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call-of-daydreams · 5 months ago

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✧˚˖𓍢ִ໋🎧🤎☕˚˖𓍢ִ໋✧☁️˚ʚ🧸ɞ˚☁️✧˚˖𓍢ִ໋☕🤎🎧˚˖𓍢ִ໋✧

𝒞𝓌: 𝓕𝑒𝓂! 𝓡𝑒𝒶𝒹𝑒𝓇, 𝒻𝓁𝓊𝒻𝒻 𝓉𝑜 𝓈𝓂𝓊𝓉, 𝒞𝒽𝑒𝑒𝓈𝓎 𝒻𝓁𝓊𝒻𝒻 𝓉𝑜 𝓈𝓂𝓊𝓉, 𝒶𝒻𝓉𝑒𝓇𝒸𝒶𝓇𝑒, 𝒫𝑜𝓇𝓃 𝓌𝒾𝓉𝒽 𝓁𝒾𝓉𝓉𝓁𝑒 𝓅𝓁𝑜𝓉

𝒲𝑜𝓇𝒹 𝒸𝑜𝓊𝓃𝓉: 𝟣𝟩𝟦𝟢

𝓔𝓈𝓉𝒾𝓂𝒶𝓉𝑒𝒹 𝓇𝑒𝒶𝒹𝒾𝓃𝑔 𝓉𝒾𝓂𝑒: 𝟨 𝓂𝒾𝓃 𝟦𝟫 𝓈𝑒𝒸

✧˚˖𓍢ִ໋🎧🤎☕˚˖𓍢ִ໋✧☁️˚ʚ🧸ɞ˚☁️✧˚˖𓍢ִ໋☕🤎🎧˚˖𓍢ִ໋✧

Seonghwa entered the coffee shop, scanning the room for Y/n's familiar face. When he spotted her, a warm smile spread across his face as he made his way over to her.

She looked up and smiled, her face lighting up the room. "Hey," she said, patting the seat next to her.

Seonghwa slid into the seat and leaned in to give her a quick kiss. "Miss me?" he teased.

Y/n rolled her eyes playfully. "You know I always do," she replied.

They sat together, talking and laughing, enjoying each other's company. Seonghwa couldn't help but feel a sense of contentment and peace when he was with her. They ordered their drinks and continued to chat about their day, Seonghwa sharing stories about ATEEZ's latest adventures.

"How's the comeback coming along?" Y/n asked, genuinely interested.

"It's going great," Seonghwa said with a smile. "We've been working hard in the studio, putting everything into making this comeback our best one yet."

He went on to tell her about the songs they'd been working on, the choreography they'd been practicing, and the excitement and anticipation he was feeling for the release. Y/n listened intently, asking questions and offering her support and encouragement.

As they sipped their coffee, Seonghwa couldn't help but notice a strand of hair that had fallen into Y/n's face. He reached out and tucked it behind her ear, letting his hand linger on her cheek for a moment.

Y/n blushed, her heart fluttering at his gentle touch. "You're so sweet," she murmured, smiling up at him.

Seonghwa chuckled and pulled his hand away, not wanting to embarrass her any further. "It's not fair," he said with a mock pout. "You always make me lose my train of thought when you smile at me like that."

Y/n laughed and poked him in the arm. "You're just a big softie," she teased.

Seonghwa feigned a hurt look. "Hey, I can be tough too," he protested.

Y/n rolled her eyes. "Uh huh, I've seen you when you see a puppy. You turn into a pile of mush instantly."

Seonghwa couldn't deny it. "Fine, you got me there," he admitted, grinning. "But I can't help it if puppies are just too damn cute."

Y/n shook her head, still smiling. "You're hopeless," she said affectionately. "But I love you for it."

Seonghwa felt his heart skip a beat at her words. He loved how comfortable they were with each other, how they could be silly one moment and heartfelt the next. "I love you too," he said quietly, taking her hand in his.

Y/n squeezed his hand, her heart swelling with happiness. They sat in comfortable silence for a few moments, just enjoying each other's presence.

Finally, Seonghwa glanced at his watch. "I wish I could stay here with you all day," he said wistfully. "But I have to head back to the studio soon."

Y/n nodded, disappointment flitting across her face. "I know," she said. "But I'll see you tonight, right?"

"You bet," Seonghwa said firmly. "I wouldn't miss our time together for the world."

He stood up and leaned down to kiss her forehead. "I'll call you later, okay?"

"Okay," Y/n said, reluctantly letting go of his hand. "Have a good practice."

Seonghwa gave her one last smile before walking out of the coffee shop, already missing her presence.

As he made his way back to the studio, Seonghwa couldn't help but look forward to the end of the day, when he could see Y/n again. He knew that their lives were busy and chaotic, but as long as he had her, everything else faded into the background.

That night, Seonghwa arrived at Y/n's house, exhausted from a long day of rehearsals but still in a good mood. Y/n greeted him with a warm smile and a hug, and he felt all his stress melt away in her arms.

