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wrestlingisfake · 2 years

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AEW Fake Rankings, 7/9/2022

Men's singles division - babyfaces

Jon Moxley (AEW interim men's world champion, GCW world champion)

Adam Page

Eddie Kingston

Claudio Castagnoli

Wardlow (AEW TNT champion)

PAC (AEW all-Atlantic champion)

Orange Cassidy

Wheeler YUTA (ROH pure champion)

Matt Hardy

HOOK

Men's singles division - heels

Chris Jericho

Miro

Sammy Guevara (AAA mixed tag team champion)

Scorpio Sky

Andrade El Idolo

Lance Archer

Rush*

Daniel Garcia (PWG world champion)

Luchasaurus

Jonathan Gresham (ROH men's world champion)

Unranked: Danhausen, Dante Martin, Dustin Rhodes, Ethan Page, Frankie Kazarian, Fuego Del Sol, Jay Lethal, Jake Hager, John Silver, Konosuke Takeshita*, Lee Moriarty, Leon Ruffin*, Satnam Singh, Serpentico, Silas Young*, Tony Nese, Trent Beretta

*Not listed on AEW's official roster

It's getting a lot tougher to keep track of everybody who wrestles for AEW. That's great for me as a fan, since I just want to see a wide variety of wrestlers popping in and out to keep the shows lively. It's pretty rough for me as someone who tries to keep track of the roster, but I can live with that. It's disastrous if you're specifically a superfan of any particular wrestler who's been lost in the shuffle, although I've personally never understood that approach to watching wrestling. Like, I don't get enough Dark Order for my tastes, but until Tony Khan figures out what he's doing with them, I can easily make do watching Eddie Kingston, Miro, Wardlow, and the Blackpool Combat Club.

The next pay-per-view is a Ring of Honor show on 7/23, which should give us a good idea which wrestlers are earmarked for that brand. The key programs so far include Samoa Joe vs. Jay Lethal, Wheeler Yuta vs. Daniel Garcia, and presumably Jonathan Gresham vs. Lee Moriarty. Those names barely crack the top 20 in AEW, which suggests that ROH's midcard will primarily feature talent from AEW Dark.

As for AEW All Out on 9/4, it's still early to figure out what the major programs will be. Moxley vs. CM Punk (to unify the world title) makes sense, but that all depends on when Punk is medically cleared. I'd prefer for Kingston vs. Jericho to end well before September, but I could easily see them saving the final blowoff for PPV. Death Triangle vs. La Faccione Ingobernable and Jungle Boy vs. Luchasaurs and/or Christian Cage seem inevitable. Other than that, everything feels up in the air right now.

Men's tag team division - babyfaces

FTR - Cash Wheeler & Dax Harwood (ROH, AAA, IWGP tag team champions)

Sting & Darby Allin

Swerve In Our Glory - Keith Lee & Swerve Strickland

Santana & Ortiz

Lucha Bros - Penta Oscuro & Rey Fenix

The Acclaimed - Anthony Bowens & Max Caster

Bear Country - Bear Bronson* & Bear Boulder*

Men's tag team division - heels

The Young Bucks - Matt Jackson & Nick Jackson (AEW tag team champions)

Kings of the Black Throne - Malakai Black & Brody King (PWG tag team champions)

Ricky Starks (FTW champion) & Powerhouse Hobbs

2point0 - Matt Menard & Angelo Parker

The Gunn Glubb - Billy Gunn & Austin Gunn & Colten Gunn

The Butcher & The Blade

Gates of Agony - Kaun* & Toa Liona*

The Factory - QT Marshall & Aaron Solo & Nick Comoroto

Unranked: Davey Vega* & Mat Fitchett*

*Not listed on AEW's official roster

FTR are scheduled to defend the ROH tag title against the Briscoes on 7/23, but I think everyone expects FTR to win that match and cruise to a showdown with the Young Bucks with four sets of tag belts on the line. (Seems to me that AEW should get the Impact and PWG tag titles in there while they're at it.)

Jungle Boy & Luchasaurus have split, and Sweve & Keith Lee seem like they can't stay together much longer. The Acclaimed should be bayfaces coming out of their breakup with the Gunn Club, so things won't be too lopsided. It'll get worse, though, once Bobby Fish & Kyle O'Reilly are back in action, and Rush & Andrade start teaming together. The Bucks are teasing a face turn but I don't think that'll come soon enough. This is where they really need to get the Best Friends and Dark Order back in the mix, even if it's just to feed them to the top heel teams.

Women's division - babyfaces

Thunder Rosa (AEW women's world champion)

Toni Storm

Kris Statlander

Mercedes Martinez (ROH women's world champion)

Willow Nightingale*

Women's division - heels

Jade Cargill (AEW TBS champion)

Britt Baker

Nyla Rose

Serena Deeb

Marina Shafir*

Unranked: Christina Marie*, Kayla Sparks*, Laynie Luck*, Leila Grey*, Sierra*

*Not listed on AEW's official roster

Fans are buzzing about Rosa & Storm forming a team against Rose & Shafir, not to mention Deeb & Martinez squashing teams on Dark. Hikaru Shida and Yuka Sakazaki also teamed together recently, and there are obvious teams in Baker & Jamie Hayter, Statlander & Athena, and any two from Cargill's stable.

It certainly feels like AEW is setting up to introduce a women's tag title. But this has happened before, in AEW and other promotions, where a few women's tag matches happen and WOMEN'S TAG TEAM WRESTLING IS BACK~! until it just goes nowhere. I'd take this more seriously if there was any sign of them expanding the women's roster. But with just ten wrestlers active on TV (plus some jobbers), an AEW women's tag division would quickly run into the same problems we've seen in WWE and Impact.

Assuming a tag tournament doesn't happen, I expect the top women's programs this summer to be Cargill vs. Athena and/or Statlancer, Martinez vs. Deeb, Ruby Soho vs. Tay Conti, and Rosa vs....somebody. Baker needs something to do as well, but rematching Rosa/Baker feels too soon right now. Both of them need fresh opponents that aren't getting built up right now. I'm a broken record about this, but AEW has a much bigger "not enough women" problem than a "not enough women's belts" problem.

No AEW matches aired on TV/PPV in over 30 days: Ariya Daivari*, Alex Reynolds, Anthony Ogogo, Anna Jay, AQA, Athena, Brock Anderson, Brian Pillman Jr., Cezar Bononi*, Chuck Taylor, Diamante, Emi Sakura, Griff Garrison, Hikaru Shida, Isiah Kassidy, JD Drake*, Josh Woods*, Julia Hart*, Marq Quen, Matt Sydal, Peter Avalon, Ryan Nemeth*, Ruby Soho, Sonny Kiss, Evil Uno, Preston Vance, Yuka Sakazaki

*Not listed on AEW's official roster; at least one victory on AEW/ROH programming

Athena, Soho, Quen & Kassidy, Shida, and Julia Hart all feel like they're on Dark to heat back up for a new program soon. Everybody else feels like AEW's Jobbers To The Stars. When you go to a live show you don't think about it, because these guys are still getting their entrances and crowd reaction and victories. But then you turn on the TV shows and never see any of them around. It's particularly frustrating with Dark Order (now down to just Uno, Reynolds, Silver, Vance, Anna, and Colt Cabana), because they come on TV to act like they're stepping up but then it never really happens. How many times can Dark Order beat up the Wingmen and the Factory on Youtube, TK?

No AEW or ROH matches aired anywhere in over 30 days: Abadon, Angelico, Brian Cage, Brandon Cutler, Christian Cage, Colt Cabana, Dalton Castle*, Danielle Kamela*, Jamie Hayter, Johnny Elite*, Jora Johl, Kiera Hogan, Leva Bates, Michael Nakazawa, Riho, Robyn Renegade*, Rohit Raju*, Samoa Joe (ROH television champion), Shawn Dean, Shawn Spears, Skye Blue, Tay Conti (AAA mixed tag team champion)

*Not listed on AEW's official roster; at least one victory on AEW/ROH programming

Christian Cage may be going part-time at this point, and Joe is probably recovering from a concussion, so I wouldn't worry about them not getting ring time lately. Hayter, Hogan, and Conti should be wrestling more often, but at least they're on TV due to being in key stables. Also, there's no telling how many AEW wrestlers have unreported injuries right now--for whatever reason it's much harder to track that stuff here than in WWE.

Fightful just ran a story about how Cabana was on the bubble but many people went to bat for him, so he's apparently staying in some capacity. Judging by the wrestlers AEW declined to re-sign this year, I'm a bit concerned for the likes of Johl, Dean, Spears, and (one of my personal faves) Abadon. Then again, everyone figured Brian Cage was on his way out until we learned AEW optioned him for another year--they haven't done dick-all with him ever since, but he sure ain't leaving.

Part-time/semi-retired: Christopher Daniels, Maki Itoh, Mark Henry, Mark Sterling, Paul Wight, Paige Vanzant, Rebel

Inactive

Adam Cole (possible concussion)

Bobby Fish (undisclosed injury)

Bryan Danielson (undisclosed injury)

Buddy Matthews (shoulder - unspecified injury)

CM Punk (AEW men's world champion) (left lower leg - unspecified injury)

Darius Martin (car accident - unspecified injuries)

Jeff Hardy (suspension - driving under the influence of alcohol)

Jungle Boy (shoulder - unspecified injury)

Kenny Omega (various injuries)

Kip Sabian (shoulder - unspecified injury)

Lee Johnson (knee - unspecified injury)

Leyla Hirsch (right knee - ACL tear)

Luther (undisclosed injury)

Kyle O'Reilly (undisclosed injury)

MJF (storyline - or not, who the hell knows)

Penelope Ford (undisclosed injury)

Red Velvet (undisclosed injury)

The Bunny (undisclosed injury)

I've been doing these things for a long time, and this may be the longest inactive list I've ever compiled. The lack of specifics is telling--I suspect that 5-10 years ago fans just wouldn't have heard about some of these cases until each wrestler just came back to TV.

Much has been made lately about AEW suffering "the injury bug," which I kind of hate because it makes it sound like wrestlers are getting hurt because other wrestlers are already hurt. I also don't think this is disrupting AEW as much as critics would have you believe. Yes, it's a pain that Cm Punk missed the United Center show, and the Sabre-Danielson dream match got scrapped, and the story with Kenny Omega and the Undisputed Elite is indefinitely on ice, and the Hardys and Top Flight reunions were cut short. But I think AEW has done a nimble job pivoting around these problems.

The key here is that these injuries are up and down the pecking order, but they still have plenty of headliners, tag teams, and prelim acts to fill the voids at each level. In comparison I think WWE has struggled far more from losing Cody Rhodes, Randy Orton, Sasha Banks, and Naomi. Hell, WWE knew months ago that Roman Reigns was starting a reduced a schedule, and they still seems unprepared for how to move tickets without their top draw. To put AEW in that situation you'd really have to take away about seven or eight more key people, on top of the ones that are already benched.

#aew #fake rankings

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lecliss · 4 years

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Catching up with volume 7 only makes me wanna work on my RWBY!YGO GX AU again.

#i only had teams and team names worked out and a few weapons but i liked it #of course jim's a crocodile faunus and kenzan's a t rex faunus #manjoume ends up on judai's team without asuka and you can only imagine how upset he is about that #and OBVIOUSLY the exchange squad are a team together and from mistral since. ya know. theyre exchange students.#and so like in the manga they come from the same school rather than four different ones #i need a make a team for rei and martin to be on #hopefully i can find a fourth freshman in the student list to put on their team #also gotta make a girls only team with momoe junko ran and whoevee the frog princess chick was #personal

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iamacolor · 3 years

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fashion queen! which nct era has the best fashun in ur opinion?? and if u were a designer which neos would u pick as ur models?

I was so excited to answer this that I wrote several pages and it basically turned into a style analysis for each unit so I sure hope you have some time on your hands to read everything I’ve just written! (I did not reread so sorry for any typing mistake)

NCT is known to be experimental in their music and that’s also the case in their styling so there’s a lot for me to get into even though sometimes it’s a miss. One thing I will say though is that when it comes to the styling in mv/teasers, what’s around the clothes is super important because if you have a very specific styling concept, your set design or graphic design needs to complement that and give the audience more clues on how to read all these elements together (the cherry bomb era is a great example of that with all the added graphic elements and the predominance of the colour pink) and recently I’ve found that the creative team has not really gone further than just putting nct in an outfit in front of a basic background so it makes for a pretty underwhelming result

But let’s move on to my favourite styling eras. I’m going to do this per unit (I’ll finish with NCT U) and define an era by its teaser pictures and the mv (and not go through all the performance looks during the promotion period)

I’m putting this under a read more because it’s reaaally long (I put pictures so that it’s not just one big chunk of text)

NCT 127

Easily the most experimental unit when it comes to fashion, especially in their first years where they would wear mix of sportswear, grunge references, avant-garde fashion and a lot of layers. When it comes to their debut “Firetruck”, I think it fitted the song really well but that it didn’t fit all the members equally (especially the younger ones, for me Taeyong and Taeil pulled it off the best – it’s expected of Taeyong but I also think that Taeil always stand out when they go for edgy/unconventional look, I think it really suits him).

Anyway, just to say that they were off to a very strong start and then I’m just going to kindly ignore the Limitless styling and move on to Cherry Bomb!

One thing nicely done for CB is how when you look at a group picture they’re clearly all following the same concept but they’re not necessarily matching or giving off the same vibes if you take them individually. I love the use of the colour pink which brings a) a great visual impact (you don’t ever see that much pink at once – especially on men) and b) an harmony despite the shapes and styles of their outfits being so vastly different, you’ve got ties, tousled, shirts, little frilled collars, stripes and all-over prints, sportswear and formal wear… (ex: taeyong’s short jacket is reminiscent of something a little luxurious, even maybe historical/noble with the little added embroidery-like details, it reminds me of these boleros jackets worn by toreros that are often red/gold VS doyoung’s overalls is an outfit that has a much more recent origin as it was first worn by factories workers, it’s usually blue or grey and is meant to be practical rather than pleasing to the eye -> here it fits very well with the general setting of the mv in what looks like an empty industrial storage space)

This second look is more of a game on how to deconstruct formal wear (there are less prints and no bold colours, their hair is less messy…) but they don’t just add sportswear like the bomber jacket, you can find rock or more “modern” elements with the leather jackets or the jean jackets. All in black and white so great contrast with the previous looks, although that mix and match concept is still there. My favourite elements are the checkered ones (worn by taeyong, taeil and haechan) as it reminds me of the strategy element of the chess game which fits pretty well with all the weapons and other arms visible in the mv (a bit like a nod to the game battleship)

This one I love that they developed their own print, especially since it’s another graphic element used elsewhere (see their album cover), because it’s a great way to really introduce their identity as a group, through the different visual elements they put out in a comeback, it’s like a logo but as a print. And all the teasers and the mv did a great job at mixing 2D/3D contents so that’s another nice way to be cohesive. It’s not my fave look out of the 3 (especially because I do not approve of that belt-suspenders-bag they gave Johnny, it’s like everything you don’t want to put a dancer in and it’s ugly as well) but I still like the fact that’s it’s another nod to the battle/strategy aspect of this comeback, like they’re on a mission to hit the stage and conquer it

Then fast forward to my other favourite one, Simon Says! (No teaser pictures here because they don’t show anything or they show not enough lol)

First of all THE MASKS

Oh how I wish they could’ve been shown more (imagine teasers with the members wearing them!!! I would’ve loved individual teasers based on each of the masks concepts) Once again, a great to have group concept without making everyone wear the same thing. They’re all super different and full of details. Haechan’s is the only one from what I could who’s mask is actually a mask and not a fully covering hood. The materials and techniques used on these are either evocative of “fragile” things like glass and flowers but theses elements have their own hidden strength. Some others are covered in lace, pearls, fringes or fur…all these things are usually considered to be precious or even luxurious but it covers their faces and their identity and they throw it away in rebellion (and I think it’s also super interesting how Taeyong who takes off his mask first has the least ornamented one)

Then the outfits themselves. Simon Says in an interesting MV because unlike most others they wear one outfit for most of the MV (the second one appears quite late in the mv and is lit and staged in a way that makes it less visible). It’s a mostly grey/white set of outfits which is usually a colour combo for office wear or maybe factory workers, it’s not something that can seem very exciting or edgy. The styling in these outfits reminds me of the works of Japanese designers who came to Paris in the 80’s and kind of shook the whole high fashion system by bringing a different type of shapes, aesthetic and purpose to fashion (Rei Kawakubo, Yohji Yamamoto…). These designers went on to become super successful and inspired another wave of “avant-garde” designers nicknamed “the 6 of Anvers” (Anvers is a city in Belgium), this group includes Martin Margiella, Dries Van Noten…And to me the outfits in Simon Says really fit into this aesthetic. Unconventional fits, various layers, it’s not so much mix and match than a work on contrast between structure and fluidity (Yuta’s half skirt with un-trimed edges, Haechan’s long shirt with the long bow and the fitted jacket, Mark’s top with the various see-through layers of different lengths…).

