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gucciwins · 3 years

Text

All A Dream

welcome to new york...the city that would determine if you and harry would move past 'friends'

Word count: 11908

A/N: hello friends, thank you so much for the love on this story. i'm having a great time writing it. we've made it to a pivotal point in their relationship and i'm excited to share that with you all.

warnings: oral pleasure (male receiving), sexual activity

please reblog!!! and let me know what you thought :)

love on tour series // previous part

Walking the streets of New York feels like coming home. It’s where you got your first apartment, it’s where you found out you were Emmy nominated, also the first place you didn’t feel like you were drowning when you were alone. That’s how you were spending your day alone, taking in the city and how it felt more crowded than usual.

Harry had decided to stay in Nashville with Tyler, who helped create his Grammy-winning song. He tried to convince you to stay, but you said no, promising to see him as soon as he arrived. The drive to New York was great; your bus mates had you laughing the entire way. No one was heading to bed until you were two hours in.

You were creating memories with people you had met two weeks ago. They had now felt like friends you could call if you were ever in any trouble (you wouldn’t be). It was nice to enjoy; they made you feel like Y/N as if you had never graced the big screen. You were their friend, and it felt nice to say that.

New York was full of dreams, and well, you wondered what it would bring.

New York City, New York Night One

It was eight am, and Jeff had gotten you up early saying he wanted to talk to you about your interview, and like a fool, you listened. He had treated you to breakfast, someplace a little hidden but close to your hotel room. You tried persuading him to eat in because you loved the view of the city from your room. You couldn't bear leaving; it was too mesmerizing; food was his only way to get you to agree.

Breakfast was fine; he wanted to know what you were asked and if you were comfortable being associated with Harry. You answered honestly and told them you owed them nothing. You promised Jeff that no matter what you'd say, you're friends because it was easier that way. Also, it was no one's business but yours and Harry's.

You knew there was one conversation awaiting you when Harry arrived, but you didn't mind. Well-- you did, but that's okay. You'd tell him your side of things, and hopefully, he'd agree. If not well, then it seems you and Harry might have your first argument.

Harry was a private person, and you knew that. After your first public breakup at nineteen, so were you. There was not much you offered except photos of events and press. There was very little about your family, but one google search and everyone would get some kind of information about you. Never all of it. You'd never allow that; they could know where you grew up and what school you attended, but not about how your grandparents came to raise you.

You're shaken out of your train of thought as Jeff waves at a person behind you. Probably, an old friend, you think as you drink your cranberry juice. The person blobs down next to you, and that familiar scent of woodsy cologne hits you.

"Missed me, darling?"

You snap your head to your left, and there he is, dressed in his bright pink hoodie, yellow tote bag on his lap covering his shorts. "H, you're back." You throw your arms around him, holding him tight. Before remembering you're inside someone and more than likely caught a few people's attention. "Right, cool, nice to see you," you try to playoff.

Both men burst out laughing, causing you to join in as well.

"Smooth," Jeff comments.

"Shut it, Jeffery." Harry and you say in unison.

Jeff groans, "going to have to deal with the lot of you all day."

"Glenne's coming, so I think not."

You perk up at the name of Jeff's wife. You'll finally get to meet the woman he never stops speaking about. "When will we be meeting her?"

"At the arena, eat quickly. We're stopping at the hotel and then going to the garden."

You perk at the chance of getting to tour the famous arena, it's not like you haven't been to shows there you have, but something about supporting Harry, who has five sold-out shows to play this month, fills you with so much pride.

Finally arriving at the arena, there were lots of people already outside waiting and dressed up. You knew this night would be just as special to them as it would be for Harry. As soon as you entered, some staff greeted Harry and properly welcomed him for the next two days. On your walk to the dressing rooms, you stopped in your tracks at the sight of lots of rainbow arches, and the floor was a pink reading "Harry Styles presents love on tour 2021. October 3, 4, and 16. Sold out." It repeated over a few times as it covered a long distance. You were quick to push Harry in for a picture no matter how much he insisted it wasn't necessary. You thought it was; these were memories you wanted to have whether he complied or not. It didn't take long for him to crack a smile for you.

You set up your stuff next to Harry's outfit that's hanging up perfectly covered. He told you it's something he's nervous about but really excited to wear. Harry has shared how much he's grown and how he feels a lot more comfortable in his skin, yet there are times he still gets insecure. You understood that, hell, it still happens, so you did what you do best, wrapped him in a hug, and let him know that you thought he was amazing and that no matter what would stand by his side.

"Do you want to see something?" Harry asks you, standing by the door waiting for you to take his hand and follow him.

"Course, H. Is it food?"

He chuckles, making sure your hands are linked together. You pass many people all wishing you a good day and Harry good luck for the night. He stops in front of a door that reads "stairs," and you figured that meant you'd be going up.

You could see how excited he was, so you decided to keep quiet and let him continue to drag you along to whatever it was you needed to see. There's one final door that Harry opens, and that's when you know. The New York air has hit you, the sun shining brightly and the person becoming your favorite person at your side.

Harry had brought you to the roof of Madison Square Garden.

You walked forward, a look of awe on your face. You didn't dare let go of Harry's hand as you kept walking forward. The view was breathtaking; you saw all of New York. The city was alive, and you were essentially on top of it. It made you feel small, allowing you to remember you were simply a person in a city of thousands.

Though you were special, because you got to be here in this moment with Harry, the man who was slowly but surely driving you crazy with how much you were beginning to develop feelings for him.

"It's gorgeous." You finally spoke after a few moments.

Harry squeezed your hand, "I know."

You feel like you know Harry well enough to know he's looking at you and not the view. He's a romantic like that, but you can't fault him; it's one of his sweetest traits.

Harry pulls you in close; you lean your head up, knowing what's coming, and it's so sweet. You hum against his lips. It's only been a day, but you can happily say you missed his taste. He pecks your lips several times, causing you to giggle, and he joins. The sweetest sound in the world is his laughter mixed with your own.

New York has always felt different, but now this time with Harry has changed your entire view of the city; anywhere you go, you'll see the mark he made on you and this city.

"Thank you for bringing me up here," you look away from the view to grant him a giant smile, and in return, he shines his dimples. You let go of the hand he's holding and wrap your hands around his waist, turning your head to the side to rest on his chest as you continue to stare at the view for a moment longer.

A phone rings, and you know it's not yours because you left it down in the dressing room. Harry sighs quietly, knowing your moment has come to an end.

"Yes?" He mouths Jeff to you as you peek over the ledge when Harry pulls you back with a shake of his head, leading you back over to the stairs. "On our way."

"Where are we going?"

"Glenne just arrived."

Your eyes widen, sad you missed her arrival but know they're waiting for you or, well, Harry. He hurries down, knowing you were about to leave him to go find Jeff and Glenne on your own. It seems you do know each other better than you thought.

Harry walks in first with a smile on his face as Glenne turns and pulls him in for a hug. There are little whispers, and you know Harry is just as excited to see her as Jeff, but not more, of course. She opens her eyes about to pull away when her eyes land on you behind Harry. You offer her a small wave as you see the recognition set in.

She shoves Harry off her and to the side, giving you a big smile, but it drops as soon as she looks at a smirking Harry and Jeff, who is on the verge of laughter phone in hand recording.

"Jeff, why is Y/N Belmonte here?" She asks in disbelief, her eyes back on you, taking you in.

"H is holding her hostage." Jeff jokes.

"It's true, you got to help me, Glenne." You decided to follow along.

Harry scoffs, throwing an arm over your shoulder, "oh, sod off. Here on her own free will."

You mouth help me, knowing Harry would see.

"Hey," he's pouting now.

"Hi," you wink, and just like that, he's a blushing mess.

You step forward, offering her your hand, "It's lovely to meet you; Jeff speaks so highly of you."

"Wow, umm…you as well." Glenne freezes, "to meet you. He doesn't speak of you."

"Now, Jeffery, that's rude."

Jeff comes to stand next to his wife, who now has a small smile on her face. "If I did, she'd leave me for you in a second."

You glance at Glenne, reaching forward to squeeze her hand. "Where you wanna go? I can get a plane in thirty."

"No one is going anywhere. It's my night." Harry interrupts.

You lean in to whisper to Glenne, "a drama queen."

"Totally."

Harry decides not to comment, knowing you were just as excited to meet Glenne as she was you.

"As lovely as this was, we've got a soundcheck." Jeff begins to push Harry out the door, knowing he'd do something to take longer.

"You coming, querida?"

"Yes, I want to see the stage already. You coming right, Glenne?" She nods, "great, you can tell me about the best place to take a photo. Make Naomi jealous."

"You're best friend, right?"

"Yeah, she's the best." You link your arm with Glenne's and begin walking to the stage. Forgetting about Harry and Jeff, who now have fallen behind. Both men sigh, not expecting for both of you to hit it off so well so fast, but really both are glowing with glee.

Soundcheck was over before you knew it, and as much as you liked seeing Harry perform, you spent most of the time chatting with Glenne. She told you how she met Harry when she and Jeff had got together, then how he officiated their wedding and was a total softie. She shared just how much Harry has done for them and that she wishes him nothing but the same kind of love she has found. You shared how you loved jumping from place to place, never a set place to land, until recently and how you were looking for something permanent in London.

As Harry finished, he interrupted your conversation that was now on where you loved buying boots that Harry called you both on stage. That's when you noticed everyone was off recording videos or having their photo taken. It made you smile because everyone was so happy to be there. Niji had been the most joyous; it was his home show. He shared how each time he had the honor to play was beautiful, but now with his family would be even more special.

You walked around all the instruments knowing Harry had not taken his eyes off of you as you made sure to get close, but enough to keep a distance wanting to keep him on his toes. You stopped in front of Niji's keys and sighed as you ran your fingers over them. It's been a while since you played. You looked up and spotted him chatting with Elin.

"Niji," you called out.

"Yes, Y/N." His voice was gentle, as if he knew you were nervous about the question you were about to ask.

"Can I please play your keys?"

"Yes, of course."

You nodded and took a deep breath. You looked up at Harry, who was standing in the center of the stage with a smile on his face nodding for you to go ahead.

As soon as your fingers were on the keys, it was as if they had a mind of their own. You played a short lullaby you learned early on when you first started playing. Everyone had now gathered around, and it was making you nervous. You looked up, locking eyes with Harry, and just like that, all your nerves went away. He had set a calmness around you with just one look of those emerald eyes.

You started playing a familiar tune, one everyone should recognize. It wasn't until you were a quarter into the song did you look up to see Harry smiling in awe of you. Everyone watched on in silence, letting you finish the last notes before applauding. You grew flustered knowing that everyone had heard you play and liked it.

"Well, wasn't that something." Pauli comments, coming over to give you a high five.

"Need a keys player?" You joke, looking at Harry, who was now standing at your side, hand resting on your back.

"Yeah, we can fit one more person up here." You nudge his side playfully.

"Why'd you learn to play cherry?" Harry asks the question everyone had been dying to know.

"It's a sad song, and I like sad songs. Also, Sarai is a big fan. They made me learn in order for them to make me macaroons."

"Worth the macaroons?" Glenne asks

"Always."

Just like that, you all move past your keys moment and begin to take more photos once again. Harry drags you down with him to recreate an iconic photo he has done each time he plays at the garden. Anthony, Harry's photographer for some shows through the tour, was there ready to document the moment, and so were you with your iPhone.

Harry was glowing, you felt; there was whole new energy around him. It was being in this arena knowing so many of his friends were coming to see his show.

After Anthony assured him he got many photos, he pulled you in for your own where you spread out next to him, hands out wide looking up at the glowing words. He then surprised you by pulling you into his side; his arm was thrown over your shoulder, taking in the moment with you, forgetting there was a camera behind you taking a photo of your every movement.

"Thank you for being here."

"Thanks for having me. Hell, I just came into your life, and to experience this with you feels like a huge honor."

"Don't say it like that," he chastises.

"Like what?"

"Like you shouldn't be here. Time with you doesn't feel real, I honestly feel like you've been a part of my life forever, and if I have it my way, you will be."

You lean your head on his shoulder to look up at him, "I want to be here, for as long as you'll have me."

He leans down, lips pressed together in a short kiss, but enough to leave you breathless. "Then expect to never leave."

You stayed with Harry as Ayae did his hair; he always wanted a second opinion, although he didn't need it. Ayae has not failed to make his hair look beautiful each night; you loved when you were on set the stylists would play with your hair complementing how pretty and luscious it always looks. Honestly, you like getting your hair played with, simple as that.

Then Harry made you promise not to come into his dressing room until he sent someone for you, so you agreed. That's how you ended up with glittery white hearts on your cheekbones, completing your look for the night all because Harry volunteered Ayae to distract you. Then she did the same to Pauli, who took a photo with you wanting to remember the moment. You promised Ayae you'd be fine on your own and went to prep the others in the band, leaving you to get ready.

You stood in front of the full-body mirror and looked at your outfit, trying to decide if you liked it or not. You had changed from your leggings and sweater into something you thought was fitting for the night where Harry was going to look amazing. You wanted to look good next to him as if you were always meant to be there. You're wearing pastel pink flares and a black silk button-up, except for this time you've knotted the bottom, unbuttoning a few buttons to show off your pink bralette that matches your pants perfectly. You've got white low heels opting out of boots for the night.

"If you're trying to decide if you look nice, the answer is you do. Like holy hell, if I wasn't married, I'd wife you up." Glenne gushes as you do a small spin for her.

"Thank you, you look amazing." You gesture to her entire look and just take it in. So effortlessly beautiful.

Glenne blushes, "right, H called for you."

"Did he? He's being very suspenseful."

"Has he seen your look?"

"Nope."

"Oh, he ain't ready."

You knock on the door expecting a come in except you hear a lot of shuffling around and muttering, before finally he responds, "come in, eyes closed."

Not one to fight him, you open the door with one hand, the other covering your eyes, "you better not let me run into the couch."

"Few more steps...and stop."

You freeze, having no idea where you're standing, just that the door shut behind you.

"Right, well be hon-"

"-what? Why'd you go quiet?" The silence continues. "I'm going to open my eyes."

That snaps his right back, "no shit, sorry. You caught me off guard. You look bloody magnificent, and I needed to take that in."

"Dork, you scared me."

His laugh fills the room, "sorry, it was your fault for dressing this pretty for me."

"Can I see you now?" Your voice pleading.

"Yes, baby."

You begin to move your hand down, blinking slowly so that light doesn't overwhelm your closed eyes. Once your eyes focus, you see Harry standing in front of you; he's looking down at his boots, a timid look on his face.

He's nervous, and you think it's so precious because he's told you he loves what he does, but at the end of the day, he will always be the boy from Holmes Chapel who sang to his mother and sister from behind a bathroom door. That's when you noticed how similar you and Harry really were; you grew up timid because you didn't have close family members to grow up with besides the elders in your neighborhood and the few friends you made in school. You understand what he meant, shining bright in front of a room of people chanting your name or shooting a film being an award-winning actress. Yet, at the end of the day living life as if none of that prior happened.

You love that in this room together, you both can be one hundred percent yourself, meaning every single wall is down, allowing you to get a glimpse of who Harry really is.

You don't force him to look at you; instead, take in his appearance. He's wearing a black double-breasted suit. The trousers are fitted and make him look taller. The top is what leaves you breathless; he's purposely left it unbuttoned for you. You're stepping towards him as you touch the feathered sleeves of the suit jacket. This is something you've never seen before, but he pulls it off so effortlessly. His tattoos stand out in contrast to his tan skin.

"You're gorgeous," you whisper as you run your hands down the sleeves until you reach his fingers, pulling him in closer to you. "I'm honestly the luckiest person to get to see you in such a gorgeous outfit."

"Others are going to see it."

You shake your head, "not like this, not like me and you. No one will get to experience this private moment where you open up to me and let me take in all your beauty because you value what I think."

Harry's eyes mist over, and you know it's because of your words. "You're perfect, and never forget it."

"Only perfect in your eyes, I feel." You tell him, tracing over the butterfly, giggling as you see him clench his stomach making his abs more prominent.

"Then so be it; I'll remind you each and every day."

"Alright, rockstar, I hear you have to head to the stage soon, so pucker up."

Harry doesn't have a moment to prepare as you lean up to place your lips on his. He's quick to respond; he sets a hand on the nape of your neck to hold you close. You feel him swipe at your bottom lip, and you're swift to let him in. You could never get enough of him, how much he's beginning to mean like home to you, and you know you're in danger.

He pulls back breathless, lips red and plump as he moves down to your neck, leaving a trail of kisses, and he doesn't hold back on leaving a mark right over your heart. You know he can feel how fast your heart is beating, all thanks to him, and you know he's enjoying it.

There's a knock on the door interrupting you, and you're grateful because you're not sure you have said no to anything he would have asked for you even if he had to go make his way on stage. Harry pulls away reluctantly but keeps you hugged to his chest as he yells at whoever knocked to come in.

"It's time, boss man," Luis tells him, shooting you a smile when you peek your head up to look at him.

"Okay," he lets you go slowly. "I'll have my eyes on you. Dance for me."

You feel your gaze soften, knowing he means it, "course I will."

Harry walks out a soft kiss to your hairline, and he's out, leaving you with Glenne, who you did not see appear. Well, it looks like you found yourself a new dance partner for the night.

Standing there in the sold-out arena of night one of five at Madison Square Garden, you take it all in, take in how Harry has gathered everyone in a room where everyone is free to be who they want. And so you dance, you dance with Glenne to the intro of Golden, you get Tommy to dance with you through adore you, and everyone cheers the loudest during 'she' for Mitch's fabulous solo. You sway on your own as you listen to the sadness that falling brings, and once again begin to go crazy with Glenne as sunflower begins with your favorite intro with Harry and Niji. Jeff takes his phone out to record you and Glenne as you sing to each other, taking turns spinning each other around. You all laugh as the intro to 'to be so lonely' begins, and the crowd yells in joy screaming back the lyrics to him.

There's so much laughter and happiness as you all watch Harry shine as the star he is. All the joy is radiating off of him. You know you're going to look back on this day for years to come as one of your favorite days.

You've seen Harry perform fine line a few times now, but his closing speech for the night and hearing the crack in his voice always gets you because you know how much each person in this room means to him. That they want to share this with him, and he's always so grateful. So yes, you cry to fine line as always, but not for the same reasons, but because you're so proud of Harry and who he is as a person and how lucky you are to be here to get to experience it by his side. Your heart softened as you watched Glenne hug Jeff from behind as they swayed side to side, looking up at Harry with so much love. He really had amazing people at his side supporting him.

It's the final song of the night, and the literal ground is shaking. You hold on tight to Glenne as you look around you in shock. There is not a single person not dancing, you even spot a mosh pit happening, and you know this is what true happiness is. To be surrounded by strangers and you allow yourself to dance and sing with them, there is nowhere else you'd find it.

Hell, maybe falling in love isn't so bad if this feeling of happiness never leaves you.

You rush over to the dressing room as soon as the band is off the stage; you find Harry standing there, jacket wide open, and rush into his arms, catching him by surprise as he stumbles back a few steps before getting his balance back, wrapping his arms around your waist.

"You were phenomenal." You mutter into his neck, holding him tight. "I'm so in awe of you. How you do this every night and how you manage to make each person in that arena feel seen."

"Thank you, baby." His voice was barely above a whisper. "I like knowing I can look out into the crowd and find you."

His words make butterflies flutter in your stomach; Harry never fails to make you feel special.

"Think I have got to let go of you now. Lots of people here to congratulate you."

Harry sighs into your hair, "give me another minute. I need a shower, then I'll meet everyone." You nod, having not made a single move to leave his embrace.