They spent the evening curled up on the couch, watching a movie and sharing a bottle of wine. As the night progressed, they found themselves growing more and more comfortable in each other's presence, their hands wandering and their touches becoming more intimate.

"I've missed you," Seonghwa murmured, his lips brushing against Y/n's neck.

She sighed, arching her neck to give him better access. "I've missed you too," she breathed, her hands roaming up his back under his shirt.

Seonghwa let out a low groan, the feel of her hands on his skin driving him wild. He shifted, pulling her onto his lap so she was straddling him. His hands moved down to her hips, holding her firmly in place as he pressed kisses along her collarbone.

Y/n gasped, her fingers tangling in his hair. She could feel the heat pooling between her legs, an aching desire building with every touch of his lips. She shifted against him, seeking friction, and Seonghwa let out another low growl.

"Gahddamn, you're driving me crazy," he muttered, pulling her closer. His hands moved to the hem of her shirt, slowly pulling it up. "I need to feel you skin-to-skin."

Y/n helped him pull off her shirt, shivering as he immediately began to press kisses along her bare skin. His hands explored the curves of her body, familiar territory that he never tired of exploring. She arched into his touch, her breath coming in ragged gasps as his mouth moved down her stomach.

Seonghwa pushed her backward until she was lying on the sofa, his body covering hers. He captured her lips in a deep, hungry kiss, his tongue delving into her mouth as his hands continued to roam. "I want you so badly," he murmured, his breath hot against her ear.

"I want you too," Y/n gasped, her body arching against his. She ran her hands down his back, feeling his muscles tense and relax under her touch. "Please, Seonghwa…"

Seonghwa didn't need any further encouragement. He quickly pushed her pants down her hips, his own clothes following soon after. He positioned himself between her legs, his eyes darkening as he took in the sight of her naked body. "You're so beautiful," he breathed, his voice ragged with desire.

Y/n felt a thrill of anticipation run through her at the raw need in his voice. She wrapped her legs around his hips, pulling him closer. "Don't make me wait any longer," she pleaded, her nails digging into his shoulders.

Seonghwa didn't need to be begged. He captured her lips again in another passionate kiss, his tongue tangling with hers as he slowly began to press into her. He groaned at the tight, wet heat enveloping him, his hips starting to move in a steady rhythm.

Y/n gasped, her back arching as pleasure coursed through her body. She met his movements, her hips rising to meet his with each thrust. She clung to him, her nails digging into his back as she felt herself getting closer and closer to the edge. "Seonghwa," she panted, her voice ragged. "Don't stop, please don't stop."

Seonghwa could feel himself losing control, the sensations coursing through his body overwhelming him. He gritted his teeth, his movements growing more frantic as he drove them both towards release. "I won't," he grunted, his voice hoarse. "You feel too good."

Y/n's moans grew louder, her body clenching around his as her pleasure coiled tighter and tighter. Seonghwa's hands gripped her hips, his nails digging into her skin as he pistoned in and out of her. He could feel her on the edge, her breath coming in ragged gasps and she clutched at his shoulders. "I'm close," she gasped. "God, I'm so close, Seonghwa."

Seonghwa was too far gone to form coherent words. He buried his face in her neck, his hips moving desperately as he sought his own release. "Come for me," he panted, his voice ragged. "Come for me, baby, please."

Y/n's body convulsed as her climax hit her like a tidal wave. She cried out, her nails digging into his skin, and Seonghwa felt her clench around him. The sensation was too much, and he followed her over the edge, his body shuddering as he spilled himself inside her.

They collapsed against each other, breaths coming in ragged gasps as they rode out the aftershocks. Seonghwa buried his face in her hair, his heart pounding against her chest. "God, you're incredible," he murmured, his voice still hoarse.

After a few minutes of catching their breath, Seonghwa gently extricated himself from Y/n's embrace, wincing slightly at the separation. He kissed her forehead tenderly. "Wait here, baby," he murmured. "I'll be right back."

He stood up and disappeared into the bathroom, returning moments later with a warm, damp cloth. He returned to the sofa where Y/n was still lying, her eyes half-lidded and her body still trembling faintly.

He sat down beside her and gently spread her legs, using the cloth to clean her tenderly. His touch was gentle and soothing, his eyes fixed on her face as he worked. "You okay?" he asked softly, his voice filled with concern.

Y/n mustered a small smile, her body still feeling boneless and relaxed from their earlier activities. "I'm great," she murmured. "Just… feeling a little boneless."

Seonghwa chuckled, setting the cloth aside once he was finished cleaning her up. He climbed back onto the sofa, pulling her into his arms and settling her against his chest. "That's a good thing," he teased, his fingers stroking her hair. "Means I did my job right."

Y/n snuggled closer, burrowing her head against his chest and inhaling deeply. She loved the feeling of being held in his arms, safe and cared for. "You always do your job well," she mumbled, her words slightly slurred with exhaustion.

Seonghwa smiled at the praise, his heart swelling with affection. He pressed a kiss to the top of her head, his fingers still running through her hair soothingly. "Get some sleep, love," he murmured. "You need to rest."