An other interesting details (which to me calls back to the mask and that tension in the song/concept of letting go/being free of expectations), is the way they all have thick strings tied on their feet/ankles. Not holding them back because their feet aren’t tied together but there’s still this clear restriction of the garment itself, a reminder that there are tied to something and not completely free (also an interesting choice when dressing dancers who would need to have no added weight or discomfort in their outfit to dance but visually something is holding their ankles)

Honorable mentions:

Kick It– they managed to create very memorable outfits while taking inspirations from already well known elements (both for the fighting/training outfits and the bomber jackets). The black and white outfits especially are very original as performance outfits/dancing clothes since the og garment they’re inspired by has already such a strong identity outside of the performing arts and I don’t think I’ve ever seen it be used as a stage outfit? Or concept? It’s a nice exemple of how you can take inspiration for something designed to be useful and to be efficient (in fighting) and turn it into an aesthetic.

Truthfully, martial art training outfit was already an “aesthetic” on its own but they made it a performance costume and now I do feel like it’s one of these looks that everyone will remember (like if there was a “most memorable kpop outfits” list it could easily have kick it’s black/white fits). The rest of the outfits for that concept weren’t as memorable/original to me although I feel like it showed a new approach to the styling of nct 127 as a group since they all had very similar outfits this time (especially when wearing the jackets).

Also, interestingly, that shot of Jaehyun that had everyone go “wow” ? Well it’s impactful because it’s him and he looks like that and it’s shot in a very specific way, but it’s also even more impactful because he’s the only one who gets to wear that kind of outfit in the mv. Everyone else has 3 sets of outfits (black and white, shiny black, red jacket and black pants) but he has 4 and that suit is only used in that shot which makes for a greater impact!

And I feel like Kick It in terms of styling opened a new era for NCT 127 has it kind of broke their usual mix and match/edgy concept. This time they were clearly referencing something already well known (either martial arts, the 90s…), and the members were all matching and they kept on doing that with the military jackets in punch, the other 90s concept in nct 2020…

Touch – for the way the outfits match the sets (in all their individual sets their outfits have a detail in a matching colour), the focus on colours !!! You can see that this whole concept was designed with this colour game/colour progression between the outfits and the set in mind. It’s just very pleasing to the eyes and a great contrast to their usual stuffs (also I wrote my graduation paper on colours so I am really into creative use of colours like this)

OK now moving on to Dream!!

The interesting thing about Dream compared to NCT 127 is that from the beginning although their outfits had to match the song an the concept of the comeback it also had to match their age. Dream’s a group that had to look young when debuting (to the point where they wore outfits that made them look even younger than they were which is rarely done for boy groups) and then they had to transition into adulthood, and all of that had to be made visible. In that aspect, I really like the styling for We Young and Boom (especially when you look at them at the same time).

For We Young, the styling is meant to be reminiscent of school/boy scout uniforms but with a marine vibe. It makes for playful outfits that aren’t too childish but that also aren’t grown up. I prefer the “seaside” outfits as I don’t really like school uniforms as a concept for styling and I think it’s really a choice that suited them and the song so well, it really fitted their energy. It’s playful but it also has a vintage touch to it as these outfits with their stripes and their squared flap at the back date back to the XIXth century (I just found out that it all started with the queen Victoria dressing up her kid in an outfit inspired by the royal navy uniforms for a painting after a cruise ).

Boom on the other side is their first proper “grown-up” concept. We go up was already more grown up but still very “teenager-ish” and although they were mostly teenagers when they did Boom it was clear that this was supposed to be their first entry into “adulthood” as a group at least. And although they did wear a sportswear/casual outfits which is something that isn’t related to age (and I really like the black and white “skeleton” set which already feels more grown-up and more “stylish” than the other casual outfit) , they wore two other “grown-up” elements: suits and all-jean outfits.

And yeah teenagers, and kids wear jeans too but a full jean-on-jean outfit is more of a “grown-up” fashion choice and it makes them look like young men rather than boys. As for the suits, I just really love when stylists play with the codes of that garment (length of the jacket, tightness of the pants, the way the shirt is tucked in…).

Notice how Renjun has a really short jacket, Chenle’s pants are wide, Jeno has a tail…Once again, a really interesting aspect of Kpop is the variations of the same concept based on the members. In the mv, there is a tension between their more grown up selves (the one in suits, the one with a craft/a path) and their young selves (the one running around in the field, the one laying down in the flowers and eating a cake). And there is also in these outfits and the contrast between them this tension, this contrast…which path should they go? The jeans are the more laide back, innocent outfits, whereas the suits come with responsibilities and status (and you’ll notice that in the scene where jisung is left alone to blow his candle it’s when he’s wearing jeans not when he’s in the suits).

Now on to WayV!!

WayV are different from the two in the sense than when they debuted they couldn’t have an “age” concept or an edgy concept because 127 and dream had already taken those and I feel like for that reason they’re still looking for what makes them stand out visually from the others (and in my opinion it’s not in whatever they were wearing for turn back time!). WayV’s concept is space and time travel, it’s building a new life, a new worl, going beyond anything! In my mind, they’re either supposed to feel a bit “otherworldly” (either spectacular or literally like they’re from another world/another universe, a little bit futuristic maybe?) or to look like explorers/travellers (they have a lot of travel/transportation “gears” references in their outfits). Their MVs also have a very different production than the other nct mvs (the scale and the way it’s filmed, the sets…it’s a different approach and it’s usually much more “grand” for their title tracks). The great thing about WayvV styling is usually that they match the outfits well with the world that the mv is set in (like in Moonwalk for example you get a sense of the world they’re in and the fact that it’s not ours or at least not as we know it now through the way they dress – you can’t really say oh it’s inspired by this era or by this or that because -at least- to me it immediately gives me a vibe of something that could be worn in a sci-fi movie, almost like a costume) or that they allude to travel in their styling.

When they debuted with Regular they went for a very sleek and high fashion look which worked really well for them! Even their more “casual” looks were a bit striking and I think that’s very “wayv-like” to me.

Same goes for Take Off where they mix the individual styles (and I don’t like ten’s leopard fur sleeveless jacket at all) and the group concepts – the “flying” outfits and the “racing” outfits (that last one is my favourite! I love the silhouette it creates with the tight pants and the larger tops with an emphasis on the waist).

There’s something a bit extra to WayV - which is why some of their outfits remind me of costumes more than fashion while at the same time they’re the most “high fashion” unit– like the “flying” outfit in Take Off are recognizable as “flying gear” but you can’t really tell what they’re flying, it feels once again like something that they could wear in like star wars or a similar kind of story.

Imagine a movie about 7 men on another planet trying to come together to overcome the dark forces or whatever’s bad on their planet in a futuristic society with a mix of “traditional” and “trendy” outfits? That’s WayV. The movie the 5th Sense? That’s WayV but on steroids. They’re also the only group with actual characters in their mvs, they’re all supposed to have a backstory or an individual setting and find a way to get together in their mvs.

Anyway all that to say that it’s hard for me to pick an era for them because they’ve only had a few and they still feel like they’re looking to solidify their concept, and since moonwalk and turn back time really set the styling in different worlds than ours, you have to look at how they fit in that world rather than ours and I think Moonwalk does it best since it’s the most cohesive one visually. But then I think Regular had the best individual styling!

Okay this is super long but we’re finally getting to NCT U!!!!

Number one favourite:

The Year Party outfits!!!! I’ve already talked about this but I love when they say we’ll put them in suits and then since they have to make a different one for each of them they cut bits an dpieces of the suits here and there, play with lengths. It’s not a revolutionary concept but in terms of searching for a shape, searching for variations of an already so famous, so well-known garment (everyone has seen a suit, and so many designers have already deconstructed it and then put it back together and so on) it’s so nice, it’s almost like a full collection given how many members there are and it’s just a good tailoring work.It almost feel like an exercise of how many variations of an outfit can you think of? And it looks fun to do! It’s all about the details and the way the layers are set together.

The accessories add to the “formal attire” aspect of it. It almost has a ceremonial look to it. A bit of royalty with the futuristic vibe usually associated with WayV. The dark blue suits were pretty classic, the most interesting details (for me at least) were on the light blue ones. Especially since it’s a rare colour to find in formal wear or in ceremonial wear. In general, I feel like it’s a pretty rare colour in fashion outside of like shirts and baby clothes? I think it was a great styling choice for a content like the year party although I do wish they (either NCT or WayV who’ve touched upon this kind of outfit a bit already) would do a full comeback with this kind of styling (like the lighter version of the black and green outfits in SuperM’s One). It’s not revolutionary but it was something new for NCT and I really hope they use that elegant/futuristic concept once again.

Also in these outfits, the jewelry is super important and adds to the “grand” aspect of these outfits. The concept is that these aren’t ordinary outfits for ordinary men, we’re witnessing something “special” and so they aren’t wearing their usual jewels either (of course the big chains are still there but differently look at that necklace jaehyun is wearing)

Honorable mention:

Boss & Baby Don’t Stop (they’re different but they go together in my mind lol). Look at them in their uniforms! And also they had doyoung wearing these sunglasses

Ok I think I’m done, if you’ve made it this far thank you so much and I hope it was a nice read!!

As for who would I chose as my models…it really depends on what I’d make them wear tbh for menswear the things I’d like to design would either be something like formal wear or knitwear – I’d pick Lucas, Taeyong and Doyoung (I think they’re the most model-like members and could pull off pretty much anything even my non-edgy concept because I can’t do that lol and they pose very well) and then depending on the concept I’d pick between Winwin, Jaehyun, Kun, Jungwoo, Taeil, Haechan and Shotaro (the way I struggled to remember all the members at once…there are too many really)

#this is soooo long omg I didn't know I had that much to say wow #I hope you've managed to read it all and that it was somewhat coherent and clear #now it's time to eat #nct #nct 127 #nct dream #wayv #nct 2020 #fashion #leemarx #I've got mail #vinformation

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bananaofswifts · 4 years

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Taylor Swift’s ‘Folklore’: Album Review

It’s hard to remember any contemporary pop superstar that has indulged in a more serious, or successful, act of sonic palette cleansing than Swift has with her eighth album, a highly subdued but rich affair written and recorded in quarantine conditions.

While most of us spent the last four months putting on some variation of “the quarantine 15,” Taylor Swift has been secretly working on the “Folklore” 16. Sprung Thursday night with less than a day’s notice, her eighth album is a fully rounded collection of songs that sounds like it was years in the interactive making, not the product of a quarter-year’s worth of file-sharing from splendid isolation. Mind you, the words “pandemic hero” should probably be reserved for actual frontline workers and not topline artistes. But there’s a bit of Rosie the Riveter spirit in how Swift has become the first major pop artist to deliver a first-rank album that went from germination to being completely locked down in the midst of a national lockdown.

The themes and tone of “Folklore,” though, are a little less “We can do it!” and a little more “Can we do it?” Because this new collection is Swift’s most overtly contemplative — as opposed to covertly reflective — album since the fan favorite “Red.” Actually, that’s an understatement. “Red” seems like a Chainsmokers album compared to the wholly banger-free “Folklore,” which lives up to the first half of its title by divesting itself of any lingering traces of Max Martin-ized dance-pop and presenting Swift, afresh, as your favorite new indie-electro-folk/chamber-pop balladeer. For fans that relished these undertones of Swift’s in the past, it will come as a side of her they know and love all too well. For anyone who still has last year’s “You Need to Calm Down” primarily in mind, it will come as a jolting act of manual downshifting into actually calming down. At least this one won’t require an album-length Ryan Adams remake to convince anyone that there’s songwriting there. The best comparison might be to take “Clean,” the unrepresentative denouement of “1989,” and… imagine a whole album of that. Really, it’s hard to remember any pop star in our lifetimes that has indulged in a more serious act of sonic palette cleansing.

The tone of this release won’t come as a midnight shock to anyone who took spoilers from the announcement earlier in the day that a majority of the tracks were co-written with and produced by the National’s Aaron Dessner, or that the man replacing Panic! at the Disco’s Brendon Urie as this album’s lone duet partner is Bon Iver. No matter how much credit you may have given Swift in the past for thinking and working outside of her box, a startled laugh may have been in order for just how unexpected these names felt on the bingo card of musical dignitaries you expected to find the woman who just put out “Me!” working with next. But her creative intuition hasn’t led her into an oil-and-water collaboration yet. Dessner turns out to be an ideal partner, with as much virtuosic, multi-instrumental know-how (particularly useful in a pandemic) as the most favored writer-producer on last year’s “Lover” album, Jack Antonoff.

He, too, is present and accounted for on “Folklore,” to a slightly lesser extent, and together Antonoff and Dessner make for a surprisingly well-matched support-staff tag team. Swift’s collabs with the National’s MVP clearly set the tone for the project, with a lot of fingerpicking, real strings, mellow drum programming and Mellotrons. You can sense Antonoff, in the songs he did with Swift, working to meet the mood and style of what Dessner had done or would be doing with her, and bringing out his own lesser-known acoustic and lightly orchestrated side. As good of a mesh as the album is, though, it’s usually not too hard to figure out who worked on which song — Dessner’s contributions often feel like nearly neo-classical piano or guitar riffs that Swift toplined over, while Antonoff works a little more toward buttressing slightly more familiar sounding pop melodies of Swift’s, dressed up or down to meet the more somber-sounding occasion.

For some fans, it might take a couple of spins around the block with this very different model to become re-accustomed to how there’s still the same power under the hood here. And that’s really all Swift, whose genius for conversational melodies and knack for giving every chorus a telling new twist every time around remain unmistakable trademarks. Thematically, it’s a bit more of a hodgepodge than more clearly autobiographical albums like “Lover” and “Reputation” before it have been. Swift has always described her albums as being like diaries of a certain period of time, and a few songs here obviously fit that bill, as continuations of the newfound contentment she explored in the last album and a half. But there’s also a higher degree of fictionalization than perhaps she’s gone for in the past, including what she’s described as a trilogy of songs revolving around a high school love triangle. The fact that she refers to herself, by name, as “James” in the song “Betty” is a good indicator that not everything here is ripped from today’s headlines or diary entries.