He pulls back, making you lift your head up, and that's when you see the cheeky smile on his face and know what he is asking for. You give him a slight nod, and he kisses you with so much passion that if he wasn't holding you, you'd be sinking to the floor.

"Go on, I'll be there soon, querida."

There are many people you don't recognize when you get into the communal area where everyone is going to be hanging out for a while before heading to the hotel and rest to prepare to do it all over again. You stick with Glenne, a bit nervous about all the people that clearly know Harry. Jeff says he can take you around introducing you, and you hesitate before nodding. These are close friends of Harry, of course, you should take a moment to meet them. You are Harry's friend meeting his other friends, and it sets a funny feeling in your chest because he isn't just a friend, but truthfully that is what you are until you and Harry have that talk, you never seem to have time for it.

Jeff bounces you from person to person, introducing you both chatting for a bit before moving on. There are only a few who tell you how much they like your acting, causing you to flush. It makes them smile, with Jeff throwing in the occasional "she's shy" or "she's an introvert," causing everyone to laugh and break the ice, allowing conversations to flow much more effortlessly.

A cheer overtakes the room as the man of the hour walks in; he's quickly wrapped in a hug before the next person continues. It goes on for a while, and you know it's best to give him the time with his friends. You find Sarah hanging out in the back with Mitch, who happily tells you to join them. Sarah tells you how insane it is to play there because you feel the entire stage move, even how she had to reach for the drums as she felt them moving forward.

Before you know it, the whole band is around you, talking about the show, which leads to their favorite arenas they've played, followed by their favorite cities visited, where they are eager to hear your answers. As Pauli speaks about how New York holds a special place, you look up and catch familiar eyes staring at you. You flash him a smile and get an even wider one in return. He gestures his head to the bar asking you to meet him there. You excuse yourself from the band, who all have matching smirks on their face knowing that Harry has finally come back to get you to be by his side.

You lean on the bar seeing it surprisingly empty, and take in the room that is beginning to clear up. A drink is slid in front of you; you eye it suspiciously before taking a sip and humming at the familiar flavor of a Shirley temple.

"Thanks, H."

"You avoiding me?" He questions, his body getting close to you until there is no space left between you.

"No, you're a busy man. Lots of people wanted to see you."

"Darling, how can I introduce you to my friends? When you're hiding out with my band."

"Jeff did introductions," you squeeze his hand in assurance.

He grumbles something before turning his entire body to face you. He sets both your drinks back on the bar. Harry reaches for your hand, bringing one up to his lips leaving a gentle kiss before repeating the same to the other.

"I wanted to introduce you. Show off that I've got the kindest and most beautiful girl at my side supporting me." He confesses.

"H, we need to talk about what we want."

"Then let's do it."

You sigh, knowing he won't stop, so you continue. "It's been only two weeks."

"Yeah, but we've spent every day together since then. We're way past the basics; I've even met your best friend."

"It's not that simple."

"It can be. I like you; you like me. Let's be in a relationship."

"But it's not that easy. I've got a career to get back to soon, I've got interviews and auditions, and I won't be by your side forever."

This makes Harry frown, but you need him to understand, to make him realize you're not living in a fantasy.

"I get that, but you're here now, and I love every minute of it."

You're not sure why you're so defensive of being girlfriend and boyfriend. You're not sure if it's yourself not wanting to get hurt, and you'll prevent that by not labeling anything, but also know your feelings are well past that.

"I'm here now, but what about when I'm not."

"My feelings won't go away," Harry states, pleading for you to understand him. "I know this won't be easy. I know the industry was made for us to fall apart, but I promise I've never felt this way in my life. It is crazy how much I care for you, and I promise to fight for you every day." You've never seen him look so vulnerable and open with you, and you know that you're going to be saying yes.

Just won't be saying it in a room with his crew.

"I care for you too, mi amor. We'll sleep on it; finish this off tomorrow, I promise." Harry nods, knowing he won't get anything more out of you tonight.

"In the same bed?" He replies cheekily.

You chuckle, "yes, Harry. We'll sleep in your room now."

"Go say goodnight. I'm tired." He ushers you as he goes on to do the same.

You did not expect to have this conversation, but a good night's rest will allow you to see this in a new light, and who knows, by the end of tomorrow, you just might be Harry's girlfriend

New York City, New York Night Two

Harry had woken up early as he does most mornings to prepare for the show with his morning workout and now snuggles for you, except he woke up alone. Your side of the bed was cold, meaning you had left him for a while now. He picked his phone up with a huff hoping you'd be coming back soon, but that's when he spots the note attached to the back of his phone.

Hi darling,

Sorry to leave you, but Viola called me early and told me I was needed for a few interviews and to talk over my schedule for next year. Please know it was hard to leave you in bed all alone. I'll make it up to you. Now I'll be in the hotel's conference room.

I'll meet you at soundcheck.

Your, querida xxx

Harry's heart clenches at the sweet note you took the time to write him and makes sure to tuck it safely in his notebook that he has not had time to open and write in due to the busy past two days. He knows he's lucky with the limited amount of work you've had to do, but he misses you. He likes knowing you're close and watching him just as he watches you.

He goes on with his morning without you. Mitch invites him for breakfast, and he accepts only for the chance to see the young bub, only to find out Sarah took him for a walk as he was a little fuzzy. It's safe to say it makes him sad, he just wants a cuddle, and it's the reason why Sarah finds them on the couch with Harry with his head in Mitch's lap as they watch a documentary Mitch had been trying to watch. Sarah knows better than to ask, instead letting them know they'd have to head out soon to the venue.

Harry gets up, knowing he needs a few things to get ready, when his phone chimes signaling he received a message.

Belmonte 💛

Good to know, I'm replaceable. xx

Attached is a photo of his head in Mitch's laugh, with Mitch's hand playing with one of Harry's curls. It's a nice photo, and he gives props to Sarah for being so sneaky about it.

Harry

Yes, because you didn't give me a good morning kiss or snuggles. xx

Harry can picture you laughing at him, and gosh, he misses the sound.

Harry

Miss you xx

Belmonte 💛

Miss you too. See you soon xx

Not soon enough, Harry thinks to himself. He's tempted to go find you in whatever room you're in but knows better not to in the chance he interrupts you. He grabs his bag that holds all his essentials and leaves most of his stuff unpacked as they wouldn't be heading to Florida until the day before, wanting to enjoy their time there also because he wanted to spend time with you outside a venue.

Harry arrives and is greeted once again by most of the staff. He admires all the hard work they put in to make sure he has a good show and knows his crew is working just as hard to do the same. He knows he has the easy job to get on stage and entertain but knows he wouldn't be able to do it without every person on his team who makes it possible.

Jeff pushed up his soundcheck, meaning you were going to miss it as you had an hour before arriving, and it bummed him out. Harry knew there was nothing he could do, but he missed you. He had created a routine, and you were involved. You'd sit on the stage of the steps as he sang out a few songs, then would head to the dressing room together where you sit and meditate with him.

It's safe to say the day has gone by much slower without you by his side, it's nearing lunchtime, and you're still not here.

Glenne

With Bel, all is well. We'll be there soon.

Harry

You nicknamed her. It's cute.

Glenne

Yes, she's a fan of it as well.

Harry

Won't be mad if I use it?

Glenne

I'm honored.

Bel.

His Bel, he's called you all the sweet pet names he likes, and you called him H; it was only fitting for you to have one as well. He's a bit mad he didn't think of it himself.

Now he waits for you to arrive.

It's an hour before showtime, and Harry is angsty, unable to sit still because he's yet to see you. Glenne arrived ten minutes ago and offered no words as to why you weren't here. He didn't want to seem like a bother, so he didn't call.

There's a knock on his dressing room door, and he thinks about ignoring it for a second but decides against it when he finds you standing there with two plates of food in hand, an apologetic smile on your face.

"Dinner?" He nods, stepping aside letting you come in.

You set the plates down on the counter where a few of his hair products remained when Ayae came in earlier.

You turn to look at him, an apologetic look on your face. "Sorry, H. I really am. I know how important today is your second sold-out show, and I promised to be here, but Viola and Emerson failed to mention all this stuff for the start of the week. Then I had to plan out outfits with them for the red carpet appearances I have at the end of the year." Harry smiles at you, ramble on about your day, and he can tell how draining it was as you let out a sigh shooting him a smile as you see he made his way across the room to you.

Harry pulls you in for a much-needed hug on both parts. You wrap your arms tight around his waist, and he relaxes as he feels you let out a deep sigh letting him know that you were allowing yourself to forget everything else and just be with each other.

"Here now. Missed you, Bel." He kisses the top of your head repeatedly as you haven't allowed yourself to pull back just yet.

"Bel, like when you say it."

"Yeah, still just as special."

"Mhm, Glenne might have coined it, but pretty coming from you."

"Gosh, you really are the sweetest."

"Especially for you."

"Sweet enough to kiss?"

Harry feels you pull your head away from where you were resting it against his chest. You look up, locking eyes with him, and that's when he notices your makeup; you've got a darker eyeshadow, and on top are small stars scattered on both eyes.

"Baby, you got stars on you." Harry rests his hands on your cheeks, rubbing his thumbs back and forth over your skin.

"Just for you."

"Take a step back. Need a full look at you."

You do as he says, stepping back slowly in your red heeled boots. His eyes scan you up from your legs and up; he's tempted to ask what you have under but stops himself knowing he won't have time to enjoy that. You're wearing a black short silk dress, and as he scans your neck, he sees you wearing a necklace with several star charms.

"Gorgeous," he rasps out. "You're a dream, baby."

"Harry," you mutter, taking steps back over to him.

"What, just being honest."

You look up at him and pucker your lips, letting him know you want a kiss. He happily obliges, giving you a few pecks until you slipped a hand to the back of his neck, holding him still, and smacked your lips together in a steamy kiss. Harry squeezes your hips enough to leave you gasping when you feel him dig in, allowing him to slip his tongue inside. You don't fight him, letting him lead the kiss bringing you much-needed pleasure. You sigh against his mouth, pulling back as Harry chases after you.

"Let's eat." You lead him over the couch, sitting him down, and then bring over the two plates you'd be sharing.

Harry knew you were exactly what he was missing because being in here with you, he felt calm and relaxed. As if he wasn't frantic and stressed the entire day with you away. He cares for you so deeply; at one point, he was scared to be feeling all of this so fast, but a talk with his mum set him at ease.

She had asked him to imagine his future without Bel by his side, and it tore him up to think she might not be there. His mum, always the wise woman, told him that was his answer and to fight for you every chance he got, and that is what he will continue to do.

"I need to get dressed," he says after picking up both their plates and taking a look at the time of his phone.

You nod, standing up, "I'll head out then."

"No," he reached for your hand, not wanting you to take a step away from him. "Stay with me."

You don't even fight him on it, and he's grateful. You sit back on the couch, hand over your eyes to give him some privacy.

"Don't need to do that," he chuckles as he gets his polka dot trousers from the hanger.

"You want me to look at the goods?"

Harry removes the cream wrap blouse and slips it on. He secures it, looking in the mirror at how you can see his tattoos through the material. You're going to love it.

"Yes, besides myself, only you can see."

"Why is that?"

"Well, you let me see your goods, figured you deserve the same," he replies cheekily. "Open your eyes, querida."

You move your hand quickly as soon as he gives you the go-ahead.

He stands there, arms open to the side, giving you jazz hands, and he gets the reaction he wanted because you burst out laughing.

"This is definitely something," you lean forward, resting your elbows on your knees. "Can see your tits straight through."

"No shit." He sasses.

"Oh, you want them to be seen, such a tease."

"You know it, baby."

You stand up and stop in front of him, you gesture for him to spin around, and he does so with no questions asked. Your eyes are trained on his butt before lifting up to look at the smirk on his face.

"Well-fitted trousers are a look, H. Your ass chef's kiss," you bring your hand up to your lips and make an exaggerated kissing noise.

"So, you like my ass?" You nod; stepping closer, he narrows his eyes at you, not sure what you're going to do. You reach behind him and squeeze his perky bum. "Oi, Bel was not expecting that."

You're smirking, arms crossed as if you didn't just grope his bum, and you know he liked it as well by how his eyes have darkened. "You said I could look at the goods and figured touching was alright."

"It's always alright and encouraged." He tells you, leaning close to you and pressing a small kiss to your nose, making you scrunch it, not at all expecting that.

"Noted."

Harry pulls you in, hugging you, letting your laughter fade out until all you can hear is each other's breathing, and that's how you stay, you're not sure how long you hold each other until there's a knock on the door asking Harry if he's ready. There are five minutes for him to get to the stage.

"I'll see you after, right?"

"As soon as the band is off the stage, mi estrella."

He nods, grinning at you, and walks out behind Jeff as they walk him over to where he needs to be to get under the stage unseen. Harry stops in his tracks when he realizes he didn't do something and turns around, rushing to where he left you. He found you slipping the lanyard over your head, fixing your hair so that it didn't get tucked under.

"Bel, baby," you turn in surprise, knowing he had left but don't have the chance to say anything as he crashes your lips together. It's fast and hot; you grip his shoulders to stay upright. He pulls back breathless, smirking at your smeared lip gloss. "I need my good luck." And just like that, he's off again.

Harry feels on top of the world.

The crowd was terrific, from the moment he got on stage singing 'golden' everyone sang with him. Every lyric being sung with him had him feeling like nothing could stop this. He felt how much the stage was shaking and knew there was a hint of fear in the band, but nothing they all couldn't handle.

Harry took a moment to walk around the stage, waving and blowing kisses to everyone he could. He took a deep breath as he scanned the crowd right before 'cherry' he looked down to where he knew you'd be standing with Jeff and Glenne. He could not stop the smile that overtook his face when he spotted you as you all held up individual signs. It started with Jeff and Glenne to you and ended with Tom. Your signs together read, "I adore Harry!" He loved that Tom was the exclamation point, but what he loved most was how well you got on with friends. This had you and Glenne written all over it.

He pointed at you all, screaming 'my best friends' then blowing you all kisses that you all happily returned. Harry made sure to lock eyes with you as he made a show of catching your kisses and pressing them over his heart.

Harry knew there were cameras all over recording but did not care one bit. These were his people, and he'd show them all the love he could.

The show continued on, pausing every so often to cheer out for New York. He appreciated every place he got to visit and perform, but it's this arena that he felt he really made it all those years ago when his life was changing.

"Every time I play in this building feels so special. I was very lucky to play here the first time on December 3rd, 2012." The cheers get even louder, and he chuckles into the microphone. Hopefully, he'll get to come back for years to come.

The end of the show comes all too quickly after an emotional 'fine line' performance; he was gone for a few minutes to relax before the real ending. He feels like he flies through the last three songs quickly. He's dancing his heart out and really belting out the lyrics to 'kiwi' when he feels his world freeze because he spots you easily behind the crowd with Glenne hand in hand dancing. You're laughing without a care in the world; you don't notice the cameras pointed at you. You look up at the stage a lot, always making sure you have an eye of where he is, and fuck, it makes his heart skip a beat.

Harry wants to end tonight knowing they're something more. He knows what he has to do once he gets off stage.

After the show, Harry feels his adrenaline pumping, and it's not because of the end of the show; it's because he needs to find you. He spots you entering, trailing behind Jeff and Glenne, who he is quick to brush past. He takes a deep breath at your shocked reaction to him skidding to a stop in front of you. He holds your face gently with both hands making sure you're looking at him needing to know you're focused solely on him.

"All cards on the table. I'm putting everything out there for you. I'm all in."

Your eyes widened; you clearly weren't expecting this, especially somewhere so public, neither of you realizing that Jeff has made it, so everyone keeps walking, not letting them linger.

Harry wants you. It won't be easy, but you think of right now, at this moment, there's nothing else you want more. You want to be his; you want to be called his. You want to show him off to your made family.

"I'm all in. I'm all yours."

He looks into your eyes, searching for any hint of hesitation, but all he finds is warmth.

Harry leaned in and pulled you in as he kissed you softly. His full lips lightly moved over your's needing the contact. It meant more than any other moment he had the last two days. It was moving forward in their relationship. It was one step closer to a forever love.

He knows it's too soon to say he's been in love, but this feeling is so overwhelming he's sure if you weren't here keeping him grounded, he'd be floating off to become one with the universe. He understood it now, how much you could care for someone, and he hoped to never lose you.

"Girlfriend," He starts with the cheesiest grin on his face, "wait for me in the dressing room, please. Then I can introduce you to all my friends."

"Sure, H. I'll sit alone in your dressing room as you shower and everyone else parties," you sass jokingly, but let him lead you back to where he left you earlier in the night.

"Bel, come on."

"Alright, I'll wait."

"Thank you,"

He pecks your lip grabbing his bag with his change of clothes and towel. "Twenty minutes tops."

You know he's going to push thirty, but you can't even be upset about it, he's your boyfriend, and well, nothing can ruin that. As you wait, you decide to send a text to Naomi, who you're surprised hasn't called you as much but texted just the same, always making sure to check in with you and remind you that you've missed.

Y/N

So guess who's got a boyfriend.

You know she's sleeping, having had a full schedule at grad school today, but I can't wait for her to answer you in a few hours.

Y/N

It's me! I'm a girlfriend.

A girlfriend, it's been a while since your last relationship, and although you had your fears, it's like they all washed away knowing Harry feels the same as you. You're going to do everything to keep Harry in your life, and you know he's going to do the same.

Harry doesn't introduce you to everyone in that room but never explicitly says 'girlfriend' he told you the label was for you two and no one else. There would be no declaration on social media as so many people tend to do. This is yours, and even though Harry trusts everyone in that room, he's still selfish enough not to share you. Although, you're sure they all assume as Harry never lets you leave his side. You have so many conversations apologizing for not remembering names, everyone telling you it's alright even though in your head you're repeating over and over something they've told you with their name to not forget. Harry tells you to relax, that it's okay, but you like remembering people. You always love that moment; when they see you remember them, a glimmer of joy enters them.

All his friends speak highly of him, mentioning how he's one of the best people they know and how much he's helped or even reached out just to check how they were doing. Harry ends up doing a lot of blushing as his friends talk him up. There are also a few who cheekily mention why you're hanging out with Harry. You shock them all by joining in on the teasing, saying you almost rejected hanging out with him, but who could say no to those puppy dog eyes. That's when everyone realizes how perfect you are together. Not to mention that you both gave each other heart eyes the entire night.

You're finally making your way back to the hotel and are no longer tired. The entire night, you and Harry have been teasing each other with sly touches. He had his hand resting on your waist most of the night, slowly trailing down when you'd find a spot to sit together or at the small of your back where he'd rest it on your ass with a smirk on his face as you made no move to remove it encouraging him more. You gave it back just as much, letting your hands graze his arms, occasionally slipping a hand to the back pocket of his Gucci jeans as you let your other hand rest on his stomach, occasionally slipping your fingers up his shirt to graze his abs.

Harry followed you up to your hotel room, not even having to ask if you'd be sleeping together because the answer would be yes, but you both had something else in mind to do in bed, and it was not sleeping.

You slip out of your boots, rolling out your ankles as you wore them all night. You took a seat on the queen-sized bed as Harry roamed around, stopping at the window to admire the view as you do each morning.

"Your friends are great."

He hums, "they loved you."

"Oh, did they?"

"Yup, told me when you were saying bye to Mitch and Sarah."

"Hmm... I've never thought I was good with people, but with you by my side made everything so easy."

"Guess you have to keep me around."

"I guess so. Doesn't seem so bad to me." You share.

"Why's that?"

"You're hot for one," you say as you head to the restroom to remove the makeup you had one wanting to do your night routine to feel a little more refreshed.

"Go on," he says, intrigued.

