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deadcactuswalking · 9 months ago

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REVIEWING THE CHARTS: EUROVISION SPECIAL 2024 (18/05/2024) - also feat. Post Malone/Morgan Wallen, Myles Smith, Gunna and... Macklemore?

For the third week on the UK Singles Chart, Sabrina Carpenter reigns at the top with “Espresso”, and it’s the one week where my two main interests of pop music and geopolitics combine: the Eurovision final. Welcome back to REVIEWING THE CHARTS!

content warning: Israel-Palestine conflict, sex, language, Morgan Wallen

Rundown

As always, we start with our notable dropouts, songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40 and this week, we bid farewell to… “These Walls” by Dua Lipa? Already? Yikes. Aside from that, we can bid adieu to “Feel It” by d4vd, “Outside of Love” by Becky Hill, “Type Shit” by Future, Metro Boomin, Travis Scott and Playboi Carti, “Worth It.” by RAYE, “Training Season” by Dua Lipa, “Thank You (Not So Bad)” by Dimitri Vegas & Like Mike, Tiesto, Dido and W&W, “Whatever” by Kygo and Ava Max, “Back on 74” by Jungle, and of course, “Mr. Brightside” by The Killers. Honestly, not much I can complain about, and I’d predict some of it ends up coming back anyway.

As for our gains, we see some notable boosts for “The Door” by Teddy Swims at #58, “Love Me JeJe” by Tems at #45, “As it Was” by Harry Styles at #33 (yep, it’s still around), “Saturn” by SZA at #32 and “Slow it Down” by Benson Boone at #16. Sure, that doesn’t seem like a lot, but this is quite a busy week so naturally, the gains are minimal, and there are no returns, but a bunch of new songs.

And in our top five this week on the UK Singles Chart, we have “Too Sweet” by Hozier at #5, Shaboozey at #4 with “A Bar Song (Tipsy)”, Tommy Richman shooting up to #3 with “MILLION DOLLAR BABY”, and a star-studded debut right at #2, with Post Malone and Morgan Wallen on “I Had Some Help”. “Espresso” of course is at #1 but more on Post and Morgan later… for now, let’s discuss the biggest night of the year when it comes to gay people representing war criminals in a competition to see who wrote and performed the better track: the Eurovision Song Contest.

Eurovision Song Contest 2024

Naturally, I end up talking about this every year, and this Eurovision was particularly controversial - at least amongst the very online, though very much also amongst the Eurovision fans who have protested some rulings by the European Broadcasting Union and their chairman in relation to the participation of Israel amidst the ongoing invasion of Gaza, as well as the disqualification of the Dutch participant for being aggressive towards a camerawoman, allegedly, though apparently there wasn’t any violence, he didn’t want to be filmed - it’s a bit of hearsay involved. I’m not here to discuss that though, I’m not a gossip blog - even if that last episode about the Kendrick-Drake beef might have teetered on it. Instead, I’ll focus on the music presented this year at Malmo, Sweden, and its impact on the UK charts, which remains relatively uncontroversial. Our entry, “Dizzy” by Olly Alexander of Years & Years, returns to #48 after peaking at #42 earlier this year - kind of embarrassing it couldn’t land in the top 40, especially since there are several other Eurovision songs in that region - though not many - this very week. A muted Eurovision year for sure when it comes to its tangible impact on the charts, but also just a messy overall Eurovision year, here’s me ignoring the vast majority of that and telling you all these songs kind of sucked.

#67 - “Doomsday Blue” - Bambie Thug

REPRESENTING: Ireland

Ireland sent a non-binary witch to Eurovision. If that isn’t woke going too far, I don’t know what it is. Jokes aside, it was a very theatric performance that gained traction simply for being weird, out there, extraordinary and camp, as well as having a soundtrack that, to many people I’m sure, was listenable. The performance, the staging, the camera work, it was all amazing. This alt-metal joint produced by Tylr Rydyr fell into what many heavier acts do at Eurovision: try and fit everything in the short time they have allocated. Norway fantastically avoided this by making a slower and more dramatic, maybe even epic, track but that cost them any chance of winning so from Ireland - and Croatia, we’ll get to it - we have some vaguely industrial mess and yes, I know the dynamic shifting between the two “modes” is most of the point, but I’m sorry, I just can’t stand this. It’s not a good metal song because it fails to reach any catharsis in its refusal to progress upon itself, and it’s not a good pop song simply because it refuses to construct itself as such. It’s not awful, at least by an objective standpoint, but apart from a pretty solid bridge where Mx. Thug devolves into the screeching noise of the outro, the song just teeters into different ideas without gaining a tight grip on any of them, and it’s probably a result more so of ESC limitations than Bambie Thug’s artistic intent, which makes it all the more frustrating.

#37 - “Europapa” - Joost

INTENDED TO REPRESENT: The Netherlands

My favourite Eurovision songs were Czechia, the Netherlands, Norway and Greece. Greece did okay, Norway… made the final at least, Czechia didn’t and the Netherlands were disqualified from performing. Just my luck, hey? Maybe I should stop making endorsements. Regardless, I still really like the Dutch entry, performed by Joost Klein and produced by Tantu Beats and Paul Elstak. It frames itself as a bit of a meme but it’s really one of the few entries that connects to the contest’s theme this year of uniting by music, narrating a story of an orphan travelling Europe getting the chance to prove himself, a story that has its origins in Joost himself losing his parents at a young age and now attempting to prove himself at Eurovision, which of course, sadly didn’t occur and makes the song even more bittersweet than it already was. There’s an even harsher dissonance at play, but outside of the context, it’s just an undeniable Eurodance jam. He even goes for the exact cheesy rap flow every Eurodance rent-a-rapper would use, and the nonsense chorus and vocal chop over the delightfully predictable happy hardcore pianos and synths are just a cherry on top, especially before it sprinkles into the messy instrumental outro. The fact that the lyrics are personal and cleverly written, with a reference to a Stromae song that is also about lacking a father figure, as well as a sample of a classic Dutch film, adds that little speck of intimate detail that makes a goofy song like this hit the right note. It’s fantastic, it’s a damn shame it couldn’t be performed at the final.

#36 - “Rim Tim Tagi Dim” - Baby Lasagna

REPRESENTING: Croatia

This one should be easy to ring off, because it is incredibly one-note. A self-produced Neue Deutsche Harte record from Croatia with goofy lyrics and an impassioned yet somewhat restricted performance that I feel is a bit tied up in the grinding, danceable nature of its unmoving instrumentation that it can’t have nearly as fun as it should. The chorus is a bit self-serious as well, and whilst tonal clash is definitely not stranger to Eurovision, and can be implemented well like with “Europapa”, it’s only when the goofiness comes as a direct result of the more serious backstory or they’re inseparable, and given this barely constructs a full song out of just repeating yourself, it feels half-baked.

#18 - “The Code” - Nemo

REPRESENTING: Switzerland

This one I don’t really like either, and I’ll admit that it’s purely because it’s not my favourite brand of camp: the operatic performance is bombastic and impressive, sure, but it just annoys me. The breathing especially from Nemo, it feels a bit much, if there is a limitation for that in Eurovision. I should mention, probably, that this is the winner for Eurovision this year, and Nemo is another non-binary individual from Switzerland, but they also rap so that’s like five woke points detracted. Their performance once again is impressive but comes from a very Disney-esque school of theatrics and I’ve never been able to relate too well to lyrics about triumphantly finding yourself, mostly because it’s a lot messier of a process than this streamlined breakbeat over soaring strings would have you believe. You would clearly be able to tell that Nemo is one of six producers (the others are Lasse Nymann, Benjamin Alasu, Tom Oehler, Wojciech Kostrzewa and NYLAN) and that’s far from a bad thing: it sounds epic. I absolutely understand why it won, it’s got the energy, the bombast, the straight-up talent, it’s just far from my thing. I think I just watch Eurovision for the politics and Graham Norton at this point, so the songs that’ll hit closer to home are those that try for subtlety, which we honestly didn’t get a lot of this year.

New Entries

#70 - “Miles on It” - Kane Brown and Marshmello

Produced by Digital Farm Animals, Earwulf, Connor McDonough and Marshmello

We really don’t have to do this, guys. If we’re going to actually import some country from Stateside, let’s stick to their biggest and brightest. I’ll take Luke Combs, I’ll take Morgan Wallen and I’ll take Zach Bryan and then some. Kane Brown making yet another half-hearted pop pivot - if you can even call it a pivot at this point - with a slowly fading Marshmello at the helm does not need to be included in the shipment. Given how many fully competent producers are here, I question what Melloboy even did, apart from maybe the grating, ugly processed guitar in the drop because that sounds straight out of his playbook. The snap intro sounds more like Loud Luxury’s “Body” than it does anything even resembling country and I don’t think the decidedly unsubtle lyrics from Kane Brown here as he elbows you asking if you know what it means, or the tropical house wank vaguely pretending to be in any way related to Nashville, is going to make for a fitting sex song separately, let alone together. I’m usually one that complains about songs being too short but this one loses steam a minute and a half in, and just ends up embarrassing for Kane Brown and… more of the same garbage for Marshmello. At least “Body Like a Back Road” had the kindness to keep it more relaxed.

