#also as for denzel features do i even have to Say anything. | Explore Tumblr Posts and Blogs

new-sandrafilter · 4 years

Text

Timothée Chalamet and Eileen Atkins Interview - British Vogue May 2020

“Maybe your knuckles weren’t bleeding, but there was ice,” Timothée Chalamet tells Dame Eileen Atkins. He is recounting, with no small amount of awe, how he first came to hear of the legendary 85-year-old actor with whom he is about to appear at The Old Vic. It transpires that Oscar Isaac, Chalamet’s co-star in the upcoming blockbuster Dune, was at the receiving end of Atkins’ fist in Ridley Scott’s Robin Hood (all in the name of acting, of course). Chalamet was duly impressed.

“I gave him the worst time of his life,” says Atkins, bristling at the memory, before merrily launching into several candid, very dame-like stories from her time on set – “That was a nightmare movie. A nightmare.”

It is a Saturday afternoon in late February, and the two actors – one a titan of British theatre with an eight-decade career; the other, Hollywood’s most in-demand young leading man, with an insatiable Instagram following – have just finished being photographed together for Vogue. Chalamet, 24, in louche, low-slung denim and a white T-shirt, has folded his Bambi limbs into a chair next to Atkins, whose hawkish frame, in a navy jumper and jeans, belies her 85 years.

“Do you like being called Tim or Timothée or what?” Atkins asks in her warm but brisk RP, all trace of her Tottenham upbringing erased.

“Whatever works,” he replies in a bright American accent, that shock of chestnut hair falling into his eyes. “Anything.”

“So you won’t object to ‘darling’? I call everyone darling. I’m told I mustn’t say it these days.” He assures her he is fine with it: “It’s a rite of passage, being called darling by Dame Eileen Atkins.”

“You always, always, have to put the dame in, otherwise you can’t address me,” she jokes.

It’s good the two are getting all this sorted now. A couple of days after our interview they will begin rehearsals for a seven-week run of Amy Herzog’s play 4000 Miles, in which they star as a grandmother and grandson, each quietly dealing with their own grief. Chalamet takes on the role of Leo Joseph-Connell, a somewhat lost 21-year-old who experiences a tragedy while on a 4,000-mile-long cycle ride with his best friend. Atkins plays Vera Joseph, his widowed 91-year-old grandmother, upon whose Manhattan doorstep Leo unexpectedly arrives in the middle of the night, unsure of where else to go. What follows is a wonderful, and wonderfully witty, study in human relationships, a portrait of two generations with decades between them trying to make sense of the world.

Its stars, who’ve met twice previously, in New York last year, are still very much getting to know each other – and are confident in the appeal. “There are things like this play – hoping I don’t butcher it – where you can just sit back and go, ‘Oh, this is a delicious meal,’” says Chalamet. Atkins agrees. “I have a phrase in mind that I shouldn’t really say because it’s going to sound terrible in print.” Which is? “I find it a dear little play, a really dear little play. I think it should be very moving. But who knows? We might f**k it up.”

It’s unlikely. Atkins has been a regular on The Old Vic’s stage since the 1960s, going toe-to-toe with greats from Laurence Olivier to Alec Guinness, and fellow dames (and close friends) Maggie Smith and Judi Dench. Chalamet, meanwhile, is a relative novice, with only two professional plays under his belt. But since his turn as Elio in 2017’s Call Me by Your Name (for which he was Oscar-nominated), his celluloid rise has been meteoric. Roles in Lady Bird, Little Women, The King and Wes Anderson’s upcoming The French Dispatch have not only earned him the slightly fraught badge of “heart-throb”, but proved him to be among the most captivating actors of his generation.

He says he couldn’t resist the opportunity to come to the capital. “There was something exciting about doing a play that feels very New York in London,” Chalamet explains of taking on the part. He’s a diehard theatre fan, too, revealing he saw the six-and-a-half-hour epic The Inheritance – twice. “There are films like The Dark Knight or Punch-Drunk Love or Parasite that can give you a special feeling. But nothing will be like seeing Death of a Salesman on Broadway with Philip Seymour Hoffman or A Raisin in the Sun with Denzel Washington.”

Herzog’s writing particularly spoke to him. “Leo’s in a stasis that was very appealing to me,” he continues. “We find our crisis in moments of stasis, but there’s an irony to it when you’re young, because the law of the land would have you think that to be young is to be having fun, to be coming into your own. But as everyone at this age who’s going through it knows, it’s often a shitshow.”

It’s safe to say that, in casting terms, director Matthew Warchus, also artistic director of The Old Vic, has hit the jackpot. He first took the play to Atkins three years ago, but it was only towards the end of 2019 that Chalamet came on board. When it was announced, in December, that Hollywood’s heir apparent to Leonardo DiCaprio would be making his London stage debut, the news was met with a level of hysteria not usually associated with the 202-year-old theatre’s crowd.

“Oh, my friends have told me who the audience is,” Atkins chimes in when I ask who they think will be coming to see the show. “It’s 40 per cent girls who want to go to bed with Timothée, it’s 40 per cent men who want to go to bed with Timothée, and it’s 20 per cent my old faithfuls.” Is Chalamet prepared for the onslaught? “I think it will be 100 per cent Eileen’s faithfuls,” he demurs.

On the surface, they can seem quite the odd couple. Chalamet, raised in Manhattan by an American dancer-turned-realtor mother and French father, an in-house editor at the United Nations, may be living a breathless, nomadic movie-star life but there’s an iron core of Gen Z earnestness there. He arrives on set with minimal fuss, even deciding to wear the clothes he came in for one shot, before knocking out some push-ups, politely ordering an omelette and generally being divinely well-mannered.

He turns on the star power for the camera, though, and I can confirm it’s as dazzling up close as it is on the red carpet, where he has, famously, casually redrawn the rules for male dressing. From that Louis Vuitton sparkly bib at the 2018 Golden Globes, to a dove-grey satin Haider Ackermann tux at Venice last year, he’s a true fashion darling. Then, of course, there’s his dating life – from Lourdes Ciccone Leon to Lily-Rose Depp – that remains an endless source of fascination to millions worldwide. (All this, it must be said, is of significantly less interest to Dame Eileen.)

Atkins started dance lessons aged three, shortly before the start of the Second World War. By 12, she was performing professionally in pantomime, not far from where she grew up in north London, the youngest daughter in a working-class family. A fast-established theatre star, wider fame didn’t find her until late in life. Despite memorable turns in Upstairs, Downstairs and Gosford Park, it was the 2000 television hits Cranford and Doc Martin, when she was in her early seventies, that finally made her a household name. Today, she lives alone in west London, since her second husband, the TV and film producer Bill Shepherd, died in 2016. She has often spoken of being happily childless, and has zero time for razzmatazz.

And yet, despite their differences, the pair appear perfectly matched. They already have their grandmother-grandson dynamic down pat. Atkins does a fine line in mischievous eyebrow-raising, and at one point recites a limerick that is, honestly, so rude it almost makes her co-star blush. Chalamet, meanwhile, is politeness personified, still trying to work out his thoughts on various subjects, less inclined to give so much of himself away. There is a physical likeness, too, in their delicate features and fine bone structure. They share a naturally melancholic look, one that melts away when they laugh.

Their upcoming play, which premiered to rapturous reviews Off-Broadway in 2011, “about a block” from Chalamet’s high school, LaGuardia, could have been written for them. “Other than not being American, I’m very like the old woman,” says Atkins of the Pulitzer-shortlisted play. “I can’t be bothered to learn the internet.” If there’s one thing she won’t tolerate in rehearsals, it’s people on their phones. That’s the only thing that will “piss me off ”, she says, brusquely.

Ah, phones. Are they really the symbol of generational disconnect? “It’s easy to point to these things,” Chalamet says, tapping his phone on the table, “as the cause or the symptom, but I think my generation is a guinea pig generation of sorts. We’re figuring out the pros and cons and limits of technology.”

Equally, Atkins is keen to distance herself from some of the criticism levelled at her age group. “There’s a saying isn’t there: if you’re not very left wing when you’re young, you’re heartless. And if you’re not very right wing when you’re old, you’re foolish. I’m not political, but I’m not with this government I can assure you – and I’m not with Brexit. I wanted to wear a sweater saying ‘I did not vote Brexit’, because it was all old people who did. Not me, not me,” she snaps. “I went on the march.”

Both are in agreement that intergenerational friendships are too rare these days. “So. Important,” Chalamet says, hitting the table between each word. “There is so much to learn from people who have walked the path of life. That’s why I’m so looking forward to these next couple of months.”

Atkins is thoughtful on the matter. “I don’t miss the fact I don’t have children, but I do envy my friends who have grandchildren,” she says. “About five or six years ago I met a couple of young people – they are just about 30 this year – and, do you know, we go out together. And people immediately say to me, ‘Are these your grandchildren?’ And I say, ‘No.’ And they say, ‘Your godchildren?’ And I say, ‘No, they’re just friends.’ Everybody thinks there is something weird about all three of us. They just don’t get it. But the boy makes me laugh more than anybody and the girl is enchanting. I have more fun with them than I do with almost anybody else.”

I remind Atkins about her description of today’s youth as being overly serious. “I do call them the New Puritans, yes,” she says, before motioning to her young co-star. “He probably drinks like a fish.”

Chalamet, currently single, is remaining tight-lipped about plans for his new London life, and how many late-night manoeuvres in Soho or Peckham it may involve. “I’ve got friends here, which is nice. But I’m here for this – to be terrified at The Old Vic.”

Before we leave, there is a final thing to clear up – Atkins’ aforementioned limerick. “Do you know about the Colin Farrell situation?” Eileen asks Timothée. No, comes his reply. “Better get it over with now because someone will tell you,” she says, proceeding to explain how, when she was “69, about to be 70” and filming Ask the Dust with a 27-year-old Farrell, “he made a pass at me. He came to my hotel room. He was enchanting. I let him chat for two hours, thoroughly enjoying it, but no not that. He was very cross I didn’t.”

But then, she explains guiltily, she later told the story during “some stupid TV show” (Loose Women), where despite her best efforts at keeping Farrell’s identity secret, the internet did its thing and news got out. An apology to Farrell was required. “So I left a limerick on Colin’s phone…” she says. She clears her throat: “There once was a **** of a dame…” she begins, in her imitable theatrical timbre, before reeling off one of the filthiest rhymes I’ve ever heard.

There is a moment of stunned laughter. “Wow, that’s sincerely amazing,” comes Chalamet’s response, as Atkins finishes the verse. He gives her a solemn oath: “I promise I won’t hit on you.”

4000 Miles is at The Old Vic, SE1, from 6 April

#timmy #timothee chalamet #4000 miles #british vogue app #Eileen Atkins #my edit

276 notes · View notes

crowdvscritic · 3 years

Text

round up // JANUARY 21

New year, not-so-new Crowd vs. Critic! It’s another batch of films, TV, music, and reads that were new to me this month and think you would enjoy, too. As we cozy up inside for the winter, nothing warms you up like a good piece of pop culture.

January Crowd-Pleasers

Wonder Woman 1984 (2020)

Does this sequel reach the heights of 2017’s Wonder Woman? No, but I wish more superhero movies were like this one. I explain why at ZekeFilm. Crowd: 9.5/10 // Critic: 8/10

21 Bridges (2019)

A solid action crime thriller with a solid Chadwick Boseman at the center. Crowd: 8.5/10 // Critic: 7.5/10

The Lethal Weapon Series (1987-98)

I watched the first Lethal Weapon in 2017 for ZekeFilm, but now I’ve a decade’s pleasure of progressively over-the-top action sequences and progressively more absurd ways to destroy Roger Murtaugh’s (Danny Glover) house. The Murtaugh/Riggs bromance holds this progressively sillier series together, and an supporting cast of charismatic actors (Jet Li, Darlene Love, Chris Rock, Rene Russo) are game for whatever comes their way. Joe Pesci is the true MVP. Series Crowd: 9/10 // Series Critic: 7/10

The High Note (2020)

Tracee Ellis Ross’s Grace Davis is a diva in every sense of the word. A high-strung and highly successful singer, she’s also highly demanding of her assistant Maggie (Dakota Johnson), who wants to step out of her shadow and become a music producer. This rom-com-adjacent flick is one of the most fun escapes I’ve had from a 2020 movie, and it’s perfect for a girls’ night in. Crowd: 8.5/10 // Critic: 7/10

Double Feature—Rom-Coms With a Magical Twist: Just My Luck (2006) + When In Rome (2010)

Disclaimer: These movies are not good. In fact, they’re junk, but they’re my kind of junk. In Just My Luck (Crowd: 7.5/10 // Critic: 6/10), Lindsay Lohan loses her life-long lucky streak when she kisses schlimazel Chris Pine. And When in Rome (Crowd: 8/10 // Critic: 6/10), Kristen Bell attracts unwanted admirers (Will Arnett, Danny DeVito, Josh Duhamel, Jon Heder, and real-life future husband Dax Shepard) after she steals their coins from a wishing fountain. To their credit, both of these movies know they’re silly, which means you have permission to just sit back and laugh along with (or, honestly, at) them.

WandaVision (2021)

I sometimes fear for the world of entertainment when I think of how much intellectual property Disney has gobbled up, but WandaVision is evidence the company is a benevolent dictator at least for now. This odd delight is a send up and a tribute to sitcoms like I Love Lucy, I Dream of Jeannie, and The Brady Bunch, and Paul Bettany and Elizabeth Olsen are so charming and weird I don’t need whatever mysterious sub-plot they’re building.

Robin Hood: Men in Tights (1993)

If you want to make the most of watching Robin Hood: Men in Tights, first watch Robin Hood: Prince of Thieves (1991), an action flick I saw last February and didn’t include in my monthly Round Up. This Mel Brooks spoof is a direct response that self-serious Kevin Costner adventure, even down to copying its costumes. While I wish I could find a Mel Brooks comedy with any substantial female character (in every movie I’ve seen so far, the joke is either, “She’s got a great rack!” or “Wow, she’s an uggo!”), I still couldn’t stop laughing at this 104-minute version of the Robin Hood scene in Shrek. Crowd: 9/10 // Critic: 8/10

Aliens (1986)

Peak ‘80s action. Peak alien grossness. Peak girl boss Sigourney Weaver. Crowd: 9/10 // Critic: 8/.510

Big (1988)

After talking about Laverne & Shirley with Kyla on SO IT’S A SHOW?, I had to check out Penny Marshall’s classic. While a few moments haven’t aged so well, its heart is sweet and the script is hilarious. And that Tom Hanks? I think he’s going places. Crowd: 9.5/10 // Critic: 8/10

Unstoppable (2010)

I’ve laughed at SNL’s spoof of this movie for a decade, so it’s about time I got around to enjoying this action thriller very loosely based on the true story of a train that got away from its conductor. Denzel Washington (“You’re too old!”) and Chris Pine (“You’re too young!”) are our heroes in this over-the-top ridiculousness, and their chemistry is so extra it makes me hope they team up for another movie again. Crowd: 9/10 // Critic: 7/10

January Critic Picks

Double Feature—‘90s Space Adventures: Apollo 13 (1995) + Contact (1997)

I have no desire to join Tom Cruise as he films in space, but I know I’ll be pumped to watch whatever he makes because I love sci-fi and space adventures. Apollo 13 (Crowd: 9/10 // Critic: 9/10) tells the story of an almost-disastrous NASA mission in the ‘60s, and it taps into our hope for the human spirit to overcome obstacles. Contact (Crowd: 8.5/10 // Critic: 8.5/10) surmises what might happen if we received communication from extraterrestrial life, and it taps into our struggle to reconcile faith and science.

McCartney III by Paul McCartney (2020)

I spent January catching up on the albums on Best of 2020 lists, and the one I listened to for hours and hours was Paul McCartney’s latest solo album. Catchy, thoughtful, and musically surprising, it ranges from pop to rock to folk in 45 minutes and still feels like it’s over too soon. Like Tom Hanks, this Paul McCartney guy is going places!

The Thin Man Series (1934-47)

Like Lethal Weapon, I watched the first installment of The Thin Man awhile back, and Kyla and I even covered the series on our podcast. But thanks to a full series marathon on TCM earlier this month, I’ve now laughed through all five. When you talk about great chemistry, you’ve got to talk about William Powell and Myrna Loy, who make Nick and Nora’s marriage feel lived in and romantic as they solve crimes together. Witty, suspenseful, and jaunty, this series is still sexy cool over 80 years later. (Also, Asta? Still one of the cutest dogs in cinema.) Series Crowd: 8.5/10 // Critic: 8.5/10

The King and I (1956)

Here’s your regularly scheduled reminder Hollywood works differently now, and many casting decisions of the ‘50s wouldn’t fly today. What has aged well in this film: The Rodgers and Hammerstein music and the sumptuous costumes and set design. I love extravagant musicals of yesteryear—perhaps it’s time for Hollywood to revisit and remake The King and I for modern audiences?

youtube

Inauguration Day

In a year with no major televised events with celebrities in a room together, Inauguration Day felt like the most exciting cultural event in ages. We’ve been missing major fashion, but then we got Lady Gaga! We’ve been missing live performances, but then we got Amanda Gorman! And I got a lot of tears during that poem—not just me, right?

Good Reads

Writing that made me think and smile this month:

Steven Soderbergh’s list of everything he read, watched, and listened to this year, Extension765.com (2020) – An indirect inspiration for these monthly Round Ups!

“My Year of Making Lists,” NewYorker.com (2020) – I made a lot of lists in 2020, so I feel this author’s #mood

“Betty White Says She Will Spend Her 99th Birthday Feeding Two Ducks Who Visit Her ‘Every Day,’“ CBSNews.com (2021) - “Betty is a treasure,” I say as I watch The Proposal for the 99th time

“A Sculpture’s Unusual Journey to SLAM [St. Louis Art Museum],” SLAM.org (2020) – With a casual mention of an attraction I never knew about in St. Louis

“The Culture Is Ailing. It’s Time for a Dr. Fauci for the Arts.” WashingtonPost.com (2020) – An idea that occurred to me a few months ago: Why don’t we have an Arts Cabinet?

“The Arts Are in Crisis. Here’s How Biden Can Help.” NYTimes.com (2021) – Partly in response to that Washington Post piece, a historical look at how artists have made it through difficult times in the past and how we can revive artists’ livelihoods mid- and post-pandemic

“The Right’s Message to Silicon Valley: 'Free Speech for Me, But Not for Thee,'” TIME.com (2021) – A more thoughtful and less reactionary take on a volatile moment in the history of modern technology

“'It Makes Me Sick With Grief': Trump's Presidency Divided Families. What Happens to Them Now?” TIME.com (2021) – A study on how politics has done damage to family dynamics in America

“Help, the Only Cinema I Can Handle Is Zac Efron Prancing Angrily in High School Musical 2,” Vulture.com (2021) - In a lot of ways, same

“50 Easy Things To Do When You are Anxious,” ShopTwentySeven.com (2021) – I especially endorse coloring, puzzling, and watching happy movies!