"You're filthy rich, and you're funny. The full package." You lock eyes through the mirror, and you catch how his mouth falls open.

"I do sound perfect."

That makes you break your stare as you laugh out loud. Harry is always great at surprising you.

You wash your face with your cleanser, then reach for your next item as Harry comes to stand next to you, handing him the cleanser without a word letting him copy your previous action. You end it by rubbing the hydrating moisture onto your face and neck, looking over at Harry, who looks relaxed and smiley. That felt very domestic, and you loved every second of it.

Harry sits on the edge of the bed where you were seated earlier, legs spread open, and you go to stand in between them, your hands resting on his shoulder as you play with the small curls that are wrapped low by his neck.

"Hi baby," He whispers, looking up at you.

"Hello, sweetheart." You lean down and place a gentle kiss on his nose, "how you feeling?"

"Good, amazing with you in my arms."

"I'm proud of you."

"Bel, angel." His voice is soft.

"Can I show you how proud I am?" Your hands move down his chest to rest over his hardening cock. He hisses at the contact as you squeeze him, not all expecting this but enjoying every second of what you'll give him.

"Yes, querida. I'm yours." He breathes out.

You push your lips against his. Harry responds eagerly, pushing you down to sit in his laps as he enjoys the taste of you. Your lips move in perfect sync as your hands begin to roam every part of his body. Harry bites down on your bottom lip, pulling a gasp from you as you slip your hands up his shirt, needing it off, wanting to see him exposed to you. He slips it off, throwing it to a corner of the room, bringing you back to his lips; you break away when you feel his hands pushing up your dress to your waist, giving you more room to move freely.

You trail kisses down his neck, sucking harshly as you pull a loud moan from Harry before soothing it over with your tongue. He doesn't stop you because he knows he has a few days before the next show. He is giving you permission to mark him as yours. Just as he had done before. You stand up, your dress stuck on your hips as Harry takes in your pink satin panties as you sink down to your knees in front of him. It's a true sight to behold, lips full and plush due to all the kissing; he groans as he can see straight down your dress, and you smirk, knowing you have all the control.

You lean in, pressing kisses on his chest, treating each swallow delicately before stopping at his nipples. You move forward, feeling bold, and lightly licked one pebbled nipple. Harry sucks in a breath. You smiled against his skin and licked him again. When you hear him hiss out a breath, you kiss across his chest and deliver the same treatment to the other nipple. You sucked the hard little peak into your mouth, and at the same time, added pressure with your friends to the moist little peak you left behind.

You look up at Harry. He inclined his head, urging you to keep going. You run your hands down his body, over his firm broad chest, down the ridges of his abdomen, and over his hips. You stop right over the button of his pants waiting for the go-ahead, and after a nod of his head, you're unbuttoning and lowering the zipper. Harry raises his hips to help you get it down past his thighs, and you notice his cock standing straight; you smirk, seeing he was bare the entire night and even then decided to tease you.

You click your tongue, "Sweetheart, your cock's so big, H. So hard. All for me?"

"All for you."

You smirk, "You're naughty, bet you thought of me in the shower, wishing I would have jumped in with you, that I had given you my mouth sooner."

"Baby, please." He moans out as he feels your hands on his thighs, not once touching his cock that's hard and leaking just for you.

You leaned in close, pressing kisses to his thighs, stopping at his tiger, kissing it longer, looking up, locking eyes with Harry as you sucked, grazing your teeth over, enough to leave a bruise behind.

Just as you were about to kiss his tip, Harry stopped you.

"You don't have to do this?" He tells you, holding his hand under your chin, stopping you from moving forward, wanting to make sure you're listening and that you understand that he doesn't need this if you don't want it.

"Good thing I want to. Now lie back and enjoy, mi estrella."

You pause, the tip of his cock poised right at your lips. The sight is so fucking pretty to Harry; he wants it engrained in his head forever. His beautiful girl, in your silk dress with a flush face, is ready to pleasure him. Harry feels breathless and a lot turned on; he imagined this sight but never thought it would be much better than he ever thought.

"You okay?" You check one last time.

Harry lets out a deep breath and smiles, brushing your hair back, and your mouth lifts in a grin. Your tongue laves over the head in one broad stroke, and his eyes sink close.

"Fuck," Harry growls, pushing his hands into your hair.

"You like that?" you say, teasing him, your tongue flicking over him seductively.

"Very much, lovie." Harry feels as if you're spoiling him and enjoys the moment. "Take me deeper, my angel."

You obey, opening wide and sliding your lips all the way down his shaft.

"Y/N…" Harry groans, thrusting his hips up to meet you on the downstroke.

Harry watches every movement you make, licking and sucking. Occasionally, you open your eyes to meet his for a moment before those mesmerizing eyes sink closed again. You make little sighs of bliss as if the act of pleasuring him brings you pleasure.

Harry feels like the luckiest person alive to be sharing this with her, something so intimate and special. You continue to move up and down, and Harry feels his release start to build. Fuck, he needs you to stop. As much as he loves how well you take him, he needs more.

"Love." Using three fingers under your chin, Harry lifts your mouth. His cock slides out between your lips with a soft sucking noise, and he groans at the loss of suction. "I need all of you." His voice comes out in a ragged pant as he watches your expression change from a slight frown to one filled with lust hungry for more.

Harry helps you stand up; you're still all dressed compared to his naked form. You smirk, knowing you had the upper hand here, but not for long. You don't say anything, only reach to your side, slipping the well-hidden zipper down, allowing the dress to pool at your feet. Harry lets out a groan at your exposed breast, revealing you had no bra on all night in that gorgeous dress.

"You want the honors?" You gesture to your panties.

Harry doesn't need to be asked again as he slips them down your legs. He is quick to have you sitting on his lap only to flip you around, finally having you under him. His eyes take you in every curve and freckle; you've never felt so vulnerable yet so wanted. The lust shining in his eyes only ignites more.

He bent down and put his mouth on your breast, covering the nipple and sucking it into his mouth. Your back arched as you gasped, the sensation so sharp. You reached for his head, sliding your fingers into his hair to hold him to you. The soft strands felt like silk against your palm. You wanted to have him this close, always. You sucked in much needing air and pressed his head closer. Harry took direction well; he bit at you and sucked at your nipple, then blew a cool breath across it to make it pucker. He moved to do the exact same thing to your other nipple and, for the next several minutes, proceeded to drive you more than a little crazy.

Harry's tongue flicked at your nipples, which you never considered sensitive. Tonight...they ached with sensation; you squirmed so much, you failed to realize he moved his hands to your ribs to hold you down.

You liked that. Oh, fuck, you liked that a lot. Harry began to kiss his way down your body, your hands dropping to his shoulders. Harry had one thing in mind. He slipped his fingers between your thighs, checking to see how ready you were, and you were soaking for him. A large smile fell on his face; he pressed a kiss to your stomach, getting off of you. Before you could say anything, he pulled a condom out of his jeans pockets. You reached your hands out for him to come back, and he took it, pressing a kiss to your palm before dropping it back to your side.

You needed him, but he stayed just out of grasp. And made sure you watched as he rolled the condom down his length. His intense focus made your lungs struggle for air. You've never been this affected by a man and knew Harry was going to ruin you for life.

You saw the way his expression tightened when he leaned forward again and rubbed the tip of his cock against your clit. Biting back a moan, you reached for his forearms, fingers digging into taut muscles as the ache between your legs built. Your hips rose to meet his, and his lips covered yours again for a kiss that fuzzed your brain.

You needed him inside to fill the aching void and make you come. But he wouldn't move; you were at his mercy.

His kisses were amazing. You cherished each one, but you needed more. You slid your hands up his arms as he worked his mouth over yours; you stopped for a few seconds to pet his shoulder before gliding down his back.

His skin heated beneath your psalm, so smooth. You felt all his muscles and released a moan as you felt each one as your hands smoothed down to his thighs and then up again, teasing closer to the seam splitting his cheeks; you felt his groan rumble in his chest as his hips rocked forward.

Yes, this is what you wanted.

Hands-on his hips, you tugged Harry closer. Except, he wouldn't budge. With a moan, you pulled away from his lips, one hand rising to sink into his hair; you tugged, not hard to hurt, but enough to get his attention. Except, Harry didn't falter. No, he was letting you know he was in control.

Instead of connecting your lips again, he bent to put his mouth on your neck. He laid a string of kisses down your neck to your collarbone then followed that to your shoulder. And then he bit you. The sting made you gasp and lit your entire body on fire, a blazing hot lust eating you up from the inside. And then you felt his fingers rubbing between your thighs once more, testing your readiness.

"Oh god, Harry."

"I like you saying my name. Do it again."

"Harry, please. Harry."

He smirked, "Now you're going to scream it."

You did as soon as he ripped his hand away but replaced it immediately with his cock as he slid inside, slowly allowing you to adjust. You know he was holding back for you. You urged him on as he slid more and more until he was in all the way.

You felt so full, you couldn't stop moaning his name as he began to move his hips. He started off slow, allowing you both to get used to each other, but soon all you needed was more.

"Harry," you moaned, "more, please."

His hips thrust with a controlled speed, fuck, you felt wound tightly knowing you were close. Harry knew that as he felt you squeeze him, he kept you close to the edge. You were close to coming when he would adjust his pace or angle to get you to the edge again. Fuck, he truly loved his edging.

Harry lowered his body until you were pressed together; he held himself up on one elbow to not rest all his weight on you, not that you would have noticed. You were too lost in the pleasure to care or notice. You came with a shudder and moan, sinking your teeth in his pec as he rode you through it. Only when you let your head fall back, gazing into his eyes, did he thrust one last time before holding still and letting his cock pump inside you.

He sighed, dropping his head to rest on your neck, pressing several kisses as you both tried to catch your breath. You've never felt so in tune with someone else; felt as if he knew exactly what you needed. You turned your head, nudged his head with your nose, needing him to look at you, and it's when he lifts his head do you see his emerald eyes staring at you soft, full of, dare you say, love and admiration.

"Hi, mi amor."

A lazy smile takes over his face, "Hi, love."

"You good."

"I'm marvelous, you, love?"

"Good, you're wondrous." You whispered, gazing into his eyes. You see the blush on his cheeks, and it's not because of what you just finished doing.

"You're perfect. Treat me so well."

"Ditto."

You lean forward, giving him a soft peck, "let's get you cleaned up." He leans up and slowly pulls out of you, and you kiss at how sensitive you are. He gets up and gets rid of the condom in the bathroom before coming back with a damp, warm towel. "Got to open up for me, baby." You spread your legs open as Harry cleans you up carefully, knowing how sensitive you are after you hiss at first contact. Harry has his eyebrows furrowed as he focuses on cleaning you, you reach forward to brush his hair away, and he lets out a sigh. "Darling, alright?"

"Mhm, thank you, mi amor."

"Course, love."

You make grabby hands at Harry, wanting him to come lay with you; he laughs, leaning in to kiss you before pulling away, keeping you content for a few seconds.

"H, come here. Time for bed."

He chuckles, "you want something to wear, love?"

You look down before looking up at him shaking your head no, and slip under the covers after Harry strips off the top one. He comes around and climbs in behind you, pulling you in close. Harry has you turn to let you rest your head on his chest as you both relax, taking in the quietness of the moment. It was a magical moment together, and you both know no words are needed because you have each other.

"I'm falling hard, darling." He confesses after a while of laying in bed together after he cleaned you up, knowing you're both close to falling asleep.

"Me too, mi amor."

"Will you catch me?" His voice is soft; you can hear the vulnerability in asking.

"I'm going to try, as long as when I do, I don't lose you."

"Never," Harry assures you.

And that is enough for you.

You sigh, letting yourself relax and let yourself be lulled to sleep to the steady beat of his heart. An arm wrapped around your waist, keeping you close to his side.

You're traveling city to city with a man you're falling in love with. If it's all a dream, you hope you never wake up.

thank you for reading <333 i adore you

it means a lot when you leave me an ask or tags in the reblog. i promise i reach each one. feedback keeps me writing :)

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orlando part five

#harry styles #love on tour #harry styles x reader #harry styles smut #harry styles fluff #harry styles story #harry styles fan fiction #harry styles one shot #famous reader x harry styles #love on tour new york #New York #hs #hslot #hs love on tour #harry smut #harry writing #lot: nyc

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marleneoftheopera · 3 years

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1400 Followers Audio Gifts!

To thank you all for following me, being so wonderful, and just surviving a pandemic, here are some gifts from me!

I know I originally said I was going to do 10, but I got a good amount of requests and wanted to add in a few extra favorite audios of mine too. So you get 20! Sorry if I did not post your request; there were many!

If any need to be taken down, do let me know!

Here is the link to all of the audios, cast info is below!

https://www.mediafire.com/folder/a3xda9hu7mu3u/Gifts

The Phantom of the Opera

Michael Crawford, Rebecca Caine, Steve Barton October 10, 1987; London Listed as being Michael Crawford and Steve Barton's last before heading to New York to start rehearsals for Broadway. Beautiful soundboard audio. This is the complete version; there has previously been an incomplete one traded out.

Eiji Akutagawa, Kyoko Suzuki, Kanji Ishimaru September 22, 1991; Osaka Always here for Japanese love.

Hans Peter Janssens, Susanne Duwe, Michael Shawn Lewis, An Lauwreins, William Lynn Dixon, Marc Meersman, Arnst van Looy, Stephanie Tscheppe June 2, 2000; Antwerp, Belgium Final show in Belgium. Very nice cast all around.

Hugh Panaro, Adrienne McEwan, John Cudia, Patricia Phillips, Jeff Keller, George Lee Andrews, Marilyn Caskey, Larry Wayne Morbitt, Heather McFadden June 16, 2003; Broadway Hugh in his second Broadway run. Adrienne has become a favorite of mine and I think she never gets the credit she deserves, especially having been in the show for so long.

Hugh Panaro, Susan Owen (u/s), Kyle Barisich February 20, 2012; Broadway A lovely audio. Susan has such a sweet, light quality to her voice.

Hugh Panaro, Samantha Hill, Kyle Barisich, Michele McConnell, Greg Mills (u/s), Tim Jerome, Nathan Patrick Morgan (u/s), Carly Blake Sebouhian (u/s) April 6, 2013; Broadway More Hugh. You can never have enough Hugh.

Peter Joback, Emmi Christensson, Anton Zetterholm, Karolina Andresson, Glenn Kjellberg, Rolf Lydhal, Sindre Postholm, Sanna Martin, Tehilla Blad, David Ingham, Samuel Jarrick, Martin Kagemark, John Martin Bengtsson February 1, 2017; Stockholm I loved this production so much.

Ben Forster, Celinde Schoenmaker, Nadim Naaman, Charlotte Vaughan (u/s, last Carlotta show), Sion Lloyd, Mark Oxtoby, Paul Ettore Tabone, Joanna Strand (u/s, last Madame Giry show), Daisy Hulbert August 31, 2017; London A few days before cast change. One of my favorite audios as of late.

Fred Johanson, Hanna Liina Vosa, John Martin Bengtsson, Hanna Leena Haapamaki, Dardan Bakraqi, David Lundqvist, Anders Wangdhal, Lana Zuzic, Gisela Sjostedt, Lars Hijertner, Marco Stella, Tobja Halsell, Peter Loguin January 26, 2018; Gotheborg From the non-replica production. With John as Raoul this time!

Scott Davies, Kelly Mathieson, Jeremy Taylor, Lara Martins, Sean Lloyd, Mark Oxtoby, Jacinta Mulcahy May 31, 2018; London This is labeled as having Ben Lewis, but if you listen it’s really Scott.

Tomas Ambt Kofod, Sibylle Glosted, Christian Lund, Martin Loft (u/s), Monsieur André, Anna Vaupel (u/s), Rasmus Jupin, Elisabeth Halling, Imogen-Lily Ash, Jesper Paasch, Kim Hammelsvang, Paul Frederiksen, Paul Frederiksen (u/s), Mia Karlsson (u/s) February 13, 2019; Copenhagen Compared to other audios, you can tell that Sibylle has really settled in the role and improved wonderfully. She sounds absolutely divine. An absolutely gorgeous cast.

Jonathan Roxmouth, Meghan Picerno, Matt Leisy September 3, 2019; Tel Aviv One of Meghan's last shows on the World Tour before she joined the Broadway company. Jonathan and Meghan sound particularly stunning on here, they keep getting better which is insane because they are already so good.

Tim Howar, Amy Manford (alt), Jeremy Taylor, Ross Dawes, Alan Vicary, Kimberly Blake, Paul Ettore Tabone, Jacinta Mulcahy, Georgia Ware September 7, 2019; London Amy Manford's last show, the last matinee for the 2018/19 cast. Just to be clear, this audio is different from the other that is NFT. Pretty nice quality too!

Love Never Dies

Ramin Karimloo, Sierra Boggess, Joseph Millson, Liz Robertson, Summer Strallen, Niahm Perry, Adam Pearce, Jami Reid-Quarrell June 2, 2010; London A gift for all my Rierra/LND London fans out there.

Tomas Ambt Kofod, Louise Fribo, Christian Berg, Oscar Diez January 18, 2013; Copenhagen, Denmark This is an overlooked and gorgeous production. Also, after 'Love Never Dies' someone in the audience shouts "wow" and I think that captures it perfectly.

Evita

Emma Kingston (Eva), Ramin Karimloo (Che), Robert Finlayson (Peron), Anton Luiting (Magaldi), Isabella Jane (Mistress) July 4, 2018; Tokyo Emma as Eva and Ramin as Che. Some great casting there.

Anastasia

Annakathrin Naderer (u/s Anya), Thomas Hohler (Dimitry), Thorsten Tinney (Vlad), Mark Roy Luykx (u/s Gleb), Theresa Holter (Young Anastasia), Patricia Nessy (Lily Malevsky-Malevitch), Masha Karrell (Dowager Empress Maria), Katja Hentschel (u/s Tsarina Alexandra), Kirill Zolygin (Tsar Nicholas II/Count Ipolitov), Helena Thordal Christenson (Olga Romanov), Alexandra Yoana-Alexandrovna (u/s Tatiana Romanov/Dunya), Laura Robinson (u/s Maria Romanov/Marfa), Mariana Hidemi (Anastasia, age 17/Paulina) August 10, 2019; Stuttgart I have yet to listen to this one yet, but I always love spreading love for foreign productions of shows.

Les Miserables

Kyle Jean-Baptiste (u/s Valjean), Earl Carpenter (Javert), Erika Henningsen (Fantine), Chris McCarrell (Marius), Samantha Hill (Cosette), Brennyn Lark (Eponine), Max Quinlan (u/s Enjolras), Gavin Lee (Monsieur Thenardier), and Rachel Izen (Madame Thenardier) August 13, 2015; Broadway A really great cast and Kyle deserves to be heard. He was brilliant and it is such a shame he passed so early on in his life.

John Owen-Jones (Jean Valjean), Michael Ball (Javert), Carrie Hope Fletcher (Fantine), Matt Lucas (Thenardier), Katy Secombe (Thenardier), Bradley Jaden (Enjolras), Craig Mather (Marius u/s), Shan Ako (Eponine), Lily Kerhoas (Cosette) Earl Carpenter (Bishop/Bamatabois) October 16, 2019; Staged Concert, Gielguld Theatre Gorgeous.