Y/n nodded, her eyelids already drooping with fatigue. "Mmm, okay," she mumbled, already drifting off to sleep. "Love you, Hwa."

Seonghwa's smile widened at her sleepy confession. He held her close, his heart full of love and contentment. "Love you too, Y/n," he whispered, pressing another kiss to her forehead. "Sweet dreams."

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unreesonable · 20 days ago

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Radio 2 interview with Lynn Parsons, 21 October 2002, about Art and other things. Transcript under the cut.

LP: It's late night Radio 2. Now "Art" has been showing in the West End of London for 6 years now and it's renowned for its freshness because every few weeks there's a cast change. As of Monday the 14th of October, the 27th cast took to the stage at the Whitehall Theatre - namely Mark Gatiss, Steve Pemberton, and Reece Shearsmith. They are known collectively as The League of Gentlemen, and they join us in the studio tonight to talk about the very last cast change in this six-year run of Yasmina Reza's story of friendship that is put to the test, and all in the name of art. Welcome, Gentlemen.

MG: Good evening.

RS: Hello

SP: Hello!

LP: You've just come off stage. How was it tonight?

SP: Great!

RS: Good, very good.

SP: Very good response. You know, it's the play that really gets people going and we just feel like, you know, we're very lucky to have such a good script, really.

LP: Well, it's going to be completely different to the first time you actually hit the West End stage because you were performing in something you'd written. Now you're performing in something that somebody else has written. Is that as comfortable?

MG: It's very different, but I think what we've found so far is you can almost sense there are some people who've only come to see us. Obviously, there's a big mixed audience because the play has such a reputation, lots of tourists, but I think you can almost detect that people are won over by the material. They may be expecting one thing and they certainly get another, and by the end, they're really going with the actual impetus of the play rather than just the fact that we're, you know, we're novelty casting.

SP: There was a performance the other night where the curtain sort of goes up and I'm sitting on stage to begin, and I heard someone go 'Pauline!' and I was thinking 'Oh no!' And, you know, that's the fear - that people would expect to see what we do on television somehow infused into this play. And of course we haven't done that.

RS: Yeah.

SP: We've just acted in the play, haven't we?

RS: Absolutely. Yeah, it was a concern that somehow people might think, bizarrely, that we would do the play in our characters.

MG: Well, some quite reasonable people have actually asked that.

RS: Yeah!

MG: Which is extraordinary, as if we're going to sort of pervert this play just to our own advantage.

SP: But as Mark says, by the end you can tell by the time you're doing your final curtain call and everything that people have really enjoyed it.

RS: But it is a strange thing to do someone else's lines, finally, because, you know, we are so used to writing and performing our thing and it's our vision. Suddenly to have characters that are not ours - you know, that's where we've had a director for the first time in many years properly directing us as actors, and that's a really unusual thing for we three. We never get told what to do really.

LP: Now we're used to seeing the three of you - the three of you together. And I just wondered whether you chose the parts you played or did they absolutely know who was going to play what?

MG: No, it was up to us, but we sort of fell into. er... There was a kind of general sense - people guessed correctly and I was like 'Oh, all right. Why?' And we did talk for a while about sort of swapping around to confound people's expectations, but it just sort of happened naturally really.

LP: I thought perhaps Mark would be Marc, but you've complicated matters slightly.

MG: Yeah, that was the only concession to complication.

SP: It would help, wouldn't it, to change that. But no, I think they had the same ideas that we had. But to be honest, we could have done it any way. We did feel that the parts were best suited the way we've done them, but we could have changed them.

LP: Well, you're in it for three months-

MG: Oh!

LP: And we're only a week down the line. I was just thinking that maybe you might have a bit of fun and change around.

RS: Ugh! No...

LP: Would that be too much?

MG: It's enough of an effort to get through it every night!

LP: I think perhaps you should tell us the parts you play and what - why you picked those particular parts. That would be good.

MG: Well, I play Serge, who's bought the offending white painting. I'm a dermatologist, I've done very well for myself, and what the others can't bear - or certainly Marc can't bear - is I've splashed out this enormous amount of money, about £20,000, on a totally white painting. It offends his sensibilities somehow. And I'm sort of trying to keep the end up for art for art's sake really, in the face of his- what I see as his philistinism.

SP: But you are more interested in art than-

MG: Than the other two, yeah, yeah.

SP: Than we two. But as yourself, I mean…

MG: Oh, me? Yes.

SP: But you wouldn't like the white painting, would you?

MG: No, that's the thing.

SP: As yourself.

MG: I mean, I love painting, I do paint, but I'm actually more...

SP: He's a decorator.

LP: Right...

MG: I'm a painter and decorator. Like Hitler. I would not have that painting in my house.

LP: OK

RS: It's strange though because by the end I think it is a beautiful thing. That's what's brilliant about the play.

SP: So actually you should have been Serge?

MG: Yeah.

RS: Yes! Yeah, yeah.

SP: Mark should have been Marc and I should have been Yvan.