#68 - “Take a Bite” - beabadoobee

Produced by Rick Rubin and Jacob Bugden

So this new beabadoobee song is about finding peace and comfort in toxic or negative situations that are simply the norm, feeling like you have to repeat behaviours that may be unhealthy or unwieldy, with an introspective chorus where she wonders why she’s stuck in that cycle, never truly finding an answer but she still wants to do it over and over again in spite of her ambitions. It’s a great conceit for a song that’s convincingly sold by beabadoobee’s constantly uncertain, softer tone often buried by the production, which is my main issue with this track: Rick Rubin’s on the boards, which means the dreamy gaze of these guitars doesn’t shine nearly as well as it should, and the overdubs feel a bit… random? It’s hard to describe, but despite the chaotic tone of the song, I think it would benefit from being more refined and less scrappy, primarily because that is an absolutely killer chorus even if, like much of the rest of the song, it’s pure worship of 90s and 2000s adult alternative. That’s a genre I miss being on the charts though, I love all that kind of stuff, so I’m fully happy with this being here. I wish there was either a poppier or crunchier sound to it - feels a bit weird lodged between the two extremes, and the fact the guitar doesn’t get to really roar in the bridge does bother me - but as a song, still fantastically written and infectious. Even if I doubt it’ll stick around, I hope more of this sound is coming, because if this is close to being great, I imagine what beabadoobee has left might just reach that.

#64 - “on one tonight” - Gunna

Produced by Kenny Stuntin and Nash Beats

We actually have two Gunna songs. His most recent album One of Wun debuted at #4 on the albums chart and took that week it was out to grow on me. I was initially very lukewarm on it but a few surprisingly impactful experiences with the album - namely, being sleep deprived and trying to use it force me to sleep - have allowed me to gain a respect for it. Sadly, my favourite tracks haven’t debuted, at least not in the top 75 - “hakuna matata” is in the top 100. What we do have still isn’t bad, and definitely contributes to the semi-motivational oceanic feeling of the record overall. In fact, I will say the album is better experienced as a whole due to the seamless tracklist sequencing and overall mood that carries on way more effectively when spread out across 20 tracks. Without each other, sole songs can definitely feel a bit empty, and this is absolutely a great example since it’s only one and a half minutes. Its watery Dirty South beat is slick, Gunna is surprisingly focused in his rags-to-riches story that involves a cute little melodic hook towards the end of his one verse, as well as some genuine lines about staying independent and keeping a relationship with God to stay motivated. It’s a real bite-size example of what I liked about the Gunna album, but not too impressive as a sole piece.

#55 - “one of wun” - Gunna

Produced by Kenny Stuntin, Byrd and ProdByQue

Yup, two consecutive Gunnas, and I hate to say it but it’s more of the same, as the title track is one of my least favourites here, mostly because it tries to be a “banger” with its unmoving, frankly quite dull trap beat and cheap percussion that falters when it comes to replicating the wavy atmosphere of much of the rest of the album. Gunna is still fun here declaring that he’s not a lil-bitty shrimp but I’ve never been anything but repulsed by his brand of sex bars, and they’re not exactly anything fancier here, so it’s just a bit of a dud. Sorry. Wish I could talk about some of my preferred tracks at length but I’ll just shout out my favourites, those being the opener “collage”, “whatsapp (wassam)”, “treesh”, “conscience”, “let it breathe” featuring Roddy Richh and the very genuine closer “be careful what you wish for”.

#51 - “HIND’S HALL” - Macklemore

Produced by Macklemore

I do feel pretty damn good about how the Israeli entry to Eurovision failed to chart but raising funds for the United Nations relief agency in Palestine can take Macklemore of all people nearly in the top 50 with a very non-commercial song. It may seem petty but hey, I’d rather be petty on the side of freedom, and I’ve been caring about Palestine’s independence long before the recent war in Gaza - you can check my coverage of Israeli Eurovision entries from even just last year - so part of me is really happy that this song exists and is charting. In fact, all of me is, and I’m surprised that Macklemore has taken such a public and assertive stance on this considering he’s mostly a comedic rapper, whose political statements I remember most being 1.) the time he wore an antisemitic costume because he thought he was Humpty Hump, and 2.) the time that he thought he was gay because he liked drawing. I’m hyperbolising those events, obviously, they’re both just mismanagements of genuinely good intentions, but that’s kind of been what Macklemore is defined by, at least to me, and “HIND’S HALL” is a much more focused attempt at expressing those feelings in a cohesive way. I still don’t like it.

The idea to sample a respected Lebanese Arab singer is clever, but the beat is droning and aggressive in a very old-school rap way, which means it can get on the nerves easily if the guy over it is struggling to keep compelling - see Eminem’s “Mosh”. I agree with the vast majority of what Macklemore says about white supremacy and I absolutely agree that Palestine should be free - and I think he makes a very good point not many are doing in comparing Israel’s treatment of Gazans to police brutality in the USA, even if he doesn’t really expand on that, and makes it more about himself than it probably should be. That’s the main issue with this song for me, and it’s clear even in Macklemore’s delivery, which can be aggressive and gritty, clipping in the mix, but can also just sound goofy, especially in the intro where the rhyme schemes are a bit dragged out. Otherwise, whilst I have no problem with the vast majority of his lyrics, some nitpicks get to me in a way they wouldn’t if it weren’t for the unavoidable corniness of Macklemore and a song that teeters on obnoxious, mostly through the TikTok references, the idea that white supremacy wasn’t on blast until Macklemore made this song, the random Drake mention that feels attention-grabbing, the plea not to vote for Biden as if a good third party exists and the other option isn’t going to make Gaza worse and embolden white supremacy domestically, and most annoyingly for me, “You can pay off Meta, but you can’t pay off me!”… You’re fucking Macklemore! As much as I really don’t like the song, I do recommend it. Stream it, buy it, give the lyrics a read, there’s not much art being made about this in the public eye and even what we are being given is by imperfect allies (if there is such thing as a perfect ally), it should give us the opportunity to raise money and awareness by the suffering by those on the ground, corniness be damned. I have a lot of respect to Macklemore for trying this out and what he does, even if I don’t like it, is way more impactful than anything I could even try. It’s free Palestine until the colonisation and murder stops, and my hope is that eventually, it will, though the suffering faced in that excruciating timespan may not even balance the eventual freedom when so many who struggled won’t get to live a second of it.

#41 - “360” - Charli XCX

Produced by A.G. Cook and Cirkut

I think I’m supposed to know who, well, any of the women in this music video are. Regardless, it had a bit of a viral moment and helped propel Charli’s newest single from her upcoming Brat album to nearly reach the top 40. Here, the Eurodance keys are placed alongside a demanding electroclash beat that makes it sound a lot darker than they would in a more upbeat, party-friendly context, and this is really an example of A.G. Cook taking elements of electronic dance music and either blending them with different ideas or taking them so far out of context that they emit an entirely different idea than would be otherwise intended. It’s a brilliant idea, especially with the vaguely Jersey club percussion effects in the chorus and that weedy 2000s synths-- did she shout out Sewerlsvt? No? Okay, thank God. Uh, swiftly moving past that, I think this is a very effective way of balancing the carefree and paranoid elements of showbiz together into a relatively ugly yet still accessible and catchy, even hypnotic, tune with a cute little reference to her producer in the second verse and hooks out the wazoo. This is more lowkey perhaps than what the album’s title and cover would imply, but for me, its brattiness is much more charming than in “Von dutch”. Also, apparently there’s a remix with Robyn and Yung Lean coming which is insane and I desperately need to hear that.

#12 - “Stargazing” - Myles Smith

Produced by Peter Fenn

I had no idea who this guy was until just a few weeks earlier and now we’re giving him a free top 20 hit. Sure… man, we’re really back in 2013 pop, aren’t we? This doesn’t directly sample or interpolate anything, but it sure felt derivative and looking back towards a monogenre we ditched back in 2015. It mixes the stomp rock of that time with the dance-pop of that time in a blend that could potentially be interesting if this wasn’t just something that Avicii did back in the day, and by keeping the fake claps, anthemic choruses, ugly vocal processing and wooshing sound effects but not the commitment to electronic sounds, it ends up sounding less like an attempt to warp genres together like Avicii was doing and instead just a mangled attempt to manufacture a pop version of what Hozier and Noah Kahan are already doing to great success without dumbing themselves down. Also, the mix is just terrible, that lifeless yet still inexplicably propulsive kick drum frightens me. This’ll probably be a hit but God, it’s not deserving of it. Next.

#2 - “I Had Some Help” - Post Malone featuring Morgan Wallen

Produced by Charlie Handsome, Hoskins and Louis Bell

To anyone surprised that Post Malone is able to pull the streaming and radio numbers he has in the past week for this single… to quote a great post on the Pulse forums, “he had some help.” It’s not fair to say it’s all Morgan though - after all, he’s not a massive pull globally. The song has genuinely latched on pretty well and had an amazing couple first days, it could still stick around, and I honestly think that sometimes a song’s success can be explained pretty simply: it’s just good enough. There’s a lot you CAN hate about this, especially given Post Malone’s origins in rap that I’ve already seen start discourse about this single, and Morgan Wallen as a presence is always going to turn people off… but this is just a driving-down-main country pop-rock sing-a-long, and I feel that’s really difficult to mess up. The drums don’t sound that organic, even if they are - they could very well fit in a synthpop tune as well - but Post has never been one for organic instrumentation, more so an immersive blend between the acoustic guitars he’s familiar with and soundscapes that prefer synthbeds, strings and trap percussion, so this is considerably more organic for the guy, who warbles through the verses and pre-choruses that are probably about a breakup but… does it matter? Once the drum fills into the undeniable chorus that really only has one flaw in that it might be too wordy, but is otherwise an anthemic ode to teamwork more than anything else, I could not care less about what the song is actually about. The fiddle that backs Morgan Wallen is a nice touch, even if a bit on-the-nose that designate that he’s the country singer on the track, and the chorus sounds perfectly written based on both artists’ catalogue. I can see right through this in terms of it being a slight reinvention of Post’s image, a clear attempt at being a surefire hit, but the song backing it all up has too much genuine chemistry and is way too well constructed for that opaqueness to ever get to me. Especially with that chorus, God, it’s a great chorus.