Double Feature—Miss Marple Mysteries: Murder at the Gallop (1963) + Murder Ahoy (1964)

Remember when I was all like, “Watch these Agatha Christie movies so you’re not sad Death on the Nile is delayed”? Remember when I said I was just a few movies away from becoming an Agatha Christie junkie? Well, I think I’m there because I can’t stop with the murder mysteries! Margaret Rutherford is a treasure whether she’s solving a murder at a horse ranch or on a boat, and a cast of colorful supporting characters (including Rutherford’s husband) makes these breezy instead of heavy. Crowd: 8/10 // Critic: 8/10

8½ (1963)

File this with 2001: A Space Odyssey—I don’t know if I really understood this film, but I think I liked it? Federico Fellini’s surrealist, male gaze-y drama blurs the lines between reality and imagination, love and dysfunction, and the past and maybe some future that involves clowns? What resonated with me was the story of a director with creative block, wondering if he’s already peaked and if he’ll create anything worthwhile again. Crowd: 6/10 // Critic: 9/10

Sense and Sensibility: The Screenplay and Diaries by Emma Thompson (1995)

Sense and Sensibility is not just one of my favorite Jane Austen adaptations—it’s one of my all-time favorite films. One of the co-hosts of one of my favorite podcasts has raved many-a-time about Emma Thompson’s journals from the making of film, so it was only a matter of time before I read them myself. Witty, informative, and all-around lovely, Thompson’s journals are an excellent insight into the filmmaking process and how novels are adapted.

Also in January…

I reviewed the new-ish documentary Flannery for ZekeFilm, which is all about the writer Flannery O’Connor and feels a little like going back to high school English class.

In addition to the Lethal Weapon and Thin Man series, I rewatched all of the X-Men series this month. You can see everything I am watching on Letterboxd, including favorites I love returning to (i.e. X-Men: Days of Future Past) and the movies I try that don’t make my monthly recommendations (i.e. The Wolverine).

Photo credits: Paul McCartney, Zac Efron, Sense & Sensibility. All others IMDb.com.

8 notes · View notes

blackmuzak8484 · 3 years

Text

nortey dowuona’s best of 2020

to be completely honest, I decided to do this entirely for TSJ. otherwise, I wouldn’t have bothered at all. Best end lists are for music nerds and billboard chart nerds and industry vultures, and i happen to be subscribed, in the discord and in the comments of the youtube vids of these folk. so, i decided to pick 10 out of random from the big best of 2020 i was compiling for the whole of the year, which I was gonna post to this Tumblr at the end of the damn year, but I guess I can just post the link to the playlist in the bottom of this post. Here, i’m gonna write about 10 songs I personally love, and pick out a few artists i specifically loved:

artist of the year.

RAP Ferreira put out his best album and best verses in a year everybody either stagnated, fell off or got rendered irrelevant by the world at large. He was ebullient, hilarious, thoughtful and even surprisingly honest. I enjoyed the fact that now he’s begun to create a real platform for many talented folx, and I hope he continues to do that in the margins and make even more beautiful music in the years to come.

rookie of the year.

Enny by a mile. Everybody else who debuted this year got hamstrung by the pandemic but she created 3 great songs, each thoughtful, insightful and a joy. Apparently she just started publicly releasing music to a large audience, and I hope she gets better and better, and even gets bigger than J-

most pleasant surprise.

Vic Mensa’s V Tape. An artist who I though had no more moves left completely turned around his whole career with a fantastic performance at Lollapalooza, a fantastic fleet of features and tis gorgeously produced EP which had some of his most brilliant songs on it. I love it all, Vic Mensah is well and truly back. Welcome back bro. (ALSO, DROP THE DRILL TRACK.)

GREAT THING A GHANAIAN ARTIST DID.

Strongman Burner, Amarae, Okunta Kinte, Vic Mensah in general.

cool things my friends and classmates did.

Justine Darcenne’s #4TheBaeless. Valencia Rae’s Siren thyhomebodies’s Coming of Age. (Phil, a producer in the group, made his own studio!) Brad built his own computer. petit abri put a track on APT9 Record’s compiliation album Volume II. khaalid anderson’s transitions. (khaalid will also be performing at Beats & Brunch on January 23, 2021 at 11 am.) Yannick Paul’s Bear Fruit. The Big Climax’s This Is Ya Boy kxng jetson’s Waves (ft. Kokko Williams & Mike Mezzl) Nicole Gonzalez performed in The Composer’s Melody. Victoria Marie released a bunch of beaufiful covers on her Insta, @toriiii_marie @ph0ssy_jaw works as a counselor online. Pay her at her PayPal. Johnny Aperano Yoba was on People AND Vogue. Dalitso is a wonderful pianist at his church back home in Zambia. Kobina is a fantastic drummer at his church. Kayla graduated with a BS in Music Technology and Industry! Damian been cookin on his insta. Travis graduated! (Look out for Clan of Dragons.) Rorghino Flores made a documentary! Francis (and Animax FYB) put out Mmofra on AmaLexPrime! (play it with yo kids.) A Hype has been dropping crazy all year, roll by his SoundCloud and check out Persistence Of Memory. Reina H been doing great covers on her Insta, @challenges_inlife. Hannah placed music on C. B. S.

best albums of the year (that nobody’s written about).

Maya Huyana -1991 DaWeirdo - Broke and Ugly $ilkMoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 VI Seconds - Because Why Not/Never Knows Best Erik Cain - Heart & Soul Vol. 2 Dimitri & the Scarecrow - Messenger is Sender (from 2015, finally got released onto streaming this year, still pretty great and another great Zimbabwean rapper for us to all fawn over, just like billy woods) Flowking Stone - Gifted 1 The Hoodies - Incommunicado Jayy Grams - Every Gram Counts Domo Genesis/Mike and Keys - Just in Case1/2 Madwiz - God’s Gold Teeth Maez301 - Hasaan Daara J Family - Yaamatele Dai Burger - Dessert EP TeePhlow - Road To Phlowducation II Tef Poe/Blvck Spade - Preacher in the Trap Terrell Hines - Portal One: The Mixtape redveil - niagara Nyukyung - Trap Harmonix AdrianXpression - Sucka Deante Hitchcock - Better (Deluxe) maassai & jWords - ve.loc.i.ty tobe nwigwe - cincoriginals everything Kelsey Lu did this year.

strangest things happening in music in general.

vic mensah actually making a great record. goldlink going through a narcissistic collapse and winding up making the best music of his career. redveil blowing up off Fantano calling him wack. pharoahe monch finally making a rock pivot and it actually works. meet me@the garden coming 10 years too late for my 14 year old self. RAP Ferreira being in the NYTimes, selling a vinyl record for $72, creating an actual nostrum grocers in a video game so we can listen to his next record. The entirety of the playboi carti phenomenom. The entirety of the lil uzi vert phenomenom. The entirety of Chance’s instagram EP being far more money worthy then the entirety of the Big Day and yet being released on Insta and not immediately monetized. Deante Hitchcock releasing a great album and being completely forgotten armand hammer releasing their underground kings wayyy too early. my ass continually not actually looking into amapiano despite always loving it when I review it. several good songs needing to be tacked on to a prior youtube vid as an ad for me to find them instead of actually listening to the artists. santan dave still releasing good verses after he made his illmatic. (expect his new album to suck.) slowthai becoming cake. (we let that go way too far.) Guapdad and BfB Packman being wonderful. Finding out BfB PAckman is a better rapper than Sada Baby. John Boyega putting on Ego Ella May. Having to admit Young Dolph was good all this time and i missed out like a fool.

best tv performance.

Chance The Rapper’s “A Chi-Town Christmas.” IDK’s “Change The Channel.” Sa-Roc’s Tiny Desk Concert. Chika in general. Robert Glapser’s “This Changes Everything (ft. Denzel Curry).” SZA at the Roots Picnic. Sampa The Great at the Roots Picnic. RAP Ferreira in general. Umi’s “Introspection Live Show.” Alexa Esperanza’s cover of “Is It A Crime.” Bad Bunny in general. the jwords, nappy nina and MIKE performances at Satellite Syndicate

most embarrassing piece of music i love with all my heart

Logic’s No Pressure. In all sense of the words I should not love this album like I love my siblings but I do. It is beautiful.

best 10 songs of this year objectively

1 - RAP Ferriera - An Idea Is A Work Of Art (ft. Mike Ladd) [prod. by Kenny Segal, mr. carmack and Mike Parvizi]

I know, I know. In all honesty Doldrums should be here. Then Noz put it on his best list and I had to be all ChiTown Go-Getter and pick the next better thing: this. And in all honesty, it has the best lyric RAP spits on the album: “we build better answers.” But it’s not just that, it’s RAP’s most animated performance, the most dexterous piece on the whole album and the most gorgeous beat, a loping bassline sliding behind the flatfooted drum, allowing Mike Ladd, his musical father, to gently drift through, saying, “what if royalty depised us?” and knowing the only gold is soul and giving it to all of us, all us maggots and vultures and locusts and weevils, to hold to the light so we can finally see. On the quest to get open and free, we continue.

2 - Chika - U Should [prod. by Lido]

I heard this the night it dropped and shot 2 insta videos playacting as it played. But apart from that, it’s a intimate, beautiful song about getting to know a new lady love, so tenderly sung it might melt and disappear if not held gently, with a sweeping guitar lick and purring trumpets sliding all over the place, Chika softly holding each frayed piece together into a considered, gorgeous piece - wait, she’s talking her shit.

3 - Issa Gold - Boys Don’t Cry [prod. by Kingjet & Sherwyn and Matt Zara]

The only reason this isn’t number one is because it dropped on Christmas Eve. But otherwise, it’s a openheart letter to us all. “it’s a lonely path being different,” Issa says, swimming in the melted ice caps as he once danced happily on the edges of melting glaciers that failed to drown him, looking at the world that keeps hurting his heart, yet he still opens his eyes and smiles, and dances. The heavy drums are so bouncy the whole song suddenly flies, formerly a hidden murmur becoming a bright sunlit flight across the sky so we can all see. I can’t wait to see Tempus, if it’s anything as good as this was.

4 - Deante Hitchcock - Growing Up/Mother God [prod. by Brandon Phillips-Taylor]

In all honesty, “Growing Up” is really not the best song on Better. It’s a sweet, happy song with a smooth, crackling bassline with soft, ghostly synths, but still kinda ok. It’s the song added at the end, “Mother God”, that has warm, sizzling piano chords and gorgeous singing in the back. It’s one of the few time I’ve ever heard a man pay homage to the woman in his life and to the God above while being entirely sincere and not faking the funk. The way he praises his mom, his lady, remembering the women in his family taking care of him and him foolishly neglecting Breonna due to his overburdened mind feels full of details, remembrances, explanations and praises. Plus, it actually makes sense that God, if she exists (she does) is a woman since -

5 - Yana Perrault - whiskey and weed [prod. by slate]

Apparently, Yana Perrault is verified now. Excellent. {YES YES MY GOD YESS}, It means more folks know about how great this song, and Yana herself is. If I had any sense, I would’ve written up 12:21 as the best song of 2018, but such is life. Anyway, we have this smooth, bass heavy slinker with shimmering percussion and lumbering drums about hooking up with a former flame who’s “sober” yet keeps on calling Yana to break their sobriety, “know we ain’t talked in a while but you still know my address,” she wryly mentions. As the beat sprints away under a warm cocoon of accapella echoes, it mirrors a relationship so tenuous it might disappear into the wind. Yet still strong enough to have whiskey on call.

6 - Marlon Craft - Culture Sick Freestyle [prod. by Cormill]

Apparently this was supposed to be a shot at Flex. And since Flex is a woman beater and a lame, good for him. Shouldn’t have even gone on Flex to be honest, but then again neither should Jay Critch or Tyler or Black Thought and besides, I watch those freestyles too. And on the freestyle, Marlon frankly put things in perspective. “You don’t want us to better, you just want to be cool still.” This describes all of rap media to be real. And tellingly, it only has 310,000 views. Methinks nobody really wants real. But I do. Thank u Marlon, you continue to be the best white rapper alive. (Nowhere near the best rapper tho, and if Token hadn’t fell off -)

7 - Miah - Cascades [prod. by Cedes]

I’m sideeyeing the boy Miah cuz I had to search up his Audiomack to find the producer’s name (it’s Cedes, and they have a really great avalanche of Drake Type Beats is you like that kind of thing). Were you trying to trick folk into thinking you produced it yourself? You don’t need to do that shit. Especially since you’re writing stuff like “back in high school all my peers were tryin to hit the league / until the league too far from reach so they tap dancing over beats.” When you can frankly break down life that clearly, don’t be trying to hide producer’s names unless you actually learn to produce too. Plaster your name all over that shit.

8 - Justine Darcenne - Off Days [prod. by Mikhail Miller] / Enny - Peng Black Girls (ft. Amia Brave [prod. by Paya]

Justine is indeed my classmate, but that’s not why this song is here. it’s here because it’s a nice little guitar driven song with a spellbinding bridge that’s the best thing I’ve heard her do yet. And I’mma keep it short cuz I already wrote this up at the Singles Jukebox.

Enny released this soft, cushiony record with washed out synths over bulky drums and floated FLOATED over them without even trying to run in the tar, saying frankly, “He said to me, 'they put guns in the streets, that’s what they wanted for me.’ And I said, ‘G, someone can fix you a plate but no one can force you to eat.’” After all, why not try to live for something greater than what the world has expected you to be. And Amia sings, “We’re gon be alright, ok?” with the joy and excitement of someone realizing the words coming alive on their tongue. One of the best songs of this miserable year, and it’s kinda funny watching Jorja accidentally Drake out Amia and even Enny (and by funny I mean irritating.)

9 - Tobi Lou - okay (ft. Dreezy) [prod. by Matteo Woods & Dilip]

Fun fact: Dilip did some great songs with Otxhello, a producer who recorded and mixed 2 records on my first album. That again is not why this song is here. The warm, swinging synths and heavy, bouncy drums are why this is here. Oh, and Tobi’s goofy, silly lyrics and his surprisingly effective Missy Elliott tribute are great too. But obviously, the verse that vaulted this into top 10 was Dreezy, which opens with such a openhearted line, “i can’t help it, it’s too hard to say I’m sorry.” And every line is harder than the last, until she closes with “and I ain’t talkin frontals but we got the city sown up.” Absolutely amazing.

10 - Strongman Burner - Pilolo (ft. KelvynBoy) [prod. by Nixie]

The sweet, gooey synths are poured over the soft, zipping and smooth drums as the wiry bass whirls between Kelvyn’s soft, thin crooning as Stoneman tap dances over the drums, both desperate and defiant, trying to salvage a sinking relationship that he knows is already gathering coral and snappers. It’s the best afropop song of the year and yet it still has a Nigerian on it (well, I put 4 Nigerians on here, next year I’m rectifying that.) And they even did a song together last year , not as good as this. At all. (still pretty good tho.)

best 10 songs i love (but not enough to write full paragraphs for, I already put 10 in and this is already 5 goddamn pages)

11 - Logic - Heard ‘Em Say

best song on the project that isn’t Dadbod but at least it isn’t tempting fate.

12 - Deqn Sue - Creep

I already love this for having a gorgeous bridge, and is cute af. Yes Sue, you can creep.

13 - Quelle Chris & Chris Keys - Sudden Death/ka - i love {moms, mimi, kev}

QUELLE CHIS CAN SANG SANG./ka can heart heart write.

14 - IDK - Square Up (ft. Juicy J)

I don’t know why this is here either but this slaps regardless.

15 - Nappy Nina - Modestly (ft. Maassai)

Maassai is creating some of the best raps out here. so is Nappy Nina.

16 - Kehlani - Lexii’s Outro (ft. Lexii Ajaii)

Let’s celebrate our great rappers when they’re alive (and this includes me. Pls Chika, don’t win Best New Artist.)

17 - Samad Savage - Goodnight

What Travis Scott should’ve tried to be instead of what he is now. Samad still dope af regardless.

18 - Bad Bunny - Si Veo Tu Mama

The way Bad Bunny actually hits that last note makes me feel so excited and alive.

19 - Fat Tony - Back In The Saddle

I fucked up. But I’m getting back in the saddle, back in the saddle next year. NO NIGERIANS ALL NIGERIENS. #ENDSARS tho.

20 - Lady A - the truth is loud

Why am I the only one who has this on a best list? I have 34 bot followers. Vibe, step it up.

best of 2020 music right here folxs.

worst music things of the year:

The Pop Smoke album. Just in all areas. (Better win that Grammy tho.) Travis Scott in general. (So loud and empty and boring.) Big Sean’s Detroit 2. (why does this exist? Just put out Deep Reverence and Detroit Night Cypher and leave everything on the cutting room floor fo the next album.) Remembering all the great rappers who are dead or incarcerated. No Kendrick album (just leaks. Not good enough.) J. Cole and Noname beefing and Noname getting strung up by twitter. Jay Rock pushing being anti-vaccinations. The realization that Normani might never drop a single record ever again. Tory Lanez in general. Joyner Lucas making actually good songs and falling off almost immediately. Cardi B in general. Anything positive being said about steven Universe songs. Luzamity shipping (until it’s canon please stop! Willuz is RIGHT THERE!)

#rap ferreira #best of 2020 #the singles jukebox

1 note · View note

awfully-sadistic · 5 years

Text

Spooktober Quickie #3

There wasn’t an annual take-your-kid-out to anything in the Haushold but there really should have been.

The closest the Family got was scheduled trips to places of learning conducted by Angelo Frenzy’s class as a reward for the students who did all their work and did a relatively good job in them. So suffice to say, the three biggest troublemakers in his class, Ripley, Bennett, and Cavon, never got to go. But the students who DID get to go consisted of Beauregard, Cooper, and the children who were capable of attending school; Remy, Joshua, Alma, Alessa, Little Walter, Denzel, Marlene, and Raphael; the big brother for the day that was tasked with helping Angelo and Dot with corralling the children.

Of course, Cooper and Beau could have helped but they were part of the class and Angelo had insisted they enjoy themselves as the reward. They still helped where they could, good boys that they were especially if it earned brownie points with Dot who was otherwise preoccupied with the children. It had been a fun day, filled with laughter and learning, something that Angelo could appreciate. They were on the last stretch of the tour now, having visited all of the rooms that the New Senzannini National Museum of Arts and History had to offer. A smorgasbord of exhibits ranging from children-friendly displays and interactions to the more adult (and boring-like) displays that could appeal to anyone of all ages and tastes.

“I was quite excited for this room,” Angelo divulged unable to hold back the note of excitement in his voice. Still, much like him, it was composed and professional. The tired look that usually overtook his features seemed somewhat lifted the closer they got to it. “I saved it for last.”

Dot had to smile, holding onto Little Walter and Remy’s hand; the youngest of the group of children. Angelo had been a good tour guide that Dot knew the learning experience had been what put him into gear, explaining and teaching the children (and two grown-ass adults) about the exhibits they had seen today. He had soon led them into a sign pointing towards an Egyptian exhibit. Dot’s mouth formed a small ‘o’ having felt the contagious energy Angelo had been emitting as soon as they saw the sign.

“Oooh, that is a nice surprise.” Dot praised which caused Angelo to look over, approval in his own gaze. He stayed back, allowing the two bigger adults lead the group of children inside. He had wanted to enter with Dot; a silly notion but it meant a lot to him because he got to share something he had been passionate about.

The room had been decorated accordingly, wrapped with all the detail of an ancient Egyptian civilization housing numerous artifacts and splendors. Angelo continued, “This is New Senzannini’s first Egyptian exhibit. They had spent so much money to renovate and expand its room to even host these items.”

Cooper whistled lowly, having ducked down to check out a noble looking bust of some ancient pharaoh. “These guys knew how to live.”

Beau agreed, turning to look at what had caught Cooper’s attention, “They worshipped cats. I think that’s cool.”

The little children present were delighted by the vibrant colors of the displays, branching out and around to look at masks, vases, and funny pictures of people depicted sideways. Marlene, Alma, and Alessa giggled, their heads bowed together as they pointed at the hieroglyphics. “They draw pictures just like us,” Alessa said.

“I like this one,” Marlene pointed, showcasing a cat on a throne and many people seemingly worshipping it.

Beau ran over, gasping. “I knew it.”