But, hell, some of it sure is. Anyone looking for lyrical Easter eggs to confirm that Swift still draws from her own life will be particularly pleased by the song “Invisible String,” a sort of “bless the broken roads that led me to you” type song that finds fulfillment in a current partner who once wore a teal shirt while working as a young man in a yogurt shop, even as Swift was dreaming of the perfect romance hanging out in Nashville’s Centennial Park. (A quick Google search reveals that, yes, Joe Alwyn was once an essential worker in London’s fro-yo industry.) There’s also a sly bit of self-referencing as Swift follows this golden thread that fatefully linked them: “Bad was the blood of the song in the cab on your first trip to L.A.,” she sings. The “dive bar” that was first established as the scene of a meet-cute two albums ago makes a reappearance in this song, too.

As for actual bad blood? It barely features into “Folklore,” in any substantial, true-life-details way, counter to her reputation for writing lyrics that are better than revenge. But when it does, woe unto he who has crossed the T’s and dotted the I’s on a contract that Swift feels was a double-cross. At least, we can strongly suspect what or who the actual subject is of “Mad Woman,” this album’s one real moment of vituperation. “What did you think I’d say to that?” Swift sings in the opening lines. “Does a scorpion sting when fighting back? / They strike to kill / And you know I will.” Soon, she’s adding gas to the fire: “Now I breathe flames each time I talk / My cannons all firing at your yacht / They say ‘move on’ / But you know I won’t / … women like hunting witches, too.” A coup de gras is delivered: “It’s obvious that wanting me dead has really brought you two together.” It’s a message song, and the message is: Swift still really wants her masters back, in 2020. And is really still going to want them back in 2021, 2022 and 2023, too. Whether or not the neighbors of the exec or execs she is imagining really mouth the words “f— you” when these nemeses pull up in their respective driveways may be a matter of projection, but if Swift has a good time imagining it, many of her fans will too.

(A second such reference may be found in the bonus track, “The Lakes,” which will only be found on deluxe CD and vinyl editions not set to arrive for several weeks. There, she sings, “What should be over burrowed under my skin / In heart-stopping waves of hurt / I’ve come too far to watch some namedropping sleaze / Tell me what are my words worth.” The rest of “The Lakes” is a fantasy of a halcyon semi-retirement in the mountains — in which “I want to watch wisteria grow right over my bare feet / Because I haven’t moved in years” — “and not without my muse.” She even imagines red roses growing out of a tundra, “with no one around to tweet it”; fantasies of a social media-free utopia are really pandemic-rampant.)

The other most overtly “confessional” song here is also the most third-person one, up to a telling point. In “The Last Great American Dynasty,” Swift explores the rich history of her seaside manse in Rhode Island, once famous for being home to the heir to the Standard Oil fortune and, after he died, his eccentric widow. Swift has a grand old time identifying with the women who decades before her made fellow coast-dwellers go “there goes the neighborhood”: “There goes the maddest woman this town has ever seen / She had a marvelous time ruining everything,” she sings of the long-gone widow, Rebekah. “Fifty years is a long time / Holiday House sat quietly on that beach / Free of women with madness, their men and bad habits / Then it was bought by me… the loudest woman this town has ever seen.” (A fine madness among proud women is another recurring theme.)

But, these examples aside, the album is ultimately less obviously self-referential than most of Swift’s. The single “Cardigan,” which has a bit of a Lana Del Rey feel (even though it’s produced by Dessner, not Del Rey’s partner Antonoff) is part of Swift’s fictional high school trilogy, along with “August” and “Betty.” That sweater shows up again in the latter song, in which Swift takes on the role of a 17-year boy publicly apologizing for doing a girl wrong — and which kicks into a triumphant key change at the end that’s right out of “Love Story,” in case anyone imagines Swift has completely moved on from the spirit of early triumphs.

“Exile,” the duet with Bon Iver, recalls another early Swift song, “The Last Time,” which had her trading verses with Gary Lightbody of Snow Patrol. Then, as now, she gives the guy the first word, and verse, if not the last; it has her agreeing with her partner on some aspects of their dissolution (“I couldn’t turn things around”/”You never turned things around”) and not completely on others (“Cause you never gave a warning sign,” he sings; “I gave so many signs,” she protests).

Picking two standouts — one from the contented pile, one from the tormented — leads to two choices: “Illicit Affairs” is the best cheating song since, well, “Reputation’s” hard-to-top “Getaway Car.” There’s less catharsis in this one, but just as much pungent wisdom, as Swift describes the more mundane details of maintaining an affair (“Tell your friends you’re out for a run / You’ll be flushed when you return”) with the soul-destroying ones of how “what started in beautiful rooms ends with meetings in parking lots,” as “a drug that only worked the first few hundred times” wears off in clandestine bitterness.

But does Swift have a corker of a love song to tip the scales of the album back toward sweetness. It’s not “Invisible String,” though that’s a contender. The champion romance song here is “Peace,” the title of which is slightly deceptive, as Swift promises her beau, or life partner, that that quality of tranquility is the only thing she can’t promise him. If you like your love ballads realistic, it’s a bit of candor that renders all the compensatory vows of fidelity and courage all the more credible and deeply lovely. “All these people think love’s for show / But I would die for you in secret.”

That promise of privacy to her intended is a reminder that Swift is actually quite good at keeping things close to the vest, when she’s not spilling all — qualities that she seems to value and uphold in about ironically equal measure. Perhaps it’s in deference to the sanctity of whatever she’s holding dear right now that there are more outside narratives than before in this album — including a song referring to her grandfather storming the beaches in World War II — even as she goes outside for fresh collaborators and sounds, too. But what keeps you locked in, as always, is the notion of Swift as truth-teller, barred or unbarred, in a world of pop spin. She’s celebrating the masked era by taking hers off again.

Taylor Swift “Folklore” Republic Records

#taylor swift #folklore #review

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davidmann95 · 4 years

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Did you enjoy Detective Comics #1027?

Anonymous said: Detective Comics 1027?

adudewholikescomicsandotherstuff said: Tec 1027?

Anonymous said: Thoughts on Detective Comics 1027 ?

My own cover of choice since the main one while also very good was a wrap-around, which doesn’t work quite as well for a 144-page beast like this (plus in place of that there’s a cool spooky Batman silhouette on the back). And I did enjoy it! Unfortunately it isn’t as much of a tier unto itself relative to its anniversary brethren of the last couple years (Batman’s 5th next to Superman, Wonder Woman, Flash, and Green Lantern’s one apiece, and the entirety of Marvels’ two) the way the creative lineup had me hoping, but it’s still got some great work and is a steal at $9.99 for what’s basically a modest trade.

Blowback by Peter Tomasi, Brad Walker, Andrew Hennessy, Nathan Fairbairn, and Rob Leigh: That being said it does not start out on a great foot. I was actually willing to cut this a little slack - Walker’s artwork is gorgeous, and I’m willing to believe Batman would go into an internal poetic monologue on the nature of crimefighting in the midst of an escape - but Tomasi’s tendency for devolving into nonsensical stream-of-thought rambling grates here like never before, and the ending is a total non-sequitur. I just don’t understand how Tomasi has seemingly reached that sort of Miller/Adams rarefied air where he can turn in literally whatever he wants and get it printed.

The Master Class by Brian Bendis, David Marquez, Alejandro Sanchez, and Joshua Reed: Thankfully, immediately followed up by one of the better ones. I feel like this story is exactly what this site specifically wants out of its Batman comics - the Batfamily bickers and solves a mystery involving one of the rogues gallery doing something slightly silly, Bruce himself mostly just hangs back to let the kids do their thing and praise them at the end. Much as I’ve found his Superman work revelatory, I can’t deny that it’s Batman who’s produced Bendis’s best hit-miss ratio since coming to DC, even if it’s a very different kind of Batman than we would’ve expected from him. And naturally Marquez brings it, definitely one of DC’s best acquisitions of the last several years.

Many Happy Returns by Matt Fraction, Chip Zdarsky, and Aditya Bidikar: Okay this was not the version of Batman vs. Joker coming from the Sex Criminals team and the writer of the great Bat-Olsen Prank War of 2019 I imagined. It’s a straightforward story ending on a familiar thesis, but it’s the best execution of it we’ve ever seen, and while I was expecting it to look very good I was not expecting Zdarsky to walk away as the artistic MVP of an anthology with Mora and Burnham in it. And while I’m usually a philistine who doesn’t notice these sorts of things, Bidikar’s lettering here is also conspicuously great. They all have better things to do, but for real give this team a Batman ongoing, best story of the issue.

Rookie by Greg Rucka, Eduardo Risso, and Tom Napolitano: Followed by the worst! Not in terms of pure storytelling - it’s Rucka and Risso, of course it reads fine - but as a “yes, most cops suck, but if you try REALLY hard you can totally be a good cop, even in Gotham!” story in 2020. In 2015, 2016, and 2019 I was excited about Rucka’s returns to DC, but between this and Lois Lane #12 this is the year I never want to see him write a superhero comic again.

Ghost Story by James Tynion IV, Riley Rossmo, Ivan Plascencia, and Andworld Design: Finally Tynion gets to write in the era he’s I think really wanted all along, and Rossmo’s a surprisingly good fit for it. A tight, nifty little high-concept romp that touches on the big concerns you expect with an anniversary issue without getting too self-serious about it.

Fore by Kelly Sue DeConnick, John Romita Jr., Klaus Janson, Arif Prianto, and Troy Peteri: A standout! One of those ‘addressing a bunch of modern Batman criticisms head-on’ stories while keeping terse enough to let Romita Jr. on one of his better days do his thing; surprisingly this is the only “Batman as a scary badass of few words fighting street crime” story in here, and this team’s really good at that.

Odyssey by Marv Wolfman, Emanuela Luppachino, Bill Sienkiewicz, Jordie Bellaire, and Carlos Mangual: ...huh? I guess this qualifies as a history-of-Gotham/detective story, but even for a veteran like Wolfman with nothing to prove I can’t grasp why you’d get offered a big anniversary story and turn in...this. And Luppachino and Sienkiewicz are two great tastes who don’t taste great together.

Detective #26 by Grant Morrison, Chris Burnham, Nathan Fairbairn, and Steve Wands: I’ll admit the point of this one sailed over me beyond the clear message of “there were pulp heroes and then Batman happened” on first reading even if I enjoyed it, but thanks to @khancrackers I got it - much as Batman was the amalgamation of many influences the guy here had all the ingredients, but he could only think to become the latest iteration on an already rapidly-curdling idea. There were plenty like that, 26 issues worth in that book alone, but it was #27 where the spark lit and something unique was born. In Morrison’s own words elsewhere, “You’ve GOT something. You SHINE.” Which itself makes this an interesting companion to his Batman epic, which has fistfulls of ‘lesser’ iterations of the basic idea, but they become heroes because they’re inspired by Batman himself. It would be the best story of any Batman anniversary issue that didn’t include Many Happy Returns, and is still an interesting final word on the character as a spiritual prologue to Morrison’s 7 years with him. Oh, and Burnham fucking rules, obviously.

Legacy by Tom King, Walter Simonson, Laura Martin, and John Workman: It sure is a Tom King Batman comic. Which isn’t a criticism! But it sure is what it is and not much more. I guess he felt he needed it to be a sequel to something Simonson had done before (while also tying into his own run a bit), and worked with what he had. And speaking of whom, while I haven’t seen much else of his contemporary material I think this is where I’ve realized Walter Simonson’s work is turning into a caricature of itself in much the same way as Frank Miller, but in a much more generally palatable way.

As Always by Scott Snyder, Ivan Reis, Joe Prado, Marcelo Maiolo, and Tom Napolitano: I was surprised by how much I loved it and I kind of want this to be Snyder’s final Batman story? It’s a perfect full circle in multiple ways, as it’s not only a Batman/Gordon story mirroring Detective Comics #27 itself, but Snyder’s own first Batman work, even as it shows how much his vision of Batman has changed since Black Mirror. A perfect ‘last’ story for the collection, the next two glorified advertisements notwithstanding.

Generations: Fractured by Dan Jurgens, Kevin Nowlan, Hi-Fi, and Andworld Design: A nothingburger, but a hilarious one because a couple days after Jim Lee’s statement this is basically hollering “hey kids, have you heard of 5G?!” Still gorgeous with Nowlan onboard.

A Gift by Mariko Tamaki, Dan Mora, Tamra Bonvillain, and Tom Tapolitano: Of course pretty as hell with Mora and those Bonvillain colors, but as an actual story it feels perfunctory, some standard Batman ‘once my very important dad said...’ lecturing across a throwaway action sequence with a tease. I dunno if this is setting up Tamaki on Detective, or a future Tomasi story without him just writing it himself, but while it’s basically competent and therefore doesn’t end the book on a wet fart or anything, you can’t help but wish it could’ve been just a little better.

So 7 out of 12 good ones. That’s definitely not as positive a ratio as I’d gone in expecting or even walked away with the impression of, but that’s still 81 pages of good comics, and even the lesser stories mostly still have quality art. In summation, Rookie < Odyssey < Blowback < Generations: Fractured < A Gift < Ghost Story < Legacy < Fore < The Master Class < As Always < Detective #26 < Many Happy Returns, and the pinups by Garcia-Lopez, Campbell, Cheung, Bermejo, and Coipel are all as good as you’d expect.

#Batman #Detective Comics 1027 #Opinion

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buttdawg · 4 years

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All Out 2020 Predictions

Just gonna run down the card here, because I keep forgetting what’s on this show, and it is stacked.

Side note: Looking this up on Wikipedia made me sad, because the article points out that the show was originally planned for a whole other venue before the pandemic started. I had gotten so used to every AEW show being held in Jacksonville, that I had forgotten the good old days, when they could run every show in Chicago.

Casino Battle Royale, winner gets a shot at the AEW title

I thought they gave up on this stip when they did the Casino Ladder Match at Double-or-Nothing. Here’s a dumb thought: Ditch the casino nonsense. The last two casino battle royals were kind of dumb, because they sent out five guys at a time, and then the 21st guy got to come out last by himself. The problem I had was that I had no idea who half the participants were, and sending them out in fives made it that much harder to keep track.

Anyway, this time around it’s easier to just list them by faction. We have

Eddie Kingston’s group (Eddie, Butcher, Blade, Pentagon Jr., and Rey Fenix)

Team Taz (Absolute Ricky Starks and DA MACHEEN Brian Cage, who is also the FTW World’s Heavyweight Champion of the World, Excalibur)

Gunn Club (Billy Gunn and Austin Gunn)

The Inner Circle (Jake Hager, Santana and Ortiz)

Best Friends (Chuck Taylor and Trent)

Lance Archer

Darby Allin

Wait that’s only 16 guys. You know, it’s been a long time since I learned the rules to Blackjack, but I think that’s about where you want to stand pat. If you take another card, you’re much more likely to go over 21. Anyway, I hope Warhorse ends up in this match somehow. I guess I’ll pick Eddie Kingson to win, since he’s got the most guys helping him.

No, wait, fuck all of that shit. Lance Archer wins everything. Call this Casino Battle Royale a George R. R. Martin novel, because Everybody Fucking Dies.

The Dark Order (Brodie Lee, Evil Uno, Stu Grayson, Colt Cabana) vs. Scorpio Sky, Matt Cardona, Dustin Rhodes, & QT Marshall.