Conclusion

Best of the Week goes to Joost here for “Europapa”, with Charli XCX grabbing the Honourable Mention for “360” though, again, those Post Malone and beabadoobee songs are pretty damn good. As for the worst, it should be pretty damn clear which two tracks are there, but it’s a toss-up to who gets what. I think Kane Brown and Marshmello get Worst of the Week on the pure egregiousness of “Miles on It”, but Myles Smith’s “Stargazing” might just sound worse and takes the Dishonourable Mention. That was a heavy few weeks but hopefully things will calm down, for now - thank you for reading, rest in peace to Steve Albini, free Palestine and I’ll see you next week!

#pop music #song review #uk singles chart #eurovision 2024 #eurovison song contest #kane brown #marshmello #beabadoobee #bambie thug #gunna #one of wun #macklemore #charli xcx #joost klein #baby lasagna #nemo #myles smith #post malone #morgan wallen

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thealogie · 1 year ago

Note

what's on your to-watch list? (i sent in an ask about a show some weeks ago and now am having brainfog :(()

I’m gonna start tagging the recs people send me so I can go back to them because currently I just keep a mental list of the next few things I’m gonna watch and then when I run out I try to browse recs people sent me and/or read reviews. My current watch list is as follows (I don’t think it includes many recent tumblr ask recs):

Tv shows: Mr and Mrs Smith (so good), true detective season 1 rewatch, true detective season 4 (I’ll at least give it a try), Atlanta rewatch, criminal record, Stephen Mangan’s zoom show

Movies: sanctuary, descendent, the color purple, do the right thing (rewatch of a fave movie)

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angelofverdum · 2 years ago

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Series Reviews Masterpost

2021

The Umbrella Academy

Orange is the new black

2022

Dead To Me - Season 03

The English

2023

The Wire

Derry Girls

Pretty Little Liars: Original Sin

Swarm

Class of 07

Harlots

Mrs Davis

Schitt's Creek

Black Mirror

Community

Silo

The Horror of Dolores Roach

Secret Invasion

The Good Wife

Disenchantment S05

Harley Quinn S04

The Fall of the house of usher

The Good Fight

Orphan Black: Echoes

The Crown S06 - Part 1

Chucky

2024

Griselda (2024)

The Americans

Elsbeth

The Veil

Station 19 S06-S07

The Bear S03

Desperate Housewives

Mr and Mrs Smith (2024)

Palm Royale

House of the Dragon S02e08

The Diplomat

Found

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ghostoftonantzin · 1 month ago

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Books I read this year, 2024

Once again I'm doing a write-up of the books I read last year, a couple weeks into 2025 because I keep getting sidetracked. I read fewer books (34) than 2023 and listened to many fewer audiobooks (5), probably because I was driving less.

Overall it was a pretty good year for books, though I did have a bit of a lull in the summer. I intend to be more intentional with the books I read in 2025 and try and cut through my very long TBR list.

List of books with my short opinions on them below the cut:

False Colours, by Georgette Heyer (1/2) - could not put this one down. Loved the love interest and her no-nonsense attitude.

Rouge, by Mona Awad (1/7) - pretty good, very adaptable for film with some memorable imagery. Prose was fine.

Stiff*, by Mary Roach (1/9) - interesting, enjoyable, last line made me giggle and was especially wonderful the way the narrator read it.

Cotillion, by Georgette Heyer (1/18) - this was the Heyer I've seen most commonly recommended, but with the caveat that I should read other Heyer novels first to better enjoy the subversion. And I did enjoy it! Very cute, maybe my favorite Heyer I've read so far.

Wasteland*, by W. Scott Poole (1/26) - very thought-provoking read(/listen) regarding the history of horror as a genre and the effect of World War I on the psyche of Europeans and their understanding of death.

The Weather in the Streets, by Rosamond Lehmann (1/31) - Sequel to Invitation to the Waltz, which I read in 2023. Last line kicked me in the teeth, in a good way.

Season of the Witch*, by Peter Bebergal (2/19) - fine. I mostly associate this with driving around in miserable gray winter weather.

The No. 1 Ladies' Detective Agency*, by Alexander McCall Smith (2/29) - again, mostly associated with driving around looking at apartments in the dregs of winter. The narrator is fantastic, but not enough to buoy me out of the aforementioned dregs of winter glum.

The Sadeian Woman and the Ideology of Pornography, by Angela Carter (2/29) - really interesting, and I'm not smart enough to really articulate my thoughts on it in a manner worthy of the text.

Mawdew Czgowchz, by James McCourt (3/6) - some of the densest prose I have ever encountered, but not in a bad way. Wild, operatic plot, which is fitting, as it concerns an opera singer and her obsessive fanbase. I assume opera fans are not this obsessive and influential in real life, but wouldn't it be fun if they were?

Wyrd Sisters, by Terry Pratchett (3/9) - I like Pratchett's work, haven't read a ton of it, enjoyed this thoroughly. Read it using the hoopla app on my phone.

Witches Abroad, by Terry Pratchett (3/16) - basically the same opinion as above.

Fat Boys: A Slim Volume, by Sander L. Gilman (3/26) - read for its section on castrati, but the most memorable parts concerned the public perception of fat baseball players at the peak of the sport's role in American culture.

Transformations, by Anne Sexton (4/15) - I'm afraid I cannot really remember reading this one.

After Leaving Mr. Mackenzie, by Jean Rhys (4/26) - my second Rhys novel, after reading Good Morning, Midnight in 2023. Unfortunately I rushed finishing this one because I needed to return it to the library, which probably affected my opinion, but I did feel it wasn't as good as the former.

By the North Door, by Meg Elizabeth Atkins (5/12) - I picked this one up, along with Cousin Suzanne and another novel, at a library used book sale because I'd never heard of it and it looked like it was from the 70s/80s. The most memorable thing was that I couldn't figure out if it was set in the United States or England, and I still can't remember which it turned out to be.

Cousin Suzanne, by Myrna Bluth (6/16) - one review described this positively as "a satire without teeth", which seems to miss the point of satire. I read most of this one either sitting on a pier of laying in a hammock, which is the proper place to consume it.

Five Days Gone*, by Laura Cumming (6/18) - I got the feeling that there were italic sections and section breaks in the print version of this book that were not properly represented in the audiobook, making it difficult to discern changes implied changes in perspective. However, I found this book's focus on interpreting and describing visual primary sources fascinating, as well as its ability to slowly reveal new facets of what seems to be a cut-and-dry incident to the reader.

84 Charing Cross Road, by Helene Hanff (6/29) - did not realize this was nonfiction when I bought it (at a different used book sale), which made it sweeter and sadder.

Possession, by A.S. Byatt (8/4) - I understand why this was such a massive success at its time; it successfully convinces the reader of the high-stakes of literary academia and weaves together mystery and romance, capturing the page-turning qualities of both. Funny enough, I found it less "literary" in terms of structure and plot than some other books I read this year. I recommended this to my mother, and it may have been her favorite read of the year.

The Eagle of the Ninth, by Rosemary Sutcliff (8/21) - enjoyable children's chapter book. Though I probably enjoyed it more than I would have as a child, having learned more about Roman history since then.

The Harness Room, by L.P. Hartley (8/24) - interesting example of early gay British fiction. I expected it to end tragically, but not that tragically.

Not Quite Dead Enough, by Rex Stout (8/27) - the second Nero Wolfe book I've read. A good mystery, not as memorable as the one I read before.

Ex-Wife, by Ursula Parrott (9/3) - it was fascinating to read this and see how far we've come, and how far we haven't come, with regards to feminism and marriage and divorce. And for all of it's sparkling, fast-paced prose, this book is shot through with melancholy and heartbreak. One of my favorite books of the year. (Also another one I recommended to my mom.)

To Bed with Grand Music, by Marghanita Lanski (9/13) - to be honest, I was compelled to read this one because the title was so fantastic (and because the story sounded compelling, of course). I have not seen Uncut Gems, but I feel like this is the Uncut Gems of mid-century British women writers, in terms of producing anticipatory anxiety of catastrophic downfall throughout the story. That being said, I didn't enjoy it as much as anticipated. Maybe on reread I can relax and appreciate it more.

Big Swiss, by Jen Beagin (9/20) - I didn't realize the narrator was in her forties until partway through, a fact that I found made the narrative more enjoyable. It was good. I enjoyed the details about living in upstate New York.

The Cook, by Harry Kressing (9/21) - very strange, parable-like novel. I enjoyed it, but don't have much to say about it.

The Blue Star, by Robert Ferro (9/28) - saw this in a used bookstore, had never heard of the author, bought it because it looked not-too-recent and gay. I loved its descriptions of gay desire and the way it navigated the pressures of family and societal expectations.

Kairos, by Jenny Erpenbeck (10/19) - this one knocked me on my ass. Do you ever read something and just sit back and watch the author set up their shot and sink it perfectly, the arc of a projectile perfectly hitting its mark? That's what reading this book feels like. It's so ambitious and yet straddles the weight of Germany in the 20th century and classical mythology with ease. So many little turns of phrase that took my breath away. I don't know if this was my favorite book I read this year, but I can say with certainty that it was the best.

Saint Sebastian's Abyss, by Mark Haber (10/27) - fun use of language and centered around two incredibly pretentious academics, two things I (almost) always enjoy in a book.

The Enchanted April, by Elizabeth von Armin (11/15) - heartwarming, lightweight, but well-written. Has that enjoyable ending of everything falling into place without having it feel unearned.

Perfume: the Story of a Murderer, by Patrick Suskind (11/21) - I swear some blogger whose taste I generally trust liked this book, though hell if I'm going to go back and find the post now. I thought it was fine, but honestly struggled to get through it in parts.

Journey into the Mind's Eye, by Lesley Blanch (12/1) - I've been meaning to read this one for years, and finally picked it up at the annual NYRB sale. I'm so glad I read it, though the extensive digressions into Russian history did drag at points, because I'm still turning it over in my mind. It creates an interesting compare/contrast with Kairos in regards to the start/end of the Soviet Union, reality/fiction, both books concerning an affair between an older man and a younger woman... Blanch also does a really good job of describing the feeling of being fascinated by another culture that is not your own.