“Look at this!” Denzel said suddenly. Dot had glanced over to see what the young boy had been excited about. Of course, Josh and Raphael were with him, having been staring at some of the weapons on display. Boys being boys, they were tempted to touch and play with the items. Big blocky black letters read on a sign, DO NOT TOUCH, that had been the only thing that stopped them from doing just that. They were content enough to talk amongst each other about how cool it looked and whether this weapon looked cooler than that one, and what they could have been used for.

Dot glanced down at the two younger boys holding her hands, smiling. They turned their heads up, their big, round eyes curious about what they were seeing but not quite understanding. Dot wanted to show them something that’d knock their little socks off! Something to get them excited about, too! She looked around and Angelo, seeing her dilemma, gently gestured towards the center of the room where a huge, rectangular display sat long ways and undisturbed from their visit. Dot’s eyebrow perked, wondering if that was what she thought it was.

Angelo looked proud as he replied without her prompting, “That’s why everything had been so expensive. They brought over a mummy for us to visit.”

At the word “mummy”, everyone’s attention hitched on the word and heads turned. Of course everyone was interested in a real life mummy! Beau and Cooper, adults but also big kids, were immediately hyped. Angelo had to remind them to keep their voices lowered.

“A real life mummy?” Cooper asked, excited whispers threatening to turn into another shout. “Like, one you see in the movies?”

“Or a grown-up version of Horus?” Beau asked, looking over at Dot with a grin.

Dot laughed, “We should have brought him. I’m sure he would have loved seeing another mummy…”

It was Raphael who turned, catching the grown-ups’ attentions with his bored-toned expression, “Something’s happening.”

The group turned, children and adult eyes alike, watching the display. It was a sarcophagus with intricate designs. There should have been a sign around here somewhere stating who had been inside, a long dead pharaoh, perhaps, and details about his life and circumstances of his death. But Angelo hadn’t the time to read such a thing. And if the thought had crossed his mind, he had surely forgotten. In the middle of the display, the lid to the sarcophagus started to move. It was a small movement at first, almost like nothing had been happening but the thing must have been heavy. Then, the lid started to move some more, gently, to the side. But slowly. Now more obviously. There was a hushed whisper as Cooper asked, “Sarcophagus’ aren’t supposed to open… right?”

Angelo whispered back, “Sarcophagi. That’s the plural.” He corrected before adding, “And they can open. Just not… by themselves.”

If there had been a mummy inside, it wasn’t there now. The group of adults nearly gasped as they had spotted nothing in the dark depths of the Egyptian grave. The children, who were more fearless than adults, were amazed that the thing moved on its own and had their little faces pressed up against the glass. Dot had to try to steer their attention away, gesturing for them to come over. Closer where she could keep an eye on them and away from harm, even if she had to put herself between it and them.

“Where’s… the mummy?” Beau asked, looking around. He was on the verge of using his phone; Helen on one of his numbers on speed-dial.

Then the lights suddenly went off; it cast the entire room in a darkness, only a few back up lights perhaps running on a generator illuminating the space they were in. Dot looked over at Angelo, Cooper and Beau looked at each other. They had questions but they didn’t know where to start. Perhaps getting out would be the best plan of action.

Angelo was just about to say such when a low groan came from the only entrance of the room. Everyone’s attention turned immediately, spotting a limping figure wander into the room.

“It’s the mummy!” Denzel pointed, gaping.

“How’d he get out of his box?” Alma asked, tilting her head with curiosity. Weren’t they supposed to be in there?

But that wasn’t the only thing that caught the kids’ attention. And it was quicker than the adults caught on too.

“The mummy has candy!” Josh stated which had caused the group of children to flock to the mummy, their little faces expectant of the treats. Upon closer inspection, the mummy had a bowl of candy in his hands and a friendly smile on his face. It was just bad make up and one of the employees. It took the adults a while to catch on when they discovered it was just a little surprise for them. Perhaps in BAD TASTE but the kids had not been scared at all!

Dot could feel her heart rate return to normal, a hand to her chest as she looks over at Angelo. “We always knew kids didn’t fear as much as adults, I guess this kind of proves it.”

Angelo chuckled, placing a hand on the small of Dot’s back; it was a gesture meant to be comforting. “Even if it was a real mummy, there would have been no way any of us had gotten hurt.”

Dot was under the impression that Angelo surely meant that he’d protect them but it was Cooper who tacked on his own reasoning, “Yeah, half of those kids are scarier than any real-life mummy.”

Dot chuckled, then nodded because… well, Cooper was right.

#{{ original drabbles: spooktober 2019

1 note · View note

fountainpenguin · 5 years

Note

Can we see more pictures of your sims game? It looks so fun! Anything you’ve built that you want to share?

*Slides you the goods*

The houses will also be on the sideblog shown from several angles, but here are some basic previews. All the items are things I’ve saved up for and bought, or obtained in events, so it’s… very rewarding to complete these, heh heh.

Timmy’s house - Main floor

Please notice Dad’s trophy (“Father Time”) in Dad’s sewing room (“Mice Capades”) and the fact that the laundry room is on the main floor (“Dust Busters”). The kitchen appliances move around in canon, but you get the idea.

Timmy’s house - Upper floor

I turned the space above the garage into the attic (modeled after “I Dream of Cosmo”) instead of building a third floor for it. I’m extremely proud of that mezzanine. Timmy’s bathroom changes colors throughout the series, but I went with pink because of “Fairly Odd Baby.”

His parents have the green bathroom and the blue one is downstairs. His parents’ bedroom is modeled after “Dread and Breakfast.” That purple room over there is for Tommy and Tammy, since they’re in my game. In Riddleverse canon they live in the basement, but I haven’t built it yet. In canon, that’s probably where the entrance to the attic is.

Timmy’s parents’ bedroom is seen in the episodes “Dread and Breakfast” and “Dog Gone,” though I wasn’t able to place the door across from the bed as it is in the show. They also have lamps on the nightstands, but I took them out to move things and forgot to put them back when I took this picture. The lamp at the end of the upper hall is also a “Dread and Breakfast” ref.

Chloe’s house - Main floor

Chloe’s canon house is quite interesting… All the floors are wood, even in her bedroom and the kitchen. Interesting choice considering her family. The green kitchen was based off the glimpse we saw in “Which Is Wish?”

Hands-down my favorite part of Chloe’s house is the fact that instead of a TV across from the couch, there’s just an elaborate painting of a unicorn.

Chloe’s house - Upper floor

I haven’t figured out what to do with that brick room in the back yet (Probably make it a laundry room), and her parents’ bedroom is still bare, but this is pretty nice overall. I like how Chloe’s room takes up 50% of the whole floor.

I didn’t place Chloe’s bathroom along the same wall as the hallway like it’s shown in canon (which doesn’t even make sense anyway), so I went with the next best thing.

Blue Castle - Main floor

You can see Foop over there sitting in the camarilla court’s dining room (“Fairly Odd Baby”). The TV room with the big red couch was mentioned in my one-shot “Not All the Same.” There’s a smaller reading room nearby that was mentioned in the one-shot as well.

The great hall is here with all its tables, as well as the head tables for the High Count, High Countess, their heir, and the First General to sit (with mirrors behind them to symbolize transparency and honesty). You can see some statues in the hallway by the stairs. I’m very proud of the kitchen and the secret passages. You can’t see it well from this angle, but there’s a potion cauldron in there that represents the bottomless cauldron of the Dagda before Anti-Cosmo lost it.

In the back, you can glimpse Anti-Wanda in the High Countess office, with the High Count office beyond it. It cost me around 6 million Simoleons to build the entire Castle (which is three floors at the moment) and I’m very pleased.

Crocker household - Main floor

Pretty self-explanatory! Building it was a lot of fun, and my one complaint is that I couldn’t put the basement stairs where I imagine them, so they’re kind of just… over there in the corner. I built this house before I started writing Come What May, so that fanfic is accurate to this house design.

The cat by Kevin’s feet is Smokey (“Timmy’s Secret Wish”). Girlfriend is a siamese and she lives here too.

Crocker household - Upper floor

SPOILERS! Here’s a sneak peek of what’s in the mystery room in Come What May… Imagine it being absolutely cluttered, but it basically looks like that. The flying broom closet is in there, as well as a gaming system, a desk, and a bed that looks like a coffin because I couldn’t resist. Let’s say Foop brought that in.

The only reason the mystery room exists in Come What May is because when you build a second floor, you can’t get rid of the blank rooms that get built above the main floor… so I put it to good use. The one on the other side of the house isn’t really there.

I went with the canon from “Secret Origin of Denzel Crocker” that Denzel’s room is above the garage. In the back corner of the house is the room where Kevin is currently staying. It was Denzel’s bedroom when he was a kid, and became Kevin’s mom’s bedroom after Denzel moved out.

You can see the creepy grandfather clock at the end of the hall, with its one light hanging above it. That’s the clock from “The Old Man and the C-”

Crocker household - Crocker Cave

This is as far as I got before I started working on the castle, and I haven’t gone back and expanded it (Basements are really expensive). Still, you get the idea. The laundry area was based on the episode “Crock Talk.”

Ambassador cabin - Exterior

Goldie’s ambassador cabin from the one-shot “All I Ever Wanted” (though it should be in the woods, not the beach).

Ambassador cabin - Main floor

I’m not a big fan of the island villa because it’s super cramped, but I remodeled it from the default A LOT and I’m pretty pleased with how it came out. Goldie’s office is worth noting, as well as that lovely lounge area. Must be a nice place to hang out.

Ambrosine’s house

One of our important locations in Origin of the Pixies. Emery’s room used to be H.P.’s room until he moved out. Please appreciate my entrance hall, diagonal chair by the fireplace, wooden bathtub, and pet rabbit out back. Also, forgive the high-tech fridge… I put it in there to feed someone and forgot to take it out, whoops. The black cupboard in the kitchen is supposed to be the fridge.

China’s house - Main floor; still a WIP

Still working on this one, but it’s coming along nicely. H.P.’s office is up front on the right, China’s on the left. The trellis in the back is where they were married, and I included the shed they took their wedding photos in front of.

I’d like to turn one of my apartments into Pixies Inc. headquarters… I drew a floorplan on paper, but I’m not sure how well I can make it work. We’ll see. The other apartment might be turned into the Spellementary School dorm. I have the Water Temple partially built as well.

And yeah, it is really fun! It’s completely free to play, but it’s the kind of app I’d be willing to spend a small amount of money on if there was something that I really, really wanted, because the gameplay and graphics delight me. The quests are lots of fun and the create-a-sim customization options are plentiful enough to keep me happy. I’ve put a LOT of effort into obtaining all the pajamas and collecting all the special event hairstyles, let me tell you.

Sims Freeplay was my first entrance into the Sims, so I’m not sure how it compares to the main Sims games, but I enjoy it on a daily basis and I highly recommend it. I’ve maxed out to the highest possible level at the moment (55) so I can’t earn any more XP unless they come out with a new update that lets me, but I still enjoy earning the moneys so I can build some fun buildings.

I chose not to complete the Seniors quest because I didn’t want to progress to the quest that forces aging and death, so my one complaint is that the automatic aging feature can’t be turned off once you obtain it. However, if you don’t complete the quest, you don’t have to worry about your Sims ever dying. I want to live in my fantasy town for a while longer.

4 notes · View notes

tomoawards · 5 years

Text

The Tomo Awards 2018

Hi, welcome to The Tomo Awards 2018, baybee. Before I even get started, I just want to say that we are currently in a musical rennaissance, like an absolute golden age, and there are so many albums I wanted to put here but it was just too hard to pick because the current top 18 is just too solid and hard to pick through.

The header title of each album next to their respective number ranking on this list is a hyperlink to the album of Spotify. There will also be some links occasionally throughout the rest of this post for reference’s sake.

This is a link to the official Tomo Awards Spotify playlist of my favorite songs of 2018, in a general favorite to least favorite order. Over 10 hours of music.

Now let's talk about the albums, can we talk about the albums, please guys I've been dying to talk about the albums with you all year:

#18. Denzel Curry - TA13OO

I initially turned my eye to Denzel Curry, not because of his ties to a certain other artist who is finally dead and I won't mention by name, but because he seemed to have been another boring SoundCloud rapper from the outside. The fact of the matter however, is that that label couldn't be further from wrong. Denzel Curry's third and best album to date, TA13OO, is at its core, a commentary of SoundCloud rap culture and all of the vices it carries with it, as well as of life as a black person in America, on top of being a loose concept album, split into three acts: Light, Gray, and Dark, each of which has its own incredible and similar album cover, with the Dark cover often being used as the main one. And while the three sides of the album don't always correlate with the feel of the music itself, it does add a great way to break this already short enough album up into smaller and easier to chew pieces.

While having come up from SoundCloud himself, as well as being a XXL Freshman in 2016, Denzel's sound here is completely different than the scene he came out of, and there isn't a stuttering 808 hihat to be heard until the very last song of the Light side, Sumo, which could easily be a Lil Pump song; and that kind of juxtaposition is exactly the point - it's a caricature of SoundCloud rap, a critical analysis of it, while still finding a way to respect and understand it.

While only sitting at an easy 43 minutes, it's still a three-sided album, so I think it's only fair to give a highlight from each side. The first song and title track TABOO is easily the most essential track on the Light side of the album, while SIRENS featuring JID (who also dropped an incredible album this year) is a huge highlight of the Gray side. VENGEANCE is the biggest highlight of the Dark side, capturing the mood that the Dark concept shows on the album cover perfectly, featuring violently shouted and screamed verses from JPEGMAFIA and ZillaKami, before fading out into a soft and contrasting outro.

Finish 'em, 'Zel.

#17. Behemoth - I Loved You At Your Darkest

Very few bands have a career as enigmatic of a career as Behemoth; the closest comparison I can even think of is The Beach Boys, because it took them both over ten albums to make their magnum opus. When Behemoth released their most acclaimed work in 2014, their tenth album The Satanist, many had declared it to be one of if not the greatest black metal album ever made. The expectations for a true proper followup was almost impossible to hide, and they had even thrown around the idea that they'd never make another album again. So when they finally announced that a follow-up would be coming this year, the pressure was on.

I still don't think it will be possible for them to top The Satanist, but they closest they could do is at the very least match it, and that's just what they've done with I Loved You At Your Darkest. If anything, this album is just as solid as The Satanist was, and if this came first and The Satanist came second, I think the scores would flip, and this one would be the one with all the acclaim; it's hard to truly meet expectations and wow for a second time in a row, but Behemoth really did the absolute most they possibly could to fulfill those expectations. I Loved You At Your Darkest is truly the dark album its title suggest it would be, featuring the same minor guitar riffs that morph into complex harmonic structures with children's choirs and horn sections to back it all up at its highest peaks. This is another album for the history books.

The biggest points of interest on the standard edition of the album itself is the three-song stretch towards the beginning, starting with God=Dog into Ecclesia Diabolica Catholica, and pouring out into Bartzabel. It is, however, an unfortunate fact that the best song on the entire album, O Pentagram Ignis, was left off the full album and instead made a bonus track on the Japanese CD edition of the album.

#16. Asian Kung-Fu Generation - Hometown

Every single time Weezer drops a new album, fans complain, even if it's just by placebo. But whenever a Weezer fan complains, I'm always the first one to point out that Asian Kung-Fu Generation have been making the albums that Weezer fans want for the better part of the last 15 odd years.

Not only have Asian Kung-Fu Generation done that again with Hometown and the accompanying Can't Sleep EP that came out the same day, the album actually features co-writing credits from Rivers Cuomo himself, and it shines through as obvious as ever in songs like Circus and Dancing Girl, both of which respectively sound like the Blue Album and Pinkerton cuts.

Fuck your language barrier. Asian Kung-Fu Generation have made what people wanted The Green Album and every follow-up to be nine times already, and y'all still haven't noticed. All I know is if I hear even one of you jackasses complain when Weezer drops the Black Album early next year, I'm gonna fucking slap you in the face nine times over again with a physical vinyl pressing of every AKFG album from 2003's Kimi Tsunagi 5 M all the way up to this year's Hometown.

The biggest points of interest here are the cuts UCLA which sounds almost like a spiritual followup to the song "E" from their first album, as well as Dancing Girl, which again sounds like it would fit right into Weezer's Pinkerton save for the language difference.

#15. Wednesday Campanella - Galapagos

In the time since My Bloody Valentine, a completely unrelated band outside of this time comparison, have taken to follow-up their 2013 album MBV with even one EP that they've promised to drop the last two years in a row, Wednesday Campanella have had their entire and absolutely colossal career laid out.

Being one of the most artsy, eclectic, and just hard to pin bands in recent music from anywhere in the entire world, it's hard to even figure out what their thought processes is when defining their releases. Their two debut EPs both vary greatly in size - Norway No Mori is a mere 3 songs long, while Crawl To Sakaagari is 9 songs. Comparatively, last year's SUPERMAN, which was labeled an album, was 10 songs long. This year's Galapagos was 8, 9 if you include the cut single Gala as a bonus track like I did, but it's also still technically considered an EP. Meanwhile their 7 song "UMA" project is considered a mini-album. So fuck it, Galapagos counts as an album for this year.

On to it now, Galapagos was a hard record to stomach at first, if not solely by comparison to their previous...I don't know how many records, actually. Every record by them has always been different, sharing only one similarity - the eccentric artsiness that's so well associated with lead singer KOM_I at this point. What differentiates Galapagos the most however, is just how chill it is compared to their previous work, which is what made this a hard listen compared to last year's ball of high electric energy, SUPERMAN.

But what they delivered this year is no less worthy than any of their previous works, still utilizing the best production in the game right now, still being every bit as innovative as Yasutaka Nakata probably still wishes he could be.

The album opener, The Bamboo Princess, is the perfect starter, beginning with a slow and exotic opening melody, exploding into this huge orchestral and electronic hybrid drop. Melos is the other huge high point here, featuring a tight looping drum beat before building up with a watery, hypnotic pre-chorus, and exploding into the biggest hook on the album.

#14. Perfume - Future Pop

Before anything else, I'd like to pose this question: Yasutaka Nakata, what the fuck are you doing? It's a blessing every time we get a new Perfume album, but it's also a blessing that this album even grew on me enough to make it on my list, because it was a very rough first listen and an even rougher rollout - this is a 12 song, 42 minute album, however the amount of actual new music on here equals four songs and roughly 14 minutes. That's actually 2/3s of the album that we have already heard before it even came out. This is of course, not counting the joke of an "intro" song "Start-Up", which, as an instrumental 50 second intro, isn't really a song. But despite being Perfume’s worst album to date, Future Pop is still worth your time and adoration, as Perfume as a band still stands as one of the most incredible achievements in modern music.

So what did Future Pop do right? Well, it’s best to start with some context: the genre of future bass was born and died in 2014; nothing new has been done with it in 2018 that wasn't already done in 2014, not even what Perfume did here with Future Pop. The reason this happened is solely because the genre of future bass has found some mainstream (as far as “mainstream” goes for electronic sub-genres) success in Japan only just this year; despite not having anything new done with it, the genre that’s partially inspired by Japan, has only just found its way into the country itself. Funny how it do be like that sometimes.

But as far as future bass as a genre goes, we've heard it all before. So what makes Future Pop endearing enough to creep onto this list after such an initially awful first impression?

At it's core, it is still very much Perfume. Yasutaka Nakata, although lacking more self-awareness than ever, is still behind the wheel, and his production is still sparkly, hopeful, and clean as anything you've ever heard. Despite the genre changes, his chord choices and a good amount of his songwriting are still reminiscent of even Perfume's best material, aside from the unfortunate few songs which only have instrumental future bass choruses with ad-libs serving as the only vocal parts; what a great hook, am I right fellas?. Future Pop admittedly could fortunately have been so much worse, however. It also could have been much, much better. If anything, Future Pop has officially made JPN no longer considered the band's worst album.