RS: Oh no. Mistake.

SP: We are discovering we've done it wrong!

MG: Oh no!

RS: Anyway, I - unfortunately - play Yvan. I'm the middle one who is, um, neither hates nor loves the painting but can just see both sides and is the friend of the pair of 'em. There's three friends and we are equally kind of successful in the worlds that we inhabit, but I kind of try to keep the peace and, wrongly, probably - in a kind of a boring way - say yes to both the pair of them. And that causes conflict because I shouldn't just be kind of middling. I shouldn't...

MG: You don't take sides.

RS: I don't, yeah… I don't, I kind of try and keep it all smooth and that causes its own problems. And I don't know whether I do that in real life - I probably don't do that in real life. I'm probably more extreme than Yvan and... angst-ridden. I mean, the character often is being described as kind of the scatty middle one, the obviously comedic one of the three, and I think that we haven't - well, I haven't really done it like that. Not that I'm trying to defend myself if it's not funny, but not obviously to playing it for kind of the bumbling middle one. It's just we… I think we're all quite equal in it and that's good. I think that's true to the play.

LP: OK.

RS: So, um, that's my character.

LP: And you play Marc?

SP: I play, Marc, yes. Marc is an engineer and he's very good friends with Serge and with Yvan, and he hates the painting. And it turns out that he's always thought of himself as being a sort of opinion former - someone who Serge would come to and say 'What do you think about this?' and Serge would get his opinions from Marc. So the idea that Serge has gone out and bought his own painting is really annoying. And the fact that it's just this completely white canvas - he just can't see it. He's very old-fashioned. And when I read it, I sort of didn't like the character. I thought, 'Oh God, he's a bit pompous and a bit sort of arrogant,' but the way we've been directed to do it is to see every character's point of view and play the truth of that because, you know, you do get exasperated about the most ridiculous things. And one of the nice things that we've been able to work on - because we are three friends and have been for 15 years as the friends in the play have been - is that even when they're falling out and at their most extreme, daggers drawn, they can still have a laugh. And so the play needn't become just one long protracted argument - that would be very boring. So what we've tried to do is pick out moments of humour even amid the hugest argument. Someone will say something and all three of us laugh, and that's been really nice to work on.

RS: Yeah, it's a very real thing I think in friendship - in a proper friendship, a long stable friendship - that you can do that. You can say the most horrible thing and a minute later you can be laughing again, and you know it just wasn't meant.

MG: You can certainly imagine it like at the end of a relationship - even if it's all over and that's it, and you're sort of even, like, sorting out who's getting what and things like that, you would have a shared remembrance of something which would still bring you back together. And that's the sort of thing we've been trying to find in it.

LP: When there's a cast change in 'Art,' there is always - I travel up and down on the escalators all the time. Just for the sheer hell of it, not because I'm going anywhere. But there are always those wonderful pictures, aren't there?

MG: Yes!

RS: Yeah.

LP: And yours has got, well, a lot of colour in it. And a cow!

RS: That's right, yes.

LP: One of these cows has been placed around.

MG: Modish.

LP: Was that anything to do with you?"

MG: Well, I had an idea that we should do a Damien Hirst thing and have us cut in half and preserved in tanks.

RS: Yeah.

MG: Which I thought was a bit ghoulish even for us... But then it went that way of having one of those cows. And the reason we've got chainsaws and everything - the implication is we're going to cut it in half and do a sort of Damien Hirst on it. I don't know what it is now-

RS: I think it just happened - the cows are around at the moment and it's an art-type thing-

MG: And it's the only white one. It's an artifact in itself.

RS: Yes. So it's just, um, a sacred cow, maybe...

MG: Hmm, yeah...

SP: But because it's a white cow on a white background in the poster, most people don't see it!

LP: I saw it!

SP: You saw it. OK! Oh, that's good!

LP: It's the blood splattered everywhere, all the red paint really.

SP: Yeah, well, it's certainly different, you know. We went to David Pugh's office - he's the producer - the other day, and he's got all the different posters on his wall. And we were saying to him you should put a book out. Because they are really-

LP: Actually they're very clever aren't they? Very clever.

RS: Yeah. It'd be really nice to have.

MG: We actually have two. We're the first cast to have two - it's double-sided, although no one puts the other one up. The other side is a Gilbert and George pastiche, which no one gets so probably not… it's not up, but it's quite nice, that one. Quite subtle.

RS: Yeah. Like stained glass.

MG: Mmm.

LP: Stay with us, we'll talk more after this. The League of Gentlemen - that's Mark Gatiss, Steve Pemberton, and Reece Shearsmith - are my guests on the show tonight, and they're currently performing 'Art' at the Whitehall Theatre in London, which we will come back to in a moment. But I think we need to mention Jeremy Dyson. I've never seen him - I'm not sure if he exists - and obviously there are only three parts, aren't there, in 'Art'?

MG: Yes.

LP: So it's understandable that he's not there. But we haven't seen him in The League of Gentlemen either, have we? Or have we?

MG: You've glimpsed him very briefly.