The Servant, by Robin Maugham (12/7) - not to agree with the introduction, but this did feel almost more like the draft of a book than a book, though I admire how concise it is. The scene where the two main characters are arguing while standing up and sitting down between toasts at a formal dinner made me laugh, though.

The Employees, by Olga Ravn (12/18) - I read it, I enjoyed it alright, I did not have the strong lingering thoughts afterward that it was probably meant to provoke in me.

Divorcing, by Susan Taubes (12/21) - this did drag at the end, but the script-style rendition of the protagonist's imagined divorce trial in the afterlife was a riot and the high point of the book.

The Yiddish Policemen's Union, by Michael Chabon (12/25) - the protagonist of this novel has the same last name as the protagonist of Divorcing, which was an interesting coincidence. The hardboiled style of narration was a bit difficult to get through at first, but it grew on me.

My Death, by Lisa Tuttle (12/26) - read almost entirely in the car. I wish it had included a bit more literary analysis nerdery. I do need to check out more of Tuttle's work.

The Snow Ball, Brigid Brophy (12/31) - sliding in right under the wire. I thought the ending was a little too obviously symbolic and foreshadowed. Delicious, lush prose.

#ghost posts #books #eighteen days late sorry #not counting all the books and especially audiobooks I didn't finish

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ulkaralakbarova · 4 months ago

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A devoted wife and mother leads a secret life as a CIA agent until her husband’s article exposes a scandal, putting her identity and loved ones at risk. As her world crumbles, she must navigate the fallout of her double life. Credits: TheMovieDb. Film Cast: Valerie Plame: Naomi Watts Joseph Wilson: Sean Penn Sam Plame: Sam Shepard Bill: Noah Emmerich Jack: Michael Kelly Jim Pavitt: Bruce McGill Scooter Libby: David Andrews Paul: Tim Griffin Dr. Zahraa: Liraz Charhi Hammad: Khaled El Nabawy Chanel Suit: Sonya Davison Tabir Secretary #1: Vanessa Chong Hafiz: Anand Tiwari Tabir Secretary #2: Stephanie Chai Fred: Ty Burrell Sue: Jessica Hecht Steve: Norbert Leo Butz Lisa: Rebecca Rigg Diana: Brooke Smith Jeff: Tom McCarthy Samantha Wilson: Ashley Gerasimovich Trevor Wilson: Quinn Broggy CIA Tour Leader: Nicholas Sadler CPD Agent: Iris Bahr Minister of Mines – Niger: Ghazil Joe Turner: Kristoffer Ryan Winters Nervous Analyst #1: Louis Ozawa CIA Analyst #1: Sean Mahon Professor Badawi: Mohamed Abdel Fatah Kim: Rashmi Rao Nervous Dave: David Denman Nervous Analyst #2: Remy Auberjonois Ali: Sunil Malhotra Jordan Officer #1: Kevin Makely Mukhabarat Officer: Mousa Al Satari Hammad’s Son: Rafat Basel Hammad’s Wife: Maysa Abdel Sattar B.U. Professor: Judith Resnik B.U. Student #1: Ben Mac Brown B.U. Student #2: Satya Bhabha Iraqi Scientist #1: Nabil Koni Iraqi Scientist #2: Mohammad Al Sawalqa Beth: Jenny Maguire Pete: David Warshofsky Ari Fleischer: Geoffrey Cantor Journalist #1: David Ilku Journalist #2: Deidre Goodwin Journalist #3: Donna Placido Karl Rove: Adam LeFevre Steven Hadley: Brian McCormack Andrew Card: James Rutledge Cathie Martin: Tricia Munford David Addington: Michael Goodwin Mr. Tabir: Nassar Dir. of CIA Operations: Chet Grissom Internal Security Officer: James Joseph O’Neil Supporter #1: Danni Lang Supporter #2: Jane Lee Field Reporter #1: James Moye Field Reporter #2: Judy Maier Diane Plame: Polly Holliday Businessman #1: Kola Ogundiran Businessman #2: Byron Utley Right Wing Reporter: Anastasia Barzee DC Cab Driver: Sanousi Sesay Barista (uncredited): Angela Lewis Deceased Soldier’s Daughter (uncredited): Michelle E. Mancini UN Diplomat (uncredited): Rebekah Paltrow Neumann Iraqi Server (uncredited): Barbara Grace Romano Four Seasons Waitress (uncredited): Satu Runa Warehouse Supervisor (uncredited): Kaipo Schwab Head Paparazzo (uncredited): Harry L. Seddon Turkish Diplomat (uncredited): Kent Sladyk Vietnam Vet at Rally (uncredited): Bill Walters Film Crew: Producer: Doug Liman Screenplay: John-Henry Butterworth Producer: Jez Butterworth Book: Joseph Wilson Associate Producer: Sean Gesell Makeup Department Head: Michal Bigger Line Producer: Pete Singh Key Hair Stylist: Amanda Miller Line Producer: Anadil Hossain Line Producer: Bruce Wayne Gillies Line Producer: Carson Ng Original Music Composer: John Powell Executive Producer: Mohamed Khalaf Al-Mazrouei Associate Producer: Gerry Robert Byrne Line Producer: Wesam Seif Elislam Hairstylist: Lisa Hazell Book: Valerie Plame Executive Producer: Jeff Skoll Co-Producer: Avram Ludwig Stunt Coordinator: G. A. Aguilar Stunt Coordinator: Peter Bucossi Co-Producer: Kim H. Winther Casting: Joseph Middleton Producer: Bill Pohlad Co-Producer: David Sigal Producer: Janet Zucker Set Decoration: Sara Parks Executive Producer: David Bartis Executive Producer: Mari-Jo Winkler Costume Design: Cindy Evans Producer: Jerry Zucker Editor: Christopher Tellefsen Stunts: Anthony Vincent Producer: Akiva Goldsman Art Direction: Kevin Bird Production Design: Jess Gonchor Stunts: Stephen A. Pope Executive Producer: Kerry Foster Movie Reviews:

#central intelligence agency (cia)#duringcreditsstinger #iraq #nuclear scientist #politician #Top Rated Movies

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dollycas · 5 months ago

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Miss Morton and the Deadly Inheritance (A Miss Morton Mystery) by Catherine Lloyd #Spotlight / #Giveaway @KensingtonBooks

Miss Morton and the Deadly Inheritance (A Miss Morton Mystery) International Historical Mystery 3rd in Series Setting - England Publisher ‏ : ‎ Kensington (August 20, 2024) Hardcover ‏ : ‎ 272 pages ISBN-10 ‏ : ‎ 1496740645 ISBN-13 ‏ : ‎ 978-1496740649 Kindle ASIN ‏ : ‎ B0CNYL4QQW Audiobook ASIN B0DCZZLSMH Audio CD ASIN ‏ : ‎ B0CZ7JTYW9 Social standing is everything in Regency England—and no one knows better than Miss Caroline Morton, a lady’s companion from a disgraced line. But when she has a chance to claim what’s rightfully hers, the one obstacle in her way is a dangerous murder mystery . . . Miss Caroline has doubts when she receives an urgent invitation from a London law firm to discuss her late father’s estate. After all, the dishonored Earl of Morton died without a pound sterling to pass on to his two daughters. But while immersing herself in helping Mrs. Frogerton’s capricious daughter navigate the high social season, Caroline meets with a cagey lawyer, Mr. Smith, who shares life-altering news—the earl composed a second will, leaving behind an undisclosed fortune. Mrs. Frogerton, however, is thoroughly unimpressed with the firm’s conduct and suspicious of their true motives. Her instinct proves right when the two ladies find the office ransacked, staff in turmoil, and Mr. Smith missing. The full weight of the situation doesn’t sink in until Mr. Smith dies following a brutal attack on the street—discovered with an empty envelope bearing Caroline’s name in his pocket. With a connection forming between two deaths at the firm, Caroline can’t imagine why anyone would kill twice over the contents of a will. Further complicating matters is the amorous Mr. DeBloom—who claims his mother goaded the earl into making bad investments and promises to link Caroline to her inheritance—and the disappearance of Susan, her younger sister. As Caroline unwittingly becomes the center of both a criminal case and a sordid love triangle, she must tread with caution while seeking the truth . . . because someone is waiting to reduce her to nothing more than a signature on a dotted line. About the Author Catherine Lloyd grew up in London, England in the middle of a large family of girls. She quickly decided her imagination was a wonderful thing and was often in trouble for making stuff up. She finally worked out she could make a career out of this when she moved to the USA with her husband and four children and began writing fiction. With a background in historical research and a love of old-fashioned mysteries, she couldn't resist the opportunity to wonder what a young Regency Miss Marple might be like, and how she would deal with a far from pleasant hero of the Napoleonic wars. You can find Catherine Lloyd's website at http://www.catherine-lloyd.com Also Written by Catherine Lloyd Thanks to the publisher I have 1 Advance Review Copy of Miss Morton and the Deadly Inheritance to give away! The contest is open to anyone over 18 years old with a US or Canadian mailing address. Duplicate entries will be deleted. Void where prohibited. You do not have to be a follower to enter but I hope you will find something you like here and become a follower. Followers Will Receive 2 Bonus Entries For Each Way They Follow. Plus 2 Bonus Entries For Following My Facebook Fan Page. Add this book to your WANT TO READ shelf on GoodReads for 3 Bonus Entries. Follow Kensington Books on Twitter for 2 Bonus Entries! Follow Kensington Publishing on Facebook for 2 Bonus Entries! Pin this giveaway to Pinterest for 3 Bonus Entries. If you share the giveaway on Threads, X, or Facebook or anywhere you will receive 5 Bonus Entries For Each Link. The Contest Will End on October 17, 2024, at 11:59 PM CST The Winner Will Be Chosen Using Random.org The Winner Will Be Notified By Email and Will Be Posted Here In The Sidebar. Click Here For Entry Form Your Escape Into A Good Book Travel Agent This post contains affiliate links. If you make a purchase using my links, I will receive a small commission from the sale at no cost to you. Thank you for supporting Escape With Dollycas. Read the full article