Songs like Chorairin, Tenku, and Tiny Baby hark back to the heyday of classic Yasutaka Nakata production, whereas songs like Let Me Know and Everyday feel just short of being generic, and the presence of FUSION is elusive to my last two brain cells that remain after the rest of them died trying to figure out why the fuck this song even exists on the album in the first place.

Tokyo Girl and Houseki No Ame, the first single and its respective B-side, both already show their age and lack of place in the album’s main genre styling of “future pop”, sounding more like Cosmic Explorer leftovers than future bass bangers. Mugen Mirai and If You Wanna, however, happen to be the two greatest future bass songs ever recorded, with the latter feeling much too short and leaving listeners wanting more, a theme present through the album’s literal 13 minutes of new music in its 44 minute running time. Did I mention that yet? I’m sure I did, but there’s no amount of times I could repeat that to real drive home the fact that Yasutaka Nakata actually thought it was okay to release 13 minutes of new music and have the nerve to call it a “new” album.

The biggest highlights here are Mugen Mirai (無限未来) which despite the future bass goes so unbelievably hard and also Tiny Baby which happens to be one of my favorite songs in their entire catalogue now and I wish every song on this album sounded like it. The titular Future Pop being their second dive into DnB music is a pretty good one at that, with the first DnB song in their catalogue being Point from their 2013 album Level3.

At the end of the day however, this is new Perfume music, and I will always find a way to love new Perfume music no matter what.

“I feel so happy.”

#13. Rosalía - El Mal Querer

Where do I even start with this? Rosalía did something fucking magic here. Combining elements of both flamenco pop as well as a very slight trap influence, Rosalia and co-producer El Guincho are completely next level in every way. Straight out of Spain, Rosalía picked up traction last year with her debut album Los Angeles, and is already back this year following it up with the absolutely brilliant concept album El Mal Querer.

Opening with the moody #1 hit Malamente, brilliantly and minimally produced, the album's tone is set almost immediately. It's both sassy and modest, both maximalist and minimalist. If you're not familiar with the melodic work of Spanish music, the harmonic structure of this album might be jarring and almost entirely new to you. But if you know what you're going to get yourself into, this is going to be one of the most incredible musical experiences you'll hear all year.

The opening track Malamente is of course a huge highlight, but Pienso En Tu Mira is the most standout track here, combining a huge presence of modern R&B-trap in its production and melody with the flamenco stylings of Rosalía’s native Spain.

#12. SOPHIE - Oil Of Every Pearl's Uninsides

Despite losing a lot of its underground steam as well as its cult status in favor of transparency and visibility (which is in no way a bad thing), the PC Music label and associated genre have finally reached their promised potential they showed in the earl 2010s, with records like UMRU's Search Result, last year's POP 2 by Charli XCX, and SOPHIE's "proper" debut album this year. And with Hannah Diamond's debut album Reflections finally releasing early next year, it seems like PC Music's time to truly shine has finally arrived.

Oil Of Every Pearl's Uninsides, which I'll just call "Oil" from here on out, is equal parts breathtaking, uncomfortable, and mysterious. Oil features the kind of absurdist, abstract production SOPHIE came up on, but with a level of polish and palatability that she's never had before. While her original "compilation album”, PRODUCT (which I’m only just now finding out has been relabeled as a “compilation” [Edit: it’s not even officially an album on Spotify, it’s there as an official playlist of the singles that made the album up]), may have sounded like what abstract art looks like, Oil sounds like what a beautiful, colorful, absurdist painting looks like. It’s like Banksy vs. da Vinci, there’s just no comparing.

This is the kind of music that could come to life as a monster. On my first listen, I wouldn't have even flinched if I saw the cones of my stereo bulging as some kind of monster was trying to burst its way out like some kind of scene straight from Stranger Things. This music sounds like that, like something is going to physically break its way out of your speakers. This is the kind of music that I want people who don't believe in the power and capability of electronic music to hear, because it proves something important: those "lifeless" computers, synthesizers, and drum machines can create an absolute hellscape that most guitar players simply aren't capable of or creative enough to make with just a guitar.

The biggest highlights here are Ponyboy, which sounds like the music itself is trying to actually murder you by pounding you against a concrete floor at a rave, and Is It Cold In The Water, which sounds like somebody is trying to murder you by drowning you in a cave.

#11. Daughters - You Won't Get What You Want

What the fuck even is this album. I heard someone say that singer Alexis Marshall sounds like Elvis being forced to sing while being tortured. Musically, Daughters could almost be likened to Nine Inch Nails, but far more raw and more conventional. I really didn't know what to expect when I saw this pop up on Kingdom Leaks weeks before its release, but the artwork looked immediately iconic and it didn't have a pretentious genre tag, so I decided to just give it a go with no expectations.

And that's the best way to go into this. Just know that it's dark, and it might make you feel uncomfortable to the point of anxiety. I'm not even going to say anything else about it. Just go and listen to this, because it is a perfect, beautiful, dark, twisted masterpiece of an album.

Satan In The Wait is the highlight here, for me. It just captures the entire mood of the album. Go get on that.

#10. Band-Maid - WORLD DOMINATION

I'd like to start this off by wholeheartedly apologizing to Band-Maid for how much I've made fun of them and their fans in the past. I'd like to ammend this by saying I do not apologize to their Asian-fetishizing white people fanbase - you're all still creepy, cringey, disgusting little neckbeards.

This really came to me as a surprise. I have ruthlessly made fun of Band-Maid in the past. Like a lot. Despite still enjoying Maid In Japan a lot, which you will get roasted on their subreddit for even saying anything positive about even though it is their second best album next to this one, this one really caught me off guard. And while their first album has a lot of pop centric songwriting, they traded that off on the three records that followed by going super hard and edgy, almost to comedic effect as a way of trying to win over neckbeards who heard a Babymetal and think that you "have to play your own music to be good".

But World Domination does an unbelievable job at combining that hard edge with incredibly catchy pop songwriting, creating a really enjoyable heavy guitar pop experience that I haven't really heard out of Japan since the first BiSH album. Seiko Oomori tried to do similar this year but completely failed at making it stand out to an album like this in the same year, as well as her own past crowning achievements like last year's masterpiece kitixxxgaia.

Anyways, Domination is one of the best songs of the year with a chorus that makes me want to like punch of a fucking window or something, and Anemone is this super emotional pseudo-acoustic banger that will probably make you cry from its chord progression alone.

Band-Maid: I apologize. Band-Maid fans: fuck you ¯\_(ツ)_/¯

#9. Kero Kero Bonito - Time n Place

Not unlike Band-Maid at all...how the fuck did Kero Kero Bonito of all bands manage to make an album this good after years of embarrassment? Now I've been into KKB for years, since the original Intro Bonito mixtape dropped. Sarah was a part of the same online weeb community I used to be a part of. Everybody pretended to like KKB because they were about the only other weeb music group besides Slime Girls that showed some potential to break through into the actual music world.

But trading in those sick beats for conventional instruments, while not something I'd ever really endorse because guitars don't automatically make music good, dad, happened to be the best thing they could have done. KKB is a real band here now, and their experimental punk, tweed-pop, noise, J-pop, whatever, songwriting on this album makes it an absolute pleasure to listen to. It also doesn't help that Sarah doesn't sing even a word in her awful native Japanese.

Jolly good show, KKB. The second and third songs Time Today and Only Acting are an immediate attention-holder for the rest of the album and absolute show-stoppers.

#8. cacophony - Harmony

Completely out of left field, and off the suggestion of a friend of mine, who I know for a fact that when he speaks highly of something, it's worth that hype. I initially put this suggestion on the backburner until he came back to tell me that this album is on the level of Ringo Sheena's masterpiece Kalk Zamen Kuri No Hana, which still stands in my opinion as one of the top five greatest albums of all time. That's when I cleared my plate and sat down with this.

Cacophony is an artist from South Korea who is still criminally unheard of, especially after an album as personal and breathtaking as this. While I don't think this will ever be the legendary masterpiece that the Ringo Sheena album is, it truly does share a very similar, dark, and personal vibe. Inspired by the unfortunate passing of her mother, Harmony (known as Hwa in Korean) is a dark introspection into Cacophony's grief, and that feeling alone is presented in its gritty but relaxed production as well as her violently powerful vocal delivery.

You don't need to know a word she's saying here; I for sure don't speak Korean or even the occasional French that these songs are in, but the emotions conveyed here transcend any language. It's a dark album, and you genuinely may walk away from this in a bad mood, but it's an album any music lover simply can't miss, so maybe bring your serotonin along with you.

The biggest highlights here are In The End, a strong track with the most emotionally vulnerable and powerful vocal performance of the entire year, and Sick Boy a violent and brooding song that almost feels like it's dragging its own coffin behind it.

#7. Lucie,Too - LUCKY

Lucie,Too shouldn't be as good as they are. By every rule of music theory, absolutely nothing about this should be as fun and investing as it is. Lucie,Too makes the kind of music that every American band like Cayetana and Soccer Mommy wishes they were making. They're making some pretty decent waves, for a relatively tiny band from a town like Utsunomiya, even in the western world.

Lucie,Too is to the point if anything else. Their songs are short and get right to the good stuff. LUCKY, their most-watched song on YouTube, sits at only a minute and a half long; but don't think this is a punk band anything. The song sits at a really easy 93 beats per minute at double-time and just breezes along at its own pace. Most of their songs follow this mellow, flowing tempo, and feature really honest and genuine production - nothing too raw, but not over-polished either. Nothing about Lucie,Too should be as good as it is, but there's just a simplicity and raw honesty to their music that I haven't really heard from much other guitar music recently.

They also dropped a new EP called "exlover" in November that features one of my top three songs of the year, Saigo No Hi, which means The Last Day.

Anyways, the biggest highlight here is probably Siesta and the title track LUCKY, but honestly, the whole thing is short enough to be one highlight in its own right.

#6. KIDS SEE GHOSTS - KIDS SEE GHOSTS

Yeah, Kanye lost his mind, but that's all over the news so you can hear about that somewhere else some other time. Right here and now though, we're here to talk about how mans Kanye still makes some of the most fire music in the game, and this is the worthy successor to every album he's made in the past that Ye just wasn't, despite the fact that I still like Ye a lot more than everyone else seems to, but let's not digress and just get right into it.

Welcome To Heartbreak is my favorite song on 808s, Gorgeous is my favorite song on Dark Fantasy, and Father Stretch My Hands Part 1 is my favorite song on Pablo. So why wasn't I one of the people who was excited for this destined Kanye x Kid Cudi collab album for years and years like everyone else? I guess I just never made the connection, because this is genuinely the exact perfect step forward that Kanye's perfect discography deserves. It's just unbelievable that at such a shaky and tender time for him, he's still capable of making something brilliant.

I admittedly didn't care for this one on my first listen at all. Then I listened a second time and it clicked immediately; this album is as colorful as the Takashi Murakami artwork on the cover, it's as haunting as the ghosts painted on it, it's as psychedelic and moody as you'd expect anything Cudi doing, and it's as brilliantly produced as you'd expect anything Kanye doing.

At only 7 songs and short of 24 minutes, this album is digestible enough to listen to in one quick sitting and easy enough to be one big highlight. But as far as individual songs here, Freeee (Ghost Town Part 2) (best paired with Ghost Town Part 1 from Kanye's 'Ye' album that came out the week prior) is phenomenal, but the biggest highlight to me is Cudi Montage, which features a guitar riff that's immediately obvious as being played by the late Kurt Cobain himself, and eventually evolves into this huge harmonizing climax that's completely unmatched to anything else in the five album Wyoming Sessions that Kanye did this year.

#5. Vince Staples - FM!

Vince Staples is the best rapper alive. There is a tie for first place, but just know he is the one tying for it and the other best rapper alive will be further down this list.

Just right down to it, FM! is hard, and it's short. Continuing along with The Year Of The Short Album, FM! stands at only 26 minutes long, 11 tracks long, 3 of which are small skits; Vince himself actually laughed at the fact that the industry even bothered to call it an album, seeing as the album is just a minute short of being as long as 2016's Prima Donna EP.

There's nothing here as innovative and forward as Big Fish Theory, but that doesn't even matter here. What's special about FM! is that Vince almost seems to be having fun here, at least on the surface. Dive a little deeper into the lyrics, and you'll see that Vince is just as nihilistic and political as ever.

Thematically, the album is presented as a sort of short radio program, featuring DJ skits between songs and previews for other artists like Tyga and Earl Sweatshirt's new music. The beats are hard and pretty standard, but capture the exact amount of discomfort Vince's debut Summertime '06 delivered.

Outside and FUN! are the bangers here to really keep your ears on.

#4. Noname - Room 25

Noname is also the best rapper alive. Y'all have been ignoring her for too long. There, I said it. There is a tie between her and Vince Staples for best rapper alive title. Following up her brilliant 2016 mixtape Telefone, Room 25 is a much darker and more nihilistic approach to the familiar Chicago sound that her and the rest of her hometown borrowed from the old Kanye.

In an industry where Nicki and Cardi B are at the top despite how problematic and lackluster they've proven themselves to be both musically and lyrically, Noname immediately addresses the game's attitude towards women summed up with the simple one liner:

"And y'all still thought a bitch couldn't rap huh?"

Tackling issues like the sexism not only faced by women in the real world, but also within the industry she is a part of, as well as the black experience in America, Noname really comes through on the honest front here delivering bars that artists like Kendrick Lamar and J. Cole probably wish their labels would let them say.

Prayer Song and Self are the real winners here. Just...please go listen.

[ALBUM COVER REDACTED because Noname said she would be having a new album cover created after sexual abuse allegations came after the artist of the original album cover.]

#3. Haru Nemuri - Haru To Shura

I have to live the rest of my life knowing that I am part of the catalyst to Haru Nemuri's western success. It was I who told Anthony Fantano about her. She is now one of the most streamed Japanese artists (IIRC, don’t quote me on that) on Spotify because of his review. If only that melonheaded fuck understood just the level of influence his platform has to give incredible foreign artists the attention they deserve. Ash, my friend and J-music plug, from Arama, shared her with me much earlier this year, and after Haru To Shura came out, I slipped that and LOONA yyxy to Fantano. But enough about melons.

Haru To Shura is a masterpiece. There's no possible way for someone to describe this album to someone who only listens to western music, and that description alone should interest you. To those who have heard music outside of the western hemisphere, this album almost sounds like what Shinsei Kamattechan would sound like if Seiko Oomori were singing instead of Noko. Which is a great comparison, because both Seiko and Noko have been known to collaborate with Haru recently.

This album is raw and abrasive, but it's also strangely beautiful and avant-garde. Haru likes to call herself a "poetry rapper", who raps, hastily monologues to herself, sings, and screams over disgusting and dreamy shoegazey punk music. I like to think of Haru Nemuri as the next in the lineage of out-of-step women in J-pop, the line of which starts with Jun Togawa and follows Ringo Sheena and Seiko Oomori all the way up to Haru.

Sekai wo Torikaeshite Okure is the song that really made me pay attention, and I'd like to hope it'll be that for you too, so go peep that one first if you're remotely interested. And if you're not - have fun living your whole life without this perfect gamechanger of an album

It’s also worth noting she dropped a fucking amazing EP this year called Kick In The World, featuring its title track, an acoustic version, with four asbolutely batshit remixes of the title song sandwiched in-between them. This song was a leftover from the album that she said would have bloated down the tracklist. Finally an artist who has the self-awareness to cut music in favor of the listening experience. Can’t say the same about Drake.

#2. YESEO - Damn Rules

I don't really know where to even start with this one. I've always considered Neon Bunny, Aseul, and YESEO to be the holy trinity of Korean indie electronic music, and while Neon Bunny's Stay Gold might still be one of my favorite albums ever made, Damn Rules proves that the Korea might have a new underground queen.

YESEO came out of nowhere only two odd years ago, and to say she hasn't had a prolific career in that short time would be insulting; in 2016 and 2017 alone she dropped two mini-albums, an EP, a ton of assorted singles, covers, a feature on I.M (of Monsta X fame)'s mixtape, songs for K-drama soundtracks, and a single with SM Entertainment. But all of that was smooth trap and EDM-infused R&B.

What sets Damn Rules apart from not just the competition, but her own past self, is that it's hard; like really fucking hard, and it's dystopian futuristic sounding. Like, this is what the Cyberpunk 2077 soundtrack should sound like, not some 2000s white people-ass Jack White-ass blues rock bullshit.

The lead single Bitches Rule still stands as one of if not my favorite song of the year. It's gritty, horny, and sounds like a deep cut from the musical landscape of 3018, and that's a theme that continues throughout every song on the album. Even the instrumental track Mess, despite its future bass-driven hook still manages to impress in a way that future bass hasn't since its peak in 2014.

The fact that Damn Rules doesn't have the streaming numbers that last year's Million Things does should honestly be an intergalactic war crime.

This is gonna be one of those albums that people are gonna look back at years from now and go "yeah, that was really something else", regardless of what she does next.

The biggest highlights here are of course the lead single Bitches Rule, the hypnotic electro-trap song Cigarette Light, and the club banger Honey Don't Kill My Vibe, which sounds nothing like the Kendrick song it gets its name from.

#1. Travis Scott - ASTROWORLD

2019 kids will never know what it was like to bombard Travis Scott with memes that say something along the lines of "drop Astroworld right now" every time he tweeted. Let me preface all of this by saying I waited for Astroworld longer than you did. I have been listening to La Flame since the Days Before Rodeo days. I pushed Rodeo on all of my friends who liked hip-hop since the day it came out and all y'all ignored me until Astroworld. Y'all still think Birds is bad. Birds is good; it's better than Owl Pharaoh. It's better than Huncho Jack. Granted, anything is. But Astroworld is as good as Rodeo.

Astroworld is the sequel the real ragers have been waiting for. I'll admit, I was worried after Butterfly Effect, Huncho Jack, Watch, and all of his other recent features save for a few quality ones; I was worried that that generic Butterfly Effect flow would predominate Astroworld. But save for a few small hiccups which honestly don't matter in the grand scheme of things, Astroworld completely delivers on all fronts and defies the expectations he set on himself. It is not just a rollercoaster ride, it is a front to back day out at an interstellar theme park.

Sicko Mode actually sounds like you're on a rollercoaster, with the stuttering snare drops before the beat switch taking the place of a rickety chain pulling you up the hill before Drake pushes you off downhill into four loops or something. Astrothunder actually sounds like you're floating through space under a meteor shower. Coffee Bean actually sounds like you're walking back through the park at the end of the day. Thematically, Astroworld is a masterpiece. Musically, it's two levels above anybody and everybody else in the game.

Astroworld is one of the truly rare cases where something so mainstream with such a large mass appeal normally wouldn't be, and that alone makes it so worth the hype. Very rarely do you see an album so innovative and musically brilliant manage to break the top 10, let alone come out as the number one album of the year. Just like when Frank Ocean's Blonde was snubbed for its Grammy despite overwhelming success and critical acclaim, Astroworld too has been snubbed for its well-deserved Grammy over Drake's piss-poor, lukewarmly received Scorpion.

Songs like Skeletons, Astrothunder, and Can't Say shouldn't even be considered rap songs, because hip-hop is only a surface element here. A song like Sicko Mode, with three beat switch-ups, the first of which happens right as the song starts to take off before cutting itself short, with nothing resembling a hook or any traditional pop song structure, shouldn't even be the #1 radio hit that it is, but it just is. This is the rare example of something that in no way should be mainstream but is and 100% deserves to be. It's the kind of genius that can be appreciated on both the surfacelevel as a casual listener, but also for people have a finer knowledge of music to dive deeper in with.