This is like the Dark Order vs. the Dark Order Revenge Squad, trying to make Brodie pay for beating the shit out of Cody. I saw a video package for this on Dynamite yesterday, and it was fucking stupid, because they wanted me to believe that the good guy team are “four badasses”, even though one of them is QT Marshall for crying out loud. They do this horseshit all the time, where a group of babyfaces try to gang up on the Dark Order, but it never works because the faces never bring enough guys. There’s like eight or nine dudes in the Dark Order, so unless your team has ten or eleven, you’re gonna get your asses kicked. Brodie killed Cody like he was nothing, so why am I supposed to believe Dustin has a chance in hell?

The last time Scorpio Sky was on one of these anti-DO posse teams, it was with Colt Cabana and his partners in SCU. Well, Colt ended up switching sides, and apparently Chris Daniels and Kazarian aren’t even booked, so that tells me what I need to know. Dark Order wins.

Britt Baker vs. Swole in a Tooth and Nail Match.

I don’t know if “Tooth and Nail” is an actual stipulation, or if they’re just calling it that for promotional purposes. I wish they’d spell out the rules to these things instead of just calling out the names of matches like catchphrases. Swole would look pretty dumb if she loses this, so I’m picking her to win.

Matt Hardy vs. Sammy Guevara in a “Broken Rules” Match.

Wikipedia says this is a Last Man Standing match, so maybe they should have just called it that? I mean, less than a month ago Matt claimed that he was ditching all his characters for the duration of the pandemic, and now he’s right back to chanting “Delete!” like nothing changed. I heard a lot about Matt’s cinematic universe run in Impact, but so far I’m not overly impressed with his run in AEW. He just makes a bunch of callbacks to stuff he did in WWE, Impact, and ROH like I’m supposed to know or give a shit about that time he was a douchebag. If Matt loses, he’s supposed to leave AEW, but I’m pretty sure this is a trick, and he’ll just come back as “Leviticus” and pretend to be a robot from outer space. I don’t think I care who wins.

Jurassic Express vs. The Young Bucks.

Why are these guys fighting? I feel like they already did on TV? I’m gonna pull for JE to win this one. I think the Bucks might be my favorite act in AEW, but I mostly enjoy seeing them get the shit beat out of them. Yeah, kill the Young Bucks.

Chris Jericho vs. Orange Cassidy in a Mimosa Mayhem Match.

You can win Mimosa Mayhem by pinfall, submission, or dumping your opponent into a big tank of mimosa. I guess this is a way for OC to win their feud without actually pinning Jericho twice? Alternately, the loser can get pinned, only to dump the winner in the tank to get a moral victory. I’ll go with Orange to win.

AEW Tag Team Championship: Kenny Omega/Hangman vs. FTR

Now that they finally kicked Hangman out of the Elite, and FTR has finally stopped pretending not to be heels, and now that Kenny Omega finally seems to give a shit about his tag team, I think this program could finally lead to something cool. I sort of want FTR to win, just to move the Hangman/Omega angle onto the next stage. If the tag titles are the only thing keeping that team together than we need to see what happens without them.

Also, I want FTR to defend the titles against Santana and Ortiz. Yeah, no offense to Omega and Hangman, but fuck this Elite Drama Bullshit, gimme FTR vs. PnP.

AEW Women’s Championship: Hikaru Shida vs. Thunder Rosa.

Fuck yeah, this is the real main event right here. Thunder Rosa kicks ass, and now she can show her stuff without the nonsensical soap opera booking found in the NWA women’s division. The last time I saw Thunder Rosa in NWA, Melina had inexplicably declared that she had a title match against Rosa, but when the match actually happened, Melina just rolled out of the ring and took a countout. Seeing Eddie Kingston, Ricky Starks, and Thunder Rosa has opened my eyes to a lot of problems in NWA.

Anyway, here’s the AEW storyline for Thunder Rosa: Shida wanted competition, and Thunder Rosa showed up to kick her ass and take her belt. I suspect Shida’s going to win, because Rosa’s NWA title isn’t on the line, but I’m rooting for Thunder Rosa to become the double champ.

AEW Men’s Championship: Jon Moxley vs. MJF.

I want Moxley to win, although I’m not 100% sure this isn’t MJF’s time. It feels too soon, but I didn’t think Moxley would win the title from Jericho back in February either. Also, if Moxley loses the title, it might make it easier for AEW and NJPW to open the Forbidden Door long enough for him to defend the IWGP U.S. title against KENTA. Is that worth putting the world title on MJF? Probably not, but it’s fun to think about.

I don’t understand this feud at all, because MJF has been “campaigning” for a world title shot, even though he’s the #1 contender and he’s undefeated, so I’m pretty sure he could just request the match and he’s all set. MJF has also successfully lobbied to have Moxley’s finisher banned from their match, but what if Mox uses it anyway? They’d just disqualify him and he’d retain the title, right? Or maybe the ref would just stand there and let him do it anyway, because that seems to be how AEW referees do things.

I really don’t get why MJF wanted the Paradigm Shift banned. He got hit with one like two weeks ago, and he acted like it half-crippled him, but then he revealed it didn’t hurt him that badly, so why does he care if he takes another one? MJF also seems to have this thing going on where he pretends to be this high-road-taking “pure wrestler”, who can out-finesse Moxley’s brawling style, but we’ve seen MJF just go apeshit and use hardcore tactics himself.

This is kind of an aside, but I find it funny when Jim Cornette acts surprised when people accuse him of playing a character on his podcasts. He’ll be like “No, no, you don’t understand, I really hate Vince Russo and Kenny Omega and I want them both dead for not respecting kayfabe!” The thing is, wrestlers like MJF and FTR are out here repeating a lot of Cornette’s talking points on TV, specifically to get heel heat. They praise themselves for being workhorses who stick to the fundamentals, but they’re hypocrites who use gamesmanship and trickery to get ahead. So people hear Cornette blowing a gasket about Joey Janela and they just assume he’s being some sort of cartoonish supervillain character to sell his merch, because the alternative is too absurd to contemplate. It’d be like MJF assuring people that he really does bloody people up with his diamond ring in real life, just like he does on TV.

Anyway, I’ll stick with Moxley, but if MJF wins, I’ll be more intrigued than disappointed...

#aew #aew dynamite #aew all out

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queerchoicesblog · 5 years

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Rooftop Talks (Platinum, F!Raleigh x MC)

Since I noticed so many fics starring M! Raleigh but none with F! Raleigh, here’s my attempt to fill that void. Inspired by the rooftop scene, this is my entry for the prompt “ honesty” of the @choicesjulychallenge hosted by @kinda-iconic !

In short, Raleigh and Rachel (Dorian, MC) grow closer as they make a habit of meeting on the abandoned building’s rooftop to avoid paparazzi and spend with each other. Then one night Rachel has a question for Raleigh...

Prompt: Honesty

Discalimer: mild use of bad words and hispano hablantes over here: I tried to incorporate some occasional Spanish in here - I wanted to incorporate that trait in Raleigh’s character- so please tell me if I messed something up with the language (I took Spanish classes ages ago) or in general and I’ll fix it!

Word Count: 2328

Perma Tag: @brightpinkpeppercorn @melodyofgraves @bhavf @abunchofbadchoices @silverhawkenzie @begging-for-kamilah @kennaxval @strangerofbraidwood @crazypeanat @desiree-0816 @universallypizzataco

F! Raleigh x MC Tag: @hellospunkiebrewster @furiouscloddonutpeanut

________________________

The night of the charity gala none of them would have expected it to happen again but Raleigh and Rachel made a habit to sneak away from the paparazzi and hide on the rooftop to catch some breath. They would chat and flirt, share takeaway food and views and suggestions about each other new songs. Some nights they would even bring their guitars and jam together: most of the times they would end up playing and singing their heart out silly hits of the past or campfire songs only to laugh till their cheeks hurt as if they were teens at a party their parents knew nothing about. Other nights they would be a soundboard for each other, especially Raleigh: she would listen to Rachel's ramblings and second-guessing herself and offer her advice: how to keep the tune on that note, a better rhyme, a few sick moves for her next video...even how to make the right impression during interviews, because Raleigh was a professional, not just her rebel stage persona, and she had been around journalists and paparazzi way more than the new sweet shining star.

In return, Rachel would suggest new kinder strategies to deal with fame and fans or to call home every once in a while: even if she left when she was fifteen, she must have someone who missed her. The thought made Raleigh smile, but in a good way: it was almost painful to see how genuinely good the Dorian girl was.

"Are you homesick, Rachel?" she inquired to divert the question.

"Hm, not really, no...” she said, stirring her noodles as she considered her answer. "But I've lived with my parents longer than you did. I just wanted to break free and find a place of my own after I got my high school diploma. I mean, I love them but at a certain point in life, your roads need to part, so to speak, right? But you, it was different for you...that's why I asked. I hope I didn't overstep though" Raleigh shrugged and took a bite of sesame chicken.

"I talked with dad a couple of weeks ago. It was his birthday, mom and the whole family squad set up a party for him. And just so you know, he hates parties. He's a good ol' grumpy fellow"

"Aw cool! I bet he's your number one fan even if maybe he doesn't show it much? I mean, your whole family should be your number one fan!"

"Nah, papi sticks and will always stick with the classics till the end of time and mamita y tìa were and still are -I guess- huge fans of Ricky Martin, el Rey del Pop Latino" Raleigh explained.

She didn't realize until the day after that she couldn't remember the last time she had talked about her family with someone. Everyone always asked her about future plans, career path, tips maybe, but private life? Never. Unless it meant asking out on dates, heavy flirting or scandalous gossips about a former lover. Only Rachel asked her about the life she had left behind in Puerto Rico and everybody had long lost interest in.

"You don't strike me as a fan of Ricky Martin" Dorian chuckled.

The R&B singer flashed her a wide grin.

"Not exactly, but thanks to them I can make quite a good impression of him. Wanna see it?"

"Is that even a question? Of course!"

Raleigh laughed and reached for her phone as the new star put down her empty food box and shifted to sit more comfortably. She scrolled down a YouTube playlist then her eyes met Rachel's again.

"You ready?"

As the young woman nodded she pressed play and ran her hand through her hair and produced her best puppy dog eyes, making Rachel laugh. She put down her phone and walked backward theatrically opening her arms.

Un, dos, tres Un pasito pa'lante María Un, dos, tres Un pasito pa' atrás

Then as the tune became more upbeat she produced herself in a complicated yet effortlessly fluid sequence of hands clapping, swirling and hips swaying. Latin Pop may have not been her favorite genre but damn, she owned the choreography just as she owned the stage during her shows.

Así es María Blanca como el día

She sang quickly stroking Rachel's cheek with one finger before spinning and turning away.

Pero es veneno si te quieres enamorar Así es María Tan caliente y fría Que si te la bebes de seguro te va a matar

After striking a dramatic pose, she winked just before bursting into laughter.

"Oh my God! That was everything, Raleigh!" Rachel enthusiastically applauded.

"Muchas gracias, nena" she said ruffling her hair and taking her seat beside her.

"Now I'm living to see a Ricky Martin and Raleigh Carrera duet"

Raleigh looked at her and snorted.

"I don't see it happening but paradoxically my team might love the idea so never say it out loud when they're around. Never!"

"A girl can dream, right?" Rachel shrugged and giggled.

All of a sudden way less bubbly considerations crossed her mind and she lost in her own train of thoughts. A girl can dream...she had repeated those few words in her head so many times lately. Every time Raleigh absentmindedly stroked her arms on a fake date, every time she caught her looking at her from afar, every time they kissed.

Then the night of the gala happened. When the two of them sneaked away and hopped on Raleigh's motorbike. She still remembered the cool breeze of the night caressing her skin as she held herself to her "girlfriend". That was a moment of rare perfection: the two of them finally alone and careless, the adrenaline of the ride, the warmth of "the R&B time bomb"'s body pressed against her. When they arrived on the rooftop and she admired the breathing view of New York skyline, her head almost started spinning, just like when Raleigh twirled her in her arms on the gala dance floor.

But what made her heart skip a beat was hearing Raleigh talking about that place, sharing memories of her past, when her teen self felt lost and lonely in the big city...and her project to turn the abandoned building into a community center for kids.

"You make me feel like I want to tell you things. I don't know why" Raleigh confessed that night.

That was when a familiar warmth settled into Rachel's chest. The same feeling she experienced when her high school crush caught her singing to herself in the auditorium and told her that she sounded like an angel and stopped to chat. She didn't ask her out before leaving - Rachel Dorian life had never been a romcom so far- but the little casual talk stole her younger self's breath away.

Rachel instinctively knew that Raleigh never shared that with anyone else. It was just her tone, the way she said it. And she couldn't remember a single interview or tweet mentioning it. So...Raleigh's walls were crumbling down? You don't share secrets, very private secrets with anyone!

Maybe I was just being paranoid as my usual...maybe I didn't misread the signs, she thought as Raleigh not only accepted but enthusiastically returned the kiss that followed. And took her to the railing, her lips never leaving hers or her neck.

But later...

Raleigh suddenly making a loud noise with her soda breaking her train of thoughts.

"Earth to Rachel"

Avery's protege turned to see her looking at her with a slightly amused grin on her face as she played with the straw.

"Sorry, I spaced out" Rachel smiled shyly, avoiding eye contact.

"No biggie. Just glad we're on the same planet again"

Rachel looked at her sideways: Raleigh was happily humming one of her latest songs. She seemed to be in a good mood, she always was in a good mood when she was on that rooftop. Or so Rachel could tell by what she saw over the past few weeks. Which lead her to summon up her courage and ask her a question that had been troubling her for a while.

"Why did you bring me here the night of the gala?"

Raleigh was probably caught off guard by that but concealed it well. She shrugged again and leaned down on the carpet, propping herself up on one elbow.

"I told you, I had to take a break from those stupid fraud activists and this is where I go to catch my breath. We were at the gala together so it made sense to ask you to join. Lie to me and tell me you don't like it here" she said, flashing her signature grin.

"Of course I do" Rachel gave a quick smile.

Maybe that's the problem. I like it here, when it's just the two of us, no one else in sight...probably I like it too much.

But this conversation was going nowhere. So she sighed and spoke again, hoping to find answers and hopefully reassurance:

"Our time is ticking out, right?"

When Raleigh looked up to her, the usual cheerfulness of Rachel had been replaced by what looked like...melancholy?

"What? It's barely midnight, the night is still young, Rachel!" she joked to clear the mood.

Then she gave another grin and reached to playfully bump the other girl's arm.

"I have a bad reputation in case you haven't noticed. You should know that I'm not the kind of girlfriend who respects nor gives a damn about curfews."

But Rachel didn't play along this time.

"That's not what I meant" she said as her eyes met Raleigh's again.

The Puerto Rican singer knew what she meant. The big issue that had been lingering between them for a while and that was written all over Rachel tired face. She felt a pang of pain at the thought of it and she decided to conceal it as she always did.

"Oh well who knows, Rachel? I haven't spoken to my PR manager about it on our last meeting"

But the other woman didn't seem satisfied with that brief explanation.

Raleigh grimaced and sat up. It actually hurt more than she thought. She reached for Rachel's hand.

"Hey, we both knew the deal. Start a fake relationship and get a career and reputation boost"

"It's all it is, huh?"

The Dorian girl looked at her with painful expectancy. Gosh, I knew this is what we would get out of this, Raleigh thought.

"Well, yes and no. I mean, I like you, Rachel, I'm glad we got closer. You're shockingly pleasant to have around, rising star. And you've been...well yeah so far you're the best fake girlfriend ever, seriously. I hope we will still be friends when this...you know..."