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oceanusborealis · 1 year ago

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Mr. & Mrs. Smith: Season 1 – TV Review

TL;DR – This fascinatingly compelling series that took the essence of the film and then turned everything up to eleven while providing a slightly more plausible scenario. ⭐⭐⭐⭐⭐ Rating: 4.5 out of 5. Disclosure – I paid for the Amazon Prime service that viewed this series.End Credit Scene – Infidelity & A Breakup have mid-credit scenes. Mr. & Mrs. Smith Review – If you are of my age, then you…

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wherever-i-look-blog · 1 year ago

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Mr. and Mrs. Smith: Season 1/ Episode 2 – Episode Recap & Review http://tinyurl.com/ype88eft

#Mr.andMrs.Smith #Season1 #TVSeries #DonaldGlover #FrancescaSloane #HiroMurai #JohnTurturro #MayaErskine #PaulDano #PrimeVideo

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purehot0 · 1 year ago

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Mr. & Mrs. Smith Season 1 - Official Trailer | Prime Video | + Quick Review

#youtube #Mr&MrsSmithSeason 1 #mr&mrssmith #mr & mrs smith

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e350tb · 1 year ago

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Okay, I’ve picked a category to sift through, and I’ve found ‘characters who should be in prison.’ It should be noted that ‘Life is Strange characters’ is a subcategory of this (as is, entertainingly, ‘police officers’.) But still, people who commit crimes? I supposed they could be loathsome, let’s see who’s there!

Here are a list of people I found on the list that made me raise an eyebrow

Buck Cluck (fair)

Daffy Duck (but only in the mid-1960s)

Dash Baxter (I mean he’s a dick I guess...)

Homer Simpson, but only after Season 11

Jerry Smith (Seasons 1-3) (I would actually say that Jerry is probably the only member of the Smith family who doesn’t have a rap sheet worth eight life sentences but what do I know?)

Kana (wait, from the Thomas the Tank Engine reboot? What, does she smuggle meth?)

Mario (Bob Hoskins version)

Tails?!

Mr. and Mrs. Turner (fair)

Mr. Krabs (fair)

Optimus Prime?! (War for Cybertron version)

Patrick Star (...fair)

Ramsay Bolton (look, I’ve only watched the Ozzyman Reviews recaps of GOT, but he dies in a cell, doesn’t he?)

THOMAS THE TANK ENGINE

Look, I’ve taken these completely out of context, but I’m imagining Optimus Prime in the Hague right now, and that’s better than any context.

I just found the 'Loathsome Characters' wiki (which sounds like General Hux just joined fandom) and it has a 'filler character' category

fandom is dead and we have killed it

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jarofrebuke-transcripts · 4 years ago

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Jar of Rebuke Episode 11 Unofficial Transcript

Season 1 Episode 11: Observations B

INTRO

The following audio recording is classified documentation for case [audio distortion]

GIA

I'm sorry, I'm not sure what that was. This equipment is in dire need of upgrades. This is Dr. Gia Castillo. The following audio recording is classified documentation for case H57. The subject has proven to be a bit... stubborn? Annoying? Well perhaps “difficult” is the best word. Ideally things would just go smoothly so that I could get back to what I was actually hired to do. I have a PhD in zoology, I have spent thousands of dollars for my education and title, but this? This? This is asinine, this is absolutely ludicrous, this is flat out stupid. There's no reason for this much time, effort, and money to be spent on Todd's little pet project. I was hired to examine how pollution and radiation could lead to the creation of these creatures, from afar. The local deer population for example? All of that research was led by me from my lab. Processing the radioactivity readings, exposure rates, things that could have led to the possible creation of the not-dear? In my professional opinion, is quite solid. And now? Now I'm playing babysitter to some… thing that Todd told me to watch over via nanny cam because he's too scared to. I have to play lab partner with something that never even earned its degree, yet still gets the title? I'll have to edit all of that out.

Today the subject took that hellhound on a walk after breakfast, which was then followed by some time watching television, a shower and then a frantic phone call. I won't know who it called until after a system synced tonight to pick up all the data from its phone and audio journal but it exhibited clear behavior and body language of being in quite a panic. It sat down and had started to record a session in its audio journal. While the audio journaling has remained as consistent as before, there have been some changes in its other behaviors. My recent findings have shown that the subject has been quite resistant to Dr. Daman’s sessions as of late. By the sound of its complaints and also of Dr. Daman's reports, the resistance is only worsening. Which led to another observer being brought in not too long ago- Mr. Zimmer. Now that I have the utter displeasure of working with him, my luck only continues to sour. Anyways, through the audio files and also the footage from the cameras, we are seeing signs of something else for us to look into. It taking in that hellhound as a pet of all things was both simultaneously surprising but also not too out of character for what we have seen previously. Creatures like those tend to be drawn to one another. But now there appears to be a third creature of sorts wandering around that particular home. We need to look further into what's captured on our recordings. The subject has mentioned to Dr. Daman seeing shadows around its home so that may be a good start for us. With that hellhound, Grove I believe it's taken to calling it, the team has agreed that it's best if that creature isn't around to further influence the subject. Of course the influence isn't intentional on the hellhound’s part per se, but the subject's empathy towards other supernatural creatures has only amplified since taking it in. That puts quite a hindrance on the goal that we were given by Todd, so it needs to go.

Dr. Daman suggested perhaps staging a sort of “running away from home” that pets tend to do. That may be our best course of action but putting this into action will take more time and planning. And we have also tried to get rid of those black-eyed children that keep tapping on its door. A bit of pest control as Todd calls it but well, in Mr. Zimmer's words- like roaches they don't die easily and they will come back. They seem to become only more adamant about being let into the subject's house. After the subject's investigation of those melon head children in the woods, Todd has decided that it'd be best to attempt to round them up and bring them in as well. Too dangerous to leave them out, he claims. Eating people seems to be the line, but Todd has shown no concern with the creature our subject encountered out in the river. I believe he has a certain disdain for creatures with child-like forms, at least that's a theme I've observed.

[door opens] Ah, what brings me the pleasure of your company?

LIAM

Ah, Gia, hello! I just came to check in and see how we were doing today, do a check in with the patient. How is it doing today?

GIA

That is Dr. Castillo, Mr. Zimmer. It just sat down to record a session of the audio journal. It was rather wise for Dr. Daman to encourage that, giving us a clear look into its thoughts. Of course what exactly it's saying I won't know until later tonight once the cloud collects the data, though it just got off of the phone with someone and has been pacing around the room quite nervously while talking.

LIAM

Fascinating. It's always so adamant about the supposed feelings it has. If I didn't know any better, I would say that it's practically human in every way! Look at it- the stress, the agitation. You know, the way that it so often curls into itself in our sessions truly is human. If only it knew the truth.

GIA

We're here to see how long we can keep the truth from it. I know you're using this to satiate personal curiosities, Mr. Zimmer, but we do have a goal to attain, and we must treat this as if we only have one shot at it.

LIAM

Oh of course, of course. But you can't tell me it's not incredibly curious. It acts so human and doesn't even think for a second that it might not be? Even though it's experienced death, well, far more times than it can count. I've seen it's so-called medical files. Dr. Rahal must really stretch his brain to figure out how to explain it all in a way that doesn't tip it off. And the fact that its body scars like a human body does is also fascinating.

GIA

Considering that Dr. Rahal is being kept on a need to know basis with this case, of course he must get a bit creative with his explanations.

LIAM

And based on those little audio journals, we may need to make sure that the good doctor isn't getting too soft with the patient. We don't have the luxury to empathize with the creature.

GIA

Would you empathize with it even if we did have the luxury?

LIAM

Hmm that's quite an excellent question, though I'm inclined to say no...

GIA

Which does not surprise me, given your reputation. Now if you would excuse me, Mr. Zimmer, I would like to resume my examinations. I'll forward you my notes and findings once I'm done.

LIAM

Of course, of course, doctor. I'll send over my notes from my most recent session with it to you and Dr. Daman at my next convenience. Talk to you later, Gia.

GIA

He is going to break our subject before we can find another one. Bringing him into this project was a ridiculous idea. I get that we're here to see just how human this creature has become, but you can see humanity without shattering one's mental stability. Anyways, this would imply that the creature has become human at all. It's still what it was before just with a human shell. Nothing will change what the creature is no matter how it looks or acts. I'll have to edit all of that out as well.

The subject has now taken to rocking slightly in its seat as it records. Something new that it picked up. There's various reasons that people rock back and forth but if it's picked this up from witnessing someone do this that would make sense. Dr. Daman encouraged it to engage more within the community of Wichton, mostly so we could see how it would socialize, but we didn't expect it to have so much success in doing so. The primary documented friends that it's made have been a few residents in town, primarily a Darius Chapman and a Holly Darling. Also it is reconnecting with its old lab partner, Dr. Milo Lomax, who had never been told the full truth hence why they were separated as lab partners. It has also been spending time with a research scientist from another department, uh, Dr. Jamie Everett. I'm not sure how much she has been briefed on the situation. With the amount of employees here who have been left in the dark on the true nature of this case it's safer to assume that she doesn't know, but I cannot say that for certain. I will need to reach out to Todd to see how deeply, if at all, Dr. Everett is involved.

That hellhound has been sniffing around its house quite a bit lately. Whether it's just part of more canine behavior or if it's more of the cryptid nature, I am not sure. Whatever it may be it's getting in the way of my view. Has it spotted the camera? It couldn't have, it's still just a dog! [clicking sounds] Oh, no, okay. All right, uh well, this is, this is bad. The subject has found the camera! How did this happen, this is... I have to inform Todd immediately, this is not damage control that we can afford to handle poorly! Damn it.