SP: He crops up, yeah. You'd have to know what he looked like in order to spot him - a bit like Where's Willy.

MG: Where's Willy this week?

SP: The children's books. But no, he does crop up. He was in the original lineup before we were called The League of Gentlemen. He did do some sketches, and in fact, he was the first person to play Bernice, the vicar who Reece now plays. But because he never trained as an actor, I think he just sort of didn't feel confident enough to do that.

LP: And he likes focusing on the writing.

RS: Absolutely, yeah.

LP: What does he think of you in this? Has he seen you yet?

RS: Yes, he has. Yes, yeah, he thought it was very good. He was very proud. He hadn't ever seen it, so it was great that he said he was holding out for us three to do it.

LP: Aww!

MG: Oh, that's what everyone's been saying! Lazy people!

RS: But no, he was very... He thought it was great.

LP: Good. I think I'm right in saying that you were commissioned for the BBC Radio 4 series after being spotted at the Edinburgh Fringe, and that the radio show won a Silver Sony Award, which is-

MG: That's right.

LP: That's fantastic, isn't it?

RS: It did, yeah, it was amazing.

MG: Yeah, seems like a long time ago.

SP: The Gold Award went to 'Jam,' the Chris Morris series on Radio 1, which we didn't mind losing to because we think he's a genius.

LP: It's pretty cool too, isn't it?

MG: I can also remember that the bronze went to 'Hold My Plums' Christmas Special.

SP: That's right.

MG: BBC Radio Bristol.

SP: It was regional. It was local humour for local people.

LP: And then we get the resulting television series, and I'll just have to take a deep breath here, which won the Golden Rose of Montreux, the RTS Award for Best Entertainment, a BAFTA for Best Comedy, and in terms of other awards as well, there was the little matter of the Perrier Award for the Edinburgh Fringe in '97. Now, there are four of you, so do you have these awards on your mantelpiece in a rota basis? How does it work?

RS: Yeah. No, we don't.

MG: Actually, should work out a version of the award story now 'cause… a shortened version of them all. The Golden Rose was stolen by the BBC. It's still there. We got -

SP: It wasn't stolen!

RS: They said, 'Can we have it and have it in a tank for a while and look at it?' and then we never got it back.

MG: We got one BAFTA each - we got one of those at home. The RTS is with our agent. The Perrier is too. I think that's it.

SP: I think the only awards we've got… the only awards I've got at home are… when you're asked to give an award and the person hasn't turned up, so we've got like Gwyneth Paltrow's Best Actress award

RS: Yeah, I've got that.

SP: And I've got Marilyn Manson's award for Best Video.

RS: She won at the Empire Awards

SP: So that's the only way we get awards - by giving them out and then people not collecting them. Otherwise, because there's four of us, yeah, we give them to our agent and they sort of look after them.

RS: They've got a, you know, a display cabinet with a lot of awards in. So it's-

SP: Just to stop the BBC stealing them.

MG: Stealing them back!

LP: Now, a moment ago you were saying in 'Art' the relationship is 15 years, you know, sort of off stage and on stage for these characters, and you were saying that it's okay to argue and it works throwing things sort of about between you. Is that how the writing for The League of Gentlemen works? Are there a few arguments? Do you kind of pitch in here and there?

RS: It's not as apocalyptic as in 'Art,' but we're a bit more…

MG: Not yet.

RS: Not yet, no.

LP: No chainsaws.

RS: Yeah, no, it's… we kind of split the writing into two teams. Steve and I write together, and Mark and Jeremy tend to write together, and then the hardest part really is coming together to knit it into one whole. And this third series we've just done, we tried more to have an eye on the entire thing this time around because our last two series have kind of been made up of sketches that we've all written individually.

LP: This is slightly different, isn't it?

RS: Yeah, so we just thought - and it's always felt slightly unsatisfying as writers to have not really ever had that bigger picture entirely. So we just thought let's try and think of… and this is why we ended up with the idea of all six having the same ending and arriving at the same point so that it all completely knitted together. And that's hopefully quite interesting for people to watch.

MG: Also after three series, you know, we move on. There are elements in the second series where if you watch it now, there are storylines developing over a couple of episodes or even one episode. There's a little story about four visits to… and so it's a natural progression then to do a 20-minute story around one or two characters and make it less sketchy, and it's more mature, I think.

LP: Right. The show's really funny and very dark too. Now, I've read that you claim British horror films are a big influence on your work. Are we talking Hammer Horror here?

SP: Yeah, I think in part, yeah.

RS: All kinds.

SP: All kinds of horror films from the '30s, '50s, '70s... I think in this third series what we've tried to do is - because we've done so many horror film pastiches up to this point, and there's a danger of being seen as going into parody and doing parodic humor, which isn't our thing really, and so we've pulled back a little bit from that and allowed the characters just to be in the real world with real problems. But yeah, certainly the idea of those sort of horror films which really shock you and take things in an unexpected direction - that's been a big influence, and we always try to stay one step ahead of the audience.