Joseph and the Amazing Technicolor Dreamcoat

Sheridan Smith (Narrator), Jason Donovan (Pharaoh), Jac Yarrow (Joseph), Femi Akinfolarin (Brother), Casey Al-Shaqsy (Wife), J.R. Ballantyne (Brother), Thalia Burt (Wife), Richard Carson (Reuben), Michael Cortez (Guard), Vanessa Fisher (Wife), Matt Krzan (Guard), Kelsie-Rae Marshall (Wife), Emily Ann Potter (Wife), Georgina Parkinson (Wife), Michael Pickering (Simeon), Harriet Samuel-Gray (Wife), Carl Spencer (Brother), Joshua Steel (Brother), Jack Wilcox (Brother), Blythe Jandoo (s/w Wife), Hannah Taylor (s/w Wife) July 17, 2019; London Jason coming back to the show as Pharaoh this time!

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catelyngrant · 2 years

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it’s been *checks calendar* five weeks since my last damages crossover breakdown but I am back/still on my bullshit, same song, same verse, different fandom but a whole lot worse, etc!!! (absolutely no idea how I made it a month in the succession rabbit hole before this occurred to me honestly)

ANYWAY, Succession/Damages crossover, Patty Hewes vs. Waystar.

Post s2, Patty tracks down a handful of victims from the cruises and convinces them to file a civil suit against Waystar. She ropes Kendall into it. He is terrified but also in awe of her, she loathes him with every fiber of her being but plays him like a fiddle.

Let’s say this is set during s2-ish of Damages? Ellen still works with Patty but it’s post assassination attempt, so basically it’s them at their messiest. Anyway, Ellen is trying to play both Patty and Kendall and is trying to bring down both Patty and Waystar and it’s all very sexy.

So Logan despises Patty with the misogyny of a thousand white male billionaires and Brian Cox and Glenn Close get imaginary Emmys delivered to their doorsteps just from me imagining them in a scene together where Logan is basically foaming at the mouth but at least starts off pretending to be cooperative until Patty makes some charmingly condescending comment and then he storms out/breaks things/loses his goddamn mind at her while she just gives him a crocodile smile.

Gerri and Patty know each other - the club of super high powered female attorneys based in NYC is not a very large one - and don’t particularly like each other. Patty’s probably been sniffing around Waystar for years, and when Gerri finds out about the civil suit she goes home and drinks like five martinis in 30 minutes and considers moving to Bermuda.

Seriously though, Gerri “I don’t like mess” Kellman who at least pretends to play by the rules vs. Patty “I tried to kill my protégé to cover up my mess that involved at least one dead person and a dead dog but she survived and now she’s working for me again even though she knows I tried to have her murdered” Hewes??? In a situation where Patty is determined to not just win but to personally destroy Logan Roy, his empire, his legacy, and wipe him and his entire family clean of their fortune? Yeah, Gerri’s gonna have to get dirty or get out, and honestly I could see it going either way bc I think she values saving her own skin > winning, unlike Patty, but if Patty could take her down too, she might not have a choice but to get on her level.

Shiv is a disaster. She’s loyal to her dad but she also has always admired Patty, and they actually have a lot in common in that they sort of pretend to care about other people and in Shiv’s case she actually does think she has the moral high ground most of the time, I think? But they’re also self-serving and desperate to win. So Patty would be working the hell out of Shiv, and would probably enlist Ellen in that, too. Shiv would try to play both Logan and Patty and it would end very, very badly.

Patty would consider trying to turn Tom, but would decide against it because she wants to humiliate him and take him down, too. She does sic Ellen on Greg, who doesn’t exactly mean to end up on Team Patty but by the time he realizes how thoroughly he’s been played and how much essential info he’s given her he doesn’t really have a choice but to stick with her bc the Roys would kill him.

Kendall, of course, would start out all self-righteous and Patty would let him think that he’s the crusader here, etc., but that would only play out for so long. At some point he’d probably turn to Gerri or Frank (not Logan) when she casts him aside and he realizes how contemptible she really finds him and give them insight into how underhanded her methods are.

Roman - idk man, he’d be loyal to Logan and Gerri but he’d also probably have to excuse himself from a deposition or three to jerk off after watching Patty and Gerri in action against each other.

Ellen and Willa went to school together, bc why not? So Connor tries to make nice by inviting Ellen over for dinner and they have a very fucking awkward evening together in which it becomes clear to Connor that a) his family’s fucked, and b) Willa might be rooting for Ellen.

At some point Waystar tries to settle (Gerri, Frank, Karl, and pretty much everyone threatens to quit if Logan doesn’t make the offer) but a la Frobisher in season one, Patty is like LOL NO, so idk how it plays out past that...I kind of feel like Ellen and Shiv definitely will sleep together at one point only for Shiv to try - and fail - to stab Ellen in the back; Patty gets blackmail material of some sort over Roman and Gerri’s dynamic (she bugs their phones or sets people on their apartments or something) and that’s, uh, Not Good, and she probably also digs up the details on the waiter in England; in response, Gerri starts poking around Ray Fisk’s death and also begins trying to work Ellen, because she can tell that Ellen has an agenda of her own and might not be entirely opposed to bringing Patty down herself (reader’s choice if that works); Logan probably has a heart attack or another stroke at some point and Patty sends him a giant bouquet of flowers and he might actually die at that point; in the end it probably comes down to Gerri and Roman as the functional defense against Patty, with Ellen as a wild card (she’s telling Patty that she’s playing Team Waystar and Patty doesn’t believe it but thinks she can manipulate Ellen to her advantage anyway; Gerri and Roman don’t totally believe that Ellen only cares about bringing Patty down, not Waystar, but they also think they can use her against Patty; basically no one trusts anyone); Logan, Kendall, and Shiv are all furious but are making everything worse; Tom kidnaps Greg and they flee to Thailand and tbh they’re probably the only ones who get a happy ending.

Did I develop this entire concept because I actually short-circuited at the idea of Patty vs. Gerri? YOU BET I DID, honestly that’s the only part of this entire thing that matters the rest is just lagniappe!!!

#a TYPE? who ME???#damages #succession #patty hewes #gerri kellman #ellen parsons #kendall roy #logan roy #roman roy #shiv roy #headcanons

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ahsokalegend · 3 years

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Ranking Rapunzel’s Tangled Adventure Songs (Part 1)

Here it is, the definitive (read subjective) tier list of the top 15 Tangled The Series songs. I’ve been listening to these daily, and now you can too!

Let’s get to it:

[see Part 2 for #11-15]

10. With You By My Side

Harmonies for days, plagued by relentless forshadowing aka the best way to end season 2.

Pro: these 3 compliment each other so well vocally, chills every time

Con: heavy handed foreshadowing like we get it everyone will betray everyone but for now they’re happy

Rating: 8/10

9. Buddy Song

Let me reiterate THE! BUDDY! SONG! SLAPS!👏 Stream these legends and their beautiful friendship

Pro: Hilarious, stellar melody, broadway-esque extravagance

Con: a plant is trying to eat them during this song

Rating: 8.5/10

8. Next Stop, Anywhere

Ultimate peppy road trip music, especially the final chorus. You can’t get better than Cassandra singing while running with horses.

Pro: each chorus adds in another singer so by the end it’s all three of them and epic

Con: too much dialogue that shouldn’t be in the soundtrack version

Rating: 8.5/10

7. View From Up Here

This song is the embodiment of being free and flying. It’s hard to put into words how this song makes me feel. Classic Disney vibes.

Pro: beautiful vocals and visuals, nostalgic feelings galore

Con: Rapunzel and Cass as singing birds

Rating: 8.5/10

6. Let Me Make You Proud

Time for the best character, Varian, to make his solo debut. “Let Me Make You Proud” is when I first started taking this show seriously, and it was all due to Jeremy Jordan, Alan Menken, and Glenn Slater in this show-stopper.

Pro: that final high note, Varian’s singing voice

Con: I want more after the high note, song ends too quickly

Rating: 9/10

<Attention! You have reached the halfway point. Get ready for the S Tier.>

5. Let Me Make You Proud (Reprise)

If the original version made me stop and pay attention to Tangled The Series, the reprise broke me. THIS SONG is only 1 minute long. One minute spent watching my favorite character transform from a plucky kid to a tragic villain. THEY SET THE MOMENT HE BREAKS TO THE MOST HEART-WRENCHING MUSIC AND I’M NOT OVER IT.

Pro: Jeremy Jordan held back nothing as Varian in this scene. This is the most emotion-filled and shocking song of the show

Con: 1 minute long, I can’t put it higher because of that

Rating: 9.5/10

4. Crossing the Line

Did someone say epic orchestra? Nobody? Oh well, too late the horns are already here.

What’s great is this is technically Cassandra’s villain song, but it doesn’t play like any villain song before it. It’s building, unapologetic, and triumphant. This is Cassandra letting her walls fall and taking what she wants, consequences be damned. Is she right? No. Is she OOC for most of season 3? Possibly. Is it cathartic to watch her wreck two seasons worth of buildup and relationships? HECK YEAH!

Pro: bass boosted “If I’m burning a bridge let it burn!”🔥

Con: This is the one time I’d add back in dialogue from the show. Cassandra’s trigger word is wait. In the episode, Rapunzel asks her to wait three times: once at the beginning of the song, once in the middle, and once at the end. Each occurrence pushes Cassandra further away, but only one makes the soundtrack recording.

Rating: 9.5/10

3. Waiting In The Wings

Emmy winner, best ballad, moving work of art - all define “Waiting In The Wings”. There’s something gripping about a side character acknowledging her place and desire to be heard when the main characters continually overshadow her goals and actions. We all know the feeling, watching your life pass by feeling like you don’t get the chance to lead your own story. Wow, my kind of emo sad song. What can I say, Cassandra gets the best. This would be a classic Disney “I Want” song if the show had been a movie.

Pro: Eden Espinosa singing that key change at “I hear my cue.”

Con: Honestly can’t think of anything besides it not being my favorite, too perfect?

Rating: 10/10

2. Nothing Left To Lose

Stellar concept untouched by anything Disney has made. Here we have the redeemed villain kidnapped by someone he once called friend. He sees her in her brokenness, and instead of being condensing as she has accused others of being, he tells her the truth. Nothing good can come from giving into her anger as he once did. Varian pleads with her; not to choose good because it’s the right thing to do, but to save herself from spiraling self-destruction. By meeting Cassandra where she is emotionally, Varian is the last chance to pull her from the dark. The message is merciful, well-thought out, and completely in character for Varian and Cassandra’s situation.

This song is the epitome of “Your feelings are valid, your methods of coping are not.” Each second is breathtaking from the animation to the song itself. It’s the ultimate battle between the show’s best singers and side characters while demonstrating the power one true friend can have against your own pain and anger.

And you know what hits the hardest?! Varian doesn’t give up on Cassandra in this song (we’re not talking about later episodes here). Every time she thinks she has outmaneuvered, out-argued, or out-sang him he comes back all the more ready to reach the friend he knows is buried deep in her heart. It takes her physically removing him from her tower and caging him ON A CLIFF for the main section of the song to finish.

But that’s not where it ends. A now dejected Cassandra, reminiscent of her “Waiting In The Wings” motivations sings her true feelings now when nobody can hear. “Now, I have nothing... ... ... left... to lose...”. That long pause she takes after “I have nothing” allows the first half to stand on its own. This is Cassandra realizing Varian’s truth. By pushing her last chance at redemption away, by removing her last chance at a friend, she truly has nothing left to lose.

I could go on and on about this song: the 360° turn in 2D animation, the way Varian and Cassandra sing over each other at the song’s climax, the lyrics, Varian’s vulnerability, Cassandra at her most dramatic, and more. I’ll save you the time, it’s incredible.

Pro: THE BEST DUET why are you still here go listen to this song! Jeremy and Eden recorded it together in-person for a reason. It’s too good for anything less. Also, another Emmy nominated song

Con: It could lose its Emmy nomination which would be unjust yet poetic? Cause you know, “Nothing Left To Lose” loses would make a funny headline

Rating: 10/10

https://youtu.be/r-PYYaoq0fY

youtube

1. Ready As I’ll Ever Be

There’s a reason seemingly half the fandom joined due to this song. It encapsulates everything I love about this show flaws and all. Varian gets a solo! Cass gets a solo! Rapunzel gets a solo! Everyone gets a solo! Each time I listen it gets better. Nothing screams epic battle prep song like “Ready As I’ll Ever Be”. Plot and singing-wise this song has it all.

What makes this song a winner is my inability to analyze it. It’s not a song I think about, it’s one I enjoy and constantly replay. The impact this song has had on me and it’s ♥️❤️💕💜💛💖💞💚🧡💝💙-ness makes it the greatest song in Rapunzel’s Tangled Adventure.

Pro: ultimate hype song, villain Varian, mind-blowingly incredible

Con: the king sings (easy to ignore)

Rating: 10/10

Thanks for reading!

#rapunzels tangled adventure #tangled the series #tangled songs #song ranking #how much do I care about these songs? answer: too much #Varian #Cassandra #if my music terms are incorrect I blame my alma mater youtube #part 1 #I spent way too much time on this #Ready As I’ll Ever Be the ultimate BOP

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rachelbethhines · 4 years

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TTS Songs Ranked Worst to Best

Someone asked me to rank my fav and least fav TTS songs a while back, but I’ve since then relistened to the soundtrack and there’s a whole bunch of songs that just forgot about, so here’s a more accurate ranking now that the songs are more fresh in my mind

32 . Life After Happily Ever After (Reprise)

This song is infuriating, because the finale is infuriating. Listening to this song just makes me angry all over again because it reminds me just how unsatisfying the ending to TTS was. I wanted to turn it off at several points. I barely can get through it despite it being so short. It doesn’t help that the soundtrack leaves all the dialogue in there and fails to actually end the song. It just cuts off before the final note.

31. Hook Foot’s Ballad

Does this even count as a song? Why is it here on the soundtrack but not the Hurt Incantation? Did Menken really waste his talent writing a joke and did the showrunners really waste money and limited resources on this?

30. Friendship Song

Bland, boring, and pointless. It was clearly written as a marketing stunt for the radio disney charts and not as anything to do with the plot of the series. They just throw it up on screen to fill out the running time and don't even let the whole song play through. It’s pitiful.

29. Waiting in the Wings (Reprise)

I didn’t think much of the original song one way or the other, but the reprise is soooo dumb. The plot twist it introduces winds up ruining the whole show and sabotaging both Cassandra’s and Rapunzel’s characters. It’s not even a nice sounding song on it’s own. The kid’s voice is irritating (who I’m sure is doing her best, but really little kids shouldn’t be made to sing professionally as a general rule) and the melody just as bland as the first time it was played. The only reason to like this song is if you’r a mega fan of Cassandra’s or her VA, which I am not. (Note: this is not a criticism of Eden Espinosa, I just don’t happen to follow any of the VAs in this show)

28. Through It All

I like the instrumentals in this song, and that’s about it. Everything about this song is wrong. It doesn’t fit the story, it’s a misuse of the cast and songwriters, it’s a waste of valuable screen time, the melody is dull, and the dang soundtrack had to throw in that lame dialogue about ‘greatest threat ever’ at the beginning. If you want a pump up song in your story then you got to earn it. You can’t just tell us things are bad, you got to show it. A joyful horseback ride and everyone sitting in a bar safe and sound isn’t threatening or depressing enough to warrant a cheering up session. Plus the song itself doesn’t add anything to the overall story.

27. The Girl Who Has Everything

Sometimes I think the writers were willing trying to sabotage themselves. It’s as if they were determined to make the only two main female characters in the show unlikeable bitches in season three. Don’t believe me? The creator Chris has said this song only exists to highlight how much easier Rapunzel has things than Cass and went onto say that Rapunzel was in the wrong during their conflict because ‘she held Cassandra back’. (Oh yeah she totally ‘held back’ the grown woman who left on her own accord, returned on her own accord, and then assaulted and tried to murder a bunch of people for no reason of her own accord.) But this song does succeed in furthering season’s three narrative that Rapunzel is a spoiled selfish brat. Shame the story fails to address this setup and never has Rapunzel learn to be a better person. Rather the narrative bends over backward to tell us how special Rapunzel is without any sense of self awareness and this song falls into that same trap; making it both irritating and pointless.

26. Listen Up

Yeah, I talked about this on my salt marathon, but I just don't like this song very much. The melody is fine but the lyrics are a real miss in my mind. It doesn’t help matters that the song is indeed pointless in the grand scheme of things.

25. Livin’ the Dream

This is much on the same level as Listen Up as it features the same problems. It doesn’t add to the narrative and the lyrics kind of let it down. I placed it higher just because I like the melody a little more.

24. More of Me

This song is a lot like the Friendship Song in that it was created to be an end credit song for the pop charts and you’d be forgiven in forgetting it even exists. However, it at least got to actually play all the way through. I think this song was a real missed opportunity. I honestly believe that it should have been the opening theme song of the show instead of Wind in My Hair. It’s more built to serve such a purpose and it’s a waste of resources not to actually use it. Alternatively, I would have accepted it being reworked into the actual series as a character song. Especially since we’re missing a song in season three due to budget cuts.

23. Wind In My Hair

Speaking of theme songs, I think I would like Wind In My Hair a lot better if i didn’t have to listen to it every episode. On its own it actually has a lot of things going for it; a nice melody, interesting instrumentals, good singing, ect. Unfortunately it’s just over exposed, and none of those elements lend themselves naturally to an intro song for a tv show. In fact the theme song feels really out of place and is edited oddly to fit the shorter intro.

22. Wind In My Hair (Reprise)

Honestly the theme song is mostly comprised of this reprise, but it has the opening instrumentals from the OG song frankensteined onto it. This means that the version that plays before every episode is on fullblast all the time to keep the energy up, but that’s not how the song is suppose to go. The actual reprise that plays in the pilot builds to a crescendo, starting soft and melancolony and getting louder and more hopeful and determined. It sounds a lot better in full because of that. It’s still too overexposed though. Both these songs would probably be higher on the list of not for the theme song version.

21. With You by My Side

This song is fine. It’s nothing special, but it’s not bad either. What knocks it down the list is the fact that Lance isn’t in it, despite Lance being right there. Like don't bother hiring a famous Broadway singer if you’re not going to have him sing! But that speaks more to the poor writing of season two than anything else. This song also doesn’t really add anything to the narrative as, contrary to what the writers intended, it doesn’t actually enhance the emotional impact of Cassandra’s betrayal later in the episode. The song itself is just tacked on and doesn’t take the opportunity to lay down any foreshadowing for that plot point.

20. Next Stop Anywhere

Another perfectly serviable song. It’s not bad but nothing outstanding. It gets the job done. It’s also really ho-hum and the soundtrack keeps all the unneeded dialogue, which is a pet peeve of mine.

19. Waiting In the Wings

Despite it’s hype, I never thought much of Waiting in the Wings. It’s got nice instrumentals and Eden Espinosa gives it her all in the singing department. The problem is it’s too generic. It’s a bare bones basic ass ‘I want song’. Cassandra's movations are weak and unsupported by the narrative, the melody is boring, and it honestly doesn’t add anything to her story. I mean it should, it’s her character solo, but because she’s written so poorly the song just winds up undermining the character in the end. All I’m saying is that, this is not the song from season two that I would have nominated for the Emmys. But it’s still Alan Menken, it’s still nicely performed, and given the rest of the competition for that year, it did deserve to win.

18. If I Could Take That Moment Back

This song is also pretty generic, but it’s less boring than I See the Light, (yeah, I said it, I See the Light is boring) so that’s a win in my book. Ergo this holds the title of the only New Dream duet that I enjoy. But there’s better stuff on this list.

17. Next Stop Anywhere (Reprise)

Well no, I take that back. The reprise of Next Stop Anywhere is also technically a New Dream duet. It’s still not anything amazing, but it works for what it is. Plus, Adria’s opening dialogue in the soundtrack version doesn’t bother me quite as much as some of the other dialogues choices that were kept in.