"Yeah, sure"

Rachel diverted her eyes as her chest tightened. She misread the signals, shit. She kept fantasizing and being oblivious of their current situation...but she couldn't blame Raleigh for it. That night, their first night on the rooftop, when the kisses grew hungry on the railing, the Puerto Rican star too soon parted and told her to follow her, she wanted to go on another ride on her bike. Rachel reached for her.

"We don't have to stop, you know..." she noted, gently stroking her hip.

"What? Too scared to admit you might be catching feelings?" she teased, since the other woman just stared at her in silence.

"Whoa, there. Let's not get crazy. I'm a seasoned professional" Raleigh interrupted her, walking backward.

What a stupid I am! What was I thinking? That she, Raleigh Carrera, might fall for me?, Rachel grimace, her face hidden from the R&B star's view. Your life is not a romcom, Dorian, and you have embarrassed yourself already. God, that night she might have...she totally thought I was taking advantage of the situation? Oh shit shit shit!

Her phone beeped. She picked it up as a deep blush spread on her face: Low battery warning.

"Rachel, are you okay?"

The girl didn't turn but she felt the weight of Raleigh's concerned gaze over her.

"Yeah, I'm good...I just-I just forgot that I have a meeting with Avery early tomorrow. Very early. Like dawn"

"Why so early?" Raleigh gave her a quizzical look.

"Oh it's Fiona's doing actually" she said as she stood in a swift motion and gathered up her belongings. "She just want to introduce us to some yoga routine or something like that. She said it stimulates creativity... the point is I gotta go. I'm sorry"

She gave a quick apologetic smile and moved towards the staircases.

"Oh, okay" Raleigh was visibly confused by the sudden change in her "girlfriend". "Do you want me to give yo-"

"No no, I know the way! I'll call a cab!"

Before she opened the metal door leading downstairs, Raleigh spoke again.

"You sure, you're okay though? Did I say something wrong? About the-"

Rachel stopped and slightly turned her head.

"No, of course not. It's just...my silly little head that keeps forgetting things. How things go. Buenas noches, Raleigh"

That said she speed up down the stairs and only the echo of the door resounded on the rooftop, "their place", before the other woman could say goodnight back.

Something doesn't add up, Raleigh thought, still struggling to make a sense of the last few minutes. What did I-

Then her eyes fell on the purple guitar she gave Rachel sitting not far from the wooden bench. Dorian jealously kept her ever since the first day they met. She wore it on every show, even in the music video they filmed together. She even caught her smiling down at it as she strummed a new melody. She really made her happy with her guitar: Rachel would never go anywhere without it, even the press noticed...and now it was there. Did she forget?

"Oh crap!" Raleigh sprinted to the staircases and opened the door, calling her name.

"Rachel hold on, your guitar! Rachel!"

But her words were welcomed by silence only.

#choices july challenge #platinum #raleigh x mc #raleigh carrera #playchoices #choices fanfic

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thesinglesjukebox · 5 years

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ARIANA GRANDE, MILEY CYRUS & LANA DEL REY - DON'T CALL ME ANGEL

[3.69]

"Independent Women Part III: No Throttle"...

Josh Buck: Absolutely not. [2]

Katie Gill: "Don't Call Me Angel" is a fun piece of movie credits music. There's nothing special here, but it's a jam of a song that would fit perfectly well in the already established oeuvre of middle-of-the-road yet totally serviceable movie tie-in songs. Two of the singers know exactly what sort of song they're in and give it the sultry, radio-friendly, sexy spin the song needs. The third is Lana Del Rey and her inclusion BAFFLES me. This is so far out of her wheelhouse that it's hilarious. Seriously, was Selena Gomez busy or something? The music video for Demi Lovato's "Confident" was practically an audition piece for this type of thing, why the heck isn't she here? [6]

Thomas Inskeep: Ariana does some Grande karaoke, Miley sounds like she'd rather be singing "I Love Rock 'n' Roll," and Lana teleports in to do another take on her breathy schtick (and brings the song to a screeching halt in the process) -- nothing about this, apart from (I imagine) someone's discussion of market share, makes any sense. There's no cohesion here. There's barely even a song. [2]

Wayne Weizhen Zhang: So, so, so cringeworthy. Ariana, Miley and Lana sound like reality music TV contestants who were forced to make a song together one week, couldn't get on the same page and ran out of time to rehearse, but had to release something anyways. Ariana is awkward and lonely on the hook, like she's waiting for help that never comes; Miley comes out of nowhere with a cloying shouted verse; and Lana is off in another world mumbling incomprehensible nonsense. Even the backing track has a nervous manic energy. If you want a good song about Charli(e)'s angels, just listen to this instead. [3]

Michael Hong: In high school, I worked on a group project where the only times we met up were when we decided upon a topic and to actually present the whole piece. Rather expectedly, the whole thing fell apart rather quickly and it was a completely embarrassing experience. "Don't Call Me Angel," gives off the same vibe, like Ariana Grande, Miley Cyrus, and Lana Del Rey were each given only the title and asked to write something vaguely empowering for women. Each artist sounds like they wrote for a different track and made absolutely no effort to meld styles, instead forcing the producers to try and mash the entire thing together. Even the chorus buries Miley and Lana completely beneath Ariana, perhaps rather wisely as I can't see the group's vocal tones meshing together very well. "Don't Call Me Angel" survives only through the one thing my group never had, natural charisma. [3]

Alex Clifton: How did Ari, Miley and Lana end up in this? I guess it echoes the three Charlie's Angels but this trio doesn't make sense. I can see how individual duets would've worked; Ari and Lana could've done something slow and spacy, Ari and Miley taking a more upbeat route, Lana and Miley singing something retro. This, sadly, doesn't play to anyone's strengths and just ends up being overproduced mush with a decent riff. If I had to pick any artist who could make this song make sense, it would be Rihanna, and the music video would be her in thirteen different outfits kicking ass. [3]

Joshua Copperman: I didn't realize how dated the Max Martin sound was until hearing "Don't Call Me Angel." Pop music is now either created with substance(s) or has substance thrust upon it. Meanwhile, the lyrics are clunkier than ever, "you know we fly/but don't call me angel" no longer endearing melodic math but shallow feminist lip service at a time when "if you feel like a girl/then you real like a girl" can sneak onto a major label record. It's the first time I can't listen to a Martin production without thinking of this unexpectedly poignant stand-up segment about Martin and Cosmopolitan. When the tropical house is so bland, further lyrics stick out more; Miley's pre-chorus ("Do I really need to say it/Do I need to say it again") is lazy, and Ari's vampire metaphors are just baffling. Lana comes out strongest, someone who seldom charts but has more cultural relevance than the former and is much hipper than the latter. Her verse is classy when Ari is unmemorable and Miley cribs from a Rihanna album reject from four years ago. "Angel", though, feels like a reject from 2013, when Miley was in her imperial phase and Ari was just breaking out from Nickelodeon -- in fact, it probably would have had Rihanna instead of Lana at that time. But no matter what trio, one thing is clear: with this lemon, you cannot make Marmalade. [3]

Katherine St Asaph: Remember, "Independent Women Part I" stopped the otherwise great song dead on the bridge to announce it was commissioned for CHARLIE'S AAAAAAANGELS, so "Don't Call Me Angel" earns points already for not doing that. It keeps its product placement to outside context, namely the fact that the song exists despite the three artists having little in common besides having stanbases and sniping at critics. The disparate styles can work together -- see the "Lady Marmalade" remake, unfairly maligned except by a few -- but here there are only anti-synergies. Miley's verse can't decide if she wants to be the track's Mya or the Pink (probably the better idea), but its bluntness also best fits the backing track. Ariana's sighed, harmonized "angel" is a great millennial R&B hook, but one that outside of an R&B song is starved for air. Lana's bridge, though a complete non-sequitur and only empowering if you squint, is also the most sonically charged thing she's done in ages; if there isn't a reason Lana Del Rey hasn't worked with Max Martin beyond "Lust for Life" (I suspect that there is), that wouldn't be the worst career direction. Everyone's part diminishes everyone else's, the exact opposite of what you need from an event single or a Charlie's Angels shine-theory ad. [5]

Jacob Sujin Kuppermann: Every big pop collab feels a little unnecessary -- pop stars work based on the idea that they're the center of the universe, and collaborations by their very nature make that seem silly. But this sounds really, really unnecessary. Two artists coming off career highs (and one coming off of "Cattitude") should at least drive some head-to-head comparison, but none of the three credited artists interact in any meaningful way. It's the Batman V. Superman of pop music -- conflict and chemistry built mostly on reputation rather than action, with nothing to defend unless you're an unabashed stan. [2]

Joshua Lu: In which Lana Del Rey learns that her reward for releasing her magnum opus is the opportunity to limp through a thank u, next reject. Ariana Grande and Miley Cyrus's voices already feel unbalanced, but Lana's mushy croons are so inapposite that they grind the song to a halt. [3]

Scott Mildenhall: It rattles along satisfyingly, but this never leaves the marks that the intermittent brass punctuation seems to signify. None of that is aided by how Del Rey, unbending in her lack of persona, has to be deployed in the manner of a guest rapper, wheeled on and off through a side door. The inability to sound at home with her collaborators in the way they do with each other is one thing, but the inability to sound anything other than lifeless in the face of them is another, and that's the precise opposite of what's called for. [6]

Will Adams: As out of place as she may seem on paper, Lana's bridge is the only point where the song becomes interesting: the key dips even more minor, and the arrangement has tangible cinematic sweep. The rest is a cluttered shamble of an Ariana Grande album cut, with her and Cyrus trading off lines with all the dubious empowerment of a Barb Wire quote. [4]

Jackie Powell: All right folks get ready for a sports metaphor, because it's coming. Ariana Grande is a bit of a ball hog on this track. What she doesn't seem to understand is if you are going to lead your team, you've got to provide the proper assist to each of your teammates. To me, saving Del Rey until the two-minute mark supports the idea that these "angels" aren't really meant to work together. I thought the purpose of this was to present a team of strong women looking to take on the world via a song that preaches empowerment for this new wave of both feminism and Charlie's Angels films. Where a point guard should pass the ball and set up her teammates on the wings (no pun intended) and under the rim, Grande instead takes all of the shots. When the mic is pointed toward Cyrus after Grande's opening hook, though, she shoots with simultaneous finesse and power, letting her head voice mix well with the potent sound in her chest. If I was reviewing the visual made to accompany "Don't Call Me Angel," Hannah Lux Davis' treatment would receive a [10]. Grande, Cyrus and Del Rey all exude a mystique, ooze sex and expel power. For a Charlie's Angels theme song, that's right on the money. But what confuses me lyrically is how the hook clearly communicates the theme, even nodding to Destiny's Child, but the verses, bar maybe Cyrus', are underwhelming. The clock-tower cowbell loop that runs through and through grabs my attention, but I think Kristen Stewart could write better poetry. [6]

[Read and comment on The Singles Jukebox]

#Lana Del Rey #Ariana Grande #Miley Cyrus #Charlie's Angels #pop #music #music review #writing

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bigumlorentzen7-blog · 5 years

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7 Ways To Establish Clear Boundaries With People In Your Life.

The intoxicated German male had been drinking with his 53-year-old friend in the city of Wetzlar, in central-western Germany, when the surprising case supposedly took place. Loving, caring as well as great at developing comfy supper parties, the Cancer buddy is loyal, yet sometimes expects reliance from close friends in return. Throughout our first full day together my mommy and also I chatted periodically; I assume neither people quite recognized what to do. She asked me a few questions regarding my women, and I addressed with my face coming to be warm. Initially, as suggested by Reis and Shaver (1988), interpersonal goals need to predict responsiveness processes in close connections. Tummy troubles prevail in people with anxiety or anxiousness, particularly in kids as well as adolescents. Study published this month by the Ohio State University revealed that employees who fought back versus their boss experienced much less emotional distress compared to those who did not and much more dedication to their employer. If a job or job is not going well, it is necessary that the brand-new supervisor allows their boss know there's an issue and also has a plan for ways to resolve it. Things do not always go to strategy, but having methods in position to handle it reveals that somebody is reliable and dependable. Regardless of a rich property, Just Friends inevitably fails to measure up to its early capacity, working out right into wide funny that rips off the romantic possibilities. Quiting Full Article and also interests for your partner will certainly have an adverse impact on your overall wellness, and also ultimately harm your partnership. A regulation applied similar to this will certainly not immediately develop that kind of environment, so the policy isn't really mosting likely to assist and also could rather develop more troubles compared to it addresses. Their relationship is initially based only on sex, however their connection is so effective, that they are bewildered with the should be with each other. He deliberately omitted Peter Lawford from the film, livid that his buddy had actually agreed the Kennedy clan. She reminded the viewers a minimum of when every phase that he's her boss and also they should not be together ... alright, obtained it the very first time. Following day, to every person's awe, John walked in front of the class as well as excused his incorrect doings and also assured them that he would certainly prove to be an excellent close friend. Although serious Curriculum Vitae occasions can happen without alerting signs and symptoms, patients must look out for the signs and symptoms of chest discomfort, lack of breath, weakness, slurring of speech, and also need to ask or clinical recommendations when observing any kind of a measure indicator or signs. Being pals with him will make you near to him even after the break up as well as he will certainly be totally free to share certain points that are taking place in his life with you. Robin Bielman is among my auto-buy authors, and also I'm a significant fan of her Kisses in the Sand series, however because of an individual prejudice, I wasn't prepared to enjoy The very best Good friend Bargain a lot more than the very first 2 books in this series. The doctor-patient relationship deserves our significant attention as well as defense during these unsafe times. Scott worked hard then came home exhausted as well as One sentence testimonial of Friend Me: This book is cooling and also remarkable. If you duplicate the same individuals every 3 months, you'll remain close with 12 old pals throughout the year. To help set you on the appropriate path, here is a run-down of the top things to stay clear of doing as a boss. To deal with a hard manager, Gabarro advises first understanding that your boss is - the context where he or she lives, as well as the pressures he or she routinely deals with - and then performing a self-assessment to identify your personal staminas and also weak points. Like a Manager by Logan Opportunity is one that drew me in from the beginning and held me there up until the end! Later on, he informed them his close friend was attempting to knock the gallon could off his head as component of an initiation right into a rafting as well as exterior team called Hill Guys Anonymous. Medical professional: You can see that there are some genuine issues right here, however you're not happy to think of giving up completely. Deforrest Youthful, also, had noticed the adjustment in his little good friend. had observed her severe nervousness and also uncommon shyness when she recited her lessons. Little did Reese recognizes that destiny will certainly put him in her course soon enough where he at some point winds up becoming her Manager. On a rainy day Boss comes to Meesha rescues and it is love prima facie for her. Martin is the very successful author of the dream collection A Track of Ice and also Fire The initial book in the collection, A Video game of Thrones, has actually additionally been become a blockbuster television collection on HBO. Losing her cost savings was a dreadful strike, yet much worse was her loss of count on the individual she saw as her friend. It's not easy to face poisonous people with their actions, and also it could be even tougher to finish the relationship. This review of Love A Boss by Logan Opportunity is for The Sweet Spot Sisterhood Blog site. The participants can say which task they preferred, yet their boss made the final decision. And also who had no children of her own when they left I did not look out the home window to see them stroll away with my friend who had actually brought them. My buddies in some cases relocated away or switched over colleges, so I would certainly need to make new close friends as well as try to keep a far away relationship going (which was hard at such a young age). I selected this publication because I think it is necessary for kids to see how to be a good friend, and also how to treat their close friends. One of the old Philosophers, Plato, I think, claimed that 2 buddies resemble 2 bodies with just one Heart between them. Furthermore, a manager should show the behavior they expect of employees, and if you desire staff members to confess to mistakes after that you need to do the same. The link, the connection between the hero as well as heroine, despite the setting, the number or type of sex scenes, the time duration or sub-genre. It deserves mentioning Buddy Me is a Christian thriller, suggesting a great deal of the story's main problems-- mainly Scott's battle to withstand lure and also remain devoted to Rachel-- recommendation straying far from the course of God, as well as consist of lots of prayer also. I believed it would certainly be sensible to update some of my old titles and also as Motion-picture studio Boss was always a favorite I assumed I 'd begin with that one. As I put down to create this review, I know there are no words to fully convey how excellent The Best Close friend Deal is. Since she has this capacity to write personalities that worm their way into your heart, Robin Bielman is one of my favorite writers. You have to accept it and get over it as well as proceed, or else your relationship will crumble.