LP: At this stage in the proceedings, I think I should bring in Papa... Lazarou.

MG: Papa Lazarou.

SP: Why, is he outside?

RS: Yeah, here he comes...

SP: He's going to steal you!

LP: How scary is that man? We've had so many emails because we've said that you're coming on the show, and we had one from Hannah Chase in Dartmouth who said that is her favourite character. Are we likely to see more of him in the future?

MG: Ah, well, you must gaze into your crystal ball!

RS: Yes, yeah… Well, we were very… we had… we talked long and hard about how we could or couldn't bring him back, you know. We just… we just in the end thought that…

LP: You're gonna let him go?

RS: Yeah, one of the first-

SP: For now!

RS: For now. I mean, who knows?

SP: But not forever.

RS: Not forever.

SP: He's roaming the country, yeah.

RS: Yeah he's in the countryside wandering around looking for more wives.

SP: You never know when he's going to crop up.

LP: And bizarrely, we have one from Dave, who I understand is the real Dave. From Cardiff. Who wanted me to ask you what is the special stuff that Hillary Briss the butcher sells to the locals?

MG: We can't tell you that because otherwise it would all be blown!

RS: Ah yes.

LP: You'd have to kill me, wouldn't you?

RS: Yes. We could, but then...

SP: Read the book, read… there are clues in it.

RS: Yeah, there are!

SP: There are clues. If you read the - we've got a book called… I'm not plugging it here, well I am, but 'A Local Book for Local People.' If you read that, there are clues within it as to what the special stuff actually is, and no one's cracked it yet. But-

MG: It's like that thing where you could go and dig up the golden hare. You remember that?

RS: Ooh. 'Masquerade'

LP: I don't know that one. That's kind of fallen a bit flat on me.

RS: Didn't you have to find eggs around the country?

MG: No, it was… it was a bloke called Kit Williams. He made this beautiful jewelled hare out of solid gold and buried it somewhere. And he did this fantastic book of paintings with clues…

RS: Oh yes! I remember that!

MG: And everyone got to around page 16 and couldn't get any further.

LP: Did anybody find it?

MG: They did in the end, and I think someone found it by accident, which is terrible.

SP & RS: Ugh!

MG: We should do something like that.

RS: Mm!

SP: A development, or…

LP: A bit of an anticlimax really. And Alec Duffy from Glasgow says, 'Why was the town called Spent for the radio series and changed to Royston Vasey for television?'

MG: We came up with the… we had a big list of short… a shortlist of potential Northern town names, and Spent is quite authentic-sounding. There's a lot of places, you know, called Knacked and Dry, things like that, various places in the North… and then we just got a bit fed up with it, really. And Royston Vasey had been on the list - it's Chubby Brown's real name. It was like sort of joke within a joke.

RS: Yeah, I think we thought Spent was a bit too kind of on the nose, telling you what-

MG: Too 'Nurthurn'

RS: Um, the intention behind that kind of tired, horrible-

MG: It's also that simple thing, you know, transition to TV, you sort of want to make a fresh start. And we'd made a lot of mistakes on the radio, I like to think. Like today! And it was just sort of is a way of underlining that and saying, 'Well, this is slightly different.'

SP: Same material but a different...

RS: A different town name.

MG: The town next door.

LP: Let's take you back to the theatre now. You're in 'Art' until it closes in January. Is it very nice to be sort of, you know, 27th cast and with all those names? Is it really nice to be part of that?"

RS: Absolutely, yeah. It's such an honour. I mean, I've always… I remember seeing the second cast with Mark Williams, David Haig and Anton Lesser, and I thought, 'That's… I'd love that play. I'd love to do that one day.' And you know, that was 1997/8, was it something like that? I just thought we'd never be asked. But. It's great!

SP: Mm, but to begin with, it was quite daunting, wasn't it? Because we were sort of hearing all these other casts and 'Oh, they did that line brilliantly' and 'they did that scene beautifully,' and it puts the pressure on you before you've actually done the play. Now we've done it and we've got the first sort of week or so under our belts, we're a bit more confident that it's our interpretation of 'Art,' and, you know, hopefully it'll rank alongside the others.

RS: Yeah. And we're younger than a lot of the casts… I mean, they have in the last few casts had younger people, and that's a different spin on it, I think. MG: And also we are three friends - the first time this has happened. I mean, I think previous casts, a couple of people… well, the original-

LP: Might have known each other.

MG: - get on well, but it's a different sort of dynamic, if I dare use that word. We won't be friends by the time we've finished!

LP: And just finally, out of curiosity… he is the producer - have you met Sean Connery yet?

MG: We got some flowers from him opening night. And I was going, 'Who's this Sean?' ... Oh, it's Sean Commery. The very idea that he sent-

SP: We're hoping that, you know, that the run coincides with one of his tax breaks, you know, when he can come to the UK, and that's the only way we'll meet him!

MG: 'What the hell have you done to my play?'

SP: But interestingly, he is filming 'The League of Extraordinary Gentlemen' in Prague.

MG: Ah yes.