16. Stronger Than Ever Before

I really enjoyed this song in the moment. It’s catchy and fun, and it finally has Lance doing something rather than ignoring his existence. However it is borderline unnecessary in terms of story placement, and I’m slightly mad at it now that I know that we could have gotten a Rapunzel and Varian duet but it was scrapped for this instead.

15. Crossing the Line

Keeping with the theme of ‘songs I have conflicting emotions about’, we have Crossing the Line. This song is confused. It starts and stops, the melody isn’t clear, the orchestration is playing tug of war with the singers for dominance, and it’s basically Alan Menken and the show’s creators ripping off Frozen. (I guess he’s kicking himself for leaving that particular project?) But it’s interesting. I never heard anything quite like it. It’s memorable even if it doesn’t fully work. It’s got these interesting bits and pieces to it that just never quite comes together as a whole. Some of the lyrics are some of the best Glenn Slater has ever wrote and is far better than the story actually surrounding the song. Yet there’s other lines that are total cringe. Sometimes the song is bold and catchy and gets you all hyped up, and then other times its limp and staggering and feels so awkward to listen to. Yet it’s not boring or generic and so I have to place it higher than the rest of the songs that’s come before. (Also, there’s some amazing orchestral covers out there that really pulls together the various parts really well, just fyi)

14. Nothing Left to Lose

I really don't like this song. I’ve been one of its biggest critics ever since it was leaked by the marketing team earlier this year. And yet... I can’t in good conscience place any lower on this list. All of the problems I have with it are the exact same problems I have with Crossing the Line. It’s confused, the various pieces don't line up, the instrumentals are competing with the vocals, the song’s progression is weird with it’s constant key changes, some of the lyrics are good while others are absolute shit, ect and so forth. It also actively works against the story it's trying to tell. The song wants you to sympathize with Cassandra, but her lines are as shallow as a puddle and makes her look like a sociopath. Especially when she’s physically attacking Varian through out for no reason. Also neither character learns anything from the exchange and it fails to impact the story. By all accounts this is a bad song. But I’m Varian trash. There I said it. You happy? Varian’s parts in the songs are fine, good even, and the song is anything but bland. I would rather listen to a mess then be bored to tears by a competent yet standard four chord pop song.

13. I’d Give Anything

This song is nice to listen to. Story wise it absolutely sucks and shouldn’t have been in the finale at all. But it sounds pleasant. This is one of those songs that could pop up randomly on the radio and I would just think it it a nice sad break up song. I can’t say that about some of the other misplaced songs in the show. This one however, you can very much, absolutely divorce this song from the narrative and it would be fine. Now that’s not good writing, and it’s very much a waste of limited resources, but I’m rating the music here first and story second.

12. Buddy Song

The Buddy Song also absolutely did not need to exist but it also sounds nice. Plus, it makes use of Lance so I’m a little more lenient towards it. I can’t however place it higher since it really is just Alan Menken ripping off Alan Menken. Like, I would not be at all surprised to find out that this was originally a deleted song for Aladdin or something.

11. Bigger Than That

What can I say, Lance just gets good songs. When the show bothers to give them to him. Unfortunately, it’s not the best placed. It kind of interrupts the more important drama of Be Very Afraid, and probably should have been saved for a later episode. Especially since it hinges on a plot point that is contradictory to Lance’s character. We should have gotten a Varian and Rapunzel duet here and given Lance his own episode in the second half of season three. This song could have easily been refitted into being a bonding moment for him and the girls. That would also have filled out the season’s original songs to the usual eight instead of only seven.

10. Life After Happily Ever After

Now we’re getting to the good stuff. The top ten. The best of the best. This song makes the cut for three reasons. 1. It lyrically and musically interesting 2. It does the job of furthering the story and the characters and 3. Eugene’s part is so damn good. Like this song could have easily fell down into the ranks of ‘fine but generic’ if it wasn’t for the bridge with Eugene. That puts it over the top and to my mind makes it better than anything from the OG film. (well almost anything, Mother Knows Best is still great) This is the barometer by which I measure all of the music in the series. Is it better or worse than Life After Happily Ever After? Because this is the level that I equate good musicals with. What keeps on the tenth spot and not higher is the dialogue that still left on the soundtrack and the lack of a Cassandra introduction. That and also the rest of the songs are just flat better.

9. Hurt Incantation

Hurt, Decay, Reverse, whatever you want to call it, this was such a cool fucking concept. One that was utterly wasted by the show. I place this so high because it just sounds awesome! It looks good too, and it offered up so many possibilities from a story perspective. What lets it down is the lack of follow up for it and it’s too short. There’s needed to be another verse. It also should have been on the actual soundtrack instead of Hook Foot’s Ballad. (The Heal Incantation also was sung in What the Hair, but I’m not counting it since it was written for the film)

8. The Girl Who Has Everything (Reprise)

I hate the initial song and the set up that it took to get here, but I love this reprise. It’s perfect. This is what the story needed more of. Rapunzel taking her life into her hands, and her proposing to Eugene would have been the perfect capstone for her arc. In fact I’m angry we didn’t actually get that. There’s absolutely no reason why Rapunzel couldn’t have done so and we could have had her and Eugene engaged during the second half of season three. How much better would have it been if Cassandra threatened their wedding plans and that’s why they couldn’t go through with it until after the series ended? So much more tension that way.

7. I Got This

This is a really good song that actually futhers the characters and the narrative. Moreover it’s refreshing to see the heroine not be perfect and to fail sometimes due to her own inadequacies. It’s just a shame that the series didn’t follow through with this set up, but I appreciate the attempt all the same.

6. Set Yourself Free

This is the only song in the series that’s an actual satisfying pay off for anything. Music wise it’s nothing too special, but in terms of context it just works. We were sorely deprived of such resolutions and songs with actual meaning in the show.

5. View From Up Here

This song is too good for the episode it actually appears in. We needed something like this back in season one to introduce Cassandra with. It also sadly doesn’t fit with the wider narrative after season three. However I shall still appreciate it as a ‘what might have been’ type song.

4. Let Me Make You Proud

The only reason why this song isn’t higher is just overexposure and I’ve no one to blame but myself for that. I’ve listened to this song way too many times. As such it tends to alternate between this, View from Up Here, and the next song on the list. But make no mistake it is glorious. Fantastic instrumentals, set up, and of course amazing vocals.

3. Everything I Ever Thought I Knew

Yes, I know this plot point didn’t lead anywhere, but it works for this song at least. Also Eugene’s VA is a really underrated singer. He sounds nice and he emotes really well. Though I’ll be honest, this jumped up to third place because it was fresh in my mind after listening to the soundtrack before making this list. I’ve always liked the song and I do rate it highly, but it can change places with Let Me Make You Proud and View from Up Here at anytime depending on my mood.

2. Let Me Make You Proud (Reprise)

This song is heartbreaking! Story wise it probably shouldn’t exist because it gives away the twist too soon, but who cares, it’s awesome! Varian’s arc is the most compelling in the show and the only thing that saves TTS from falling into mediocre obscurity; and it’s songs like this that help make the arc stand out even more than it already does.

1. Ready As I’ll Ever Be

I said it before and I’ll say it again; Ready As I’ll Ever Be is the greatest thing Alan Menken has ever written in his entire career! If you know anything about the multiple award winning songwriter then you know that is no faint praise and I do not dole it out lightly. This song is the reason why this show even has a fanbase. People are still getting into the series because of this song. And no matter how many times you listen to it just rocks! It’s complex, layered, moody, and with a fantastic beat and energy. The performances are wonderful and the instrumentation glorious. It belongs in the hollows of Disney’s greatest hits and not regulated to a spin-off tv show that failed to make its money back. I weep for the lost potential that this song and this show had. It hurts to know that so many people will never see this flash of brilliance that has come out of the House of Mouse, will never know the wonderfulness that is Varian. Ah, ‘c'est la vie’, I suppose. Tangled the Series got what it deserved, but it's crew did not. While I can not in all honesty recommend the series in full; I do sincerely urge any Disney fan to check out the songs at the very least. Especially this one. And that’s it. There’s my official ranking of all the songs, and I hope those of you read my Tangled reviews appreciate the hours it took into making this.

#tangled #tangled the series #rapunzel's tangled adventure #varian #rapunzel #eugene #cassandra #lance #alan menken #Disney #disney music #disney songs

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lesbiancolumbo · 4 years

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Ik this isn’t TV Show related but I’d love to see you rank your top 10 favorite Peter Falk roles or the Peter Falk roles that you’ve seen one day 😄

(buckle up, fuckleheads! this is going to be a certified #long post)

i thought about this long and hard. i want you to know this because i take peter falk very seriously. he is, after all, one of the loves of my life. i’m not going to rank every role i’ve seen because we don’t have five days, but i will do a top ten, and because it feels wrong not to, i will be including his television roles in the running for this.

i should also note, because i really don’t want to see any funny business here, that this is a completely subjective list, and i am going off of peter’s performance more than the actual movie/tv show or movie itself. if you feel very strongly about it, you can and should make a list of your own! okay, here we go:

honorable mentions: cookie, luv, murder inc.

10. “the price of tomatoes” from the dick powell theatre (1962)

this is a deep cut, but i wanted to include it on this list because i think it’s amazing. peter won his first emmy for this tv movie. peter plays a long-distance truck driver who is on a very tight schedule when he encounters a pregnant hitch-hiker with a secret. his life, and hers, become very complicated over a long night on the road. i love this tv movie. i think it’s remarkable, and i think peter is wonderful in it. he had just came on the scene by the time he made this and already had oscar and emmy nominations under his belt. it’s a star making performance from one of our brightest stars and it’s on youtube to watch right here!

9. penelope (1966)

i love this movie. peter is in a supporting part here, a detective who is suspicious of a banker’s wife who is a little too invested in the recent robbery of his newest branch, but can’t help falling in love with her anyway. penelope is not the best movie.... it’s full of men who project on, ignore, belittle, and harass penelope, but peter’s lieutenant horatio bixbee is the one man who seems to see and love her for who she really is: a whip-smart and neglected wife-turned-bank robber. peter and natalie wood’s scenes crackle with a chemistry the rest of the film lacks. i wish they could have ended up together. i think they would have been very happy.

8. the great race (1965)

the great race is so funny. i’m gonna keep this one brief because i might have a prompt to elaborate on him in this film specifically coming down the pipeline but peter is an amazing straight man to jack lemmon’s crazy energy here. i think about him rushing into the pie scene, yelling HEY PWOFESSAH! and getting absolutely demolished with pies so much.

7. wings of desire (1987)

this one feels like cheating to me because it isn’t really a performance - he’s playing himself! or a version of himself. but his “i’m a friend” speech is an all-timer. this is the first thing i ever saw peter falk in, before i ever knew who he was. i hadn’t known about columbo yet - peter falk is and always will be known to me first and foremost as an angel who once walked amongst the living.

6. pocketful of miracles (1961)

peter was nominated for his second oscar for this movie, playing a long suffering gangster to glenn ford’s superstitious mob boss, and he is the highlight by far. he’s just trying to make the deal go down! he’s had ENOUGH with all the funny business! he is a man with a short fuse just waiting to explode and pocketful really is one long and beautiful face journey for peter. he goes toe to toe with industry legends (glenn ford, bette davis, thomas mitchell, edward everett horton) and not only holds his own but out-dances them all. frank capra wrote later that he saved this picture, and he was right!

5. husbands (1970)

this isn’t a flex but i watched this movie on a date once and it was not a fun experience for either of us, so don’t do that lol. husbands is a movie i know i need to revisit but i’m not particularly eager to. it’s a hard watch, and peter’s character has some really excruciating scenes, but i think he toes the line really gracefully. his character isn’t an angel, but he isn’t evil. he’s troubled and repressed and grieving and angry and peter hits all the notes. i’m sad this is the only movie he made with both john and ben.

4. the in-laws (1979)

SERPENTINE! i love watching peter do physical comedy, and it is so funny to watch him bowl over alan arkin, a man who is taller and bigger than him. apparently peter didn’t think this film would work and alan told him he was the dumbest man in the world.

3. a woman under the influence (1974)

if this were a ranking of movies this one is number one. i’m still so wrecked by it that i can’t even articulate what it is about this movie that gets to me. nick longhetti is like archie black turned up to eleven - he is a really..... difficult man. a lesser actor would have made him purely sympathetic. an even lesser actor would have just made him a villain. peter recognized all of the contradictions and complexities in this character and refused to make nick easy to understand or connect with. he’s a man that no one will ever fully understand. it’s one of his best and most understated performance. i am crying as i type this, so i want to show you what i mean.

a thousand words couldn’t even touch what nick is saying in this once glance.

2. columbo (1968 - 2003)

i mean, jesus, what is there to SAY about columbo???? it’s his most iconic and recognized role. it’s the role of his career. the most fascinating and entertaining character. universally beloved. it should be number one, and i really wrestled with this. i want you to know that. but when i close my eyes and think about..... THE peter falk performance......

1. mikey and nicky (1976)

yeah, i just. this is the one. i firmly believe that we’re never going to get a performance like this from anyone ever again. between you and me, i think mikey is the harder role of the two. he’s a man who can barely articulate anything - no one ever gave him the chance to - and a man who loves and hates his best friend in such ever-rotating frequencies that even he isn’t sure if he’s supposed to love nicky with all his heart or hate him and wish him dead. maybe it’s both. maybe it’s neither. mikey is the most dynamic character peter ever played. it’s when i watch this film that i mourn his passing - it’s my firm and unwavering belief that he was one of our very best actors, and i feel his loss whenever i watch him express all of mikey’s grievances, anxieties, hatred, and heartbreak. he only had one fucking eye, and look at him.

there will never be another.

#asks #blanketsareus

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aerielz · 3 years

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1, 3, 8, 9, 12!!!!! and like. any others because i love talking tww with you! also i assume your really stressed with finals and school and life, so this is a reminder from a friend that you’re going to be okay! it will all be over soon, and you have so much strength and intelligence that you can surely handle this<33 so yeah, here you go- distraction AND reassurance, hope this helps🥰

At some point you're going to make me cry, okay? You’re the best!!!!! I also love talking tww with you, and it really does help. Finals have been killing me, and I really needed this!

On to the answers!

[Under the cut because I really went for it. and I mean... I went for it. check the last answer if you want just the headcanons, everything else for unpopular opinions, lmao]

1: favorite episode(s)

Ohhhhhhooooo boy. There’s an endless list. I think I can name a season’s worth of them, but here’s ones I can pull from the top of my head:

Crackpots and These Women: and here’s some of my rationale behind the choice. but yeah, I could go on and on about this episode.

Nöel: listen, I’m a basic bitch who’s in love with Josh Lyman, okay, is that simple. But. yeah, like, no. here’s the thing, there’s a reason why everyone won Emmys for this one, ok. the writing is freakishly good, and Bradley Whitford can draw nuance from a fucking comma. that episode is absolutely off the charts when it comes to just about any aspect of the filmmaking. it’s what happens when everyone involved decides to live up to their potential. it’s one of those I need to reign myself in, otherwise I'll just go full analysis and there’s no end to that meta lmao

The Steakhouse Filibuster: the way this episode works is... pure fun. I'm a writer and it doesn’t turn off and I will start taking about structure unless I shut up now, so. also, DONNATELLA MOSS, who I'm, also, in love with.

Hartsfield’s Landing: “You're a good father, you don't have to act like it. You're the President, you don't have to act like it. You're a good man, you don't have to act like it. You're not just folks, you're not plain-spoken. Do not - do not - do not act like it!” “I don't want to be killed.” "Then make this election about smart, and not. Make it about engaged, and not. Qualified, and not. Make it about a heavyweight. You're a heavyweight. And you've been holding me up for too many rounds.” This exchange carries a lot of meaning for me. it’s about being who you are in spite of outside opinion, and this idea has been hitting me like a truck, these last couple of months.

Holy Night: [cries in JD shipper language]

Commencement: hands down the best episodes this show has ever produced, season finale notwithstanding. but I'm biased, because they used Angel, and I loved that song. also: DONNATELLA MOSS.

The Supremes: everything Debora Cahn ever wrote for this show deserves more love. This episode is a work of art, and. like. Glenn Close, man. also: DONNATELLA MOSS. are we sensing a theme, perhaps?

No Exit: THIS EPISODE HURTS SO GOOD. And for many reasons, including the fact that we get cj and donna’s scene. I'm queen of unpopular opinions when it comes to this show, tbh, and this is just one of them. It’s one of those really serious episodes that happened post-sorkin that gave the actors a chance to shine through the lens of a more poignant drama. Janel is so good here, I can’t stress that enough.

King Corn: [more cries in JD shipper language. louder]. I love how they stress just how much Donna is growing by paralleling her routine with Josh’s. She’s on his level now, they’re on the same boat. Not just that, but we see the toll the distance takes on both of them. It’s distance makes the heart grow fonder in perfect visual form. writing-wise, it’s impeccable. and since I actually like the direction the show took after Sorkin left, I really like this one.

Freedonia: Eli Attie’s creative is paralleled by none short of Vince Gilligan (of breaking bad fame). After he arrived on the show the political content got to a whole new level, and under his writing we finally got to see josh being the genius political operative we were always promised he was. I mean, the chickens. the damn chickens.

The Cold: the writing and the kiss and the FUCKING BEAUTIFUL SHOTS OF JOSH AND DONNA FRAMED BY LIGHTS and the kiss and the acting and the kiss and [crying] the kiss.

3: favorite ship

There are ships that we love for a few months and then let go. Then there’s ships that stay with you long after you watched the show. Then there’s ships that change your life. Then there’s what JD did to me.

But Andy/CJ killed me and continues to kill me, and you’ve successfully convinced me to ship the shit out of the OT3, too.

8: scene you watch over and over again

To be honest, while watching the show I had the remote on my hands and watched everything that made me laugh or just mildly happy multiple times before even allowing the episode to play through.

I mean, the kiss from the cold... I literally just kept replaying it when I got to it. I watched it like seven times before even continued to watch the rest of episode. not just that, but also the shots of them looking at each other at the end.

Also: cj and the turkey. cj and toby and the dead brother. donna and the chicken. that scene in which toby lays his heart out for will about writing because honestly that just too close to home and the recognition hurts but like in a nice way.

But, for real. This entire show was me pausing every five second to rewatch something.

9: plot you pretend didn’t happen

Bartlet giving the go on killing a foreign leader, because political assassination does not sit well with me (ʘ‿ʘ✿)

12: headcanons

ok now you really want me to stay here the whole week. here’s a small list:

- unpopular opinion: josh was actually in love with Amy for a second, there. which is why he’s learned so much from the debacle that was their relationship.

- remember when sam once said “I never knew how much smarter than me he is” when he has to step in for josh as DCoS? that’s when he realised that Donna can keep up with Josh. Which is why he knew, before everyone else, that Donna would leave Josh eventually.

- I can’t remember if this is cannon, but I'm 100% sure josh never even thought of taking the bar. sam will never be over teasing him about it.

- after so many bad christmases, josh really doesn’t like it. but he starts reevaluating his opinions after they he gets married to donna. getting to see the kids light up at both Hanukah and Christmas year after year... let’s just say family has this way of making things feel better.

- cj regularly gets called to guest lecture at Columbia. she regularly declines. but she does accept once. and it changes everything (YOU KNOW WHAT I’M TALKING ABOUT ALEENA).