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typingtess · 6 years

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NCIS: Los Angeles Season Nine Rewatch: “Forasteira”

The basics: The killing of a diplomat and two gang members in a Hollywood Bar has the team, sans Deeks, looking for a female assassin. Deeks helps his mother's beau with some stolen items.

Written by: Erin Broadhurst wrote or co-wrote “Praesidium”, “Unspoken”, “Come Back”, “Sirens” and "Getaway". Directed by: Eric Pot directed “Resurrection”, “Windfall”, “Traitor”, “Internal Affairs” and "Home is Where the Heart Is".

Guest stars of note: Mariela Garriga as Pietra Rey, Benny Nieves as Consul General Enzo Souza, Paula Jai Parker as Ellie, Bernardo De Paula as Jackson Horton, Tony Curtis Blondell returns from "This is What We Do" as Guy, Martin Chavez as Consul Guard, Marcus Deanda as Luciano Carvalho and Tommy Martinez as Club Kid.

Our heroes: Take down a drug dealing diplomat.

What important things did we learn about:

Callen: Met a girl in Georgia and not the Georgia you're thinking of. Sam: Hit for the first (but not only) time this season in an SUV by a missile. Kensi: Once again saves the day. Deeks: Spends some quality time with Bertie's Guy. Eric: Really drives the story along. Nell: Really drives the taco truck. Mosley: Worked a Secret Service security detail that took her to Brazil. Hetty: Not today.

What not so important things did we learn about:

Callen: The package. Sam: Went to jump school in Ft. Benning, Georgia - the Georgia most US viewers know. Kensi: Up for some Epsom salts. Deeks: At sensitivity training if anyone asks. Eric: Mainlining sugar when he can't find Pietra. Nell: Explains a weed whacker to a Brazilian diplomat. Mosley: Broke a heel getting away from Souza. Hetty: Not today.

Who's down with OTP: Even though Kensi yells "I hate you" as Deeks leaves her behind to cover for him, all is well in Keeks-land according to Deeks. They share a nice moment at the end of the episode as she deals with her bruises from the fight and he recovers from sketched Bertie.

Who's down with BrOTP: Callen and Sam chat about Georgia, Sam's time in jump school at Ft. Benning while Callen was in Eastern Europe with the Chechens.

Any pressing need for Harm and Mac: No. This is a Brazil problem.

Today in Harley: Harley was in the field with Kensi, admiring the way Kensi approaches each encounter. She was also supportive after Kensi was hurt in the fight, taking some of the blame for what happened.

Fashion review: Grey and black checkered button down shirt for Callen. Sam is in his black henley (as he has been for most of the season). Black long-sleeve top for Kensi with fine white stripes (this is the season of horizontal stripes for Agent Blye). Sweatshirt grey long-sleeve shirt for Deeks (totally washes him out). Dark grey short-sleeve button down shirt for Eric with red tee underneath. Dark red floral dress for Nell. Black tee with cap sleeves for Hidoko. Black dress for Mosley which she wears with a trench coat to the Brazilian consulate. Callen and Sam are both in suits for that visit sans ties. Sam is in his all black suit, Callen a dark blue with a pale blue dress shirt.

Music: "B-A-B-Y" by Carla Thomas is playing in the bar. Later, "TaKillYa" (the remix of "Tequila") by Vinnie Maniscalo plays when Pietra clears the bar.

Any notable cut scene: No.

Quote: Kensi: "When I was a teenager, my dad was murdered. Okay? I did, I did really horrible things. And I shut away the people that loved me the most. But then you know what I did? I did something that I thought was impossible. I asked for help and I got it. And that anger no longer has any control over me." Pietra: "You could have ended up a 'forasteira' just like me. An outsider in my own community. All I wanted was to fight in the jungle for a chance at revenge." Kensi: "I know. I know. I know you believe that this is the moment you've been waiting for your entire life, but you know what? You make this decision it doesn't change anything. Listen, making the right decision, right now, that will change everything. So please, please put-- please put it down."

Anything else: In a Hollywood dive bar called The Riven, the female owner is emptying the place out. She's pushing some frat boys out. There is a young woman in a nice red dress at the bar who is seemingly overserved. As the owner helps the woman to the restroom, she tells the other fellows in the bar to leave. The jukebox starts playing a "Tequila" remix.

The young woman comes out of the ladies room and stumbles through the bar. When she seems to trip, one of the men still at the bar goes to help her up. She pulls out some knives and a gun, making quick work of three men. She leaves a bomb on one of the dead/dying men. As she leaves, this is NCIS: Los Angeles, the place blows up.

While working on their weapons in the armory, Deeks gets a call. The person on the other side of the call had something stolen and needs Deeks’s help. Deeks calls it a "full hands on deck crisis." Guy was mugged – his bag was stolen. He doesn't want to worry Roberta.

Thinking about what could be in the Guy's bag, Deeks thinks maybe there are adult photos of his Mom on Guy's computer. Kensi doesn’t think Roberta would do something like that. Deeks reminds Kensi that Roberta isn't Julia. She is "crazy Bertie". Deeks wants Kensi to cover for him. Kensi is afraid Mosley will fire them both if he just disappears. As Kensi is arguing, Deeks is just walking away. Kensi yells "I hate you," to Deeks just as Eric arrives with news of a case. Deeks assures Eric that all is well in "Keeks-land" but he has an urgent super-secret issue to handle and Kensi will update the team. Eric looks at Kensi as Deeks leaves. She says it is an LAPD thing.

Kensi arrives at Ops. She passes off Deeks's absence as LAPD sensitivity training that will likely take all day. She wonders about the Callen and Sam. They are already at the crime scene – The Riven. Nell has news coverage of the fire/explosion playing on the big screen in Ops. Three dead were found in the bar. Two were identified as Ernesto Herrera and Pei Liu. Kensi asks what is NCIS's involvement. Herrera and Liu were former Marines but they served in different units and both have different gang connections – MS13 and Wah Ching. Kensi asks about the third victim. As the mostly badly burned, he has not been ID'd.

Eric said that the gangs in Los Angeles are trying to recruit former military members. With their military training, they offer the gangs a lot. Kensi knows if there are gangs recruiting former Marines, it has to be stopped. Mosley arrives and is happy with Kensi's enthusiasm. There is a blast survivor and with Deeks away on important business, Mosley wants Kensi and Hidoko partnering up. Nell is sending Kensi and Hidoko the hospital address and survivor info, Eric is checking social media from the bar for the prior night – they're all working as a team. Eric high-fives Nell and a departing Kensi while Hidoko leaves him hanging. Mosley is not impressed.

The bar is destroyed. A call about the fire was made to 911 after 1AM. Sam thinks someone went to a great deal of trouble to torch the place. Sam sees something in the debris – the fuse from a thermite grenade. They burn at 4,000 degrees. The fire wiped out the hard drive with the security footage. Callen believes whoever caused the damage caused the bar – they knew how to cover their tracks. Sam calls "him" an overachiever.

Kensi and Hidoko run into the bar owner who they mistakenly call Eleanor. Eleanor is what the Lord and her mother call her. She's Ellie. Kensi apologizes for bothering Ellie after the fire but after six straight episodes of Tiny House, Ellie is looking for a distraction. She wants to get out and wants Kensi and Hidoko's help. They'll help but need Ellie to tell them what happened. Ellie explains the bar was quiet. She let Teddy the bouncer go home early. She told everyone it was last call. After she helped walk the "drunk lady" to the bathroom, it is "boom" - not bomb boom, but she was knocked out. She woke up in the walk-in refrigerator with two firefighters over her, "all sweaty and sooty".

Kensi asks if Ellie ever saw the woman before. She did not. But the woman is a mystery to Ellie in another way. Why did she knock out Ellie, put her in the refrigerator, turn the fridge off so Ellie wouldn't get cold and call 911 from Ellie's cell? Kensi isn't sure why. She and Hidoko talk outside of Ellie's room – the woman didn't want to hurt any civilians but left behind three dead bodies in the bar. This was calculating.

Back at the bar, Callen and Sam try to recreate the killing based on the injuries on the dead men's bodies. Sam says there are only a handful of guys in the world who could pull off an assault like that. A text message Kensi tells him the "guy" is actually a woman.

Kensi and Hidoko return to the office to find Eric stress eating donuts. The woman from the bar is a ghost. She was not picked up on traffic cameras or security video. Kensi tells Eric that the woman killed two former military/current gang members – she likely had the ability to disappear without his knowing.

Eric takes Kensi and Hidoko to the bullpen screen. Sam was right, it was a thermite grenade that wrecked the bar. Hidoko tells Kensi that thermite grenades are hard to come by – a black market item. Kensi thinks the woman is either military/former military or part of a black market group. Eric says a case of thermite grenades were part of a larger robbery a year ago from the Marine base at Twenty-Nine Palms. ATF believes a man by the name of Jackson Horton is the thief but could not prove it. Kensi and Hidoko are on their way to check him out.

Still at the bar, Sam is stunned by the destruction one woman caused. Callen wonders if she is also former military/current gang. He also recalls a woman he met in Georgia in a bar just like The Riven. Sam notes that Callen met a lot of girls in a lot of bars. His phone rings – Nell. She has an address for Pei Lui. Nell is searching for all former Marines with gang ties. Callen and Sam are off to see Pei Lui's family.

Deeks walks up to a meditating and manspreading Guy who has peddle pusher pants I wouldn't wear to a clam bake at the beach because they are so busy. Deeks coughs a few times to get Guy's attention before actually having a coughing fit. Guy points out a water fountain to "Marty". Deeks pulls a Mulder and wants to be called by his last name. Guy explains he meditates at this time every day and after his terrible morning, he wants to stick to his routine. It keeps him calm.

Deeks pushes Guy's manspread leg so he can join Guy on a bench. Guy explains he had a 6AM client – Deeks wants to know if it was a real housewife but Guy won't share – and was going to get some juice. After being corrected again to call Deeks "Deeks", Guy explains he got near the store, a car pulled up and a "squirrelly guy" put his gun in his face. Guy won't argue with a gun, better safe than sorry – right Marty? Deeks really insists its Deeks and he's happy to help Guy who lost his music, his documents, etc. from his laptop.

Guy has all that backed up, he's good. But he is worried about some workouts he filmed - workouts with a very special client. Deeks mumbles "my Mom wasn't lying." The workouts were push-ups, squats, knee bends, etc and they’re in the nude. Guy does not want them to end up on line. Nobody wants that more than Deeks.

Sam asks about the dive bar in Georgia- he knew a few while doing training exercises in Ft. Benning. Wrong Georgia, according to Callen. Fewer peaches, more Chechens. As they get to Lui's door, there is a lot of noise from inside. Then there is shooting. Taking cover, Callen and Sam call in the REACT team. As they breach the home, there are a lot of drugs and bad guys. There is also a phone with two contacts – Slim and PeeWee. "Something had them spooked" according to Sam. Callen thinks the murders caused everyone to be nervous.

Kensi and Hidoko pull up at Horton's. Kensi give Hidoko a warning about Horton running. Hidoko comments that Kensi thinks of everything in advance and makes doing her job so easy. When Hidoko took the position as Mosley’s assistant, she had no idea she'd be in the field. It is so different than what she did with the female engagement team in the Marines. Kensi knows – one minute Hidoko would be talking to the women in a village, the next minute she'd have to take out a threat (technically that was what Kensi was doing looking for the White Ghost in the cut scene in “Merry Evasion”). Hidoko notes there are more rules here, more restraint, more red tape. She wants some advice from Kensi. Kensi tells Hidoko to always have a team's back (and being Team Mosley may have gotten her killed) and that Epsom salts work wonders when you're too sore to walk.

Kensi knocks on Horton's door but a muffled cry for help comes from a nearby camper. Kensi and Hidoko find Horton tied up and gagged in his camper. Kensi asks about the stolen supplies from Twentynine Palms. Horton is less than helpful to the "Federal Agent Ladies". When Hidoko pushes Horton jokes he was tied up at work. Asked about who tied him up, it was a "her" who moved fast – he never saw anyone move that fast and he did two tours in Mosul. He never saw her face but he heard a Spanish accent.

Kensi notices one of the storage units is opened. They don't need a warrant to look in an opened storage unit. Kensi handcuffs Horton to his camper. Inside the storage unit are all the missing weapons from Twentynine Palms minus the ones the woman stole. Kensi is worried – most women only steal what they plan to use.

Looking at social media photos taken the prior night at The Riven, Eric finds the woman but never a clear shot of her face. Callen is impressed by her tradecraft. And her drunk girl act. Kensi and Hidoko return. Not only did the woman steal grenades and guns, she took a missile launcher. Nell arrives. The dental records came in for the final victim – Luciano Carvalho. He worked at the Brazilian Consulate under Consul General Enzo Souza. That makes sense to Hidoko since Horton said the woman had a Spanish sounding accent. Kensi agrees – in Brazil they speak Portuguese and that sounds a lot like Spanish (and she would know).

Mosley arrives. She knew Souza years ago in Brazil when she was working for the Secret Service. Sam asks if Mosley believes Souza would be involved with LA gang members/drug dealers. Mosley wouldn't be surprised by anything when it comes to Souza. Mosley wants to visit with Souza and is taking Callen and Sam as her security detail.

Mosley is greeted warmly at the Consulate. Souza would like to see Mosley alone with "her sidekicks" not present. The sidekicks are not amused. Mosley is. Souza even more warmly greets Mosley, offering her a bevy of beverages with lime "because we got plenty of sugar," he says looking her over head to toe. She is worried about overstaying her welcome.

In the reception area, Callen and Sam see two large men who look more like gang members than business associates arrive. Sam still has Liu's phone. While he asks to use the restroom, Sam pulls out Liu's phone and calls one of the two numbers in the contacts. One of the men who walked into the Consulate has his phone go off. The two are Slim and PeeWee.

Mosley and Souza chat. He is enjoying his time in LA – it is almost like Sao Paulo. Similar weather, near the beach, crazy traffic. While Souza wants to recall their time on the Amazon, Mosley wants to talk about the death of Carvalho. Carvalho was a close friend. Souza believes, Carvalho was part of a plot to assassinate him. Mosley is stunned.

