articles

It has been actually fairly a year on the action amounts main, with all manner of media incorporate stock being made available from feature-length film, comics, TV programs and games. By revaluating the Canadian manufacturing of preferred movie styles, our company are actually only almost developing a brand-new "dreamlife," one through which the "much younger sibling" may eventually be enabled to grow. Here are actually some motion pictures along with awesome love stories and Sportdominicexcercises.Info dramatization that Aishwarya played important jobs in. Biller takes place to illustrate the women stare" as an egotistical stare entailing, in her words, considering corespondents in movies and desiring to replicate those ladies." But while that concept manipulations her, Longing's favored definition of the women look is more according to that of Clear" designer Jill Soloway. Please take the polls, and also feel free to leave reviews to allow individuals recognize what you consider each collection of motion pictures. The concern on every 3D movie addict's mind is actually "exactly how can I watch 3D on my television?" This post will certainly take a look at what is actually required to bring in viewing TELEVISION in 3D feasible. My poems as well as films serve the purpose of inviting individuals in a non confrontational technique using info-tainment, to think about this lifestyle and also the other ways that it could be lived. I also locate it unexpected that much of these foreign bring ins are casted as Indian gals in Bollywood Movies. The amount of 3D films is little by little boosting, offering visitors a lot more selections for their home entertainment public library of films. Ant Motion Picture Magazine is a flick collection free software course that permits you to handle your selection of motion pictures, whether they perform DVD, Compact Disc, or even videotape.

Through this ideal mix of movie house and also substitute movie house and reach across the globe, Digiplex theatres have made a mark for themselves AS complete enjoyment service providers. ( 16) Tom Gunning, "The Cinema of Attractions: Early Film, Its Own Viewer, and also the Avant-Garde" in Early Cinema: Area, Structure, Story.No dark background movie list would be actually total without Ava DuVernay's latest film, "13th." The eye-catching documentary lays out how restraint proceeded in United States after the Public Battle in the form of unlawful discipline, eventually leading us to the crisis of mass incarceration and also a negligence unlawful justice unit today.Filmed within a machine, yet ingrained with the sense of the material creators that have created the animations and also atmospheres which I make use of, and honored due to the very genuine people at the other end of the link, everywhere they might be actually worldwide in time or evening, discussing the moment with me and afterwards using film along with you, any place you may be actually, its own a quite wonderful method.MoviePass released in 2012 along with an impressive pitch: For around $30 a month, you might check out one movie each day at movie houses. They may be viewed by girls and men identical numerous times as you consistently will definitely find a spin or even recommendations to aged flicks, literary works as well as theater that you carried out not see the very first time.Rudy Ray Moore (1927-2008), who participates in the title function as well as created the tale whereupon the movie script was actually located, was a comic that had actually received his begin in the late 1950s. Certainly not simply perform our IMAX, Dolby Movie house and our house brand name PLF display screens over-index in attendance, they also bring massive price fees, about 70% for IMAX and Dolby and concerning Forty Five% for our house labels.Contemporary techniques of research involving feminist, general, as well as psychoanalytic strategies, for example, have increased scholarly interest in such styles as gangster films, scary movies, as well as historic epics-films normally taken into consideration as "B" films or even "Eurotrash." Until recently, in reality, focus to Eurotrash "B" titles was actually really limited, but recently it has become the things of serious critical study, and has likewise created devoted creed followings amongst movie buffs and also collection agencies.Intellectuals as well, are starting to accept well-liked South Asian movie houses as various settings of filmmaking without a duty to adjust with or meet standards set through International, Hollywood or maybe Indian Fine art House movie houses.

[marni-eats-a-nightingale]

🥀 ~ blog intro ~ 🥀

Hello. This is a little intro I wanted to put together for my blog so you can understand why it’s here and what it’s all about. I won't PM with people I don't know in real life. This account is mostly my journal and place to put my thoughts and sometimes books and movies reviews. Please be kind.

Name: Marni

Age: 18

My tag: 🥀

Star sign: ♋️

Fav Colour: Black

Country: 🇨🇦

♟ Hobbies: roller skating, reading, going for walks in the park, exploring, writing, drawing

📱Fav Apps: Tumblr, Instagram, Webtoons, Spotify

📚Fav books: Hair Side, Flesh Side (Helen Marshall), Her Body And Other Parties (Carmen Maria Machado), Cabal (Clive Barker), My Heart Is A Chainsaw (Stephen Graham Jones)

📖Fav Manga: Death Note (Tsugumi Ohba), Remina (Junji Ito), Black Butler (Yana Toboso), Tokyo Ghoul (Sui Ishida), Uzumaki (Junji Ito)

✏️Fav Comics: Venom (Tom DeFranco), Fence (C.S. Pacat), Spawn (Todd McFarlane), Immortal Hulk (Al Ewing), Doom Patrol (Grant Morrison), Sandman (Neil Gaiman), Saga (Brian K. Vaughan), Sunstone (Stjepan Šejić)

💻Fav Webcomics: Melvina's Therapy (A. Rasen), Castle Swimmer (Wendy Lian Martin), Suitor Armour (Purpah), Lore Olympus (Rachel Smythe), The Strange Tales of Oscar Zahn (Tri Vuong)

🍿Fav Movies: Exorcist (William Friedkin), But I’m A Cheerleader (Jamie Babbit), Portrait of a Lady on Fire (Céline Sciamma), The Love Witch (Anna Biller)

📺Fav TV Shows: Euphoria, The Umbrella Academy, Criminal Minds, X-Files, Doom Patrol, Hannibal, The Haunting of Hill House

🌸Fav Anime(s): Death Note, Castlevania, Boogiepop Phantom, The Flowers of Evil, Ghost Hunt, Hell Girl, Paranoia Agent

🎼Musical Artists: dodie, Grimes, Joji, The Velvet Underground, Hole, Taeko Onuki, Cocteau Twins, Siouxsie and the Banshees, Miki Matsubara, BTS, The Rose, SEVENTEEN, All Them Witches

🎧Fav Podcasts: Welcome to Nightvale, The Magus Archives, The Left Right Game

🎨Fav Artists: Renee Magritte, Vincent Van Gogh, Junji Ito