In a world where each of the Migos, Lil Yachty, Drake, Tory Lanez, and RaeSremmurd are dropping 20+ song albums with almost all filler and little to no killer, it's a breath of fresh air to see an album as long as Astroworld filled with nothing but highlights.

1 note · View note

jancisstuff · 6 years

Photo

The De’bayle Curse - Killian’s Tattoo

" Quarcy. Quarcy Questant. I came with the library "

"I am willing to brace that storm for him," "Killian! Killian I am going to help you, alright? Just... be ready okay?"

"Need it. Forgive me. I am underwhelming in all this. There are so many other important things."

"It does not mean pain, my sweet zinnia."

Quarcy Questant: " Welcome Ser Denz " Quarcy Questant: " Lady Jancis " Quarcy Questant nods. Denz De'bayle || The door creaked as force was pressed against it, and the portal swung open swiftly. Denz had shouldered the door open, barely missing the conjurer as Hestia had pulled him aside. Behind him was a taller gentleman, garbed in a worn and dirtied red coat, much too warm for the climate of the Shroud. A cloth hood covered much of his features, save the grey beard falling from his chin. Denz De'bayle practically hopped into the room after shouldering aside the door. "Hestia! I found th-" He stopped, blinking around the room in confusion. "...We had a library?" Hestia De'bayle: "Evening Denz," Hestia noted flatly as he just barely avoided hitting Killian. "And Jancis as well. How fare you two?" She leans in, looking toward the older man, "ah, it is a somewhat recent development." Killian De'bayle is probably oblivious to the narrow miss.

Jancis Milburga followed the pair close behind, checking to make sure the red cloak didn't catch on anything as they made their way through. "Good eve, Lord Quarcy.

Quarcy Questant: " We HAVE a library "

Denz De'bayle tilts his head, the gaze falling to the elezen in the corner with a curious look. "... Who is he?" There was something familiar about the man, but Denz could not remember where he had met him before. If he had ever. Killian De'bayle: "Who is who?" Quarcy Questant: " Quarcy. Quarcy Questant. I came with the library " Jancis Milburga comments softly, "Thaliak's Joy." And peeks around at the books from afar while still being semi-doting on their companion. Denz De'bayle || The elder clears his throat, pulling back the hood to reveal his ancient features. A faded De'bayle tattoo was etched across his forehead, stepping around Denz and the ajar door to start wandering further into the library. His wizened features raise with notable impression, but he remained silent. ♦Denz De'bayle: We... hired a librarian? Denz De'bayle fails to understand Quarcy Questant. Killian De'bayle: "Who--who is that?" Hestia De'bayle: "An old friend of the Viscountess'. He was brought on to care for books but also has some knowledge on how to handle and contain... dark matters," she gestures up a hand, still keeping her gaze on the older man. "Is that..." Denz De'bayle || The old man turned on Hestia, a cane in hand to bap the top of it into her arm. "Do you know any other ancient De'bayles, girl? If so, I'd love to meet who you would confuse me for!" He cackled. Yep, that was Nuarmac. He tapped the bottom of his cane on the ground leaning on it.

Hestia De'bayle: "Worry not, great-uncle, I simply wished to make sure my eyes were not decieving me," she scoffs. "I will say, it is good to see you. I hope your time out venturing has been pleasant," she peers back over toward Denz, "I take it you have come here with purpose then?" ♦Denz De'bayle: "Purpose." Though I suppose it was purpose enough to dig him out of the Shroud lest he be lost in its roots. Denz De'bayle || Nuarmac looked back at Denz, swiping some branch leaves from his shoulder. "I was -napping-, Denzel." Quarcy Questant stiffened like a board, honoured and terrified. Killian De'bayle: "Uh," Killian says gracelessly as the bickering ensues. Hestia De'bayle offers a far more relieved look, while still holdering her typically dour demeanor. "It is best you are well rested, you are now awake to meet my husband Killian proper," she places a hand to Killian's shoulder. "Unless you have already met?" Killian De'bayle: "I think we did...once?" Hestia De'bayle: "Though of course, not as a De'bayle." Denz De'bayle sighes, rubbing his head, before gesturing to Killian. "Aye, Uncle, this is he." Jancis Milburga half followed, keeping a curious orbit around Nuarmac. "It can be a nice place to meditate. It has so much to tell." She looks back at Denz, "Though it is easy enough to get through brambles and brook alike when you can feel who you seek, yes Denz?" Denz De'bayle steps back, looking towards Jancis. "Looking for any good titles?" Jancis Milburga: "Every book is a good title. But yes. Perhaps something like the one I have. Or something more about drugs. I have had very little luck in the Jewel." Quarcy Questant: " Alquemistry and Aetherochemical pursuits - let me get on that. " Denz De'bayle || The elder's eye were deep sunk, countering Hestia's claim that the elder was well rested. Behind those bags though were a gaze as sharp as steel. Momentarily, they lapsed over Quarcy, the shift in his posture bringing a straightening of Nuarmac's own back. He was quite a tall man, comparable in size to men such as Armont in height, shortened only by a slight hunch from age. That gaze then turned on Killian, narrowed in thought. "Yes, I remember Kerillian. Beautiful name." Denz De'bayle looks disgusted. Killian De'bayle: "Um, Killian, my lord." Denz De'bayle || Nuarmac: "Oh. I thought it was a girl's name." Hestia De'bayle: "No... he is a man." Killian De'bayle 's face flushes and he lowers his head, embarrassed. Quarcy Questant shuffles through the tomes and emerges with a stack to place on the counter.

Killian De'bayle also should probably mention he has an armload of books and what appears to be a a folded tactile map, with his cane tucked under one arm. Jancis Milburga perks and checks on Nuarmac one more time before hovering over to the counter curiously. Denz De'bayle || Nuarmac shook his head. "I'm aware, young lady. Few are the De'bayles who forsake the bonds of procreation to find company in akin sex." Denz De'bayle narrowed his eyes in confusion., remaining silent as he thought to himself. Hestia De'bayle: "U-Uhm..." Hestia straightens some, clearing her throat and adjusting her shirt, "ah...er."

Quarcy Questant laid a few books from elementary grade cooking etiquette to austere volumes about each individual element and its use.

Jancis Milburga looks back over at Nuarmac, rubbing her cheek like a wound before peeking at the books again, as if they were comforting. Killian De'bayle clears his throat. "Um, is there...something we can help you with?"

Denz De'bayle || Nuarmac's eyebrows perked up in humour before tapping his cane on the ground. "You require my 'services', as Denzel put it? I see my place amongst the family has fallen so low to be naught but a dispenser of brands." ♦Denz De'bayle: Uncle. ♦Denz De'bayle: You're -place- is as our spiritual leader and advisor, however that cannot be put to use when you're taking naps in the forest. ♦Denz De'bayle: -Or- hiding in a manor twenty feet beneath Coerthas' snow. Jancis Milburga: "The Twelveswood is quite spiritual. Forgive me, I misunderstood. I had thought Hestia wished to see him." Her tone is very apologetic. ♦Denz De'bayle: She did. You did, yes? Denz De'bayle fails to understand Hestia De'bayle. Quarcy Questant listens on, interested in what this sage has to offer. Hestia De'bayle: "Well we certainly have been in need of him yes. Killian is rightfully a De'bayle now and is very willing to accept what comes with that," she looks toward Denz, "but... there are some... issues that could be present." Killian De'bayle: "Oh," Killian breathes, his already-pallid face managing to pale further. He scoots a little closer to Hestia as she speaks. Denz De'bayle || Nuarmac waved a dismissivly. "Complications arise and fall when all earn the brand. I remember putting yours' on, my lady, like it was yesterday..." He blinked, looking to the side. "Weren't you there, Janice? It wasn't too long ago, was it?" Hestia De'bayle: "M-Mine?" Hestia De'bayle instinctively puts her fingers up to her forehead. "Killian is a bit different I fear... it may be harder for him to adjust. Might you have suggestions for those a bit more... mentally troubled?" She murmurs out quietly. Jancis Milburga nods, "Yes. Yes I was. Her and Carina's. That was a difficult choice." Hestia De'bayle frowns, lowering her head some. Denz De'bayle || Nuarmac nods, a hand combing through his beard as he looked back to the young pair. "Mentally troubled? I do not follow. The De'bayles are often thought of as crazed cultists, at any rate... We're all mentally troubled, I'd wager." He chuckled, brazenly placing his fingers on Hestia's forehead. "Ah yes, I remember this one clearly. Your were such a sickly child, not even our tattoo could help in the end..." The wrinkled digits slowly came down the center of the brand. -- Denz De'bayle -- "This was made in happier times. The face who wears it now..." He looked down at Hestia. "You need to frown less. It crinkles the tattoo." He cackled, stepping away. Hestia De'bayle only frowns further at this, her brows knitting in the process. "This is not about me. Killian is blind, as is he... his mind works differently. This brand could help him... which is a risk we are... willing to take. But it could overwhelm him as well." Quarcy Questant relaxed, somehow the cackling brought to mind a more familiar parental figure and he simply stood straight, quiet. Denz De'bayle crossed his arms, setting his mouth.

Jancis Milburga: "That is what Carina decided on agreeing, both times. But you are here to help and guide him through it, Hestia. He is not alone. I. I have seen what has come. And Killian is strong." Denz De'bayle || Nuarmac settled onto his cane once more, titling his head towards Killian, and looking back towards Hestia. "We are not miracle workers, Hestia. I cannot claim it will grant him vision." Killian De'bayle: "I know it won't...it won't let me see, not really." Hestia De'bayle: "I do not believe it will grant him vision. That is not what we are betting on. He suffers from a form of aether-sickness from the circumstance of his birth. It could end his life in the span of only a few turns if we cannot find /something/ to help him normalize. I thought... perhaps the brand could help. It did not save me, but it did help. We are not looking for a cure." Hestia De'bayle: "Just... a treatment, I suppose." Denz De'bayle || The elder shook his head. "Aether sickness comes from over exposure to aether, be it ambient or directly. What you're claiming will only worsen his situation, submitting him to what we De'bayles carry." Hestia De'bayle: "Then... perhaps I am not the best to describe it. Killian...?" She looks over toward the Hyur, her expression uneasy. Killian De'bayle: "It--it's not like that. That might have been the cause, but...now it's...my body doesn't...naturally hold its own aether. I have to keep it trapped, an active process. Like I'm about to cast a spell, so I have to hold onto the aether. It's very...tiring...like trying to wade upstream all the time, and I can't do it while I'm asleep." Hestia De'bayle: "He has a ring that was given to him by our Grand-mage that helps him contain it but... it began causing him issues from prolong wear. He wears it now only to sleep." Denz De'bayle || Nuarmac tapped his fingers along the head of his cane, listening and thinking to himself. "If sealing or trapping is what you seek..." He points the head of his cane to Denz. "His was a burdening amount of aether to carry. I sealed it away, that dark aether, in hopes it would never resurface. It broke under incredible distress." Denz De'bayle looked back and forth from Nuarmac to Killian. "... My apologies?" Killian De'bayle: "I...I don't want it sealed away...how would I access it then?" Hestia De'bayle: "I suppose we figured the brand could provide an abundance of aether, so he might not have to worry about constantly trapping in his own." Denz De'bayle || Nuarmac waved a hand dismissively. "Such is no longer an issue, but I can indeed keep aether with one's body, sealed. However, sealed does not mean it won't affect the body itself. Denz was found crippled and unable to function for much time after we seperated him from the aether that had melded with his own life essence." He looked to Killian. "What we would trap in you, it would be a shell to protect you. Maybe to make up for the weakness you've lived with your entire life." Denz De'bayle sighes, rubbing the side of his head. Hestia De'bayle seems to brighten some, "then this could help him?" She asks hopefully, "this could perhaps help him live normally?" Denz De'bayle himself snorts. "De'bayles don't live normally, Hestia." ♦Denz De'bayle: You know this. Denz De'bayle grins tauntingly at Hestia De'bayle. Killian De'bayle: "Would I still be able to use magic?" Killian asks dubiously, perhaps somewhat more alarmed by the 'crippled and unable to function' part of Nuarmac's words. Jancis Milburga: "He recovered quickly to the change and for the better. Is as strong as ever before. That cursed crystal is far from being done with." Hestia De'bayle: "Normal is subjective," she manages a small smile, "but... if it means living a longer, healthier life. That is the sort of normal I am aiming for." Denz De'bayle || Nuarmac brought a hand up to his mouth in thought, looking to Denz, who shrugged helplessly. The elder turned back to Killian. "Denz was... ungifted with aetheric control. And I have never had to seal away anything -not- evil to provide someone with a missing foundation." Denz De'bayle buries his face in disbelief.

Killian De'bayle: "So...so you don't know. If I'd be able to use magic or not." Hestia De'bayle: "I think perhaps referring to it as a 'shell' would be more approprite than a seal. That is after all, what is seems he lacks?" Denz De'bayle || Nuarmac: "I would wager the ability still accessible, if someone stunted as you learn to move aetehr through, with consideration to what is there within you." Jancis Milburga immediately disagrees, "He truly was to live with that shadow of broken thoughts and memories for decades. Denz's control is superb. Killian is clearly skilled, as well. Even if it is draining." Quarcy Questant found himself lacking for not being able to comment on this topic even once. Perhaps reverence for a family's tradition spurned him to simply listen and take it all in. Denz De'bayle || Nuarmac places his hands over one another. "Aether is a fickle substance. An all-encompassing essence. To feign mastery over understanding it is ignorance, and it has shown itself to perform miracles and devlish acts both. Yours' is a pure intent and a willing body, I see no reason why you would fail." ♦Denz De'bayle: Jancis... It's okay. ♦Denz De'bayle: To be fair, I did not manipulate until after that seal broke, so there is... merit to his claim. Denz De'bayle fails to understand you. Hestia De'bayle beams to Killian, exposing sharpened canines, "Killian this is wonderful news. Even if it might be tough it could help you!" Hestia looks toward her Denz, her lips tightening, "you... you are a good man Denz. I know you are as strong as Jancis believe you are. I do." Killian De'bayle: "Because my...condition lets me understand aether more than most. I've always been sensitive to its movements and how best to use it. The one...benefit of being sick like this. Being able to use myself as a focus. But if I'm sealed away from it, so that there's a shell and it doesn't just freely move through me, how will I be able to feel it like that?" Jancis Milburga: "You do more than survive. But you concentrated and practiced daily to hold that horror within you, even used it to protect so many. And then conquerered it and sealed it away. It. It is relevant to Killian now, at the very least. Very least." Hestia De'bayle: "Does the brand already not work similarly to a shell? I have found it... helps when close to a primal? A headache, yes, but it helps..." Hestia De'bayle: "Mmm. I suppose I always thought it produced its own source of aether..." she sighs. Denz De'bayle || Nuarmac looked at Jancis, setting his lips in a small frown, Denz's words causing him to tilt his head in a small nod. "I mean no offense to the boy, Janice. His strength is notable, aye. But it has shown how it stunted his own aether." Denz De'bayle || The elder looked back to Killian. "You would still have access to the aether around you, but so too would there be another wellspring to pull from. A... difficult thing to imagine or explain, but you will see what I-" He stopped, looking at Killian. "You'll understand shortly." Jancis Milburga furrows her brow. She moves behind Denz, trying to purposefully lose herself in the aura the man would give Nuarmac. Killian De'bayle chews on his lip, nervously. "I just don't want to...lose my ability to heal. It's the only thing I'm good at..." Hestia De'bayle: "That is not true Killian," Hestia looks to him with a purse of her lips, "when my mother lost her ability to heal, she picked up alchemy. Not of course... saying you would."

Denz De'bayle || The old man placed a hand on Killian's shoulder. "Nonsense, Kerillian. I can heal the greatest of wounds with mine aether. Mayhaps one day someone will stick around long enough to learn it too." Denz De'bayle || He cackles. Denz De'bayle blinks at Jancis, going over to place a soothing hand on the small of her back. ♦Denz De'bayle >> "Am I weak?" *His tone was innocent curiousity, looking down at her.* Killian De'bayle: "I want to...I want to live longer. I don't want to die in a few turns..." Killian murmurs by way of reply. Jancis Milburga looks up at Denz, the blind belief in him clear on her face, but she manages to smile. "He is a remarkable healer." >> ♦Denz De'bayle: "No. No, not to my knowledge." She tries to answer truthfully, thinking about it for another minute before shaking her for only him, and his chest, to see. "Not since I have known you. If ever you start to be, you fight it immediately." ♦Denz De'bayle >> *He smiles, bowing his head to whisper lightly to her.* "If that is what you believe, than it must be so. And it is what I will trust as well." Quarcy Questant began chewing on a fingernail. /Sealing away magic ?/ That would be the end of himself... Jancis Milburga speaks quietly and very thoughtfully before her voice grows louder. "Nald'thal forbid it, Killian. Not from that." Denz De'bayle leans down, planting a kiss on the top of Jancis' head, speaking up over his shoulder. "Indeed." Hestia De'bayle: "We will be here for you Killian," she takes his hand, patting it with her other hand. "Are you... ready?" Denz De'bayle || Nuarmac removed his hand, wiping some dirt that stained Killian's shoulder off swiftly. Jancis Milburga blinks slowly, eyes wide on the elezen knight before softening considerably, closing her eyes and taking in a slow breath. Killian De'bayle: "Um, I...I guess..." Killian says uncertainly, clearly less-than-enthused and perhaps a bit scared by the idea. Jancis Milburga: "It is for more than Turns, Killian. This family is immensely close in curious ways and that connection plays a large role in it. You will find a new bond with Hestia not realized." Denz De'bayle || Nuarmac nods. "Excellent, we sha-" He stopped, eyes hardening on Quarcy. "Who is he?" He jabs his cane head at the man. "By Halone, you best not be another De'bayle child secreted away from my knowledge!" Hestia De'bayle: "He is a close friend of the Viscountess, and an old one at that. Keeper of knowledge, books and also container of dark matters. I figured after the most recent event... such a profression would come of great use to this family." Killian De'bayle turns his head some toward Hestia, his uncertainty still written all over his expression. Quarcy Questant: " N-no sir to the best of my knowledge I'm just an orphan from Hemlock " Quarcy Questant may have sputtered it in a panic as he became very aware of his own presence in these proceedings. >> ♦Denz De'bayle: "I do. I can see it better than you can. I look and watch you often." Denz De'bayle nods his head in Hestia's direction. "You've borne witness to family secrets and traditions few outside the house are privy to. Do -not- forsake that trust." Quarcy Questant: " I. will. not. " Jancis Milburga reaches up and touches Denz's cheek a moment. "Secrets are so complicated." Hestia De'bayle: "You have our family's trust, Sir Questant." Quarcy Questant: " I- I'm honoured. And slightly terrified " Hestia De'bayle: "Perhaps it is a good time we have such information stored in a tome and locked away. But that is a discussion for a later date." Denz De'bayle taps his cane onto the ground, nodding in approval. "Very good. Return to your work, Quincy. Quarcy Questant: " Y- Yes sir "

Denz De'bayle smiles at Jancis as she caressed his cheek, before seperating with her and standing next to Hestia, mumbling low to her. "How many people have you told, yourself?" Denz De'bayle looks at her with his own guilty look. Hestia De'bayle: "Little to none. So. Only those I find close to me, who ask. Though I usually have very little offer them in answers. Thus, my suggestion. I often find myself curious of the happenings of this brand, with no one around often to look to for answers," she peers toward the back.