At a juice bar, Deeks has a bottle of mango juice for Guy and a bottle of something for himself. He also has good news. Guy's briefcase has been recovered. Still has the computer, his notebook. Guy interrupts. It is his sketchpad. He studied drawing in college. Deeks asks about his drawings – still life? No, nudes. "Seriously?" Deeks is beyond exasperated, "It just does not end with you." Guy smiles and says "nah." Normally, it would take two weeks to process it as evidence but Deeks's buddy is going to just release it to him. Guy is grateful – "I owe you one." He knows that this sort of work is not Deeks's usual territory. Deeks explains that's true but it is far less dangerous. Guy knows that. "Bert really worries about you guys." Deeks is worried about his Mom too. Guy smiles – Deeks doesn’t have to worry. "I really love that girl." Deeks knows that feeling. He tells Guy to enjoy his mango juice. It cost $14.

Callen returns to the office. Mosley is trying to sell Souza on the idea that it is not safe in the Consulate, Sam is backing her up. After Callen debriefs Kensi and Hidoko on Souza's claims, Eric arrives. He found an old political enemy of Souza – a teacher named Carlos Rey who became an anti-drug activist. Rey was accused of bombing a drug den in then Congressman Souza's Brazilian district by Carvalho, then Souza's chief of staff. Callen wonders if Carvalho hired the woman to kill Souza.

Eric's tablet chirps – Mosley convinced Souza to go to Singapore. It is an 18-hour flight. NCIS should find the woman by then. Callen knows if Souza gets killed in under NCIS's protection, they're all done. Sam will be running Souza's security detail.

Sam announces "the package is on board" as Sam drives a large, secure SUV out of the Consulate. Kensi and Hidoko are tailing him. Outside the Consulate is the taco truck. "Nell, you got our backs?" Sam asks. She does. Nobody is following Sam.

About five miles from the airport, on a bridge, the vehicles in front of Sam's SUV make a sudden swerve. On the road is a woman with a red SUV and a missile launcher. She fires a missile right into Sam's SUV (oh, so this is a theme for season nine). As it happens later in the season, the SUV bursts into flames. Kensi and Hidoko race ahead of the flaming SUV. Kensi is worried about Sam but Hidoko sees the woman has a second missile ready to go. Kensi shoots at the woman, causing her to drop the missile launcher and run.

Kensi and Hidoko go to the flaming SUV. Kensi is trying to pull Sam's door opened but can't. She bangs on the window. A disoriented Sam tells her he's OK. In the back seat, Callen says he is OK too. Souza is not in the vehicle. Sam explains the frame to the truck is bent. The doors won't open. He wants Kensi and Hidoko to follow the woman. Hidoko sees the woman flee into a nearby building under construction.

Back at the taco truck, Souza is dressed like one of the gardeners who works on the property. He wants to know what a weed whacker is. Nell promises to tell him once he gets in the truck. She announces the asset is safe. Mosley congratulates Nell on the good work.

Kensi and Deeks arrive at the building under construction. Hidoko goes upstairs, Kensi looks on the main floor for the woman. Hidoko has no luck. She also notices there are no security cameras.

On the main floor, Kensi finds glass doors chained shut. The woman runs away from Kensi and tries to make it to the only open door. Kensi arrives before the woman does – shutting the door. With her gun drawn, Kensi tells the woman it is over. Kensi goes to handcuff the woman – Hidoko is on her way to help.

As Kensi orders the woman to get on her knees, the woman turns around and kicks the gun out of Kensi's hand. What follows is one of the longest and best physical fights the series has ever aired. No mystical warriors with ancient ways of combat. Just two highly trained women beating the living hell out of each other. During the fight, both women try to get the Kensi's gun, there is a really large wrench swung around but mostly this is just good old hand to hand combat.

At one point, the woman asks Kensi in Portuguese why is she protecting a murderer like Souza, a man who hides behind his titles while his "dog" Carvalho sells drugs. She asks these questions while choking Kensi with a huge piece of plastic. Kensi gets her gun and is able to knock the woman off her. The woman runs.

Back at the boatshed, Sam is wrapping up Kensi's ribs. The big first aid kit is out. Sam gently helps roll down her shirt. It is a genuinely kind moment. Mosley is going to Nell and bringing Souza to the boatshed.

Hidoko is so sorry she couldn't get to Kensi in time but she never saw anyone fight like that woman and Kensi "gave her hell right back." Sam tells Kensi if she runs that fight nine times out of ten, she wins. Kensi notes the tenth time, she would have come out in a box.

Reviewing the fight, Kensi says the woman had the chance to kill her. She did not. Kensi also realizes the woman took her phone. Eric pops up on the screen. He took the dashcam footage from Sam's SUV. While he's running facial rec with all US databases, he's also checking with South American federal agencies since she was talking about Brazil and speaking Portuguese.

Callen notices something from the photo of Carlos Rey that is on the big screen behind Eric. Kensi recognizes a child standing next to Rey as a younger version of the woman she fought. Carlos was gunned down in 2002. Pietra was 13. Kensi – more than anyone – knows Pietra was here to avenge her father. According to Eric, Pietra Rey is part of a Brazilian militia group. She was trained in the jungle to be a deadly fighter.

Mosley arrives with Souza. "Just in time" according to Sam. Souza is taken to interrogation. He thinks the State Department will be angry. Sam wants Souza to calm down – Sam took a missile for the man. Callen asks if Souza knows Pietra. Souza doesn't know Pietra but knows Carlos Rey. Rey was a terrorist who brought about his own death. Sam asks if Souza is part of the Brazilian drug trade. He says there have been rumors – there always are around successful politicians. But he is not involved in drugs, which are a "blemish on the face of both our beautiful countries."

Kensi and Hidoko are watching from the boatshed's main room. Eric pops up on the screen - Kensi's phone is back online and it is near the boatshed. Hidoko's phone rings – it is Pietra. She warns Kensi to get out of the boatshed with her friends. Leave Souza. If they don't evacuate, everyone is going to die. Kensi tells Hidoko to go get “the boys.”

Kensi is talking to Pietra. Sam wants her to keep Pietra on the phone. Kensi wants to speak to Pietra in person. Callen and Hidoko go into the field, Sam wants Mosley and Souza to got to the second floor of the boatshed. After the attack on Duggan the prior winter, Hetty had the building reinforced and the second floor is the most secure.

Callen and Hidoko look for Kensi and Pietra. As Souza is going to the second floor of the boatshed, he sees the evidence the team has against him on the TV in the main room. Mosley explains that he had Pietra's father killed, now Pietra is there to kill him.

Callen is telling Kensi that this arrest has to be by the book. Kensi isn't listening. Instead she's trying to reason with Pietra as Pietra aims a missile at the boatshed. Kensi knows what Pietra is going through. Pietra says she can't but Kensi does know. Pietra asks if Kensi's friends are clear of the building. She doesn't want to kill them. Kensi tells Pietra that Souza isn't worth the rest of Pietra's life. Pietra says her life ended when her father died in her arms.

As Mosley tells Souza to go to the second floor of the boatshed, he pulls a gun. So does Sam. Souza says killing him is a mistake. Sam disagrees. Souza has the protection of international law and Mosley as a hostage.

Callen realizes that Sam and Mosley are still on the ground floor. He orders Kensi to "take out" Pietra now.

Sam warns Souza that if he takes one step toward the door, he's done. Souza counters that if Sam takes one step closer, Mosley's done. Mosley orders Sam to put the gun down. Mosley motions toward the nets over Souza. She elbows Souza in the gut and steps on his foot, freeing herself. Sam unties the rope holding up the nets. Souza is down. So is one of Mosley's Louboutin's. She lost a heel.

Callen keeps calling for Kensi to kill Pietra. Kensi, near tears, explains that when she was a teenager her father was murdered. And then she did some horrible things including pushing away the people who loved her the most. But then she did the impossible. She got help and her anger is under control. Pietra explains Kensi could be a "forasteira" just like her – an outsider in her own community. Pietra wants revenge. Kensi says revenge won't change anything but making the right decision right now will change everything. Kensi gets Pietra to put the weapon down. Pietra goes quietly. Callen is impressed with Kensi’s actions.

Souza is on his way back to Brazil. It is a 16-hour flight. The Brazilian government is being briefed on what Souza is accused of doing – his cellphone contents were sent to the government. Pietra is also in custody. She is going to testify against Souza. The DEA would like to give Pietra a medal. Carvalho was a bad, bad man. Still doesn't excuse the missile to the SUV or the murders at the bar.

Mosley is done for the day. She and her broken heel walk off. She hopes Deeks did well with the sensitivity training. Hidoko leaves with Mosley but thanks Kensi for all her help. Callen and Sam want to take Kensi out for a drink. She tells the guys she has other plans but she loves them and Sam taps his heart in return. It really is a lovely friendship between the three. Callen admits to Sam that the girl in the Georgia bar tried to kill hm.

Deeks walks back into the bullpen. Kensi is on the couch. When Deeks sees her face he's worried. She tells him there's nothing wrong with her that some Epsom salts wouldn't fix. Deeks thinks her nose makes her look like Owen Wilson. Kensi laughs. There are Rocky and Clubber Lange jokes. Kensi is OK though because while she got her ass kicked, she also saved a life and used some of her Portuguese. Deeks wants a sexy sample of that which Kensi happily gives him.

They're off to have some dinner but Deeks has a request. He has Guy's sketchbook. Deeks asks her to go through it. "What am I looking for?" she asks. He tells her she'll know. There are some nice sketches of fruit and animals and then Kensi gasps. It is Deeks's Mom. "It's like Rose from 'Titanic'," Kensi tells him. Deeks is off to the burn room. Kensi tells him he can't burn it – it is art. "It's not art. It's my Mom."

What head canon can be formed from here: Kensi's time between her Dad's death and Cornell. Anything with Deeks and Bertie. Callen and Sam in their different Georgias. Mosley in the Secret Service. Hidoko in the Marines.

Episode number: 202. Episode ten of season nine.

#NCIS: Los Angeles Rewatch #NCIS: Los Angeles #NCIS: LA #NCIS Los Angeles #ncis la

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wrestlingisfake · 3 years

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AEW Fake Rankings, 5/16/2021

Men's singles division - babyfaces

Darby Allin

Cody Rhodes

Orange Cassidy

PAC

Hangman Page

Christian Cage

Lance Archer

Sammy Guevara

Dustin Rhodes

Jake Hager

Men's singles division - heels

Kenny Omega (AEW men's world champion, Impact world champion, AAA mega champion)

MJF

Miro (AEW TNT champion)

Brian Cage (FTW champion)

Matt Hardy

Shawn Spears

Anthony Ogogo

QT Marshall

Powerhouse Hobbs

Nick Comorotto

Unranked: Alex Reynolds, Christopher Daniels, Colt Cabana, Danny Limelight, Dante Martin, Frankie Kazarian, Lee Johnson, MT Nakazawa, Wardlow

It feels premature to rank Darby Allin so highly. But given that Chris Jericho's hurt, Kenny Omega's a heel, and Jon Moxley's chasing the tag title, I can't argue any other babyface is ahead of him. Cody's clout and presentation goes a long way, but that only goes so far when he's been barely been on TV and feuding with QT's band of trainees. AEW deserves a lot of credit for giving Allin the ball and letting him run with it. Even though he just lost the TNT title to Miro, his chase to get it back ought to be even hotter than his run as champion.

A lot of the key fueds right now involve factions--Cody's Nightmare Family vs. QT's The Factory, Jericho's Inner Circle vs. MJF's The Pinnacle, and the Hardy Family Office vs. the Dark Order, Orange's buddies vs. Pac's Death Triangle--not to mention Team Taz and Kenny Omega's group running around. As a New Japan fan I dig it, but it does make it kind of tough to decide where one faction's minions rank relative to another's.

Men's tag team division - babyfaces

Jon Moxley (IWGP United Stats champion) & Eddie Kingston

Santana & Ortiz

Best Friends - Chuck Taylor & Trent Beretta

Lucha Bros. - Penta El 0M & Rey Fenix

Jurassic Express - Luchasaurus & Jungle Boy & Marko Stunt

Evil Uno & Stu Grayson

Varsity Blondes - Griff Garrison & Brian Pillman Jr.

The Gunn Club - Billy Gunn & Austin Gunn & Colten Gunn

Matt Sydal & Mike Sydal

Alan Angels & Preston Vance

Men's tag team division - heels

The Young Bucks - Nick Jackson & Matt Jackson (AEW tag team champions)

FTR - Dax Harwood & Cash Wheeler

Scorpio Sky & Ethan Page

The Acclaimed - Max Caster & Anthony Bowens

Private Party & Marq Quen & Isiah Kassidy

The Butcher & The Blade

TH2 - Jack Evans & Angelico

Chaos Project - Luther & Serpentico

Cezar Bononi & Ryan Nemeth

Unranked: Sonny Kiss & Joey Janela

(Names not listed on the AEW website's roster are noted in italics.)

With Christopher Daniels and Frankie Kazarian disbanding their team, the top title contenders on AEW's official rankings are Garrison and Pillman. However, the team that's actually getting a title shot at the May 30 pay-per-view is Moxley and Kingston, because they trashed the champs' dressing room. Just in case you were wondering why I bother doing this when AEW does it every week.

Women's singles division - babyfaces

Hikaru Shida (AEW women's world champion)

Thunder Rosa

Tay Conti

Kris Statlander

Ryo Mizunami

Big Swole

Red Velvet

Leyla Hirsch

KiLynn King

Women's singles division - heels

Britt Baker

Nyla Rose

Jade Cargill

Abadon

Penelope Ford

Diamante

The Bunny

A year ago I was griping that AEW wasn't doing enough with the women's division. They're still not giving them enough time on the main show, but it definitely feels like Shida, Baker, and Statlander are more important to the product now than they were back then. I wanted them to bring in more women and give them a chance, and that paid off big time with Thunder Rosa. Swole, Conti, Abadon, and Velvet feel underutilized, but I'm confident that will change. Cargill is going to be great once they decide she's ready for more than simple squash matches. Granted, There are others on this list that seem to be just...there. But it's amazing how much less frustrating that is when more than two women on the roster are getting pushed.

No matches in over 30 days: Awesome Kong, Emi Sukara, Karl Anderson, Leva Bates, Doc Gallows, Mel, Peter Avalon, Riho, Shanna, Shawn Dean, Serena Deeb (NWA women's world champion), Yuka Sakazaki

Same old story with Riho, Shanna, Sukara, and Sakazaki (travel restrictions), and with Kong and Mel (no idea). Deeb is booked for the May 19 show, which is probably a relief for the NWA, since they can finally book some title matches again.

When the AEW/Impact storyline started, I expected a lot more Impact wrestlers to appear on AEW programming than just Gallows and Anderson. As it turns out, even Gallows and Anderson haven't wrestled much on AEW lately. I'm really starting to wonder what the point is for all of this.

Part-time/semi-retired: Dasha Gonzalez, Paul Wight, Rebel not Reba, Sting, Tully Blanchard

I feel weird having Tully here but hell, he's probably had more ring time in 2021 than everybody else in this list put together.

Inactive

Anna Jay (right shoulder - dislocation)

Brandon Cutler (orbital bone - unspecified injury)

Brandi Rhodes (pregnancy)

Chris Jericho (right elbow - dislocation)

Kip Sabian (right arm - storyline injury?)

John Silver (right shoulder - dislocation)

Ricky Starks (neck - fractured vertebrae)

Darius Martin (knee - unspecified ACL injury)

Miro "injured" Sabian's arm recently, and Sabian announced on Twitter that he's getting surgery. So is he just playing into the storyline on social media, or is the storyline designed to cover for an actual injury? Either way I don't expect him back in the ring for a while.