#the west wing #az talks tww #az answers #aleena has a tag

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morganas-pendragons · 4 years

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Best Carol/Melissa Episodes

So I got bored in Quarantine and I was so moved by Look At The Flowers that I decided to make this list of the best episodes that either feature Carol/Melissa as a lead or she plays a large part in them. I haven’t seen S1-2 since like... 2014 as they’re my least favorite (i know i’m sorry but i did include honorable mentions) but I’m so freaking proud that I couldn’t not make this list. Here we go! Feel free to add to them! ** means they’re my favorite performances of Melissa! I do mention some scenes that are also with Norman/Daryl as he is a LARGE part of who Carol is. If you think it’s ‘’shippy’’ which it might be, don't read it. I worked on this for almost two hours.

season 1

- for real, what woman keeps a grenade on hand? That was it. That was where I started paying attention to her.

- also, the scene where she digs the pickaxe into Ed’s head? I think Daryl and I both fell for her then.

season 2

- the honorable mention!! the barn scene in which carol learns the fate of her daughter. I don’t remember most of s2, but this one I do. I think this might’ve been the first point in the show where I was like, “Hey Google, how to protect someone who isn’t real.’’

season 3

- walk with me: We get to see how Carol has changed during her time on the road after the farm and how much she’s learned. This is also, unfortunately, the last time we see her for a couple episodes until Daryl finds her in the cells below.

- hounded: daryl finds carol. It’s sweet, it’s warm and soft and there’s alot of reunions and alot of mourning over T-Dog and Lori.

season 4

- Carol has become a leader in her own right for this season. She teaches the kids how to defend themselves during the ruse of a story time and takes on Lizzie and Mika as her own after Ryan is bit.

- indifference: After killing Karen and David to stop the spread out a virus, Rick takes it into his own hands to banish Carol. This one hurts too because it’s quite obvious why she did it. She did it to protect herself and the people she loves, but sometimes that’s just not enough.

- the grove: emmy emmy emmy emmy material. Holy crap, I CANNOT stress this enough! This is the make or break episode for Carol as a character. There’s beauty and devastation and anguish all wrapped up into 45 minutes. This should’ve made Melissa well known. This should’ve won her multiple awards, and it didn’t. But we know. We know.

season 5

- sanctuary: this one goes down in history for multiple reasons, and most of us know them. 1.) Caryl reunions galore. Even if you don’t ship it, that moment is so, so sweet. 2.) If it weren’t for Carol, your fave would be dead. That’s literally it.

- consumed: OOF. Really.

- The back half of season 5 after the arrival at Alexandria is hilarious to me. Because these people are so sheltered from the darkness and the cruelty of the outside world that Carol takes on their own persona to blend in with them, to know the naivety of these people and to hide easily among them to get what she needs. This is also how she befriends Sam, who probably reminds her of Sophia which is why she’s so cruel to him.

season 6

- jss**: ‘’Miss Peletier, you are an honest to goodness hero.” No. Freaking. Way. I remember watching this episode and rocking back and forth on my heels in anticipation because up until this point, I think this might’ve been one of the bloodiest moments in the show - and right in the center of it all is Carol - who is now of the mindset that, ‘’hey, we need to kill, we don’t have a choice.’’ and she portrays the internal struggle behind all of this so, so well. The scene with Melissa holding the body on the stairs was what won me over for this episode. It’s very much a merciless 45 minutes.

- no way out: Carol is not a lead in this episode, but Melissa is very heavily influenced between this one and the previous because of her confrontation with Morgan. I remember how angry that made me, having to watch him bodyslam her (a former domestic abuse victim) against the floor. Outside of Carol, this episode is one of my favorites in the show.

- not tomorrow yet/the same boat**: Carol moreso plays a bigger part in the latter as opposed to the former, but these two episodes really showcase two things: Her heart to protect her family (IE: A now pregnant Maggie) and her deteriorating mental state. Outside of The Grove, I think this is one of Melissa’s most powerful performances. it’s also the only female led ep in the show

- east**: I cried the first time I watched this. Carol vs The Saviors, #2. This episode breaks between Morgan and Rick going out to look for her (HENCE ONE OF MY ALL TIME FAVORITE QUOTES ABOUT CAROL: “That woman, she’s a force of nature.) I don’t think I really understood the power behind the eyes in the midst of television until I saw this episode. I can’t find the gif, but I’m sure most of you who’re reading this know what I’m talking about.

- last day on earth**: again this episode shifts between perspectives as TF is trying to get Maggie to Hilltop for her pregnancy complication, but Melissa is stellar here. Carol doesn’t want to love because if she loves, she has to kill, and she attempts to manipulate one of the survivors from the massacre into doing what she can’t: taking her own life. She just wants to go, and Morgan won’t let her. This one is a bit darker, and the episode as a whole is not my favorite, but it’s definitely up there in my favorite performances for Melissa.

season 7

- the well: if there was ever an episode that would show you that Melissa aces comedy, it was this one. This is meant to be an introductory to The Kingdom, but the hilarity behind the way Carol talks to Ezekiel is so entertaining. It’s kind of hard to believe she ends up marrying the man (we’re not going into shipper discourse here, friends) but this one also shows you something through Carol’s eyes: The differences between people and walkers and her desire not to kill. She wants to hide, and she does.

- new best friends: Daryl lies to Carol about what happened in the clearing with Negan. This one is so so heartfelt. It’s deeply intimate. It showcases two people who’d move heaven and earth to ensure the safety of the other, both physical and mental and emotional. Norman and Melissa aced this. I can’t say it more simply then that.

- bury me here**: I love love love love love this episode. The entire thing is a metaphor, but I love it anyway. If I remember right, this is also the one where Morgan tells Carol about Glenn and Abraham. Remember what I said about the power behind a look? This is another instance in which Melissa shows she is the master of this.

- carol spends alot of the time at the kingdom for the rest of the season and i cannot really remember any more memorable performances for this garbage, as they took my fave and reduced her to a side character for this and most of s8.

season 8

- the only performance i will give any credit to in this season is 8x04, which is Some Guy. I barely remember the rest of it. Minus the moment where she finally saves a kid - Henry - instead of losing one. And a heartbreaking moment between her and Morgan that I also barely remember. Case in point, S8 was and still is garbage.

season 9

- 9x01-9x05 all have Carol in them because whenever Angela Kang took over the show, she had the brilliant idea to actually use her lead women as leads. Season 9 feels like an eternity ago and I can’t remember if she took over before or after AL signed off, but my point remains. Between Carol’s loyalty to Ezekiel because of Henry, (who she has now taken as her son), and their marriage, and her short stint as the leader of the Sanctuary as Negan is in confinement, there’s something in Carol here we haven’t seen in years. It’s something akin to peace, or as close as she’s gonna get to it. 9x03 and 9x04 (particularly the conversation b/t Rick and Carol) are my favorite of this cluster for her.

- I almost dropped off after 9x05. I thought that was it, I thought that was gonna be where I ended. Nope. This woman - AK- took this show and made it what it had been and I’ll never be able to thank her enough for it.

- Who Are You Now: I only remember this one because of the scene where Carol and Henry are in the carriage - side note: I really need to go back and rewatch this season again - but one of the things that caught my attention about the after of the bridge was how the relationships b/t parent and child are approached as significant. They’re not the future. The adults are building for the future of the kids. Michonne/Judith, Ezekiel/Henry and Carol/Henry. It’s sweet. Very sweet.

- Stradivarius: this is a very Caryl heavy episode, but we find out something here: Even with being married to Ezekiel, Carol has still gone out to see Daryl where he resides by the same river that took Rick. Henry sees the relationship between him and his mother. It’s as obvious as the nose on your face. This one is just adorable. I love it.

- The Calm Before**: Ow. OW OW OW OW OW. You want more pain? Here you go! Carol faces the dark truth as she crests the hill that holds her worst nightmare: Henry has died. She’s lost another kid. You wanna restrain yourself from breaking through the TV to comfort Carol for the umpteenth time as she breaks? Cool. That’s what you get here.

- The Storm**: Split apart by the death of Henry, Carol and Ezekiel no longer remain married. She gives up that fairytale - one of the happiest she’d ever had - and begins wallowing in her suffering over the loss of her son. Heartbreak and grief do not come easily to her. They never have. Can you imagine being suffocated by things you’ve never talked about? Can you imagine having to live every day with your grief? Well, look here... that’s exactly what Carol does, and you want to know who her guiding force is?

It’s Daryl.

season 10

- I remember when Season 10 aired, I watched the first episode in Kenya and loved it. I’d heard something about how PTSD was a BIG factor in the progression of the story throughout this season, and as someone who wants to go into mental health counseling, I was so intrigued by this that every single episode kept my eyes glued to the TV. Carol is the lead female now besides Michonne, but I’m gonna tell you every single favorite episode of mine anyway.

- Ghosts: Carol makes a mistake and fires at Alpha when they meet her at the border. She wears a mask that’s so composed it’s almost hard to see the heartbreak beneath it, and that’s the point. She’s not considering her life. She’s considering vengeance for the life that was taken. This is a constant circle for her. Alot of people are tired of this arc and I get it, I do. But the difference between this one and the three seasons previous is that we’re meant to get to a resolution now. This episode broke my heart. Especially the last scene in the gym.

- Bonds: Another Caryl heavy episode. I love this one. It’s very lighthearted compared to the rest of the season.

- Open Your Eyes**: This one is utterly terrifying and eerily reminiscent of the one in S2 where Daryl interrogates Randall. Carol, having just brought back a Whisperer from her escapade with Daryl, interrogates him to find out the location of Alpha’s horde without any real consideration for the people around her. She also uses Lydia for her own personal gain, and I’m not gonna lie - Even though this one is one of my favorites because of Avi Nash (WHO WAS SUCH A GOOD ADDITION TO THE SHOW I LOVED HIM AS SIDDIQ) This episode made me so angry because of Carol’s motives.

- The World Before**: And when I said I was angry, this episode turned it all into heartbreak. This one remains one of my favorite of the show and of Carol for one very specific reason: The scene in the woods between her and Daryl.

As someone who has never done grieving well, this scene hit me so. hard. She’s so set on this path of vengeance and blood that she’s neglecting a very real truth that she has never done well: talking about her burdens, talking about the pain and if she does that, if she acknowledges it, then she will hurt.

- Squeeze: I don’t have to talk about this. I just have to show you.

Ow. Please, please let her heal. I’m so tired of seeing her hurt.

- 10x11 and 10x12 don’t really have Carol, and neither does 10x13, but she’s there. We see her a couple of times, we have a conversation or two. Let me get to the penultimate moment. One we’ve waited for years to see and which next week will give us the rest of.

- LOOK AT THE FLOWERS*****: You can be a Carol fan for five minutes or five years and still somehow managed to love her MORE after watching this one. There’s a couple reasons why this one is probably in my top 3 for both Melissa and Carol as a whole.

1. I have waited years to see Negan meet Carol. JDM has made it very clear how he feels about MMB and I knew, I knew, that once this interaction happened I would not be disappointed. I should’ve realized she was the one who let Negan out, but I didn’t. That entire first scene is gold.

2. This entire episode is just.. art. The fact that Carol’s darker side takes the form of the being of her hatred - Alpha - is fitting, and it’s also the first time we’ve really gotten an actual dialogue about multiple things that have formed her character for the last several seasons: The Grove, the loss of Sophia, Ed... It’s heartbreaking to see because she keeps telling herself pushing people away is better, it’s better to be alone because there’s no one to burden, and the darker side of her asks a very simple question: What do you want?

Her answer is clear, at least to her. I want to be alone. But the fact that the darker part of her, the one that keeps calling out on Connie, doesn’t agree. No. There’s something deeper. Something she’s too afraid to acknowledge.

3. That whole final scene. Wow. I’ve watched it like four times because Samantha Morton is just so good as Alpha, as Carol’s dark counterpart, trying to mock and taunt her into doing the one thing she never was able to do herself: Dying. This episode is dark because of this realization. “Look at the flowers’’ is akin to ‘’It’ll all be over soon.” but instead of choosing death, instead of choosing the one thing that would let it be over, she chooses life. She essentially chooses to fight for herself which she has not done in YEARS. The minute she acknowledges that it’s never too late (FOR WHAT?? HM??) the demons disappear. I think that this point into 10x15 will give us two things that every Carol fan is desperate for: Healing for Carol (FINALLY!), and a resolution to this endless arc of suffering.

Also... Why do we think that Daryl is the one who ends up welcoming her home? Why is he the one who opens the gate?

Long story short: I love this character. I love Melissa McBride as she is one of the most down-to-earth, humble and compassionate actresses in Hollywood. It’s a shame she’s not gonna be recognized by The Academy because if ever there was an actor/actress on this show to win, it’d be her.

#Carol Peletier #Melissa McBride #The Walking Dead #TWD #twd spoilers #messing up my own tagging system just to prove my point

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ace-charlie-kelly · 4 years

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Key Quotes from Glenn’s Interview with FLOOD Magazine

The original interview (which can be read here) is pretty long, but really interesting, so I decided to condense some key quotes from it into a post for a quicker read.

On the show’s critical acclaim and (tied) status as longest running live-action comedy in American television history, despite it never earning a major award:

“We’ve always lived in this weird space where I’ll see an article about the show that talks about it like it’s one of the most iconic shows of the last decade, or whatever, and it fills me with a tremendous sense of pride…But like, we’ve never been on the cover of Entertainment Weekly. We’ve never been on the cover of Rolling Stone. We’ve never won an Emmy…In a way, it’s a little confusing for me.”

“I have my own theories about it…We were so grungy and grimy and ugly to look at as a show early on, and those first impressions really do matter. The show never looked good or polished. Even when the show is talked about in glowing terms, it’s often talked about like it’s a gross pee-pee and poo-poo show. If you read into those articles, it’s like, “They’re gross and they’re crossing the line and they’re hitting all these hot button issues” and if you’re the casual viewer, you read that and you’re like, “Oh, these are just some young fucking kids trying to be gross,” but usually somewhere buried in the article, it also talks about how smart the show is. Though most people don’t even get that far into reading it. What I find is, there’s a certain collection of people who have never really seen the show and always blew it off, and then there’s people who really, really love it and there’s not a lot in between.”

“It’s almost like we’re the Phish of shows…It’s like we were never celebrated but we always had street cred.”

“In some ways, I love it. We were never celebrated but we always had street cred. To be fair, I also don’t think any of us have gone out of our way to court that sort of attention, either. We never did that like, “Let’s all go out and get lunch with the editor of Entertainment Weekly” or throw a big party and invite everybody who votes on the Emmys. I didn’t find out until years later that that’s how a lot of these awards get won. You campaign. It’s like a political campaign. We just never did that. We never wanted to. I’m not sitting here saying we felt like we were above it. I’m just saying it was out of sheer laziness and maybe to a certain degree, not wanting to pander to that type of thing—and early on, not even knowing that’s what people did. Nobody told us!”

On how making the show is different now than it was in 2005:

“Yeah, it was much more of a grind back then, because we didn’t have the staff that we have now. That’s not to say the crew we had then wasn’t good; they were great. It was less and it was new. We were kind of figuring it all out as we went, so there were a lot more calories being burnt daily figuring out how to make this show and figuring out what this show was. We were also producing more episodes back then. It would take us a full nine to ten months from the time we’d first sit in the room and talk about what kind of stories we wanted to tell that year until the time when we were completely finished with the final sound mix of the last episode.”

“I view those years with a tremendous amount of fondness, as difficult as they were…Those first few seasons it was really just me, Rob, and Charlie [Day] doing it and we were figuring it out together. It was a beautiful thing.”

On whether or not shifting perspectives over the years has influenced the writing:

“I’m not totally sure. I will say, as a show, we try to be even more conscious than ever in making it clear that the characters are awful but the people writing the show aren’t awful. I don’t know that we were able to quite think that clearly in those early seasons. My sense of humor has definitely evolved. I’ve always liked entertainment that rattles you a little bit—that’s the kind of shit that I’m looking for and I want to watch, as a viewer. I’ve always just wanted to shake things up. From the very beginning, our goal was to try and find humor in the most uncomfortable corners of humanity and just sort of find humor in the things that are normally considered totally taboo. It’s never been my intention to offend people or do something that’s fucked up for the sake of it being fucked up. It’s always been exploring certain truths about things that happen behind closed doors that we still weren’t really making jokes about in 2005.”

On Sunny’s multi-camera approach to shooting:

“It’s very loose and run-and-gun…We shoot all the actors at once, so we can improvise and adlib and fuck with each other in real time and make sure that all of it is being captured on camera at once…I always had a firm belief from the very beginning that I wanted to shoot the actors all at once, because when actors are acting together there’s a certain energy that happens…I wanted the acting to feel like it wasn’t rehearsed and it wasn’t memorized, although it is very much a scripted show, we adlib a lot and we fuck with each other a lot on camera to get real reactions.”

“I always had a theory that there has to be a “Harlem Globetrotters” feel to it, that we’re all walking on a tightrope and just having a fucking blast doing it. So, even when my character’s yelling and angry, we as the actors are having fun. It’s always my firm belief that if we’re having fun on camera and on stage, then the audience can actually feel that. That sort of philosophy has gotten us further, I think almost more than anything, and has been one of the reasons why this show has competed. That sort of DIY mentality, like, “Look, camera guys, just point the fucking camera at us and let us do our thing”—hell, we didn’t even let the DP put marks down for us for years, because we were like, “We’re going to go wherever the hell we want to go, just make sure the camera catches it.”

On if Sunny could go on forever:

“Yeah, I think the tough thing about it is none of us have lost our passion or love for the show at all. I think if the three of us from the very beginning had set out to be sitcom writers and actors, there’s a chance we could just set everything down and be like, “This is what we want to do.” But it just so happens that the three of us are also very ambitious, and want to do so many other things. We didn’t even start out as comedy guys. My intention was never to be known for comedy. We have other ways we want to express ourselves. That being said, we recognize that we’ve been given this gift of this incredible show and these incredible collaborators and I think if we can all get in the same room for a long enough period of time and carve out that time in our schedules, and if FX still wants to continue making the show, then there’s certainly some version of it that could continue on. If it didn’t, it wouldn’t be for any reason other than we couldn’t come to terms with FX or we just got too busy doing other shit.”

On if the show could go on without some of the main cast members (like Community):

“No, I don’t think so…We tried it a little bit in season thirteen. This has been misreported on a lot: I never left the show because of AP Bio. I needed to take a break from the show because that’s just where I was in my life and the guys totally respected that and then AP Bio came along months and months after I made that decision. AP Bio never pulled me away from Sunny, that was just a personal decision where I was at. The guys just couldn’t…it just didn’t feel right without me there. This is them telling me this. It’s not just me, either. It would be any of us. If Charlie and I tried to make the show without Rob or we tried to make the show without Sweet Dee. This show is the five of us. That’s just what it is.”

#it's always sunny in philadelphia #glenn howerton #flood magazine #cast

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edharrisdaily · 4 years

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Ed Harris: "They don't offer me any comedy, and look, I have a sense of humor."

Note: Translated via Google Translate, some films I recognise despite the translation not doing a very good job of it so I’ll mark them via *

The visionary Christoph of The Truman Show, the Nazi sniper of Enemy at the Gates or General Hummel of The Rock have one thing in common: the eyes of an intense blue of Ed Harris, Grand Prix of Honor of the Sitges Festival and is a presence that always raises the quality of the films in which it acts. Educated and kind, he even apologized to Donald Trump yesterday: "I am ashamed and apologize for the current government of the United States, a terrible, disturbing and sad government."

What made him want to become an actor?

As a young man, my life was focused only on sports, but in college I realized that my career as an athlete had no future. Then I saw an actor perform a couple of plays in the theater and he was amazing in the two, which were very different. Everyone stood up and applauded, and I thought, "I want to do this too."

Is there any role you would like to play before retiring?