Denz De'bayle || Nuarmac watched Quarcy walk away, before turning to the two couples. "Right, well..."

Hestia De'bayle: "Should we perhaps... take this somewhere more comfortable then?" She asks, "or is here alright with you?" Jancis Milburga: "The manor in the Northern Reaches was well suited for it. And that was boards... but they had so many decades to become familiar." Denz De'bayle crosses his arms, looking to Nuarmac. "He gave the last two De'bayles their brands on the floor of an old manor. I -think- comfort isn't a priority." Quarcy Questant returned to his place a fair amount of books to sort for yet unknown purposes. Denz De'bayle || Nuarmac runs a hand through his beard in thought. "There -is- a good ambience around the Manor for such." He claps his hands together. "Very well! Janice has convinced me! Instead of operating here in this house, we shall return to my manor!" Killian De'bayle: "Wh-where?" Denz De'bayle cackles to himself. "How silly of me. I almost asked if we should do such in the comfort of Kerillian's own bed." Hestia De'bayle: "T-That seems like a bit of a trip..." Hestia murmurs, "why not... in case he reacts poorly, perhaps we should go instead go to our home?" Denz De'bayle ||NUARMAC CACKLES.)) Killian De'bayle: "M-my name is Killian..." Killian mumbles. Denz De'bayle plays dead for you. Hestia De'bayle seems to flatten her lips at this, a somewhat unreadable expression coming from this. Jancis Milburga apologizes, "Would it work elsewhere, then? You do have a home here, as well. And Killian is familiar with the people and walls." Denz De'bayle chuckles, looking around at everyone but seeing little humour in Nuarmac's crusade on anyone else's face. He sighes, placing a hand on the elder's shoulder as he moved to leave. "Uncle." He tilts his head with a knowing look. ♦Denz De'bayle: You could do with a few more moons away from the manor anyhow, Uncle. Jancis Milburga asks Quarcy before going, "May I come and ask about reading in the future, Lord?" Hestia De'bayle: "Killian, where would you feel better doing this? Here or at our home?" Killian De'bayle: "Um, I--I don't know, but...I need to put these books somewhere first..." Denz De'bayle || Nuarmac rolls his eyes with an exasperated sigh. "Very weeeeell. Lead on." Hestia De'bayle: "Then, to our home for now?" Quarcy Questant: " Of course M'lady, all are welcome to sample the collection in this library " You bow courteously to Quarcy Questant. Jancis Milburga reaches over to Killian's elbow, "I can carry them awhile. Share the load, yes?" Quarcy Questant quietly ensures the books are checked out if they weren't already. Killian De'bayle: "Um, okay. It's not much." Killian turns toward Jancis. "You can take the map, if you'd like. Maybe it would be interesting to look at. Have you used a tactile map before?"

Denz De'bayle fails to understand Hestia De'bayle. Jancis Milburga repeats 'map' and takes that, then tries to take something else too with helpful mischief. "Forgive me. I have not." Hestia De'bayle: "We will be heading out then," she exhales, peering back toward Quarcy momentarily in thought before moving to take her leave. Jancis Milburga: "Be well, Lord Quarcy." She also bids the books farewell. "Thaliak keep you all safe." ♦Denz De'bayle: ... Pleasure meeting you, sir Quarcy. Denz De'bayle nods to Quarcy Questant. Killian De'bayle is relieved of one of the books in his arms by the sneaky Jancis. "It's a map I can read," he says, following after those who are leaving. Quarcy Questant: " Be well everyone. And good look Sir Killian. May you return changed for the better " Hestia De'bayle leads the party up toward the gate, opening it carefully and shooing the dogs back as she gestured everyone in. Jancis Milburga tries vainly to help with another book along the way, giving up and looking about the area instead. Hestia De'bayle: "I can see that there are some snacks brought downstairs if need be, let me just... bring you all down there." Killian De'bayle shuffles after Hestia with a worried expression plastered over his face. Denz De'bayle || Nuarmac scoffed as he was lead into the house, eyeing the building. "Snacks. This is a proud tradition we are engaging in. Not some afternoon book club meeting!" ♦Denz De'bayle: Is this your first time here, Jancis? Jancis Milburga looks about the fireplace, then the stovetop, pausing at the painting on the wall and murmuring softly to it. Hestia De'bayle: "It will be okay Killian," she brings a hand up to rub at his arm soothingly, "I am here with you," she smiles wearily, "then I take it you do not want snacks then, Nuarmac?" Jancis Milburga: "Yes. Yes it is." Denz De'bayle || Nuarmac sets his lips, tapping his cane against the ground. "I didn't say that." Hestia De'bayle: "Ah, welcome then Jancis please... make yourself at home. I would have had food prepared if I had anticipated this happening tonight..." She smirks lightly toward Nuarmac, "that is what I thought." Denz De'bayle chuckles, shaking his head as he came up behind Jancis, placing a hand on her shoulder soothingly. Jancis Milburga murmurs, "Underwhelming. Thank you for bringing me here. I will be as useful as possible." Hestia De'bayle: "U-Underwhelming?" Hestia frowns, glancing down, "of course... ah, this way." Hestia De'bayle: "Perhaps this would be easier to do in the guest room, Killian? Our bed is not easy to stand around." Jancis Milburga pats Denz's hand lightly, "All will be well. Like Carina. Like Hestia." Denz De'bayle || Nuarmac follows the group, moving past Denz and Jancis as they halted in the hallway and followed them into the guest bedroom. He eyed the area, nodding slowly. "This will do." Killian De'bayle rests his cane against the wall and sets his remaining books on the nearby stand. Hestia De'bayle: "Well Killian, ah... I suppose you had best get comfortable then. Er... lying down." Denz De'bayle nods to Jancis, sucking in a breath. "I know. I trust him." Killian De'bayle: "O-okay," Killian murmurs, reaching down to find the bed with one hand before climbing into it and turning to lie on his back. Jancis Milburga follows once there is room, carefully setting down the book and map next to Killian's, "I will leave these here besides your stack, Killian. Oh. Look. It is like the Warden is here, too." Jancis Milburga touches the picture frame. Hestia De'bayle: "The Warden..." Hestia hums, peering up toward the sunset picture with a small smile. "Indeed. I quite love sunsets... I thought, perhaps our guests might wish to look at them as well." Denz De'bayle takes up his post by the door, silently crossing his arms and watching. His part to play was done, shepherding the man to Killian. Hestia De'bayle sits at the edge of the bed beside Killian, taking his hand, "I am right here with you, my love. Be at ease..." she pets at his hand gently.

Killian De'bayle lies with his hands folded over his stomach and his legs straight along the bed, staring vacantly up toward the ceiling with wandering eyes. Every so often he can be noted as taking a deliberate breath, obviously trying to stay relaxed. "Maybe I should take a field potion?" Hestia De'bayle: "Mmm. I do not know Killian. This is something you need come to terms with on your own. It will be with you forever... hopefully. You cannot take field potions forever." Hestia De'bayle: "Just remember I am here by your side." Jancis Milburga tries to be helpful, "As is Denz. And Nuarmac." She looks up at the painting again, "And I." Jancis Milburga: "A score more should they be called for." Jancis Milburga: "Perhaps even that man who brought the journal and interrupted last eve." Killian De'bayle: "Okay..." Killian mumbles. Jancis Milburga takes a focusing breath and gives Nuarmac a steady gaze, waiting for instruction. Hestia De'bayle: "Indeed. I am sure he is with you as well in spirit, Killian. Ser Évariste. And Summer and Mercy. Even Nogelle is here." Denz De'bayle || Nuarmac moved to the dresser, unceremoniously picking up the flower pot and putting his satchel in its place. He handed off the vase to Denz, before digging through his bag and removing a linen roll. Unravelling it, it held several small items. Quills, inkwells, and a scalpel. He first picked up the small blade, eyeing Killian dangerously. "Let us begin." -- Denz De'bayle -- The old man starts by picking between his teeth with the scalpel, before placing it down. Killian De'bayle draws another breath in an attempt at steadying his nerves, exhaling in a slow sigh. Denz De'bayle || The elder grabbed a quill and inkwell, moving up to where Hestia stood, tapping her with the head of his cane to get her to scoot aside. Hestia De'bayle does as she is tapped to, moving aside whill still keeping her hands on Killian. After a moment she instead stands and moves to the other side, removing her shoes first before getting up ont he bed to sit beside him. Killian De'bayle continues to stare up blindly toward the ceiling with those clouded eyes, occasionally flickering somewhat erratically. He reaches out with one hand as Hestia moves to his other side, searching for her. Hestia De'bayle takes his hand back into hers, rubbing her fingers against his knuckles. Denz De'bayle || Nuarmac knelt down next to the bed, his eyes swaying over the man before him. A hyur, short ears, a stunted neck, limbs more akin to a lalafell, less so than an elezen. The House had truly transformed in the last few years. His breathing became rythmic, his forehead illuminating the darkening room with a dull white glow. "Do lay still, my boy." As his hand waved over the inkwell, the contents began to match the glow of his forehead. -- Denz De'bayle -- His finger traced over Killian's forehead, eyes narrowing critically as he his mind imagined what needed to be created, what it would look like, and begun the process of making it a reality. Dipping the quill into the inkwell, it's contents were thicker than most liquids, a whisp-y sludge trailing against the tip. Carefully, he placed the tip against the man's forehead, thumb pressed down harder than his palm as familiar strokes of his wrist began to run the aetherical trails against - Denz De'bayle -- the hyur's forehead. To Killian, it would almost feel like warm air gracing his features, though there was an aetherical... weight behind it. As the quill moved to and fro, it pulled and weaved together a rough shape of the De'bayle tattoo. It glowed and hung, Nuarmac's opposite hand held up and waiting as he stared down at Killian. It was a point of no-return they reached. Jancis Milburga watched the beginning, eyes caught on the brush, the purity of the aether that Nuarmac's practiced skill showed. Quietly, she moved for the door and headed upstairs. Killian De'bayle makes an uncertain sound, trying to remain as still as possible with his hand squeezing Hestia's where she holds it. He obviously doesn't recognize the silent gesture from Nuarmac, perhaps assuming some sort of step in the process that goes unseen. Hestia De'bayle remained focus on Killian as well, holding to Killians hand with some returned tightness. As though to remind him she was still there.

Denz De'bayle || Nuarmac tilts his head in a nod, his free hand gesturing towards Killian's forehead, muttering incoherably to himself as the aether began to set deep into the man's skin. As it did so, the rough edges smoothed out, the details sharpened, and every leaf, every sumbol, every stroke of the De'bayle tattoo was now imprinted onto Killian's forehead. -- Denz De'bayle -- Aetherically, this process was not so simple. The weight of a bloodline's aether upon his mind would come as a crashing tidal, a wellspring of aether connecting it's spigot to the pipe that was Killian's body, flowing through him with unabashed fury. Mentally, Killian was struck with the sounds, feelings, memories, of strangers, people's whose accents heaved with Ishgardian origin, those whose tongue he couldn't understand, and everywhere in between. A hundred hundred lives were -- Denz De'bayle -- joining with him, and it required focus and purpose to clear away the noise. Killian De'bayle 's body stiffens as the sigil is set, a choked sound coming from him before his eyes roll back. His expression contorts as if struck with a physical blow and he lies rigid on the bed, clearly overwhelmed by the sudden flood of sensation. Hestia De'bayle watches this with some distress, her hands moving to press down firmly on him, as if preparing for a potential backlash. Denz De'bayle || Nuarmac's hand finally ceased its waving as the tattoo formed in its entirety. He seemed unphased by Killian's tension, standing up and calmly walking back over to the dresser to replace his quill and aetheric inkwell, waiting. Killian De'bayle lies still and stiff like this for some time, apparently oblivious to Hestia bearing down on him, before his head begins to turn back and forth as if in denial. "S...stop..." he manages out weakly, now trying to sit up or pull away from Hestia. "Please...I don't...understand..." Hestia De'bayle grits her teeth, holding down firmly on the man, using most of her power behind her arms. Denz De'bayle looked from Killian to Nuarmac, handing the elder back the flower pot before exiting the room silently. Denz De'bayle || Nuarmac would take the flower pot and place it on the ground, continuing to observe how the blind man would take to the aether. Killian De'bayle 's eyes open, wheeling wildly, his expression panicked. When he speaks his words are loud, as if talking over a crowd. "Hestia!? Hestia, I can't..." He trails off, obviously distracted by...something. "Please," he eventually speaks again. "Please stop. Please stop." Hestia De'bayle shakes her head some, eventually looking back toward Nuarmac, "he needs me to help him! Can I? Is it safe for me to connect to him when he like this?" Denz De'bayle || Even admist Killian's distress, Nuarmac remained stoic and stone-faced. He actually looked upwards slightly, as if the entire display was causing him an inconvience. He thought to himself for a moment, before looking down at Hestia. "It will be like navigating a stormy sea for a raft seeking shore. Possible, but dangerous and no less difficult were he to continue alone." Hestia De'bayle: "I am willing to brace that storm for him," she practically snarled out, still holding to Killian. "Killian! Killian I am going to help you, alright? Just... be ready okay?" Killian De'bayle is apparently oblivious to the exchange, still repeating his words. "Please stop...please stop..." Hestia De'bayle frowned, knowing full well her words would not reach the man. Taking a deep breath, she leaned forward, her hand moving up to brush up her bangs and press her forehead to his. Killian De'bayle doesn't seem to respond physically to Hestia's movement anymore than he did to her restraint, although after a moment his words cease and he stills, staring blankly and releasing a groan. Hestia De'bayle sat with her eyes closed, nothing but stillness between the two. For now. Killian De'bayle remains still and silent, eyes wide but still, more than likely hidden by Hestia as she leans over him. Hestia De'bayle finally flutters her eyes open, a deep breath leaving her in the process. "Ah..." Killian De'bayle exhales in a sigh, closing his now-bloodshot eyes as his body relaxes into the bed. After a few moments, he opens them again, blinking hard. "Ah...they hurt..." he mumbles. Denz De'bayle || Nuarmac raised his head, keeping half an eye watching out for the young pair. "Welcome back to the land of the living." He tapped his cane against the ground. "Enjoy your trip?"

(♦Denz De'bayle) *Denz would come back up the stairs, looking about until his eyes settled on Jancis. Walking up to her, he placed a hand carefully on her side, leaning over to look at her.* "Are you alright?" (Jancis Milburga) Jancis had made a bit of a mess, cabinet doors still open for where she was exploring and didn't want to close them less to make more noise or have to open it again later to find something. She was cutting up vegetables slowly, again to be silent. Her gaze lifted up to Denz a moment, "I am safe and healthy. This is useful. They will need it. It is exhausting. It is important." (♦Denz De'bayle) *Denz's arms wrapped around Jancis, the plate moving aside cloth and pressing against her as he hugged her smaller form.* "You will need it, 'ere long." (Jancis Milburga) Her hands paused, still with knife and stalk as she felt herself conform to the plates that pressed against her. "..." Eyes closed, she took a slow breath, her ribs gently pushing back against him. "Need it. Forgive me. I am underwhelming in all this. There are so many other important things." (♦Denz De'bayle) *Denz shakes his head., smiling lightly.* "I meant for when -you- are exhausted from being given the tattoo, Jancis. That is still important." *His hands came to snake down her arms, gently removing the knife and food from her hands carefully.* (Jancis Milburga) Jancis gives the barest of protests, stretching out her fingers before curling her arms back inward away from the work. (♦Denz De'bayle) *Denz let out a small exhale, his lips still in a smile as he rocked back and forth slightly, his hands following the arm curling to ravel her up in an embrace, silent for several minutes. Every so often, he simply kissed her head or adjusted how he leaned his head against her.* (Jancis Milburga) "Is it? To whom? You see me. You already see me. Even in war you see me. I can barely speak of the most amazing parts of my life without an interruption or being quieted for other news or briefly congratulated and then moved on from. The miracle of mine life is underwhelming compared to all else. Except to you. And Chachanji, he spoke constantly about it when I visited him. Do you want them all to see me as well as you do?" (Jancis Milburga) Jancis soaked up every moment of Denz's presence, as if it was the first time, as if it was when he survive being purged as she tried to cleanse herself of painful doubts that plagued her. Her head turned, eyes on the red hues of the armor, breathing in the scent of it. (♦Denz De'bayle) *He nodded against her head.* "I do. It is selfish of me to dare keep you all to myself. But... I know of one other who will see you as much as I do. Nay, even more." *His hands moved away from her arms to come and linger against her stomach. His coat, a scent mixed of steel and bread.* "The two of us will just have to help the rest of the world see how bright you are." (Jancis Milburga) Her form would feel a bit different, something someone intimately familiar with Jancis would recognize. She was quiet, listening and staying against Denz. "Selfish of me. I. I want to talk about nothing else. Yet these past moons I listen and respond to everything else. There is nothing more important than you two." She turns her head, gazing up lovingly at him the smile growing in fondness. "You make me bright." (♦Denz De'bayle) *He returned the smile, shaking his head.* "Then pray allow me to speak about nothing else until the end of my days. 'Twould be the least I could do." *With a joking grin, he leaned forward, placing a kiss upon her lips, before his long ears twitched from the voices downstairs. He turned his head towards the doorway, but otherwise failed to move from his embrace.* (Jancis Milburga) Jancis did catch that grin, so strongly was she watching him, and returned the soft kiss. “For I do not exist: there exist but the thousands of mirrors that reflect me. With every acquaintance I make, the population of phantoms resembling me increases. Somewhere they live, somewhere they multiply. I alone do not exist.”

Hestia De'bayle: "I think you might have left them open..." Hestia manages a dry chuckle, rubbing a hand to the mans face. Killian De'bayle: "My trip? It was...it was loud..." Hestia De'bayle: "I managed to help him find some understanding in the chaos, to... help him close himself off to those voices on a normal basis." Killian De'bayle: "Can I...is it okay if I get up now?" Hestia De'bayle: "If you feel alright enough to stand, do you need some food? Water?" She shifts to stand herself, stretching her stiff limbs. Killian De'bayle: "I don't...I don't know yet." Killian groans as he sits up and climbs out of bed, reaching out until a hand presses to the wall. "I think I need to wash my face. My eyes hurt." Denz De'bayle moves his lips to the side, beard and mustache adjusting in thought. "A trial most have completed on their own..." He holds up a hand. "Stay down. Your body is still overflowing with aether and we've yet to seal it. As well..." He looked sidelong to Hestia. "He is not as your mother was. Will I be placing the actual sigil on his head?" Hestia De'bayle: "Perhaps you should keep them close awhile..." Hestia peeks over toward Nuarmac, "is that what you want Killian?" Killian De'bayle: "Oh," Killian mumbles, sitting back down on the bed. "Um...I don't...it doesn't matter to me where it is." Jancis Milburga asks Denz from the kitchen, hearing the voices in the otherwise silent home. "Do you feel them? All of them?"

Killian De'bayle: "I'm sorry...I'm sorry I couldn't...do it on my own," Killian mumbles, his face turning pink with shame. Hestia De'bayle: "Killian. This brand has nothing to do with doing anything on your own. Its very existence embraces the act of connection with another. There is no shame." Killian De'bayle: "But if it's a trial you're supposed to get through without help..." Hestia De'bayle: "No one said it was a trial you needed to get through alone," she points out. "Just that you needed to be able to work through it." Denz De'bayle slowly nods, unraveling himself from his hug with Jancis slowly. "... Barely, but it is there." ♦Denz De'bayle: He appears to have made it. Denz De'bayle || Nuarmac continues to wait patiently for an answer to his question, looking back and forth between the two. Hestia De'bayle: "He will accept it," she nods toward Nuarmac. Jancis Milburga lingers equally before going back to the platter of cut up vegetables and other small dry foods she found while exploring the cottages' cabinets. "Of course he did. He is fairly strong for all he hides it. From himself. Did not even need someone filtering out memories. Is that thanks to you?" ♦Denz De'bayle: Hm? No, I was up here with you. Denz De'bayle looks back at Jancis, tilting his head. "I believe Hestia then aided him." Denz De'bayle || Nuarmac nodded slowly. "Then lay back down, Kerillian. This will only take a few minutes, and the pain will be substantially less than you previously experienced."