OUTRO

Jar of Rebuke is created and produced by Casper Oliver. Dr. Gia Castillo is voiced by Vanessa Rosengrant. Mr. Liam Zimmer is voiced by Andy “Pixel” Smith. Credits are read by Ashley Craft who has created the podcast official graphics. Episode was edited by Chelsea Finley. Episode was written by Casper Oliver and Jenny O'Sullivan. Music was created by Luke Menniss, spelled m-e-n-n-i-s-s who you can find and support on bandcamp, spotify, and twitch. Follow us on social media for updates. If you've been enjoying us please consider leaving a rating, review or comment wherever you tune in. You can also support us on patreon or pod hero by following the links in our episode description. And special thanks to our patreon supporters Tristan, Perry, Devin, Becky, Nico, Danny and Joyce.

#jar of rebuke #jar of rebuke podcast #jor podcast #jar of rebuke transcripts

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deadcactuswalking · 2 months ago

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REVIEWING THE CHARTS: 04/01/2025! (SZA's LANA, Sam Barber & Avery Anna, Ella Henderson)

Welcome back to normalcy on the UK Singles Chart. It’s the week after Christmas, and all through the chart, there’s return after return, of both slop and great art. “Last Christmas” still at #42, #62 stands Carey, but otherwise, it’s a boost, debut or a “Re”. Damn near every song that was on last week’s chart is gone, because they were Christmas songs, and I don’t feel the need to list them all, because they’re the same and they’ll be back next year. There is much more variation in what returned and gained, so I will discuss all of that, meaning that yes, all 75 songs in the UK Top 75 – which is what I cover – will probably get a name-drop today. That’s just how it is, and might as well drop a third in the pre-amble – Gracie Abrams’ “That’s So True” returns to #1 for a sixth week, welcome to Season 7 of REVIEWING THE CHARTS!

content warning: language, discussion of sex, depression and - sigh - Drake

Rundown

The rest of the top five consists of songs that were already charting, but got a very solid boost from the snow melting: “APT.” by ROSÉ & Bruno Mars at #2, “Messy” by Lola Young at #3, “Sailor Song” by Gigi Perez at #4, and even Chrystal gets her first top 10 with “The Days” at #5, a weird song to peak that high in my view. To add to the post-Christmas confusion, “It Can’t be Christmas” by Tom Grennan held on the highest at #30 for no good reason, but other than that, we have gains, returns and debuts, so I’ll talk about those categories in that order, but bear with me, it will just be listing songs, even if it is interesting to see how high certain songs are, how much traction they gained over the holidays and how much of a semi-artificial boost they get from this week’s rejection of all things wintry.

For our notable gains, we see boosts within the top 20, namely “Nice to Meet You” by Myles Smith at #13, “Bed Chem” by Sabrina Carpenter at #11, “Defying Gravity” by Cynthia Erivo and Ariana Grande at #10, “Die with a Smile” by Lady Gaga and Bruno Mars at #8, and as for the returns… well, it’s the rest, and plenty of these are new peaks or close to it as well. For ease, I’ll split it between vague genres and if you don’t like my categorisation… fair enough, I don’t either, genre is a myth.

For hip hop and R&B, we have Tyler, the Creator with “Sticky” featuring GloRilla, Sexyy Red and Lil Wayne at #70 and “Like Him” featuring Lola Young at #35, “Oscar-Winning Tears.” by RAYE at #68, “Empty Out Your Pockets” by the late Juice WRLD at #55, Kendrick Lamar with “tv off” featuring Lefty Gunplay at #38 and “luther” with SZA at #28, “Thick of It” by KSI featuring Trippie Redd at #22 and, sigh, “Timeless” by The Weeknd and Playboi Carti at #12, which allegedly has AI vocals – I don’t personally see the clear evidence yet, but if you believe it… hey, maybe my disgust with that song rings even truer.

As for the hodge-podge of everything encompassed by “rock”, folk, country and whatever counts as alternative these days, we see the re-arrivals of “Favourite” by Fontaines D.C. at #72, “All My Love” by Coldplay at #69, “Casual” by Chappell Roan at #60, “Headlock” by Imogen Heap at #57 (not complaining about this resurgence), “The Emptiness Machine” by Linkin Park at #53, “I Had Some Help” by Post Malone featuring Morgan Wallen at #51, “Burning Down” by Alex Warren at #49, “Mr. Brightside” by the Killers at #48, “The Sound of Silence” by Disturbed at #47 (really, we’re still doing this?), “Stick Season” by Noah Kahan at #31, “Stargazing” by Myles Smith at #29, “A Bar Song (Tipsy)” by Shaboozey at #25, “Too Sweet” by Hozier at #24, “Beautiful Things” by Benson Boone at #21, “People Watching” by Sam Fender at #19, and, hey, why not? Let’s slot Billie Eilish in this category too with “WILDFLOWER” at #16 and “BIRDS OF A FEATHER” at #14.

Finally, for pop, dance and Afrobeats, we say welcome back to “Cruel Summer” by Taylor Swift at #75, “Indestructible” by Andy C and Becky Hill at #73, “BACKBONE” by Chase & Status and Stormzy at #71, “365” by Charli xcx at #67 – “Guess” featuring Billie Eilish is at #65, “Sympathy is a knife” featuring Ariana Grande at #50 – then “Who” by Jimin at #64, “Disease” by Lady Gaga at #61, “Ma Meilleure Ennemie” by Stromae and Pomme at #56, “Move” by Adam Port, Stryv and Malachii at #54, “Kisses” by BL3SS, CamrinWatsin and bbyclose at #52, “2 hands” by Tate McRae at #45, “This is What You Came For” by Calvin Harris featuring Rihanna out of seemingly nowhere at #43… it peaked at #2 in 2016, behind Drake’s “One Dance” featuring Wizkid and Kyla, which was #1 for like half that year it feels. Moving swiftly on from whyever that’s there, we have “it’s ok i’m ok” by Tate McRae at #41, “NIGHTS LIKE THIS” by The Kid LAROI at #40, “Austin (Boots Stop Workin’)” by Dasha at #39, “Close to You” and “I Love You, I’m Sorry” by Gracie Abrams at #36, “Diet Pepsi” by Addison Rae at #34, “PUSH 2 START” by Tyla at #33, “What is This Feeling?” with Cynthia Erivo and “Popular”, both by Ariana Grande from the Wicked soundtrack, at #27 and #26, “Dirty Cash (Money Talks)” by PAWSA and The Adventures of Stevie V at #20, “Taste” and “Espresso” by Sabrina Carpenter at #18 and #15, “HOT TO GO!” and “Good Luck, Babe!” by Chappell Roan at #32 and #17, “Somedays” by Sonny Fodera, Jazzy and D.O.D at #9, and finally, whilst he probably counts more as soul, he’s got three songs real high so Teddy Swims, probably a big star of 2025 that I’m placing all my bets on, has “Lose Control” at #23, “Bad Dreams” at #7 and my favourite, “The Door” at #6. Welp, that’s all good and fun, but what did that door let in when it was left open? Let’s take a look.

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#74 – “30 for 30” – SZA and Kendrick Lamar

Produced by J. White Did It and Michael Uzowuru

I’m somewhat torn on SZA’s new deluxe reissue of her album SOS. Whilst basically a new album in terms of quantity, it’s not nearly as finished as you’d expect from an album teased for years, and LANA is still, according to SZA and her management, going to be updated with improved mixes and bonus tracks. Given how barebones, lacking in powerful or hooky refrains – definitely nothing as sticky as “Saturn” – these new tracks are, and given how SZA sounds damn near underwater on all of them, this is less like an everchanging work of art being improved for the fans and more like, well, VULTURES 2. The quality is about as mixed of a bag too, with two tracks debuting from the album this week, the first being the big viral moment with Kendrick Lamar and it may be his first complete miss this year because I don’t know about the general consensus on this, but this is clearly a demo to me. I’ll be keeping much of this episode short – it’s already late and filled to the brim with the big first-week-of-the-year resurgence of songs – but part of that may just be because of how little these songs, especially SZA’s, give me to discuss. I’m not surprised that J. White Did It, mostly known for lazy piano-led trap, produced this, because the same dead-eyed minimalism is present, just in an even less covert and purposeful way. To put it simply, this is the “Throw Some D’s” beat thrown in a blender and rapped over by Kendrick and someone who’s really not a rapper. Whilst R&B group Switch’s 1979 track “I Call Your Name” has been sampled plentifully, Polow da Don’s flip with Butta on Rich Boy’s 2006 Stateside smash “Throw Some D’s” remains the most iconic and exciting to this day, with Rich Boy’s stuttering, gang vocal-backed take ensuring that once that driven swell rushes in, there’s no breath to be taken, it’s an all-time 2000s hip hop one-hit wonder. In “30 for 30”, the sample is flipped near-identically, with this newer version sounding somehow more feathery – as if some EQ or AI stem separation took all the bass out – and the stabs Butta and Polow created are even jerkier, almost sounding delayed. Most criminally, it’s missing nearly any drums until a basic, terribly-mastered bass rumble and very clicky drum, comes in to remind you this was produced by the aforementioned J. White. It’s not that SZA and Kenny do much to help here either, because this is four minutes of them goofing about aimlessly, dissing Drake in weak subliminals that serve more to detriment Kendrick’s victory than hurt Drake. “Some of y’all just look lost”, he murmurs on a first-take vocal going back and forth with a frankly embarrassing SZA performance and elongated vowels that remind me of… well, Drake. The lazy, well-known sample with lazy trap-adjacent drums, it’s a Drake thing to do, the sing-rapping about vague pettiness directed towards no-one in particular (massive asterisk applied), it’s a Drake thing to do, as is the terrible mixing where you can tell obviously where SZA punched in a vocal and Kendrick’s ugly ramble about “conservative girls” and their sexual activity, followed by some flubbed rhymes in his half-baked outro. There’s so much space left here and “filled in” by aimless bars or dragged-out delivery, and given how much of the track is effortless, unrelatable flexing and posturing towards someone who doesn’t even pose a threat, there’s only so much of SZA asking what “chat” thinks before I can say that this is dreadful and reflects badly on the attempted victory lap Kendrick had me fully on board for in GNX. This seems like a complete misunderstanding of everything that made Kendrick win that battle and I think partly due to the influence of those who wish to play both sides. This is trash, it shouldn’t have been cleared for release – that sample couldn’t have been cheap enough to waste on this.