In contrast, Jericho's arm injury is legit but he's still appearing on TV and trying to get a match like it's no big deal. MJF challenged Jericho to a Stadium Stampede match two weeks from now, but Jericho reportedly needs 4-6 weeks to recover. So either the reports are overestimating how hurt he is, or Jericho's going to have to creatively avoid doing anything physical...or they'll have to postpone the match right after setting the date. I'm not sure what they're thinking with this one. (Maybe Jericho could call his new buddy Mike Tyson?)

#aew #fake rankings

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fandumbstuff · 6 years

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Favourite films from 2017

1. Star Wars: The Last Jedi Directed by Rian Johnson

Star Wars fans suck, and I’m so happy to see Disney wrench the franchise from their greasy paws and deliver it to a general audience. Rian Johnson picks up where J. J. Abrams left off by fleshing out the character development of the new franchise leads. Poe learns hard lessons about sacrifice. Rey and Kylo’s complex relationship is given more layers. Even the oft-criticized Finn and Rose subplot is an important bit of character development for Finn to gain unconditional courage. The movie is highlighted by standout performances from Adam Driver and Daisy Ridley, a career best Mark Hamill and an iconic turn from Laura Dern. Rian Johnson delivers rousing action sequences (_that _throne room scene) and emotional highlights. Accompanied by polished sound design, visual (and practical) effects, and John Williams doing what he does best, The Last Jedi is one of the franchises best. It brings the franchise into a new era, reinstating the true spirit of Star Wars- that anyone can be a hero, as long as we look to the stars and hope

2. Lady Bird Directed by Greta Gerwig

It’s hard to stand out in the field of coming of age movies, but Greta Gerwig manages to do it and tell a story that is simultaneously unique and relevant. The often-ignored daughter-mother relationship is given full attention, exploring some poignant moments in middle age and young adulthood equally well. This is an incredible script that makes every plot detail and situation count, giving the actors a lot to work with. Saoirse Ronan and Laurie Metcalf deliver in spades, playing off each other with incredibly nuanced performances. Gerwig performs marvellously, allowing her actors to find the moments of humour and melancholy in her script, and creating a visually pleasing movie to boot. That she manages to do this all in her directorial debut is a remarkable achievement.

3. Logan Directed by James Mangold

Hugh Jackman is given a great vehicle for his final performance as Wolverine. Adapted from Mark Millar’s Old Man Logan, the movie hugely surpasses its source material. While it maintains the gritty sense of violence from the graphic novel, its emotional substance is much more… substantial. Logan is a superhero film that finds a distinctive voice both in terms of its visuals and its temperament. Its characters aren’t simply grappling with “doing the right thing” but with debility, lethargy, loneliness and remorse. Jackman and Patrick Stewart explore these themes expertly. They’re accompanied by Dafne Keen’s standout performance as Laura/X-23 forming an emotional crux to carry the story. It’s a story that stands out from the others in its genre, and one that I certainly consider one of the best.

4. Get Out Directed by Jordan Peele

In Jordan Peele’s directorial debut, he manages to tell a story that is remarkably relevant and important, without ever losing his distinctive creative voice. Get Out is very much a horror movie, but Peele lends a fair bit of levity whenever he can. He drops scares that are so jarring they’re practically self aware. The movie is sold by Daniel Kaluuya’s incredible lead performance, as we’re left to ponder the sheer ridiculousness of his circumstances, slowly evolving into genuine terror. This movie has a very clear message, and despite its importance if there are those who may complain that it’s too heavy handed, they need only look to it’s masterfully crafted finale. Watching the movie in a crowded theatre gives you a shared experience, where we all jump at the same scares, laugh at the same jokes, but most importantly feel the injustice that presents itself at the end, and cheer for the twist. It’s this shared experience that is Peele’s master stroke. A perfectly enjoyable finale that leaves us pondering the very real message of the film.

5. Wonder Woman Directed by Patty Jenkins

This is the most important superhero film since 1976’s Superman. Bringing to life the most iconic female superhero of all time took a long time to happen but it delivers in spades. Patty Jenkins has given the DCU it’s finest film yet, establishing a convincing mythos with interesting characters. Amidst DC’s penchant for dark brooding characters, Diana is a breath of fresh air: a hero that is compassionate and optimistic, even slightly naive. This lends to a truly compelling character arc that allows her to learn firsthand how complicated “the world of man” is. Gal Gadot commands the lead role expertly. She is the most convincing superhero performance since Christopher Reeve, and just like him it’s to bring to life an icon- a role model that she will forever be associated with.

6. Blade Runner 2049 Directed by Denis Villenueve

It is truly incredible that a sequel made 25 years after its predecessor can maintain the same tone and feel of the original, while lending a new creative voice. The original Blade Runner is one of sci-fi’s most contemplative stories, and it’s incredible that 2049 doesn’t do anything to damage this aura. It asks important questions while expanding on the franchise’s greater theme of what it means to be human. Denis Villeneuve is quickly becoming one of the most distinctive visual filmmakers currently working in Hollywood, and with this movie and Arrival it’s clear to see why. Hans Zimmer along with Benjamin Wallfisch manages to deliver some of his best work in years with a soundtrack that pays homage to Vangelis’s iconic original score. And then there’s the legendary Roger Deakins-lighting each scene with a painterly stroke to add a bit of nuance to already strong performances.

7. Thor: Ragnarok Directed by Taika Waititi

Perhaps more than any director in the MCU, Taika Waititi delivers his own distinctive creative voice to his entry in the franchise. While its easy to get carried away by the stunning 80’s visuals and synth score from Mark Mothersbaum, it’s Waiiti’s signature wit and charm that really shine through. He makes Thor, Loki and Hulk (and Banner) more likeable than they’ve ever been in the MCU and introduces new characters like Valkyrie and the Grandmaster that are instantly noteworthy. Stellar performances from practically the whole cast help to sell this, and we’re left with a movie that fully entertains while gearing us up for the MCU’s next big offering.

8. The Post Directed by Steven Spielberg

Amidst all the hoopla surrounding Ready Player One, Spielberg manages to sneak away and make a movie with his dream team of Tom Hanks, John Williams and Janusz Kaminski. And include Meryl Streep. I mean, just on paper this looked to be a sure-fire success, and shockingly it doesn’t disappoint. It is absolutely a movie that speaks volumes about the current political climate in the United States, but it also honours the importance of investigative journalism and freedom of the press. Hanks delivers an incredible performance, but it is purely to support Streep’s powerhouse portrayal of Katharine Graham. She charts a fascinating and incredibly relevant character arc to show us just how important it is to find your voice and your courage in the face of prejudice.

9. The Big Sick Directed by Michael Showalter

Being such an incredible comedic talent, Kumail Nanjiani is finally given a chance to create a personal story. Along with his wife Emily V. Gordon they deliver a comedy movie that is so much more than just funny. It is deeply affecting, introducing us to two leads that are charming and worth rooting for. Culturally, relationally and physically, they contend with serious struggles that makes their character arcs incredibly meaningful. This is one of the strongest screenplays of the year and a testament to passionate storytelling.

10. The Shape of Water Directed by Guillermo Del Toro

The Shape of Water is very much Guillermo Del Toro at his best- telling an extremely humanistic story under a fantastical lens. As per most of his movies, it features an isolated hero searching for self-actualization. Mirroring this character with that of a monster, he subverts the idea of abnormal for a sense of harmony. He trusts his audience to be empathic, to see the benevolence in the creature and the compassion in Eliza. This is balanced by his clear depiction of immorality in Michael Shannon’s Colonel Stickland. Supported by incredible compositions from Alexandre Desplat and ethereal cinematography from Dan Laustsen, Del Toro once again proves that he is one of Hollywood’s most affecting storytellers and that even the most high concept fantasy stories can be poignant ones.

Honorable Mentions

War for the Planet of the Apes (Directed by Matt Reeves), God’s Own Country (Directed by Francis Lee), Mudbound (Directed by Dee Rees), Call Me By Your Name (Directed by Luca Guadagnino), Three Billboards Outside Ebbing, Missouri (Directed by Martin McDonagh), The Florida Project (Directed by Sean Baker), Phantom Thread (Directed by Paul Thomas Anderson), Logan Lucky (Directed by Steven Soderbergh), The Disaster Artist (Directed by James Franco), Wind River (Directed by Taylor Sheridan)

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gospelmusic · 3 years

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Full List Of GMA Dove Award Winners 2020

Winners of the 51st Annual GMA Dove Award were announced during a special Facebook broadcast of the pre-telecast awards presentation, which aired on October 29. Under the motto "Carry The Change," the show celebrated the diversity of gospel music and promoted unity through dynamic performances and testimonials.

Australian brother duo For King & Country won the Artist of the Year award, making history as the first duo to win in that top category. Other top category winners include We The Kingdom for "New Artist of the Year," Tasha Cobbs Leonard for "Gospel Artist of the Year" (presented by SoundExchange) and Joseph Habedank for "Southern Gospel Artist of the Year."

Sinach, a renowned Nigerian worship leader, won song of the year for "Way Maker." Recorded in 2015, the world anthem has been covered by notable worship leaders including Bethel Music, Maranda Curtis, Leeland, and Michael W. Smith, whose version ranked # 1 on Billboard's Christian Airplay chart for three weeks.

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Hip Hop icon Kanye West won the award for recorded rap / hip hop song of the year for "Follow God," while Zach Williams won the songwriter of the year (artist) award for the first time without forgetting Jason Ingram, who won the award for composer of the year. (non-artist) for the second year in a row and the third time in five years.

numerous unique collaborations, including a landmark performance by "Contemporary Christian Artist of the Year" winner Tauren Wells with Christine D’Clario, Jenn Johnson and Jekalyn Carr.

See the full list of winners below:

Artist of the year:for KING & COUNTRY

Song of the year:“Way Maker”Writer: Osinachi Kalu Okoro Egbu (Sinach) ; Publisher: Integrity Music Europe

Songwriter of the year – artist:Zach Williams

Songwriter of the year – non artist:Jason Ingram

Producer of the year:Ed Cash & Steven V. Taylor (Team)

New artist of the year:We The Kingdom

Contemporary Christian artist of the year:Tauren Wells

Gospel artist of the year:Tasha Cobbs Leonard

Southern gospel artist of the year:Joseph Habedank

Inspirational film of the year:I Still BelieveDirectors: Andrew Erwin, Jon Erwin, (Producers) Kevin Downes, Andrew Erwin, Jon Erwin

Long form video of the year:Awake (Live), Hillsong WorshipDirectors: Richard Cause, Jared Chapman, Paul Martin, Samuel Irving, Steven Lester; Producers: Johnny Rays, Jessica Ico, Steven Lester

Short form video of the year:“God Only Knows,” for KING & COUNTRY featuring Dolly PartonDirectors/producers: Ben Smallbone, Patrick Tohill

Bluegrass/country/roots album of the year:God & Country, Jimmy FortuneProducer: Ben Isaacs

Bluegrass/country/roots recorded song of the year:

(adsbygoogle = window.adsbygoogle || []).push({}); “Ain’t No Grave,” Karen Peck & New RiverWriters: Jonathan David Helser, Melissa Helser, Molly Skaggs

Children’s album of the year:Sing: Remembering Songs, Ellie HolcombProducers: Nate Dugger, Brown Bannister

Choral collection of the year:Top Anthem CollectionCreator: Johnathan Crumpton; Arrangers: Bradley Knight, Cliff Duren, Mike Speck, Marty Parks, Daniel Semsen, Gary Rhodes, Dave Williamson, Geron Davis, Tom Fettke, Russell Mauldin

Christmas/special event album of the year:Christmas, Phil WickhamProducer: Jonathan Smith

Contemporary gospel album of the year:LONG LIVE LOVE, Kirk FranklinProducers: Kirk Franklin, Shaun Martin, Maxwell Stark, Ronald Hill, S1 for SKP. Inc.

Contemporary gospel recorded song of the year:“People,” Jonathan McReynoldsWriter: Jonathan McReynolds

Gospel worship album of the year:Broken Record, Travis GreeneProducers: Travis Greene, Brunes Charles

Gospel worship recorded song of the year:“Something Has to Break (Live),” Kierra Sheard, featuring Tasha Cobbs LeonardWriters: J. Drew Sheard, Kierra Valencia Sheard, Mia Fieldes, Jonathan Smith

Inspirational album of the year:Firm Foundation, SelahProducers: Brent Milligan, Chris Bevins, Jason Kyle Saetveit

Inspirational recorded song of the year:“Yet Not I But Through Christ In Me,” SelahWriters: Michael Farren, Rich Thompson, Jonny Robinson

Instrumental album of the year:Untitled Hymn: A Collection of Hymns (Instrumental), Chris RiceProducers: Chris Rice, Ken Lewis

Musical of the year:Messiah Overcame – An Easter MusicalCreators: Mike Harland, John Rowsey, (Arrangers/Orchestrators) Cliff Duren, Jim Hammerly, Christopher Phillips, Phil Nitz

Pop/contemporary album of the year:Citizen of Heaven, Tauren WellsProducers: Chuck Butler, Jordan Sapp, Kirk Franklin, Max Stark, Colby Wedgeworth, Rascal Flatts

Pop/contemporary recorded song of the year:“Rescue,” Lauren DaigleWriters: Jason Ingram, Lauren Daigle, Paul Mabury

Rap/hip hop album of the year:MOOD // DOOM, Social Club MisfitsProducers: Young Sidechain, Dirty Rice, Cardec, Ben Lopez, Colby Wedgeworth, Tedd Tjornhom, Martin Santiago, Dave James, Rey King, Jordan Sapp

Rap/hip hop recorded song of the year:“Follow God,” Kanye WestWriter: Kanye West

Recorded music packaging of the year:Rescue Story (Zach Williams, not awarded to artist)Art director/graphic artist: Tim Parker; Photographer: Eric Brown

Rock/contemporary album of the year:Victorious, SkilletProducers: John Cooper, Korey Cooper, Kevin Churko, Seth Mosley, Mike “X” O’Connor

Rock/contemporary recorded song of the year:“Legendary,” SkilletWriters: John L. Cooper, Korey Cooper, Seth Mosley

Southern gospel album of the year: (adsbygoogle = window.adsbygoogle || []).push({}); Pure Love, Legacy FiveProducers: Scott Fowler, Wayne Haun, Trey Ivey

Southern gospel recorded song of the year:“The Power of an Empty Tomb,” The ErwinsWriter: Joel Lindsey

Spanish language album of the year:Aleluya (En La Tierra), Elevation WorshipProducers: Chris Brown, Steven Furtick

Spanish language recorded song of the year:“Loco Amor,” Christine D’ClarioWriters: Chris McClarney, Jacob Sooter, Ricky Jackson

Traditional gospel album of the year:The Return, The Clark SistersProducers: J. Drew Sheard II, Warryn Campbell, Eric Dawkins, Mano Hanes, Rodney Jerkins, Justin Brooks, Jermaine Dupri, Damien Sneed, Kurt Carr, Karen Clark-Sheard

Traditional gospel recorded song of the year:“I’m All In,” Maranda CurtisWriters: Maranda Curtis, Dana Sorey, Asaph Ward

Worship album of the year:Awake, Hillsong WorshipProducers: Michael Guy Chislett, Brooke Ligertwood, Ben Tan, Ben Tennikoff

Worship recorded song of the year:“The Blessing (Live),” Kari Jobe, Cody Carnes, Elevation WorshipWriters: Kari Jobe Carnes, Cody Carnes, Chris Brown, Steven Furtick

Youth/children’s musical of the year:Good News Ahead…The Signs of Christmas!Creators: Gina Boe, Barb Dorn.

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