Hestia De'bayle takes a hold of her husbands hand again, squeezing there. Killian De'bayle lies back in bed, settling his free hand back over his stomach. "Okay." Killian De'bayle dozes off quietly. Jancis Milburga: "But the dark memories. The broken pains and anguish." Jancis looks thoughtful a moment, "Hestia curiously enough is the most experienced with them, second only to your uncle."

Jancis Milburga tries to correct her poorly worded thoughts, "Connections, I mean. Not dark memories." Denz De'bayle || Grabbing the second vial and another quill from the linen roll, Nuarmac set to task swiftly applying the physical black ink of the tattoo on Killian's forehead. The ink itself was of an aetherical nature, but no one near comparable to what Killian was previously marked with. The quill tip flew over his features, lightly scrapping into the skin and etching dark lines that bled and covered the still glowing brand on the blind man's forehead. "Once I am finished, I will connect with you,- Denz De'bayle -- storing away as much aether I can within your body." Killian De'bayle: "Uh," Killian says uncertainly, "okay...that might be a lot. I had to practice trying to hold more and more aether in to prolong the time I can go without trapping it before it kills me, in case something happened and I lost consciousness." Denz De'bayle tilts his head. "So I've observed. I've been... negligent with dream walking with you. The last time was..." He thought to himself. "Helping out your friend Lady Crofte, yes?" Denz De'bayle || Nuarmac chuckles darkly to himself. "As you say." The aetherical ink continued it's way onto the man's forehead, before it finally set into place. His breath was pressed against Killian's features as he got -really- close to the conjurer to make sure everything was in place. "And that... should..." One more rather sharp prick in the middle of Killian's forehead. "... do it." Killian De'bayle presses his lips together in an effort not to wince. "Um. Thanks..." Jancis Milburga looks up, looking over Denz's pondering. "You were badly wounded at the time, there were others. You wanted to see Lucien. And. And to make that ruby, but I know not what you saw, then. I was overwhelmed." Hestia De'bayle: "There you have it Killian," Hestia smiled. Denz De'bayle pressed his lips together, eyes widening. "Ah, right. Not as negligent as I think I am." He cleared his throat, pressing his lips against Jancis' cheek. Killian De'bayle: "Okay...and now the aether? Do you want me to keep it trapped? Or just let it go through?" Denz De'bayle || Nuarmac nodded over his handiwork, before looking to Hestia. "Right, make sure he doesn't swim anywhere for the next day or so. Never know how runny that ink could get." His lips curved into a smile, as he stepped away from the bed momentarily, placing the ink well and quill back into his linen roll, before moving once more to the bedside, placing his hands on the sides of Killian's face brazenly. "Just keep still. One last invasive act." Killian De'bayle: "Uhh," Killian replies gracelessly, his head kept in place by the Elezen's age-gnarled hands. Jancis Milburga colors a bit at the apologetic kiss, "Your family needs you so much." She doesn't disagree completely in her defense, "I would try it again with you." Denz De'bayle || Nuarmac moved his fingers from the sides of Kilian's head to his forehead, sliding the fingers past his temples as he palmed settled against the tattoo. Once more, the elder's brand began to glow, his lips moving as he entered into the void of Killian's subconscious. Not to view memories, not to connect mentally with him, but to look past it all and visualize what his body was, and the aether that flowed through it. -- Denz De'bayle -- Once he had taken stock of the situation, he began taking in the great depths of the family aether that flowed between the two of them, gathering it into a "ball" that aimed to fill the empty space of the man's essence. Larger and larger it grew. To Nuarmac's surprise, much larger than he gave Killian credit for, the aether nearly comparable to what a De'bayle could naturally retain on their own. Impressive. With each word uttered, a rune flitted across his vision, beginning to form -- Denz De'bayle -- around the coalesced family aether, until an outer ring was formed. A command word was uttered, and the symbols connected. The strange, uplifting sensation that came with a renewed body filled to the brim with aether would flow through Killian, and then some, as the energy seemed to stick, as opposed to it's wayward nature the blind conjurer was so used to. Nuarmac's eyebrows furrowed, curiousity on his features, but he ultimately removed his palm, shaking his head to clear up his -- Denz De'bayle -- vision of Killian's subconscious.

Killian De'bayle 's expression shifts with a myriad emotions as Nuarmac works - concerned, curious, a little afraid - until finally settling on outright, unadulterated awe when the Elezen finishes. "It...it's not moving. It's not moving. It's just staying there." Hestia De'bayle: "Is that... good?" Killian De'bayle: "I'm not trapping it. It's just staying here. It's not going anywhere. It's not leaving." Killian still seems dumbfounded, obviously in disbelief. Denz De'bayle || Nuarmac flicked his hand back and forth, as if he had burned it on something, before slowly standing it. "Very well... I assume that is all of my 'services' you needed, young lady?" He raised an eyebrow at Hestia, occasionally looking at Killian. Jancis Milburga: "Is this platter missing anything before we take it downstairs?" She hands it to Denz, regretfully stepping away from the man as she leaves the kitchen how she found it, sans the food she stole. "Or should we leave it here for them?" Killian De'bayle: "Wait, my...my magic. I can't take anymore aether than...than this...if I can't use what you gave me, how can I draw aether through to cast magic?" Hestia De'bayle looked over toward him, her lip twisting back some, "ah... yes," she shifts uncomfortable. "Thank you, Nuarmac. Really. This is more than a service to us. You have helped me, from one family member to another. I will not forget this kindness." Denz De'bayle reviews the platter, adjusting some pieces of food on the platter before holding up a thumb. "It appears good to me, my love." He would lead her downstairs, opening doors for the hyur as they came upon the other family members. Killian De'bayle pushes himself up into a seated position as footsteps approach. Jancis Milburga follows along, thanking Denz before going through the door, eyes eager on the trio in the room. "You are up." Hestia De'bayle turns toward Jancis and Denz with a smile, "he made it through!" Killian De'bayle: "Hestia...Hestia had to help me, though," Killian admits. Jancis Milburga: "Of course. It is meant to be together." She says with great confidence. "There was no doubt in that. But sitting up so. And how you look... less that is the warm painting, you look well." Killian De'bayle certainly looks healthier than any in the room have ever seen him, with some natural color to his face that for once isn't a result of an embarrassed blush. Denz De'bayle || Nuarmac nodded to the pair as they re-entered, moving away from the bed while rubbing his hands together. Snaking his head about for a moment, he sets about replacing his tools into his satchel, making his way to the door silently. Denz De'bayle stopped the old man in his path, giving him a knowing look, before nodding the other three inside the room. Hestia De'bayle: "Thank you as well, Denz, for helping to bring him to us. I cannot... begin to tell you how much this means to us. To me." Denz De'bayle || Nuarmac grumbled lowly, before clearing his throat. "Right, all the best. Janice, Denz insists I speak with he and you at your earliest convience. I will be returning to the Shroud, as Jadea still waits for me." Denz De'bayle steps into the room, nodding to Hestia. "'Tis what we as a family are meant to be to one another." Jancis Milburga turns back to Nuarmac as he goes. "Insists." She says as the door starts to close. "As you like! Be safe. Little Jadea, too!" Hestia De'bayle: "Be safe great-uncle!" Hestia calls out toward him, "are you two to be taking your leave as well? This went on for quite awhile... expected, of course." Jancis Milburga turns back, her hand going to Denz's back and encouraging him to put the tray down on the bed. "You both must be hungry. What of aether? I could help." Her hands go into her tunic, pulling out a semi-familiar chain. Killian De'bayle: "I don't...I don't need it," Killian murmurs, flexing his hands in his lap. "It's not moving. It's not leaving." Hestia De'bayle smiles, "do you feel at ease? I am quite hungry myself... I am sorry, I was supposed to bring snacks down..." Jancis Milburga: "Here as long as you need! Of course! I am not -that- hungry." Jancis looked over at Killian, smiling softly at his quiet words and expression. "Warden truly was close, even when Her light is resting."

Denz De'bayle places the tray of food down at the food silently smiling and watching everyone speaking with one another. Jancis Milburga: "We found some. It is better this way. Carina needed more by her side to aid with the connection. But. But she had you to think about, too, at the time." You smile at Hestia De'bayle. Hestia De'bayle: "Me..." Hestia murmurs, "I hope... it was worth it to her," she says quietly. "It seems like a lot of trouble... pain." Denz De'bayle || Nuarmac exited as everyone said their goodbyes. Killian would be able to sense in a general direction where the man was for almost a minute before his presence disappeared from his conscious. Killian De'bayle: "Hungry...okay...I can eat something...something easy, maybe, bread or...or soup..." He turns his head toward Hestia as she speaks. "It was worth it. I'm sure she thinks it's worth it." Jancis Milburga agrees, "That is an obtuse thing to say." Hestia De'bayle frowns, "mm..." Hestia peers away. Denz De'bayle looks from Killian to Hestia. "Are you both alright? Beyond obvious hunger? Is there aught else you need 'ere we take our leave?" Killian De'bayle: "I think...I think I'm alright." Hestia De'bayle: "I am alright. Thank you for all your help, truly." Jancis Milburga leans down, trying to catch Hestia's eyes, "You are loved and worth that and more. We are but a word away." She touches her ear. "Well, for others." She focuses on the girl's forehead. Hestia De'bayle glances back up toward Jancis with a small nod. "I hope to someday make up for that trouble and more with action. I know... I am loved. I want my being here to mean something," she swallows. "You two have a good evening. Rest easy." Killian De'bayle: "Thank you," Killian murmurs, sounding a little distracted again. "Thank you..." Jancis Milburga: "It does not mean pain, my sweet zinnia." She tugs on her tunic, edge of a handkerchief peeking out. Her eyes go to Killian and smiles at him regardless. "Rest deeply." Hestia De'bayle looks to the handkerchief with a wide stare, her expression softening with the upturn of her brows. "We shall." Denz De'bayle watches the exchange between Hestia and Jancis with no small amount of interest, before fruitlessly nodding to Killian. "Aye. Good night, you two." Killian De'bayle: "Goodnight, Lord Denz, Lady Milburga." Jancis Milburga: "It is the Beds, but will you hold my hand so I do not get lost?" You smile at Denz De'bayle. Denz De'bayle smiles down at Denz, carefully taking up her hand and leading her out of the guest bedroom.

Killian De'bayle Hestia De'bayle Denz De'bayle Jancis Milburga Quarcy Questant Nuarmac De'bayle

April 10 2018

#Killian De'bayle #Hestia De'bayle #Denz De'bayle #Jancis Milburga #Quarcy Questant #Nuarmac De'bayle

4 notes · View notes

praphit · 6 years

Text

Slender Man: They hate him cuz they ain't him

It was a big weekend in movies! We were torn between two films. There was of course "BlackkKlansman" - this movie has strong acting, the amazing and quite possibly the angriest director out there Spike Lee, and even that Adam Driver guy I feel has been on the come up. Tons of social commentary: important thangs to talk about concerning race, this nations history with slavery, and the current state of our government... good stuff! Hittin all of the issues! - BUT, that's not the movie we chose to see.

We naturally went with "Slender Man" instead.

You might say "But, John Praphit, BlackkKlansman has Denzel Washington's son, important issues, and powerful directing... what were you thinking?"

Hey, don't sell The Slender Man short - he has with him... um... Joey King! And... Julia Goldani Telles.

You say "Who the hell are they?"

Yeah, idk. I've also never heard of the production companies or the director, BUT that might only mean they haven't had their fair shot; this could be it! And maybe Slender Man is also filled with the social issues of the day; you don't know! - but I'm here to tell you:)

Let's take a look at SM here -

He's really rockin that no face thing isn't he?? See, many might try hair with the lack of a face. I think no hair is a good call. Imagine Slender Man with an afro;

he'd look ridiculous. And that suit - are you kiddin me??! YES! I mean, idk why he needs a nice suit when he only hangs out in the woods, but... he's prepared. We all have that friend who's always overdressed; though we may make fun of them, part of us kinda wants to be them. Idk what's going on with those tentacles/ tree limbs growing out from behind him... he must be self-sonscious of them though, because whenever they start to show in this film, they cut away. He's got too much style to be a horror movie monster. Perhaps this well dressed creature is simply misunderstood.

Despite his dreaminess, this movie stars more than SM, but these fine what's-their-name actresses. The movie starts off with four girls, who have been close friends for a while, who have a hangout featuring vodka, porn, and occult stuff. One thing I appreciate about this movie is that they get into the horror quickly. There's a lil build up to show how close they all are, and some family atmosphere, but then we're right into the scary.

I have to mention the family dinner :) It must be an art form to capture genuine dinner scenes, cuz this one didn't have it. One of the daughters in the dinner scene only drank water... I mean no eating of anything... she had food, why just the drinking of water... curious. And there's a dad in the beginning dinner scene who's buttering his bread for like 5 mins. I was thinking at the moment "Is anyone going to bring up daddy's butter problem?" He was just buttering and buttering and asking the kids about their days, and right back to buttering.

(the war ain't over for this family)

Sooooo, back to the vodka, porn, and occult.

THAT, my friends is a hell of a weekday (school night) hangout. The gathering around the Tv for pornography and summoning of demonic beings are to be expected - their kids, let them have fun! BUT, the drinking! - Parents, be better! Their ruined teenage livers are on you.

It's straight forward. They watch some weird vid (kinda like "The Ring") and the craziness begins. Apparently, after watching this vid, you may start to see The Slender Man; if you do he's got you. You will either end up missing or go crazy... or both, I guess. One of their friends goes missing, and they begin their search for answers. They end up asking some stranger that they met on the internet for advice, and this stranger tells them to offer Slender Man something of value to them in exchange for their friend.

Ok, so let's rewind. They follow a STRANGER'S advice to go into the woods and sacrifice things of value to some supernatural being. They do this dumb thing, but they kinda half-ass it. Their "things of value" end up being a photograph, something one of them made in arts & crafts... and like a lucky T-shirt or something. Your friend has just been kidnapped! You may want to dig a lil deeper. "Here Slender Man, let me offer you my last chicken nugget. I'm full anyway. Can I have my friend back?"

The Slender Man must have thought to himself "Arts & Crafts? Really? These girls must be trying to punk me." He then spends the rest of the movie making them regret their poor sacrificial decisions.

When the cool and creepy gets going, it doesn't stop, and it's very effective. I love how they mess with the audiences heads with the imagery. You'll start seeing Slender Man everywhere. They don't rely on cheap gore scenes and jump scares, which I also appreciated about this movie. They even use scenes that lead you to believe something horrific is about to happen, but then it won't... not in a disappointing way, but it's intense. Well done!

The two actresses that I mentioned earlier are also good in this movie.

One of them has that glassy-I-could-cry-at-any-moment-eyes. She'll make you feel her pain.

There's another actress in here who does a good job at making us believe she's scared. It's like they gave her hallucinogens and filmed her having a bad reaction.

This is another one of those supernatural monster movies when everyone just kinda has to guess what to do. Sometimes, in these types of movies there's an expert of sorts, but the only "experts" here are strangers online.

I enjoyed this movie:)

Though, when I say they had to figure things out (and I understand that), there are things they should have known to do and to not do. There are plenty of things that the writers either didn't think about or didn't care about.

The kids for example, run out into the middle of the woods AT NIGHT to sacrifice their items, which no one told them to do. Literally, the middle of the woods! Forget Slender Man, there are all kinds of things that could happen out there. Which again, parents, you're bleeping up!

And about these parents, where the hell were they?! Some of these parents are barely around (buttering bread), while others are never around. One of your kids was just abducted! More of them are losing their minds! WHERE ARE YOU?!

There is one slight spoiler I'll throw in - one of their friends (who happens to be black)... something happens to her, and when her friends find out the state that she's in, they simply say "I knew something was up with her", and keep going! They could have helped her, but NOPE.

What about the teachers? These kids are in highschool. One of the kids actually gets lost on a school trip. No help from the school. No accountability, apparently and no concern. Some of these kids are losing their minds on school property. Those teachers just kept on with the lessons. Not even the other students help out these main girls or are even concerned. We're all just going to pretend like students are going crazy and missing?

Lastly, the police! Almost no police in this movie. No one questioned, no protection, no investigation. It's kinda like kids get screwed over so much in this town that the police have given up.

This all sounds like a lot bad writing ( and it is), but it also kinda adds to the fun. There will be those who will heavily downgrade this movie, because they are Slender Man lore purists, and apparently on that level this movie doesn't begin to measure up. Idk nothing about that, soooo I went in fresh, and enjoyed my new friend Slender Man. That's right, he's my buddy. I still say he's misunderstood. I mean, he IS out in the woods, and we DO see him coming after the kids, but what does that prove?. Maybe SM is a nicely dressed homeless man just trying to get by in the woods. Maybe these kids are just out in the woods doing shrooms (way to go, parents) and falling into holes never to be seen again. Live the Slender Man alone! The man doesn't have a face! - I'm sure his life is hard enough as it is.

Or maybe he's murdering kids out there, idk. You be the judge. Though I admit that certain pics you'll find on the internet aren't helping me prove his case.

Grade: B

Everyone who factored into this movie's 15% rating on RT are just haters. They're just jealous of my main man SM and his fly suits. They hatem cuz they ain't him.

Some of you might be saying, "But, Praphit, I'm sure this movie is aiight, but BlackkKlansman had those important social topics!"

I could argue that "Slender Man" does as well.

#1 - The black girl that her friends just kinda leave behind. I mean, seriously, what the hell? #blacklivesmatter

#2 - Lesbians - two of the friends in the group sure were close... like real close. Some may think I'm reading into things that aren't there, but I say these characters were forced to remain in the closet. But, maybe their parents found out... maybe that's why none of them are ever around. They couldn't bear that forbidden love. Apparently, The Slender Man does his thing around the bible belt.

#3 - Missing Kids! Not something I used to think about, but now whenever I go into a new town, I check to see how many kids go missing there and how often. If it's an alarming rate, I'm out! When SM is done with the kids he might start on the adults. Besides, if the cops are letting this many lost kids slide without an investigation, what else would they turn a blind eye to?

#4 Mental Illness - perhaps people we label as mentally ill are the ones in the know. Maybe we should all start listening a little more.

Y'all can come to me. I'm here for you. I'll listen. The next time you're out in the middle of the woods (because a stranger online told you to) and you notice a man with no face, wearing awesome suits, with trees growing out of his ass you can tell me. I'll listen and get you the help you need:)

#slender man #john praphit #praphitproductions.com #horror monsters #Horror Movies #Movie Reviews #praphit #butter

2 notes · View notes

weekendwarriorblog · 3 years

Text

The Weekend Warrior 8/20/21 - REMINISCENCE, PAW PATROL: THE MOVIE, THE PROTÉGÉ, THE NIGHT HOUSE, FLAG DAY, DEMONIC and More

Ugh.

Apparently, we have four or five new wide releases this weekend, just as we get into what I always lovingly referred to as “The Dog Days of Summer.” Thanks to COVID, that could be referring to almost every weekend this summer, but it definitely becomes more true as we get to the end of summer as many kids are returning to school, some of them wearing masks, others social-distancing, some just getting us closer to the herd immunity we were always heading towards… ha ha… that’s one way to see if anyone is even reading this column. Get Political!!