#66 – “Bug” – Fontaines D.C.

Produced by James Ford

Irish post-punk band Fontaines D.C. had a great year with their album release in 2024, and residue from that success seeps into the next year as a cut that previously spent some time below the top 75 rushes back in after the Christmas freeze. I’m overall mixed to positive on what I’ve heard from them – still didn’t check out the full Romance album, sorry – so I didn’t really know what I should expect. I was met with a dusty post-punk jangle that drummer Tom Coll said was an easy jam with everyone in the studio, and I believe it because this is a very focused song you could imagine comes from a simple, back-to-basics studio session, though with some very professional guitar and vocal mixing that adds that extra level of detail, particularly that wiry fuzz in the second verse and the backing vocals behind singer Grian Chatten that aren’t that much of a presence, but provide a great favour to the content which could otherwise seem self-absorbed and whiny. After what appears to be a breakup, with Chatten functioning as a miserable, envious lurker who feels wronged by his ex-partner doing very well without him, he’s still somewhat obsessed with her, like a parasite linking on his brain that he can’t help but maintain some probably unwarranted contempt for. There’s a sense of holier-than-thou delusion that feels like the middle point between lying to yourself and genuinely moving on that pokes through the song, especially in the repeated conceit of being “higher than anyone here”, and in a concise three minutes, Fontaines point towards an arc rather than seeing it through. A very misty and temporal track, especially with all the reverb, but a surprisingly straight-forward one at that, this might be my favourite so far, no pun intended. Maybe I do need to listen to these guys, I do become more impressed and intrigued each time, even if the grand scheme of the genre and scene, this isn’t pushing many boundaries. It’s just a damn good story told in a great indie rock song, not often you get that in the charts outside of Sam Fender. Can’t complain about this one at all.

#63 – “Push the Tempo” – Sub Focus and Katy B

Produced by Sub Focus and Punctual

Katy B, long time – no see. An English singer known for EDM hits in the early 2010s, she was heavily associated with mainstream dubstep from that era and produced plenty of hits with her as a vocalist, though surprisingly hadn’t been picked up for a drum and bass revival track yet in the 2020s, which seemed like a missed opportunity until the pretty excellent producer Sub Focus comes along with Katy B’s first charting track since 2016. Much like a lot of successful production from this new set of drum and bass tracks, the jump-up groove is the eventual result of a slow, atmospheric ascent that Katy B doesn’t fully fit into with her vocals not as manipulated as they probably should be. Sure, it may sound human, but she isn’t the the beyond-Earth diva or anonymous wispy presence that she could be, finding a middle-ground that leaves some inflections a bit awkward but adds a welcome human touch to the build-up. The track fizzes into a simple piano hardcore line that soon encompasses all the tropes you’d expect, before the title drop and the expected sparks from the bass plummeting in. I’m a sucker for this genre, it’ll pretty much always work for me, but Sub Focus isn’t on autopilot here with the slides and really grimy sound design that pushes that fuzzy synth bass right back into Katy B’s territory alongside her echoed fragments of vocal that take up a lot of space in the mix during that second verse, it’s really overwhelming and euphoric. I wish the second drop was a bit less copy-paste, especially given the lyrics about losing control and pushing the tempo – I know you don’t want to ruin a club track by being too on-the-nose, but if it’s well-done, a shift in pace or a flip into some hardstyle patterns here could have made it even more exciting… though maybe that’s just because Sub Focus did do this on the absolutely killer “Ready to Fly” with Dimension, which I still find just as much joy in now as I did on release. Yet again, Sub Focus brings a detailed drum and bass track with a few less surprises this time but an attention to detail that’s never left, and most importantly, it’s incredibly fun to listen to and write about. I know most people who read this are here for the pop and rap songs high in the chart, or the novelty memes that end up here (more on that in a bit), but these middling EDM debuts are absolutely my favourite reviews to write. Sound design is beautiful, the songs are often wonderful, and I never truly know exactly what to expect.

#59 – “Peggy” – Ceechynaa

Produced by Extendo Beats and Rupa Beats

On social media, I tend to stay in whatever echo chamber the algorithm decides for me, especially given how relatively private I am on my personal, non-cactus accounts. Hence, I thought nothing of the woman parading around London in an outfit that’s ought to be cold that I saw reposted constantly on X – my interest in pop music leads me down Stan Twitter rabbitholes I’m too old and normal for at this point, and I figured this was one of their underground faves, so much so I never even turned the volume on when I saw that video pop up time and time again. Turns out it’s charting! Also turns out the beat isn’t very good, kind of a lazy Jersey drill track with a menacing choral loop that does not fit the playfulness of these bars at all. Ceechynaa literally name-drops Phineas from Phineas and Ferb, why is it this aggressive of a beat? To be fair, there’s definitely a violent sexuality to this, treating men with as little respect as possible, especially in the bed, and I do understand the appeal, especially with her distinct vocal delivery. The lyrics are clunky as Hell, though, made for memes, pop culture references and reactions rather than an actually worthwhile song, with that “outro” and the aborted structure of the song overall making it evident where the priorities of it lie. That’s fine, novelties have always been charting, I just think there is some potential and untapped market in this, especially in UK drill, that might leave a track like this looking a bit lacklustre very soon if this is allowed to take off the way it seems primed to be.

#58 – “Filthy Rich” – Ella Henderson

Produced by Nicolas Rebscher and Sean Cook

Sure, Ella Henderson – somehow on my favourite hit song of 2023 and my second least favourite of 2024, Henderson rarely provokes emotion from me herself, it’s usually a combination of writing and production ideas whilst she acts sort of like a blank canvas, which can be promising given how many EDM hits she’s played a part in. What interested me, however, were the producers here. Rebscher has worked with AURORA and Alice Merton, and Cook with cats like Shaboozey and Hozier, so this at least won’t be something we’ve heard before from her. My head was swirling between “interesting attempt at branching her sound” and “cheap, pathetic stomp-clap rip-off”. Then I heard this dance-pop singer from Lincolnshire talk about her “momma” over a country banjo, mentioning “Georgia” – a ride-or-die friend that would double as the state if this was, say, Megan Moroney, but loses all of that extra detail with this kind of singer, who has never shown any interest in this sound or even lyrical content before. Since when was the house diva who sings about love on club tracks by David Guetta and Joel Corry going to release a track about allegedly not needing money to be “filthy rich”? Not only is there nothing filthy about this song’s production, there’s nothing authentic about it and whilst I love when singers play characters, this is so plainly a ploy produced for a petty part of the pie and it’s pure nonsense. It’s not your friends and family back home in the “sticks” that are preventing you from being a “broke-ass bitch” (seriously in the chorus!), Ms. Henderson, it’s the track you made with Rudimental sampling the deceased Coolio’s biggest hit for streaming points and sucking away all the context that makes it powerful for vapidity. How’s that for “filthy rich”, ma’am? Go back to performing for Tories, I’m sure Kemi Badenoch is itching for anything to take away from Reform’s share of the vote right now – Hell, Nigel Farage and Lee Anderson may have a more convincing grift on their hands than whatever this shit is. Get this the fuck out of here before people buy into it.

#46 – “Indigo” – Sam Barber featuring Avery Anna

Produced by Joe Becker

Over the winter, this previously mildly successful country singer Sam Barber broke out with a viral duet featuring an even less well-known country singer, Avery Anna, and whilst it seems out of nowhere, this kind of relatively independent country or folk song going viral the way a rap or dance song would seems very normal in 2025. It’s a double-edged sword: we get inauthentic wagon hopping like the song above us, but also, we often get a much more sincere track that charts above them. Sure, you have your commercial tracks from Myles Smith, but Noah Kahan and Shaboozey are some of the biggest names in British pop music alongside guys like Sam Fender who are on the outskirts and helped blossom this new trend, which I mostly welcome with open arms because it seems to reflect pop music listeners desiring something more human. That’s exactly what “Indigo” is, a pretty depressing cut about the colours of Barber’s life fading away from him over solemn pianos and an acoustic guitar rollick that distracts from the slower elements of the track in a unique way, so it never finds a confident footing on a groove. The song’s lost, questioning God’s plan, and even when the typical organic country drums come in for the chorus, it remains a drunken bar-stool swing to it, with a chemistry between Avery Anna’s more expressive vocal and Barber’s drooping old dog voice that reminds me of Zach Bryan’s duets. There are hints towards a breakup between the two narrators having kickstarted this period of depression, but I more so interpreted the song as about losing yourself, with Anna seeking a higher power based on her own optimism that someone still cares up there, and Barber dragging that hope through the mud like a foregone conclusion. The piano solo and its staggered build-up genuinely gave me goosebumps, and the mix is dynamic enough to accommodate that crash into the final chorus – Anna sounds like a Goddamn star on this, by the way, if I’m hedging my bets on 2025, it’s her as she’s got a traditional rasp and grit to her that goes beyond smoky indie girl voice into something really raw and beautiful. I feel like with age, I’m becoming even more in tune with my dad’s affection for sappy ballads, this hit me kind of like a truck. In a perfect world, this sees an “I Remember Everything” run – it may sacrifice that song’s lyrical and anecdotal detail but for a melodramatic arrangement that resonates with me just as much. I couldn’t recommend this more.