SP: At the moment. Is he? So-

MG: Mm. Floods permitting.

SP: So there is a link there.

LP: The other link is, of course, that he was born in Edinburgh, so that kind of has a connection for you as well, because that's when things began to take off for you at The Fringe. So I guess geographically it's a lucky charm. And long may your luck continue!

MG & SP & RS: Thank you very much!

LP: Mark Gatiss, Steve Pemberton, and Reece Shearsmith. Thanks so much for coming in for a chat, and they're in 'Art' at the Whitehall Theatre in London until January.

#reece shearsmith #steve pemberton #mark gatiss #tlog #the league of gentlemen #radio interview #art #2002 #why the fuck did i type this all up i think i've actually gone insane #obvs some mistakes as they talk over each other but i did my best

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satoshi-mochida · 1 month ago

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Penny Blood Inheritors Story Vol. 1 Now Available On Amazon Kindle In English

Studio Wildrose has announced that Penny Blood Inheritors Story Vol. 1 is available in English and Japanese via Amazon Kindle for $7.99.

Book Overview

Note that the following used names and terms are from translating Japanese press material: This 262-page collection of mini-narratives expands upon the dark, supernatural world of Penny Blood. Each of the three stories takes place in 1924 across different regions:

America: Penny Blood: Erebus follows investigator Alaska Packard Davidson, tackling human trafficking cases amidst the vibrant yet shadowed Roaring Twenties in New York.

Europe: Penny Blood: Hideseeker explores the partnership between Emilia Dawson (British Intelligence) and Matthew Farrell (Bureau of Investigation) as they confront a supernatural invasion threatening the continent.

Japan: Penny Blood: The Vessel of Summoners centers on twin summoners, Fusuke and Kaoruko Tsukimiya, members of the Shinteigumi Zero Squad, defending Tokyo from otherworldly creatures post-Great Kanto Earthquake.

Authors and Illustrators

Authors: Matsuzo Itchoda, Toya Katsuta, Ari Lee

Illustrators: Miyako Kato, Nobutaka Hanya

Editor: Matsuzo Machida

You can view the cover artwork for Penny Blood Inheritors Story Vol. 1 below:

About Penny Blood

Set in the 1920s, Penny Blood, the spiritual successor to the Shadow Hearts series, is a dark RPG where:

World Exploration: Players travel through regions like America, Japan, China, and Europe, encountering unique characters and odd happenings.

Psycho Sigil Battle System: Requires precise timing during attacks to maximize damage.

Fusion System: Party members transform to unleash devastating skills.

Sanity Points (SP):

Frequent interactions with demons reduce SP, driving characters to madness.

Madness grants immense strength, which can turn battles in your favor.

There is seemingly no confirmed publisher for Penny Blood at the moment.

#Penny Blood Inheritors Story #Penny Blood #Studio Wildrose #Noisy Pixel

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music-orthemisery · 5 months ago

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Hi! While we somewhat on the subject of Patrick’s solo project, can we talk about the hidden track on SP? Like… your thoughts, feelings, theories? What do you see when you listen to it? What feelings are you experiencing when you’re listening to the sounds at the end of the track???

Of courseeee we can talk about Cryptozoology, anon! I’m assuming that’s what you’re referring to, at least.

First, I’ll punt over to this ask @earlgreytea68 answered about this song because I think both she and anon made some great points! I especially love EGT’s comment re: naming a hidden song “cryptozoology.” It’s just so clever!

In terms of my own thoughts, this song definitely presents a few layers to me. The most obvious being him speaking to the music industry and the public/fans in response to him being out on his own. In general, I think Patrick is generally lying out his ass when he says that SP is all metaphorical commentary on the industry/society/etc., but this is one place where I do think that’s accurate. Patrick was in a place where he was desperate to be seen as his own artist - someone who could work magic without Pete and no longer be limited by the confines of FOB.

In terms of the visuals (the cryptozoology of it all), in my head this is Patrick being self-deprecating in a tongue-in-cheek way. He spent years being the guy in Pete Wentz’s shadow, and the ways he’d be described were rarely kind. You’d see nerdy, fat, unattractive, shy, etc. - which would then be paired with commentary on how he’s the primary songwriter and how “despite his looks” he’s essentially the hit factory.

So, now we have this guy emerging from the shadows. This guy who, compared to Pete, was less known, kinda weird looking, and, therefore, more mysterious…what could he bring to the table by himself? Who is Patrick Stump without Pete Wentz? Them being apart practically makes him a Cryptid because it just didn’t exist untold then. It was always at least the two of them.

There’s also the lyrics, “They got the search party looking for the ghost of the child/But what if he grew up? He never died.” Which is….ugh…basically pariah before pariah. I think his perspective here was more defiant (compared to pariah’s defeat), though. Like, ok, I’m being told that the only good I’ve created is shit I created when I was 18, but fuck that. I grew up and I’m here whether you like it or not and I’m not going to keep trying to please you. I’m going to create what I want to create. I don’t need to prove myself to you!