Presumably, the widest release this weekend will be the sci-fi noir, REMINISCENCE (Warner Bros.), starring Hugh Jackman, Thandiwe Newton, and Rebecca Ferguson, which is the feature directorial debut by Lisa Joy, the co-creator of HBO’s popular series, Westworld. Like The Suicide Squad, In the Heights, and every other Warner Bros. movie this year, Reminiscence will be released concurrently on HBO Max this Friday. Unlike any of those other movies, I honestly don’t think anyone will give a shit about getting off their asses to risk COVID in order to see this. And I say that a.) without having seen it; b.) knowing almost nothing about it; c.) not believing the poppycock that movie theaters are the death traps some claim; and d.) I already have a ticket to see it on Friday.

In fact, I almost feel like I shouldn’t do a lot of research into what this movie is about, because despite having seen the trailer a few times, I still have no idea. All I know is that it stars Hugh Jackman, and it’s science-fiction, and that’s enough for me! (I haven’t even watched that much of Westworld beyond the first season for no other reason except that I haven’t.) The plot according to IMDB is, “A scientist discovers a way to relive your past and uses the technology to search for his long lost love.” Good enough for me.

Okay, then, so basically it sounds like a Christopher Nolan movie like Tenet or Inception from a lesser-known director -- who also happens to be Nolan’s sister-in-law, because she’s married to the other Westworld co-creator Jonathan Nolan. See how Hollywood works?

Because of all the Nolan connections, maybe we need to look at something like Transcendence, the 2014 sci-fi thriller directed by Nolan DP Wally Pfister, which starred Johnny Depp, Rebecca Hall (coincidentally), and Paul Bettany. The movie opened in mid-April (a known dumping ground) to about $10.9 million in 3,455 theaters, and then tanked, making just $23 million domestically. (It made about $80 million overseas.) The fact that the title Reminiscence bears more similarity to Pfister’s movie brings another level of foreboding.

At the time, Depp hadn’t completely destroyed his career, and he still had a few bit hits under his belt, including Into the Woods and his final Pirates of the Caribbean movie in 2017, as well as Murder on the Orient Express. Jackman, on the other hand, is still in a better place career-wise, although he still owes much of his career to playing Wolverine in the X-Men movies for nearly two decades. He’s had one significant hit since Logan’s swan song, fittingly enough in 2017’s Logan, which grossed $226.3 million domestically. That was the PT Barnum musical, The Greatest Showman, which made $174.3 million over the holidays that same year, and that really centered around Jackman as a leading man. His next movie, the Gary Hart movie, The Front Runner, didn’t fare very well (less than $2 million gross), nor did the animated Missing Link, although the latter did get an Oscar nomination. The question is whether Jackman can do much to get moviegoers into an original science fiction movie with his mere presence.

Even the rest of the cast that includes Ferguson from Tom Cruise’s Mission: Impossible movies, Newton from… well, another one of Tom Cruise’s Mission: Impossible movies, and Daniel Wu from the series Into the Badlands and the most recent Tomb Raider movie. Again, take these three out of a franchise and who knows if there’s really much left?

I’m not even sure how many theaters Warner Bros. is releasing… sorry, I hate spelling out the title of this movie… into, but I have a feeling it won’t be that much more than 3,000, especially with the movie being readily available on HBO Max and all the week’s other movies being theatrical only.

Because of that, I’m very dubious about this movie making $10 million this weekend. In fact, I’m not even sure it can make $8 million this weekend. No, I’m probably going to go closer to $6 to 7 million on this, and even that might be overly optimistic.

Unfortunately, I wasn't able to see Reminiscence in advance, so we'll just have to see what other critics who see it think about it. I’m not really expecting it to get too many good reviews, since it seems like the kind of movie that critics go to see begrudgingly, because they were assigned to see it, more than having any interest in it. And I was right.

On the other hand, I’ve already been seeing rave reviews about the animated PAW PATROL: THE MOVIE (Paramount), which I also haven’t seen, and in fact, I can guarantee that I will never see it. Why? Because I don’t have kids. Nor will I ever have kids. Nor do I know anything about this other than it’s about police dogs?

In fact, opening in 2,700 theaters, I wouldn’t be surprised if this rare G-rated movie ends up winning the weekend, or at least comes in second to Free Guy, despite many kids being back in school, kids being unvaccinated and more likely to get COVID by going to movie theaters, etc. etc.

If you can’t tell, I’m writing this while on a mini-vacation and I’m kind of in a “I just don’t give a shit” kind of mood right now, but as I said, I don’t have kids, and the only reason I know what “Paw Patrol” is because the people I know who have kids seem to know of the movie’s existence. Maybe even some of them will take their kids to see it or at least wait until it’s on Paramount+, which you know is coming.

I’m going with this making somewhere around $8 million this weekend, taking second place behind Free Guy, which should continue to do well with little other direct competition.

On the other, other hand (I have three arms, you know), I have had a chance to see the action flick, THE PROTÉGÉ (Lionsgate), directed by Martin Campbell of Casino Royale acclaim and Green Lantern… what’s the opposite of acclaim? That.

The movie stars Samuel L. Jackson and Michael Keaton, but more importantly, it stars… the awesome Maggie Q from Mission: Impossible III! (See a pattern in this week’s Weekend Warrior?) Most will probably know Ms. Q from her run as Nikita on the show of the same name, and she’s definitely back in that mode for this action-thriller in which she plays an assassin looking for the killer of her mentor (Jackson) which puts her at odds with another assassin, played by Keaton. I loved the fact that Maggie appeared in three very different movies last year from Sony/Blumhouse’s Fantasy Island and two other movies that ended up going to VOD, but the former of these shamefully opened with just $12.3 million over Valentine’s weekend and then it quickly got destroyed, first by the release of Blumhouse’s The Invisible Man in its third weekend and then by COVID, because theaters shut down in its fourth weekend. It made less than $50 million worldwide, which is a shame, because I actually liked it.

This is another case where I don’t know how many theaters it’s getting, although I do know reviews are embargoed until sometime Thursday evening, which is never a good sign, and actually, I can’t even tell you if I liked it or hated it until then, so… I guess we’ll have to go blind on this one, assuming Lionsgate will dump it into around 2,300 theaters with very little promotion. Even though action has been faring well this year, I have a feeling this will struggle to make $3 million this weekend.

Mini-Review: As I’ve probably mentioned, I love Maggie Q whenever she’s in any movie, but she’s particularly good in this sort of action role that requires a little more of a dramatic touch than we’d normally get from a man in this type of role. Sure, we can be slightly worried when there’s a movie with a female lead both written and directed by men, and some of those worries are founded, but Ms. Q always finds a way to bring more to her roles, and that’s the case here as well.

The general plot is that her Anna is an assassin and when her mentor Moody (Jackson) is murdered, she sets out to find his killer or killers, which brings her back to Vietnam where she runs headlong into another known as Rembrandt, played by Michael Keaton. At the same time, Moody has set Anna on a mission to find a boy whose father was assassinated 30 years earlier, as she learns that the two things are connected.

Written by Richard Wenk, who has quite a bit of experience with this sort of action movie, having written Denzel’s The Equalizer movies, as well as a few of The Expendables movies, he gives the movie enough story and characterization to separate it from the normal trashy action movie where that stuff isn’t important. For instance, giving Maggie’s Anna a full backstory with Samuel L. Jackson’s Moody, her blues guitar-playing mentor, or having her be interested in books and running a bookstore.

Unfortunately, the movie is kind of erratic, comical sometimes but deadly serious for the most part and the flirtatious relationship between Anna and Keaton’s character leads to some super cringe-worthy moments. While the action and fight choreography is pretty solid, the fact that 69-year-old Keaton doesn’t seem to be doing much of the actual fighting is a little too obvious. (Is he trying to be Liam Neeson now?) The way the violent fighting leads the two of them into bed also feels problematic. I generally abhor any sort of violence against women, but at least Maggie Q makes her character look super-tough and able to handle anything.

I wasn’t as keen on the film’s multiple twists in the ending or the flashback to Anna’s past, which seems to come far too late in the movie. In general, women are going to HATE this movie and I know exactly why, but men will probably enjoy it for just as many obvious reasons. All-in-all, it’s not a terrible throwback action movie that only sometimes goes off the rails. Rating: 6.5/10

Next, we have another highly-acclaimed horror film that played back at the Sundance Film Festival back in 2020 (like the recent Nine Days) with David (The Ritual) Bruckner’s THE NIGHT HOUSE (Searchlight Pictures), starring Rebecca Hall as Beth, a teacher whose husband Owen shot himself but not after designing and building their house on the lake. Shortly afterwards, weird things start happening and Beth thinks the house is haunting, but then she discovers a mysterious mirror image on the other side of the lake, and things start getting even weirder.

Definitely don’t want to say too much about this, because whether you like it or not might rely on whether you like the twist(s) in the movie, and I’m not sure that average moviegoers will like them as much as the type of person that goes to the Sundance Film Festival.

Hall is one of my favorite actors, because I feel she can do anything but she’s also very underrated. I mean, she can play a role in Iron Man 3 (one of the best things about that movie) or a movie like Transcendence (mentioned above) or Godzilla vs. King Kong or do comedy like ...um… Holmes and Watson, if anyone would consider that “comedy.” What she hasn’t been able to do is really get people out to theaters with her presence, although one of her more successful non-Marvel movies was Joel Edgerton’s The Gift, and she’s done a couple other good thrillers.

On top of that, the movie is still sitting pretty with 90% on Rotten Tomatoes, which makes one wonder if Sundance buzz is able to transcend the 20-month gap since a movie’s premiere, and Nine Days seems to say otherwise. Another thing going in The Night House’s favor is that there’s been quite a bit of horror movies in recent months, which means this trailer has played in front of a lot of them.

I’m not really sure why Searchlight didn’t put this concurrently on their streaming partner Hulu, but maybe they’re giving theatrical another chance even with COVID still being a concern to many, but maybe not the fan of horror who might want a little escapism. This is only opening in about 2,000 theaters, and I think that might make it tough for it to make more than $3 or 4 million.

Mini-Review: Like with Maggie Q above, Rebecca Hall is an actress who I honestly think can do no wrong. Therefore, David Bruckner’s thriller might already have a bit of an advantage, because I assumed (correctly) that this movie will feature a lot of the filmmaker’s camera trained on her at all times capturing her every emotion, every fear and facial twitch.

As mentioned above, I don’t want to say too much about the plot beyond what you can easily watch in the trailer, but this is only partially the movie you might be expecting. Sure, there’s a good amount of eerie creepiness as Hall’s character tries to find whatever is haunting her house after her husband’s suicide, as well as discovering the identical house that may or may not be in a dream. (It's that kind of movie.)

Much of the film is kind of slow and mopey, and even funny in a weird way, since Hall’s character seems to be going crazy and her behavior (and performance) is quite erratic because of it. Think of it a bit as if you can imagine Hall going into crazy Nicholas Cage moments over the course of the movie or acting that way towards her friends, including Sarah Goldberg’s Claire, who always seems to be saying the wrong thing around her BFF.

One of the things that tends to work about Bruckner’s film is that you’re never quite sure what exactly is happening, but it keeps you interested enough to want to know where it might be going. The other great thing that works even moreso is the film’s amazing score and sound design that helps to keep the viewer on edge through all of the film’s ups and downs.

As the film went along, I presumed correctly that there would probably be some sort of semi-inane M. Night Shyamalan twist, and in some ways, I was right. I certainly didn’t hate the twist when it showed up (or the second or third twist), but I know plenty of fans of more straight-ahead (translation: bad) horror that might be thrown off and even perturbed by so many twists.

The Night House may ultimately be too smart or clever for its own good, since it’s being sold as a straight-ahead ghost story with the twist of this mirror house, but that’s really something that’s very much only on the surface. Any problems with the movie are countered by the fact that Hall is just so good at selling its strange concept.

Rating: 7/10

Lastly, there’s Sean Penn’s film FLAG DAY (MGM), which may or may not get a wide release -- I'm going to guess not, but just in case it does, I might try to figure out how it might do. It tells the story of lifelong criminal and con-man Jon Vogel (Penn) as seen through the eyes of his journalist daughter Jessica (Penn's daughter, Dylan Penn). Based on Jessica Vogel's book "Flim-Flam Man: The True Story of My Father’s Counterfeit Life,” the movie covers Jessica's entire life from when her father left her and her brother Nick (played later by Hopper Penn) and mother Patty (Kathryn Winnick) through her own troubled life to when she takes back her life to succeed as a journalist. Also starring Josh Brolin, Dale Dickey, Regina King (blink and you'll miss her), Eddie Marsan and more, it's opening on Friday.

Without knowing whether Flag Day actually is getting any sort of wide release or will just be put into a few hundred theaters, but as you'll read in my review below, it's a very strange movie for MGM (or rather, United Artists Releasing) to have picked up before it premiered at Cannes, because it's just not that great, and it certainly isn't something that might do well in a wide release. Even if somehow MGM gets this movie into 1,000 theaters this weekend, I’m not convinced it can make a million dollars, because I just don’t think many if any people really know about it. Maybe it didn’t turn out to be the awards contender MGM hoped to release it later in the year, but it’s also strange for it to be opening a week after Respect, which I expect to do quite well in its second weekend. I’m just going to assume this will be in a few hundred theaters, and that’s about it.

Mini-Review: I really didn't know much about this movie going into it, other than the fact that it was directed by Penn, co-starred his daughter Dylan, as well as his son, Hopper. (Okay, maybe I didn’t know that last part.) What I didn’t know was that it was about a notorious counterfeiter named Jon Vogel, as seen through the eyes of his journalist daughter Jessica, and as with most of these type of memoir adaptations, it’s only going to be as interesting as how the story is told.

Penn has proven himself to be a decent filmmaker and storyteller, but here, he’s going for something arty that’s almost Terrence Malick-like at times, but needlessly so, because it just feels like he’s trying to make up for the flaws in the story by throwing in things like shaky camera work, overusing voice-over narrative and frequently leans on its soundtrack to try to make up for the weak storytelling.

On the other hand, if Penn was trying to create a great showcase for his daughter Dylan, Flag Day does a great job doing just that, and when you first see her on screen, you might be thrown off by how much she looks like her mother Robin Wright when she was much younger. It’s somewhat interesting to note that Sean Penn has never appeared in a movie he directed, which is only odd because you would think that being in scenes with other actors would make it easier to direct them. (I learned that from Jason Bateman, oddly.) In fact, the very best moments in Flag Day are those between Penn and his daughter, although there's still a lot of overacting and melodrama.

Honestly, I’ve met people like Jon Vogel, who are just constantly trying to make money however they can without worrying about who they hurt with their dishonesty. Because of this, I couldn’t fully get behind the father-daughter aspect of the story vs. just being interested in Jessica’s own personal growth.

In other words, maybe Flag Day should have been prefaced by "Based on a Dull Story,” because it just never really connected with me even though there were a scattered few moments that worked.

Rating: 5/10

Presuming that Flag Day isn’t going nationwide into over 500 theaters (and even if it does, it won’t be in the Top 10), here’s what the Top 10 should look like.

1. Free Guy (20th Century/Disney) - $15 million -47%

2. Paw Patrol: The Movie (Paramount) - $8.4 million N/A

3. Reminiscence (Warner Bros.) - $6.2 million N/A

4. Jungle Cruise (Walt Disney Pictures) - $5 million -45%

4. Respect (MGM) - $4.8 million -45%

5. Don’t Breathe 2 (Sony/Screen Gems) - $4.6 million -57%

7. The Night House (Searchlight) - $3.3 million N/A

8. The Suicide Squad (Warner Bros.) - $3.2 million -57%

9. The Protege (Lionsgate) - $2.6 million N/A

10. Old (Universal) - $1.4 million -41%

District 9 director Neil Blomkamp returns with the horror film, DEMONIC (IFC Midnight), in which Carly Pope plays Carly Spenser, who learns her estranged mother Angela (Nathalie Boltt) who disappeared years earlier is now in a coma, although new technology has been created as therapy that will allow Carly to enter her mother's brain and communicate with her. What could possibly go wrong? I mean, read the title and take one effin’ guess.

I went into this one fairly hopeful that maybe Blomkamp had figured out a way of getting out of director’s jail after the last few duds by essentially going the M. Night Shyamalan route i.e. making a super low-budget horror movie without stars that can let him show people that District 9 wasn’t a fluke. But unfortunately, kids, Demonic does the exact opposite, because it’s one of those horrible high concept tech-driven horror movies (not unlike the Blumhouse model) that gets so bogged down in a premise that should thrive on its simplicity that it just fails to keep the viewer entertained, let alone scared.

As soon as Carly enters the mindscape that is her mother’s brain, you know you’re in trouble, because it looks like a scratched DVD or an old video game that’s gotten dirty and is now skipping or crashing just as you’re almost past the hardest level. Yeah, it’s that kind of movie, and after Carly’s first horrific experience in her mother’s brain -- I mean, just writing that and knowing my own mother makes this a scary idea -- you wonder why she’d go back and do it again.

On top of that, there’s just so much exposition with Carly talking about her mother’s disappearance, but before you can get bored, something weird happens like her best friend turns into some weird creature and gets pulled into the mix of whatever is possessing Carly’s mother. I won’t say too much more, because like with The Night House above, you shouldn’t know too much. Unlike that movie, as you learn more, you become more annoyed with the whole idea.

Then on top of that, Pope just isn’t a particularly dynamic actress, so she does little to elevate the weak material, and when her dumb-ass BFF shows up at 3 in the morning, the banter between them is so cringeworthy, you might wonder who wrote this crap. (Surprise: Blomkamp did, so he can’t even blame how bad this movie is on the script.) There’s also what looks like a scary chicken, which just makes the whole thing more laughable than scary.

Demonic is a truly awful movie, taking Blomkamp further down the spiral of a filmmaker that was obviously a one-trick pony and doesn’t seem to be able to prove otherwise.

Rating: 4/10

Now available on digital is Gracie Otto’s documentary, UNDER THE VOLCANO (Universal Pictures Content Group), which premiered at the SXSW Film Festival in March, and I absolutely loved it, though that shouldn’t be too much of a surprise to anyone who knows about my background working in recording studios. The doc is in fact about the Air Studios Montserrat that the late Sir George Martin built in the Caribbean in the ‘70s where some amazing artists like The Police, Duran Duran, Mark Knopfler and others recorded some of the classic rock records of the ‘80s. Of course, like the movie Rockfield: The Studio on the Farm about Rockfield Studios in Wales, I’m a complete suck for these movies about legendary recording studios where great music was recorded, because it feeds one of my primary interests in life: music and specifically the history of rock music. I’m actually going to have an interview with the filmmakers over at Below the Line sometime soon, so you can read a lot more about the movie then.

Because I was away this weekend, I wasn't able to get to any of these. Sorry, publicists!

ON BROADWAY (Kino Lorber) MA BELLE, MY BEAUTY (Good Deed Entertainment) BARBARA LEE: SPEAKING TRUTH TO POWER (Greenwich) CONFETTI (Dada Filims) CRYPTOZOO (Magnolia) COLLUSIONS (Vertical) Next week, we're back to just a single new wide release -- thank you, God! -- and it's the Universal/Blumhouse remake of the cult horror classic, CANDYMAN.

Incidentally, I couldn’t write this column weekly without the fantastic data found at The-Numbers.com. The site continues to maintain one of the best box office databases on the internet, and I appreciate that being available to us.

#The Weekend Warrior #Reminiscence #Paw Patrol #Flag Day #The Night House #Demonic #The Protege #Movies #Reviews #box office

0 notes