#44 – “BMF” – SZA

Produced by Carter Lang, Blake Slatkin and Omer Fedi

And we end with our second cut from LANA, and sadly still not one of my favourites – “Kitchen” and “Love Me 4 Me” are my picks from the new crop of songs. This doesn’t mean “BMF”, originally titled “The Boy from South Detroit” and intended to feature Lizzo (glad that didn’t pan out), is bad though – far from it. It’s definitely safe, with a guitar pluck fully in the realm of its producers Slatkin and Fedi, not doing anything to separate this from a prior work from them outside of the “Girl from Ipanema” interpolation. That’s already an oft-implemented song, whether it be samples, covers or reinterpretations – the original peaked at #29 in 1964 – so there’s little to find that’s all too new about this song, which is completely what you’d expect! It’s practically a compilation of glossed-up demos or ideas stretched out into deluxe tracks, so the fact that SZA is clear on most of this (there are definitely some watery or mumbling moments) and the lyrics are generally charming, describing this bad boy type and how she can be a ride-or-die partner, but it’s still just a fluttery indie pop-adjacent bedroom shuffle with stock drums, pleasant but empty sound design and a performance that has its peaks and troughs. The song even fades out by the end and that feels like a signifier that the song just wasn’t there, wasn’t developed beyond a cute idea. With a unique arrangement or even just better production, it could work, but there’s not enough to compel me here, and I find the dents in the construction of the track a lot more distracting when vibes and a perky hook are pretty much all it has.

Conclusion

Well, that was a long one, apologies for the wait, but also an important episode because this sets the stage for the next year of popular music. We also get some really obvious standouts for the best and worst. Best of the Week – feels like ages since I’ve given this out – goes to Sam Barber and Avery Anna for “Indigo”, with a very respectful tied Honourable Mention to “Push the Tempo” by Sub Focus and Katy B, and “Bug” by Fontaines D.C., both songs that stop at great and don’t reach the outstanding levels they could – in Sub Focus’ case, it doesn’t, and for Fontaines, it probably shouldn’t. Worst of the Week was torn between two very ugly tracks, but I think Ella Henderson takes this because wow, that sure is one way to provoke emotion from me for the first time in your decade-long career, “Filthy Rich” is just remarkably terrible. SZA and Kendrick Lamar do get the Dishonourable Mention, mostly out of the lazy instrumental but their insufferable yapping on “30 for 30” doesn’t do them any favours. Next week, the Stateside charts’ll be shook up by Bad Bunny and Morgan Wallen, but for us, it may be a quieter time. I’ll regret saying that on Friday, I’m sure. For now, thank you for reading, here’s to a good 2025, long live Cola Boyy, and remember…. I’ll see you next week.

#pop music #song review #uk singles chart #sza #kendrick lamar #lana sza #ella henderson #sam barber #avery anna #indigo #fontaines d.c.#sub focus #katy b #ceechynaa

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sunnydaleherald · 4 years ago

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The Sunnydale Herald Newsletter - Sunday, June 13

Wesley: Find anything? Giles: Six course banquet of nothing with a scoop of sod-all as a palate closer.

~~Enemies~~

[Drabbles & Short Fiction]

[Podfic] Comes the Bunny (Monty Python and the Holy Grail, NR) by Ellejabell

which brings us back to the hero's shoulders (Buffy/Spike, T) by btvsummers

Hell's Bells (Xander & Spike, NR) by violettathepiratequeen

I'm Sorry (Buffy, G) by RachaelJurassic

In Somnis Veritas (Buffy/Angel, T) by Val_Creative

the deserts miss the rain (Angel/Darla, T) by buries

Second Chance (Doyle/Angel, T) by HiddenViolet

angel brooded broodily (Buffy/Angel, G) by hopedynevan

made from the stars (Tara/Willow, T) by bodytoflame

[Chaptered Fiction]

Wilderness Chapter 38 (Tara/Willow, NR) by onebuttoneye

Slayers and Trollhunters Chapter 11 (Tales of Arcadia crossover, Anya/Xander, T) by Starfox5

You Can't Fight Fate - But You Can Probably Piss Him Off Chapter 10 (Batman crossover, Faith, NR) by Hermione2be

Yvette, the Vampire Slayer - Arc 2 Chapter 5 (Castlevania crossover, G) by TheSovereigntyofReality

Every Life I Save You Complete () by Joan963z

Getaway Chapter 5 (Buffy/Spike, M) by chaoz

Singularity Chapter 2 (Cordelia/Xander, T) by gleefulmusings

But In Time (You See Things Clear And Stark) Chapter 1 (Faith/Giles, E) by stereokem

But In Time (You See Things Clear And Stark) Chapter 1 (Buffy/Spike, E) by stereokem

Soldiers of the Light Chapter 4 (Buffy/Spike, M) by sandy_s

Devil, Slayer and Vampires Chapter 10 (MCU crossover, Faith/Matt Murdock, T) by Aragorn_II_Elessar

Forgiven Complete (Cordelia/Lindsey, T) by Perri Smith (neonhummingbird)

Dead of Night Chapter 3 (Multiple crossovers, Lindsey/Nick Burkhardt, T) by shadeshifter

Nothing Falls in Vain Chapter 9 (Faith/Buffy, E) by aliceinwonderbra

Hung Up Chapter 16 (Buffy/Spike, E) by kats_meow

When Tara Met Faith Part 5 (Tara/Faith, T) by BuffyBot3000

Pictures of You Chapter 49 (Buffy/Spike, E) by kats_meow

Something Borrowed Chapter 7 (Buffy/Spike, E) by LBdress87

all the times you bared your teeth (was always just a smile for me) Chapter 2 (Buffy/Spike, NC17) by alittlemoretime

Every Life I Save You Complete (Buffy/Spike, Adult) by Joan963z

Meet Me at Midnight Chapter 11 (Buffy/Spike, NC17) by Dusty

Bereft Chapter 16 (Buffy/Spike, NC17) by Twinkles

Sunny Side Up Chapter 9 (Buffy/Spike, NC17) by DarkEternity96

Exquisite Constellations: Part 1 Chapter 9 (Buffy/Spike, NC17) by yellowb, sandy_s, sweetprincipale, Kanita, incendie, SzmattyCat, MaggieLaFey, Dusty, LaceratedLullabies, violettathepiratequeen

Soldiers of the Light Chapter 5 (Buffy/Spike, R) by sandy_s

Bite Your Tongue Chapter 2 (Buffy/Spike, NC17) by hostile17

The Future is Ours Chapter 30 (Buffy/Spike, NC17) by DarkEternity96

Scarlet Threads Complete (Faith, T) by No Fate 1990

The Love of the Bullied Chapter 9 (Spike/Xander, R) by Forsaken2003

[Images, Audio & Video]

Photos: Inspired by an earlier post. I thought I’d share a cake my sister ordered for her husbands 50th... by Joestarinc

Photos: My wife gave me a Buffy birthday for my 48th by MaherMcCheese

Artwork: swap au (Faith/Buffy) by toyhdgehog

Artwork: today i will wear my white button down (Faith) by toyhdgehog

Icons: buffy the vampire slayer icons by buffysummaers

Crafts: Slay all day cross stitch by booksbabybooks

Something's Gotta Give (Jenny/Giles) by RachelJurasic

Buffy and Angel God, Your Mama and Me by Elizabeth Root

Willow/Tara - All About Us by CanadianTurtle

Btvs/Ats- In The Dark by Buffy07 Summers

[Reviews & Recaps]

Discussion of 3.07 "Revelations" by Mr Trick

ranking what i think are the top 10 worst btvs episodes by lqvewillow

How Season 12 Screwed Buffy Summers Over by takaraphoenix

I don’t usually talk about Angel. But damn if s12 of Buffy didn’t leave me with something to say. by takaraphoenix

Ranking ALL Season One Episodes by TunezCottage

Le Deuil Dans BUFFY CONTRE LES VAMPIRES (Orphelines) by DJORDAN PIRE

[Community Announcements]

LF a Doctor Who Crossover by ElectriCloakedHunter

Longshot, but I’m looking for an old Bangel fan made video by TheChosenOne311

World of Sunnydale (RPG!!) by EleanorShipper

[Fandom Discussions]

How many times have you rewatched the series? by Joan the Vampire Slayer

Would Buffy have had an affair with Spike if she hadn't died, not been through resurrection... by Extraflamey737

If Spike had been killed off would you have kept watching? by BtVS fan

The S6 division between fandom and writers by American Aurora

The Bronze: Buffy the Vampire Slayer Megathread by Roger

question about faith ala season 3 by RecentWishbone75

as i get older by wheel_smith

Fred’s parents by ConesofDunshire777

What is your favorite villain (who is not a Big Bad)? by Eggo999

If Buffy or Angel had a spin off with Original Charmed by Hollyvu

Are Buffy Anne Summers and Mary Ann Summers related? If so, how? Discuss. by HWHAProblem

What are your thoughts on Andrew? by dontshowup

Deaths in the show that were and weren't supposed to originally happen by DrPepper450

Buffy -- The Greatest Hero in American Fiction by caldude1985

Is it strange none of the main characters play videogames? by precita

Happy Pride y’all by cuntingly

I'm bringing it up! Strap in by treevesrdth546rtw

Buffy & Spike by throwawayasholeparty

I forgot how good faith’s fights were in season four of ATS by space-sheep08

There are a lot reasons to think s7 Spuffy is toxic but... by millennialslayer

I'd love to appear in the last season by lake-lady

Character archetypes that crop up over and over again, and particularly often in 90s and 00s genre TV shows by nonasuch

Cordelia Was Better For Angel Than Buffy Ever Was by fangirl93

Riley by cosmicrhetoric

Shrimp by takaraphoenix

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#buffy the vampire slayer #btvs #ats

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