There is a book, Lie Down in Darkness, by William Styron. I'd love to play Dad, but I'm probably too old. Maybe 20 years from now, if I'm still here, I wouldn't mind playing King Lear. But what I most want to do is direct. I haven't directed a film in nine years and in March I will start shooting The Plougmen, starring Robert Duvall, based on a novel by Kim Zupan.

You like to prepare the papers a lot. What is your method?

It depends. If it's real people like John Glenn or General Patton, who I will play in two weeks, I'll investigate the character. But basically the script is the bible. How it moves, how it reacts, and so on. You try to gather all the information about the character, either by reading or through imagination.

Are there any titles in your career that you think deserve more resonance?

Last year I made a film about a photographer, Kodachrome, who hasn't seen many people, but I'm very happy with my job. Frontera is another independent film, it is set on the border with Mexico and I think it is a great film. And The Irish Clan (*State of Grace) too.

It will be in Top Gun 2, which has a good director and spectacular casting.

Yes, it will be shot in November, but I've already shot a couple of scenes from the beginning with Tom [Cruise]. I haven’t worked with him since The Firm, so I really enjoy it.

He has hardly done comedy. One of the exceptions is Milk money, for which he was nominated in 1995 for a Worst Razzie. Was it taken as a sign that comedy was not his forte?

Actually, a lot of people approach me to tell me that they are fans of Milk money. I'd love to make comedies, but they don't offer any of them, and look, I have a sense of humor. I had a great time shooting Milk money and did a handful of comedies in the theater, but it's not quite the same, they're different media.

*Ed was not nominated for a Razzie in 1995 but the script was nominated for Worst Screenplay

He is often described as one of those actors who, even in a supporting role, ends up stealing the scene. Have you ever had an actor steal the show from you?

No [rotund]. And if it had happened to me, I wouldn't have told you!

I see that he does have a sense of humor.

[Laughs.] I don't really know if I've ever been in the situation you say. Let me think for a moment and I'm sure some examples will come to mind.

Jeffrey Wright shot the first season of Westworld without knowing he was a robot. Did you know the arc of your character?

No, the first year there were a lot of surprises. The second year I knew more or less what would happen and from the third year I have no idea. Jonathan and Lisa Nolan believe that it is better for the actors to know nothing about the future of the characters. But look, I do theater. And in the theater you do the same text every night for months and you know everything that’s going to happen, it’s part of the job. So I'd rather get to know my character than find out on the go.

Can Westworld become the new Game of Thrones?

I don’t think anything can become the new Game of Thrones, but Westworld is very popular, and it’s nice to be on a show that so many people like. It was also nice to be nominated for Emmys, the problem is that there are a lot of series, about 400. And no one sees them all. There are a lot of actors who do extraordinary things and don't get any recognition. It’s ridiculous to nominate just six performers.

Would you like to make a cameo in any of these 400 series?

Yes, in Atlanta. It's a great series. I would play any role.

#ed harris #interview #misc.#2018 interview #translated from catalan

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wigwurq · 5 years

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WIG REVIEW: FOSSE/VERDON

Are you ready for another prestige limited series from FX? Do you like the legitimate THE-A-TRE? Can you do jazz hands upon request? Well then Fosse/Verdon might be for you. MAYBE.

But what about the wigs? Let’s discuss. As this an eight episode series, I will be updating this post weekly and adjusting whether or not the wigs do or do not wurq. Spoilers, obvs.

So this show is about legendary director/choreographer Bob Fosse and his wife/Broadway legend, Gwen Verdon. If you have never heard of either, I suggest that you stop reading because this show is definitely not for you. Sorry? Produced by Lin-Manuel Miranda and directed by Hamilton’s Thomas Kail, this show is made ONLY for theater megageeks and basically no one else. As a former drama club president who definitely got Joel Grey’s autograph after seeing the original Broadway revival cast of Chicago, I thought I fit that bill but after watching this thing, I don’t even know that I qualify. My husband, who spent most of the episode asking questions until finally just deeming the whole thing “boring” was absolutely not the key demographic and yes he went into this knowing who these two people are and has seen several musicals. Similar limited series focusing on very specific pop culture such as Feud: Bette and Joan did a much better job catering to the uninitiated.

EPISODE ONE: LIFE IS A CABARET

We begin at the end, then go straight to the middle, which is: a choice. We first see Sam Rockwell in old man makeup (sorry - I could find no images of this to share) and then backtrack. Much of this episode is focused on Fosse’s transition from choreographer to film director. This is when Fosse had already lost much of his hair and had a bad combover and Rockwell is given this wig that is giving me Ed Harris circa 1998 feels and like all bad man wigs, looks terrible from the back.

We are then plunged straight into production for the film version of Sweet Charity without any explanation of anything other than the fact that (duh) he’s directing the iconic Big Spender number. But wait - there’s a twist! Turns out Michelle Williams as Gwen Verdon did a lot of the directing! DUN DUN DUN. I am all for giving ladies their propers and approaching narratives as if they are Glenn Close’s The Wife character but this does not change the fact that this red Marilyn Monroe wig is not very good.

This is all very Theatre-y with a capital T and an ending in RE NOT ER. Everything has a Theatre quality to it - but not in that Tony winning Hamilton way, more in that Emmy winning Grease: Live! way (Kail directed both) which is to say that there is no immediacy or intimacy to anything - all the characters feel like they are far away, performing on a stage - and it leaves the viewer feeling empty and, well, bored. TV and stage are just not the same! Oh, and Fosse just found out that movies and stage are not the same because Sweet Charity was a big flop! Look at how sad they are in their gorgeous apartment and terrible, bent wigs with backs that jut out from their necks! THE HORROR!

So then Paul Reiser shows up. He is fine and I’m glad he’s getting work and he’s thankfully not wearing a wig! When a new character shows up in this show, you spend the first five minutes or so trying to figure out who they are supposed to be playing, like an IMDb charades game since no one explains who they are and simply give vague context clues. At first, I thought he was Neil Simon, then he mentioned making a movie with homosexuals and Nazis so I was like: DEFINITELY MEL BROOKS but it turns out it he is Cabaret producer Cy Feuer. You, know - CY FEUER? You don’t?? WELL WE’RE NOT GOING TO EXPLAIN IT TO YOU WE ARE FOSSE/VERDON.

Aaaaanyway, Fosse gets the job of directing Cabaret and goes to Munich and meets Liza Minnelli who in this tv reality looks like this which is not how Liza Minnelli ever looked. AND THIS WIG. AT LEAST GIVE LIZA A GOOD WIG NOT ONE YOU FOUND AT RICKY’S. NEXT.

Then Paul Reiser gives Sam Rockwell a lot of guff about taking too long to direct things and not deciding about costumes and hiring ugly German prostitutes to be extras yet somehow allows him to wear these really ugly shoes. Throughout, Rockwell’s wig is a mess of a tumbleweave, not unlike this show. And then Michelle Williams shows up to save his ass like all capable ladies ever and even goes to buy a gorilla suit in NYC only to arrive back in Munich where Rockwell is boning some German translator who looks way too much like Ann Reinking. There’s also a lot of nonlinear theatrical vignettes into Fosse’s past that play like, well, All That Jazz. Which this is not.

In the end, we go back to old man Fosse, and it is told to us that he has only EIGHT MORE MINUTES TO LIVE. Kudos to the production team for somehow trying to turn Bob Fosse’s 1987 death into a thriller. Spoiler: it’s not.

EPISODE TWO: WHO’S GOT THE PAIN?

We (obvs?) begin in Majorca, where 70s-era Fosse and Verdon have gone to patch up their marriage. Also can you think of a more bougie place to go in the 70s to patch up your fancy marriage? There are a lot of scenes on the beach where Sam Rockwell’s 90s Ed Harris wig gets blown around and Michelle Williams cries into a cardigan. And because misery loves company, apparently their best friends, the Neil Simons, are along for the ride. Joan Simon is Gwenny’s best gal pal and her wig is something one might find in a pile of Halloween wigs to play Uma Thurman in Pulp Fiction.

We then travel back to 1955, or “267 since Gwen Verdon’s first Tony Award.” Yes, this show is still doing this insufferable titling which really is a lot of fun facts that add up to nothing. Regardless, we’re at the point where Verdon and Fosse meet as he “auditions” her for Damn Yankees which he is to choreograph. I have to say that this scene, with both actors dancing and wearing much better wigs than their characters wear in the 70s (still terrible though!) was pretty fun! They can dance!

They also obvs fall very much in love, though weirdly the scene of them actually having sex for the first time is buried in a montage. You have very odd priorities, Fosse/Verdon! Complicating matters is Gwen’s perpetually bent wig, Fosse’s kind of ok in comparison wig, and oh and the fact that he’s married!

This show not only wants but DEMANDS that you wikipedia everything that is happening, mainly from its distinct lack of good storytelling. Anyway, Fosse’s 2nd wife was Joan McCracken and OMG CAN WE PLEASE HAVE A PRESTIGE TV SHOW ABOUT HER? Wiki tells me that her first husband ended up being Truman Capote’s lover and that Capote based the character of Holly Golightly on her and seriously why are we wasting our time on this Fosse/Verdon mess when we could be learning more about her?!?! Anyway, what the show does tell us is that she has a mysterious illness that makes her sometimes not be able to walk (Wiki explained that she had some heart attacks around this time). Also, she is no fool and fully realizes that Fosse is gonna leave her fabulous ass for Gwenny - just the way he left his first wife for her! Also please look at Sam’s terrible lace front here. Also Joan’s wig is very much Joan Allen in Pleasantville which is to say: the best wig on this show.

Anyway, the rest of the episode is devoted to working out some musical kinks in Damn Yankees and watching Michelle Williams dance around in a bad wig. Oh, and then finally leave Fosse in Majorca when she realizes he’s about to leave HER fabulous ass for some German translator (I’m sensing a theme here). And the show ends trying to make Joan McCracken’s death into a thriller! Spoiler: Wikipedia tells me she died in 1961! Wikipedia is a much better show than this, also.

EPISODE THREE: ME AND MY BABY

We begin in some random editing suite where Fosse has gone to begin editing Cabaret and because this show cannot and will not stop trying to be All that Jazz (which I rewatched this weekend and LORDT IS THIS SHOW TRYING TO BE THAT MOVIE - AND ALSO BOTH ARE GARBAGE!) there is an elaborate dance number with random editing assistant (?) ladies. The one good part of this is: Sam Rockwell dancing. Otherwise: garbage fire.

Speaking of garbage fires, the (4 hour!) rough edit of Cabaret that the editors put together for Fosse while he was in Majorca (which he was really pissed about because HOW DARE THEY DO THEIR JOBS) is a friggin mess. Speaking of messes, THE BACK OF THIS WIG. Is Fosse a monk? What is happening here? However, I do appreciate the casting of the dude who played SpongeBob on Broadway as Joel Grey.

Back at Casa Verdon, where Fosse DOES NOT LIVE ANYMORE, Gwenny is making dinner and trying to get her own career back together when Fosse shows up unannounced with Chinese food and pleas for Gwenny to help him edit the mess that is Cabaret. RUDE! Gwenny and her bent wig have their own dinner dates with her agent, Peter Scolari at the Russian Tea Room to get to THANK YOU VERY MUCH.

Thus, Gwenny leaves their daughter with Fosse and his epic combover at the editing suite to go to her dinner date and HE CAN’T EVEN HANDLE being with his tween daughter for a few hours (since he definitely has to make time to bone his editing assistant) and ropes Norbert Leo Butz in a very shaggy wig to come hang out with his kid in a hotel room. Gwenny is NOT HAVING IT.

Even though Butz basically just ate a bunch of sloppy food and made the daughter watch a b horror movie, Gwenny points out that leaving a tweenage daughter with a random dude in a hotel room is INAPPROPRIATE EVEN IF THAT DUDE WROTE MARTY WHICH IS A PERFECT MOVIE.

This makes her reflect on her own (somehow very Magdalene-Sisters-like) tweenage years (as played by a younger actress whose image could NOT be found on the internet, gurl) when she was raped and impregnated and then slut-shamed by her parents into marrying a much older alcoholic. YIKES.

So back in the 70s, despite the fact that she’s in some rando straight play called Children! Children! (yes really) which is being directed by a condescending asshole and taking care of her kid, she somehow finds time to go help her estranged idiot husband edit the movie that she basically co-directed. SERIOUSLY WOMEN HAVE TO DO EVERYTHING. Also all these wigs look like crap. Just when you think Fosse is maybe being redeemable, he decides to bring up the Gwenny’s illegitimate son AT THE VERY WORST MOMENT DUDE YOU ARE THE WORST.

Back with Young Gwenny, we see her giving her infant son to her parents to raise so she can go be a dancer. We then cut to her triumphant turn in Can-Can (some years later but Fosse/Verdon definitely doesn’t specify how many). Gwenny’s show might be a triumph, but her wig is still a mess. Oh, and she’s still haunted by the cries of the baby she gave up BECAUSE WOMEN CAN NEVER FULLY HAVE NICE THINGS.

EPISODE FOUR: GLORY

We begin at Cabaret. Isn’t life one, you guys? Fosse is all poised for this to be the flop that (apparently?) Sweet Charity was but nope: it’s a big huge critical and commercial hit! Do whatever you want, now, Fosse! Oh wait, you already do everything you want anyway? Cool! Fosse and his circa 1997 Ed Harris wig are now unstoppably arrogant! Get ready! So Fosse’s next project is the medieval/psychedelic nonsense musical, Pippin which will definitely give you contact highs.

JUST LOOK AT HOW HIGH THIS MUSICAL IS. I think when people from the Mid Waste think of Broadway musicals, this is what most of them still think that looks like. Also this is how I fear I’ll die.

Speaking of! Gwenny’s best galpal, Joan Simon (wife to Neil) is dying of cancer! It’s very sad because she’s really nice and despite her bad Uma Thurman in Pulp Fiction wig I appreciate her dedication to half updos with bows that match her outfits.

Gwenny does not even have time to be sad about this because she needs to take her bent wig over to Pippin rehearsals to pick up her daughter only to find that Fosse has given her FOUR TABS TO DRINK THAT IS LIKE 3 1/2 TOO MANY. She handles it by smiling through her hatred and truly this was a very Miranda Priestly moment and also I like Gwen’s top. ALSO LOOK AT THE BACK OF FOSSE’S WIG NO THANK YOU PLEASE.

Over at Pippin rehearsals, we also meet Ann Reinking (who will become Fosse’s lady love for the next decade or so) but for now she’s keeping things professional and also this is Andie MacDowell’s (wigless, thank god) daughter. Ok!

Fosse is definitely NOT keeping things professional and basically boning the rest of the Pippin ensemble cast, whether they like it or not! There is a very #MeToo moment where Fosse ends up getting a knee to the groin and GOOD.

Not so good? Gwenny’s play Children! Children! (that title - I still can’t). Despite asking Fosse to come over and FIX. IT. he is too busy becoming the poster dude for Time’s Up and Gwenny’s show ends up getting bad reviews and closing immediately. Also her wig is fully turning into a Jean Stapleton in All in the Family lewk. Whilst Gwenny’s professional life is going to crap, Fosse is winning ALL THE AWARDS as shown in a really confusing montage which suggested that the Tony Awards are before the Oscars. INCORRECT.

In the end, Fosse drunkenly tries to go bone Gwenny but she has wisely shacked up with that dude from Obvious Child which literally leads Fosse into a MENTAL INSTITUTION and the entire show to basically just turn into All that Jazz which I will remind everyone is a very derivative and terrible movie! OY.

EPISODE 5: WHERE AM I GOING?

The title of this episode should really be an question for the viewer: where are you going? Where are we all going? Are we still really watching this show? Sadly: yes. UGH I think we’re more than halfway through now? Let’s just finish this thing!

We begin at the mental hospital where Fosse ended the last episode. Gwenny and their kid are visiting him and Fosse is basically catatonic. This does not stop Gwenny from moving FULL STEAM AHEAD ON CHICAGO! Then cut to: Southampton? Huh? Sure! There, Fosse and his best bros, Neil Simon and Paddy Chayefsky are having a beach weekend which leads to the above upsetting 70s mens shorts (which thankfully Norbert Leo Butz did NOT sign on for). I love dudes who refuse to wear shorts in the summer, no matter how hot it is. My husband is one of these dudes.

The one problem with this beach weekend? Everybody together in their best impression of Renee Zellweger in Cold Mountain: IT’S RAINING! So everyone is stuck inside. And also it’s kind of a Big Chill sort of scenario except the role of Kevin Costner as the dead friend is now: Joan Simon. And also Fosse just got out of a mental institution 3 months ago. And he’s there with his girlfriend and Gwenny is there with her boyfriend. AND ALL THE WIGS ARE TERRIBLE.

So Fosse’s girlfriend: Ann Reinking! When last we saw her, she was ignoring Fosse at Pippin rehearsals but it’s explained that after his (1 week!) stay in the looney bin, he gave her a ring and now they’re in LURRRVE. Ok? Andie MacDowell’s daughter plays Annie and she doesn’t wear a wig and she’s fine. Fosse’s circa 1997 Ed Harris wig is still very upsetting. As is his tan!

Also upsetting? Gwenny rolls up with this RAT TAIL (it’s hard to see in this pic but it’s the best I could do!) We’re supposed to believe that in the last 3 months she suddenly grew this monstrosity out?!?! MORE ON THE BONE CHILLING TRUTH ABOUT THIS RAT TAIL LATER.

Gwenny also has a really nice boyfriend named Ron. He is played by that guy who played a nice guy in The Office, Obvious Child, and Girls. He doesn’t wear a wig and he is very nice! Fosse’s combover is not!

Oh also along for the ride is Fosse/Verdon’s daughter Nicole who is definitely too young to be dealing with all these effed up grownups and also is bored and ends up giving herself a cigarette/pickle-induced stomach virus. GET IT TOGETHER, PARENTS.

Most of the episode is about whether Fosse should direct Dustin Hoffman in Lenny or proceed with Gwenny’s vanity project, Chicago, despite the fact that his doctors told him to take a year off work from either! Spoiler to anyone who has never seen All that Jazz or who does not know enough about Fosse to even bother watching this: HE DOES BOTH! WHO IS THIS SHOW EVEN FOR?!?! Also Norbert Leo Butz’s man wig is not as bad as the rest. Great work on not wearing shorts again also! Also Fosse/Verdon bone again in secret even though they are married but have lovers. The 70s!

And now to the critical and bone-chilling facts about Gwenny’s rat tail! After a night of drinking and making terrible professional and personal choices, Gwenny sits down to a breakfast of coffee and one single piece of fruit and then....UNCLIPS HER RAT TAIL AND POUFS IT UP! So first off, that clears up the whole “how did her hair grow so long so fast” question. HOWEVER. This now leads to another case of WIG GASLIGHTING. This is when a wig (which is being passed off as real hair) is of equal or lesser quality to a wig that is a known wig within the context of the narrative. In other words - the quality of this rat tail (which we now know to be a wig) is of the same exact quality as the wig Michelle Williams wears to play Gwenny. WIG GASLIGHTING! For other bone-chilling examples of past wig gaslightings please see my reviews of The Danish Girl and Oceans Eight. WIG GASLIGHTING IS TERRIFYING.

EPISODE 6: ALL I CARE ABOUT IS LOVE

And here we are. Throughout this (limited) season, we’ve gotten hints and asides, teases and tosses of All That Jazz but this episode fully just is a remake of the movie All That Jazz. Which I recently rewatched and is terrible. Terrible still? Anyone who would be watching this show would clearly be familiar with this awful film - so why make an episode that is that entire movie with absolutely no new information?!?! Again: WHO IN THE HELL IS THIS SHOW FOR?!?!

Anyway, if you haven’t seen All That Jazz, this episode is about Fosse editing Lenny while also directing/choreographing Chicago AND having some heart issues that end in hospitalization. Gwenny’s wig is bent as ever and Fosse’s circa 1997 Ed Harris lewk is still the same. Truly, there is no new information in this episode at all except that some of it is presented with Fosse AS Lenny Bruce which was an AWFUL IDEA.

OH! Except this lady playing Chita Rivera who is really good and has the brunette version of Gwenny’s bent wig.

ALSO! Nicole Fosse is now played by this slightly older actor who looks nothing like her younger version (or the actual Nicole Fosse) and is in a definitely terrible wig (and also forced to wear heavy makeup to visit her dad in the hospital because kids aren’t allowed to visit hospitals? IS THIS REALLY A RULE?)

Anyway, there’s a lot of All That Jazz hospital drama here and a lot of terrible flashblacks to Fosse’s burlesque tween years which attempt to explain his messed up relationship with women in an extremely Don Draper in Mad Men flashback way. There is also messed up hospital sex with Ann Reinking! THIS EPISODE IS AWFUL IN EVERY WAY!

EPISODE 7: NOWADAYS

Fosse recovered! For now! Back at Chicago rehearsals, everyone is wearing extra socks and doing just great. The most important addition to this show this week is that they got some dude to play Jerry Orbach! His man wig was terrible!

He also very did not look like Jerry Orbach! Anyway, this episode was mainly about Gwenny being TOO OLD for all this choreography, y’all. She was huffing and puffing all over fake Jerry Orbach so Fosse had to cut a lot of her dancing but once the show opened guess what? Gwenny got better reviews than the show itself! Take that, dance steps! However, there was a whole part where Gwenny read Fosse for filth and said that he owed his entire career to her and how dare he make the finale a duet between her and Chita! (He made the finale a duet). There were also many flashbacks about Fosse and Gwenny’s fertility issues and I almost believed that Nicole was adopted until Gwenny got legit pregnant while Fosse was too busy dancing to construct cribs. You almost taught me something, Fosse/Verdon!

OMG I CAN’T STOP LOOKING AT THESE PICTURES OF FAKE JERRY ORBACH. Anyway, Fosse/Verdon then legit DID teach me something: apparently a few weeks into the run of Chicago, Gwenny inhaled some confetti during the finale and it effed with her vocal chords but she refused to leave the show, thinking it might close if she did. BUT THEN Fosse got LIZA EFFING MINNELLI to take her place while she got surgery and recovered! This was news to me! HOWEVER, Fosse/Verdon refused to show me any footage of even fake Liza in the show which was a real missed opportunity.

Anyway, Liza revived the show and Gwenny was kind of pissed about it but on every level: THE SHOW MUST GO ON. Here is Gwenny during the finale which she was forced to share with Chita. And this show didn’t even show us the full finale! I DEMAND TO SEE MICHELLE WILLIAMS DOING THE HOT HONEY RAG WHY DID YOU EVEN MAKE THIS SHOW IF I CAN’T SEE IT. There is literally no reason for this show to exist if it can’t show me Michelle Williams doing a cartwheel in a top hat. What a world. What a wig.

IN CONCLUSION: LOOK AGAIN AT THE TERRIBLE MAN WIG ON FAKE JERRY ORBACH.

EPISODE 8: PROVIDENCE

We begin (or should I say end?) with some grumpy old men talking about what they can and cannot eat (spoiler: they can’t eat anything good!) Both Fosse and BFF Paddy Chayefsky have heart conditions and creative conditions. And I have a condition with this wig on Norbert Leo Butz. NO THANK YOU PLEASE. Anyway, Paddy tells Fosse how to rewrite All That Jazz aka how to rewrite his life and Fosse DOESN’T WANNA HEAR IT. And then Paddy dies and Fosse quite literally dances on his grave but in a really sad and mournful way. Yes, really.

Meanwhile, Fosse interviews Gwenny in preparation for All That Jazz which honestly is just way to meta at this point, and she kinda tells it like it is. And I kinda know I’m not gonna miss this bent wig!

Meanwhile, Ann Reinking is forced to audition to play herself in All That Jazz while under the painfully awkward and terrible direction of Fosse in this circa 1996 Ed Harris wig and LORDT I WILL NOT MISS LOOKING AT THE BAD OF THIS THING!

Then over at All that Jazz rehearsals, Gwenny and Nicole are met with bizzarro visions of themselves much like these bizarro visions of themselves in this show and omg everything just got way too meta and NIcole’s wig gives me hives.

AND THEN. AND FRIGGIN THEN. LIN-MANUEL MIRANDA HAD THE AUDACITY TO PLAY ROY SHEIDER PLAYING BOB FOSSE IN ALL THAT JAZZ. JUST WHEN YOU THOUGHT THIS SHOW COULDN’T GET ANY MORE VAINGLORIOUS. MY HEAD AND MY TV JUST EXPLODED.

Honestly, this is the only way for this terrible show to end - in a blaze of glory and nonsense. Well actually, it ended with Gwenny and Fosse reteaming in old age makeup to direct the revival of Sweet Charity but the internet refused to give me any pictures of that and fine. And then Fosse died on a sidewalk in the arms of Gwenny. And then for some reason the whole show ended with a shot of Nicole Fosse’s Vermont house.

WHAT A LONG STRANGE TRIP IT’S BEEN YOU GUYS. But now we can finally be rid of these terrible terrible wigs and this terrible terrible show.

VERDICT: DOESN’T WURQ

#wigwurq #fosseverdon #fosseverdonfx #samrockwell #michellewilliams #bobfosse #gwenverdon #edharris90srealness #doesntwurq #jazzhands

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brandi-the-fine-girl · 5 years

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76th Golden Globe Awards Predictions

Let’s be real here. The Golden Globes are the biggest joke of Hollywood (right after the Emmy’s that is). Remember when they nominated The Tourist in the Comedy/Musical category? Or when they gave the Golden Globe for Best Supporting Actress to Jennifer Lawrence instead of Lupita Nyong’o? Or when Get Out was nominated in Comedy/Musical (even though, yes, it was a dark comedy at times)?

So it comes as no surprise that this year’s list of nominees follows the same path. The Golden Globes are the biggest wild card of all award shows and the Hollywood Foreign Press loves to throw curveballs. With that said, here are my predictions for the 76th Golden Globe Awards.

Best Motion Picture - Drama

Will win: A Star Is Born

Should win: A Star Is Born

Dark Horse: Black Panther

Look, I loved Black Panther. And the fact that it has gained this much momentum during award season is a victory for Marvel Studios. But I’m expecting a sweep for A Star Is Born. Now, that doesn’t mean ASIB will maintain this momentum for the rest of award season. The HFPA likes to play favorites and I’m sure ASIB will be this year’s Three Billboards Outside Ebbing, Missouri (which won four Golden Globes last year). But a win for Black Panther would be huge and make it a bigger contender for the Oscars.

Best Motion Picture - Comedy/Musical

Will win: Green Book

Should win: Crazy Rich Asians

Dark Horse: Mary Poppins Returns

The Comedy/Musical category is always the oddball category (see above about The Tourist and Get Out). And it’s typically the category where anyone can win. I’m going to go with Green Book since it won the People’s Choice at TIFF this year but with a diverse voting roster (it is the Hollywood FOREIGN Press after all), I wouldn’t count out Crazy Rich Asians.

Best Director

Will win: Alfonso Cuaron, Roma

Should win: Alfonso Cuaron, Roma

Dark Horse: Adam McKay, Vice

For me, I believe this is the only category A Star Is Born will not win. Cuaron’s beautifully stunning and heartbreaking semi-autobiographical film was featured on Obama’s list of films he saw in 2018. Bradley Cooper’s first directorial feature is a stunning accomplishment but it doesn’t match Cuaron’s ability to paint the anguish and loss in Roma.

Best Actor in a Motion Picture - Drama

Will win: Bradley Cooper, A Star Is Born

Should win: Rami Malek, Bohemian Rhapsody

Dark Horse: John David Washington, BlacKkKlansman

With a possible loss in the Directing category, Bradley will most like scoop up the Actor in a Drama award. Sure, his character was doomed from the start and it makes for a great challenge for an actor like Bradley. But Rami’s complete transformation into Freddie Mercury has me convinced he should win. Don’t count out John David Washington in BlacKkKlansman though. He’s new to the scene as an actor (he is Denzel Washington’s son) but his performance is definitely one to look out for.

Best Actress in a Motion Picture - Drama

Will win: Lady Gaga, A Star Is Born

Should win: Glenn Close, The Wife

Dark Horse: Melissa McCarthy, Can You Ever Forgive Me?

Once again, I’m predicting a sweep for A Star Is Born but I don’t think Lady Gaga will snag two Oscars come Oscar night (that is, if she is nominated for songwriting and Best Actress). Glenn Close is well overdue for some awards love and it seems like her time might come.

Best Actor in a Motion Picture - Comedy/Musical

Will win: Christian Bale, Vice

Should win: Christian Bale, Vice

Dark Horse: Lin-Manuel Miranda, Mary Poppins Returns

It’s hard for me to choose anyone else when Christian Bale is in a category. This is the man that got rail thin for his roles in The Machinist and The Fighter (the latter of which he did win Best Supporting Actor at the Oscars) and bulked up for Batman Begins (gaining 100 pounds) almost six months after filming The Machinist. His transformation into the notorious Dick Cheney seems like typical awards bait to me. But let’s not count out the lovable Lin-Manuel Miranda. The man works hard on stage and screen. I’d love to see a win for him

Best Actress in a Motion Picture - Comedy/Musical

Will win: Olivia Colman, The Favourite

Should win: Constance Wu, Crazy Rich Asians

Dark Horse: Emily Blunt, Mary Poppins Returns

The category is such a wild card for me. I’m sure by the end of 2019, everyone will know who Olivia Colman is. From the little bit I’ve seen of The Favourite, she’s amazing. However, I do think Constance Wu is more deserving of the accolades. This category could really go to anyone and with the lovable Emily Blunt also nominated, it could possibly go to the legendary Mary Poppins herself.

Best Supporting Actor in a Motion Picture

Will win: Mahershala Ali, Green Book

Should win: Timothée Chalamet, Beautiful Boy

Dark Horse: Adam Driver, BlacKkKlansman

Look, before you rip me to shreds, here me out. I have loved Mahershala Ali since he was on House of Cards and he was painfully robbed in 2017 when the HFPA gave Best Supporting Actor to Aaron Taylor-Johnson instead of Mahershala. It feels like Mahershala deserves the accolades as a “sorry we gave it to someone else and then you ended up winning the Oscar anyways.” However, I just watched Beautiful Boy last night and Timothée kills it. I’m not some crazy fangirl. I just know a good performance when I see one. Let’s not count out Adam Driver, though, who knocks it out of the park in BlacKkKlansman.

Best Supporting Actress in a Motion Picture

Will win: Amy Adams, Vice

Should win: Regina King, If Beale Street Could Talk

Dark Horse: Claire Foy, First Man

Since Amy Adams most likely won’t win for Best Actress in Mini Series (more on that later), I’m hoping this is where she gets her due. The woman is long overdue for the awards love (a lot like Glenn Close). She’s basically the female Leonardo DiCaprio, if you must. The fact that Regina King did not nab a SAG Award nomination for If Beale Street Could Talk is a little ominous (side note: the acting branch is the largest branch of the Academy and a lack of SAG nomination is very telling). I like to hope that she can pick up a Globe as recognition for her stunning work. To me, Rachel Weisz and Emma Stone split the vote so my Dark Horse goes to Claire Foy. I wouldn’t be surprised if HFPA voters’ obsession with her throws us a curveball in this category.

Best Screenplay

Will win: Adam McKay, Vice

Should win: Alfonso Cuaron, Roma

Dark Horse: Bryan Hayes Currie, Peter Farrelly, Nick Vallelonga, Green Book

This is usually a difficult category considering the Oscars split the Screenplay category into Adapted and Original. The HFPA likes to play it safe by awarding previous winners and nominees so I’m going with Adam McKay who won the Oscar for The Big Short. Alfonso Cuaron is equally deserving if Best Director doesn’t go his way. But come Oscar time, I’m expecting a win for Green Book.

Best Original Score

Will win: Alexandre Desplat, Isle of Dogs

Should win: Ludwig Goransson, Black Panther

Dark Horse: Marco Beltrami, A Quiet Place

Alexandre Desplat won last year for The Shape of Water (a well-deserved win if I do say so myself) but I feel Ludwig Goransson may have a chance here.

Best Original Song

Will win: “Shallow”

Should win: “Shallow” or “All The Stars”

Dark Horse: “Girl in the Movies”

Probably the easiest category of the evening. You can’t turn on any radio station without hearing “Shallow.” And rightfully so. The dynamic between Bradley and Gaga is mesmerizing and Gaga’s high note is the most memorable part of it. However, I wouldn’t mind some recognition to “All The Stars.” Personally, I feel like “Pray For Me” is the better song but let’s give some love to Kendrick and SZA if we can.

Best Animated Feature Film

Will win: The Incredibles 2

Should win: The Incredibles 2

Dark Horse: Spider-Man: Into the Spider-Verse

I mean, no contest, this one goes to The Incredibles 2. Very rarely does Pixar lose an award (exceptions go to Cars 2 and Monsters University) but if it does, Spider-Man: Into the Spider-Verse might take it.

Best Foreign Language Film

Will win: Roma

Should win: Roma

Dark Horse: Girl

Again, no contest, Roma. But Girl could take it since it won the Caméra d’Or and the Queer Palm at the Cannes Film Festival in 2018. Unfortunately, the film did not make the short list for the Best Foreign Language Film category for this year’s Oscars so maybe it may get its due here.

Best Television Series - Drama

Will win: The Americans

Should win: The Americans

Dark Horse: Pose

After six seasons, The Americans ended on a high note. It felt painfully under-appreciated at the Emmys this year, so maybe this is where it will get its due. However, don’t overlook Pose since everything Ryan Murphy touches turns to awards gold.

Best Television Series - Comedy/Musical

Will win: Barry

Should win: Barry

Dark Horse: Kidding

After winning big at the Emmys, I’m predicting some major love for Barry. The Marvelous Mrs. Maisel is last year’s winner which may hinder Barry’s chances but the HFPA does tend to choose different winners every year.

Best Actor in a Television Series - Drama

Will win: Matthew Rhys, The Americans

Should win: Matthew Rhys, The Americans

Dark Horse: Richard Madden, Bodyguard

After scooping up an Emmy, Matthew Rhys will probably continue his awards sweep with a Golden Globe. Billy Porter may give him a run for his money in Pose (he was also wonderful in American Horror Story: Apocalypse). If we want a shocker, the HFPA could go with Richard Madden in Bodyguard. Good looks aside, Madden portrays a former British Army sergeant with PTSD fantastically. It is unclear if Bodyguard has been greenlit for a second season but a Globes win might cement that status.

Best Actress in a Television Series - Drama

Will win: Sandra Oh, Killing Eve

Should win: Keri Russell, The Americans

Dark Horse: Julia Roberts, Homecoming

One half of our emcees for the evening, expect Sandra Oh to pick up a Globe as well. Keri Russell was horribly robbed at the Emmys so she is more deserving for her final season of The Americans. America’s Sweetheart Julia Roberts is a threat to these two with the inaugural season of her Amazon Prime series Homecoming. Here’s where you can possibly expect a big shocker but I’m still sticking with Ms. Christina Yang herself.

Best Actor in a Television Series - Comedy/Musical

Will win: Bill Hader, Barry

Should win: Bill Hader, Barry

Dark Horse: Jim Carrey, Kidding

I’ve always had a soft spot for Bill Hader since he was on Saturday Night Live. Starring as a former Marine-turned hitman-turned aspiring actor is the most Bill Hader thing that Bill Hader could possibly do. Jim Carrey has been placing himself more in the comedy/drama (aka “dramedy”) category as of recent years so don’t count him out in this race.

Best Actress in a Television Series - Comedy/Musical

Will win: Rachel Brosnahan, The Marvelous Mrs. Maisel

Should win: Alison Brie, GLOW

Dark Horse: Kristen Bell, The Good Place

Rachel Brosnahan could possibly be a repeat winner here. Season two of The Marvelous Mrs. Maisel is getting just as great reviews as season one did (if not as great, then better). Personally, I feel Alison Brie deserves it but Candice Bergen may come through with the win as well. However, this Kristen Bell’s first-ever Golden Globe nomination so she could very well take it.

Best Actor in a Miniseries or Television Film

Will win: Darren Criss, The Assassination of Gianni Versace: American Crime Story

Should win: Darren Criss, The Assassination of Gianni Versace: American Crime Story

Dark Horse: Hugh Grant, A Very English Scandal

We’ve come a long way since A Very Potter Musical, haven’t we? Darren Criss’s portrayal as Versace’s murderer Andrew Cunanan is one of the best performances I’ve seen in recent years. The creepy smile underneath his hand as he sees the news that Versace has been killed makes him a lock for this category.

Best Actress in a Miniseries or Television Film

Will win: Laura Dern, The Tale

Should win: Amy Adams, Sharp Objects

Dark Horse: Regina King, Seven Seconds

Like I said above, I’m hoping Amy Adams will get her due in the Best Supporting Actress category because it seems like she won’t get it here. Laura Dern is a favorite of the HFPA so she most likely will win. Amy Adams is the more deserving here but if things don’t work out for Best Supporting Actress, I’m hoping the HFPA does a flip-flop gives it to her here. Regina King won the Emmy for Seven Seconds but she seems like a long shot here.

Best Supporting Actor in a Series, Miniseries, or Television Film

Will win: Henry Winkler, Barry

Should win: Edgar Ramirez, The Assassination of Gianni Versace: American Crime Story

Dark Horse: Kieran Culkin, Succession

It’s always been odd to me that the Golden Globes don’t split their supporting television categories. Sure, it makes for great competition but it’s also incredibly unfair. I’m going with Henry Winkler in Barry (who was well overdue for that Emmy) but Edgar Ramirez definitely should be the winner in my eyes. Kieran Culkin (the only nominee for HBO’s Succession) could pull a surprise win here.

Best Supporting Actress in a Series, Miniseries, or Television Film

Will win: Penélope Cruz, The Assassination of Gianni Versace: American Crime Story

Should win: Penélope Cruz, The Assassination of Gianni Versace: American Crime Story OR Patricia Clarkson, Sharp Objects OR Thandie Newton, Westworld

Dark Horse: Yvonne Strahovski, The Handmaid’s Tale

This is, quite possibly, the most competitive category of the entire award show. And, yet again, another reason why it’s absurd that the Golden Globes don’t split their supporting television categories. Alex Borstein and Thandie Newton both have the upper hand in this category since they both won Emmys in the supporting actress categories in comedy and drama, respectively. But their recent Emmy wins could cancel them out, making way for either Penélope Cruz or Patricia Clarkson to nab the award. I’m going with Penélope though since she was robbed of the Emmy. I am hoping for an Emmy win for Patricia Clarkson come September.

Best Miniseries or Television Film

Will win: The Assassination of Gianni Versace: American Crime Story

Should win: The Assassination of Gianni Versace: American Crime Story

Dark Horse: A Very English Scandal

Riveting from start to finish with stunning performances from the cast, Versace is a lock. In any other year, I’d give it to Sharp Objects but the show also lagged a bit. If I hadn’t read the book, I might have been bored. The series was more of a performance piece for the actors instead of being a masterpiece as a whole. Versace has it all. And, of course, it’s another Ryan Murphy masterpiece.

Andy Samberg and Sandra Oh host the 76th Golden Globe Awards on Sunday, January 6 at 8 pm EST/5:00 pm PST.

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