And, yes, that second part is also being spoken to Pete IMO. EGT’s ask that I linked to above echos my general thoughts on that aspect so I won’t go into it much more here.

Of course I need to acknowledge some p2-ness of it, tough, so I’ll focus on the source of Patrick’s bitterness here.

First off, I do not think Patrick was jealous of Pete’s attention. There is not a single thing about Patrick Stump that points to him wanting to be on the same level of fame and attention as Pete was back then.

In fact, going back to my earlier point about him emerging from Pete’s shadow - I’d argue that he was totally fine being in Pete’s “shadow” before, because I don’t think that’s how he saw it. Maybe he didn’t have words for it yet, but it goes back to what they still do now, which is protect each other. He wasn’t in Pete’s shadow. He was the reason he was able to put it all out there musically. They were doing it TOGETHER.

So, in my eyes, Patrick’s bitterness toward Pete, stemmed primarily from abandonment. His creative (and general life, ofc) soulmate had been punted into a completely different reality. Gone were the days where the two of them would spend hours writing and bickering and creating. Even starting in IOH era, there was tension building between them due to Pete’s obligations were taking him away from the studio. They weren’t doing this thing together anymore. Patrick was having to forge on “alone.” Not literally, of course, but I think you get where I’m going with this.

Additionally, referring back to the beloved Zane Lowe interview, Pete’s lyrics give Patrick purpose. Their creative energy is what gets him up in the morning. So, in Patrick’s words, not only was he losing Pete, he was losing his purpose.

(In my delusion p2 brain, IOH is also when the tensions of “what the fuck are we?” And Pete having to live up to the “Hollywood hottie” persona began. That’s a whooooole other post in itself that I’ve talked about a few times before but just had to throw that in there of course.)

So, this is both processing his emergence as his own person to the media and public, but also to Pete. I don’t need to prove myself to you. I don’t need you. I can do this all on my own.

In terms of feelings I experience, what I see, etc…I admittedly tend to intellectualize those things rather than fully acknowledge and experience them, so honestly the above answer probably best captures that as well, haha. Oh, and no clue about the outro sounds. I’m sure someone smarter than me may have some thoughts on that, but in my head Patrick is just playing into the Cryptid/hidden element with some sounds 🤷‍♀️

Anyway, I could yap forever about this but I’ll leave it there. Great question, anon! Thank you! Definitely gave me something to ponder during work today, haha!

#p2 #patrick stump #pete wentz #sp era #mm yappings #pre-h #anon asks

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felassan · 11 months ago

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developer interview with game developers of upcoming action sci-fi RPG Exodus from Archetype Entertainment, Chad Robertson (executive producer; at BioWare worked on Anthem and The Old Republic) and James Ohlen (executive creative director; senior creative director of BioWare, where he worked for 22 years). (according to wikipedia, Archetype is notable for having drawn talent from BioWare.)

at one point [at timestamp 6 mins 18 secs approx], the interviewer asks them about they and their new studio's relationship with their publisher, Wizards of the Coast. they said that as a publisher WoTC are good and their relationship is good; that WoTC gave them the opportunity to create a whole new IP and a bunch of money to do this. they noted that they let them hire who they wanted to and make the kind of game that they wanted to (like a SP game), mentioning that WoTC are quite hands off and don't interfere:

James Ohlen: "They're great partners and it's been a different relationship with a publisher than any that I've ever been in. In a good way. I'm sure Ray [Muzyka, BioWare cofounder] and Greg [Zeschuk, BioWare cofounder] would be jealous at how little drama I have to deal with, 'cause they, they.. anyways, yeah." [source]

#video games #bioware #anthem

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narhinafan · 1 year ago

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Sp is biased for trashkura and don't even care about series production downfall as the anime is on hiatus mainly bcs for animating that filler dinosaur crap and official arts artist are also biased as fck.

It's sad that a great series got ruined by the biased that studio staff.

True Retsuden had no right being in Boruto it had nothing to do with the new gen and was the biggest contributor to ending the anime like it did. They animated entire arc for a novel that tanked yet wouldn't animate Hinata's chapter during the family day arc a novel that did really well.

#anti sakura haruno #anti sakura haruno fandom #anti sasusaku #anti sasuaku

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scotianostra · 2 months ago

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youtube

On 18th November 1998 Robin Hall, the Scottish folk singer and musician, died.

Hall was born in Edinburgh but spent his childhood years in Glasgow and was educated at Allan Glen’s School. After studying at the Royal Scottish Academy of Music and Drama, he briefly became an actor.

Hall achieved national fame in the sixties along with fellow Scot, Jimmie Macgregor, the pair met in a coffee shop in London, you know what it’s like, even away from our homeland us Scots stick together.

Their big break came when their agent phoned BBC TV’s Tonight show and suggested that what this popular tea-time current affairs programme needed for Burns Night was a song by Scotland’s national bard – and he could provide two Scottish singers who were tailor-made for the job. It was a lie. Neither Hall nor MacGregor, despite their wide repertoires, knew a single Burns song. So they rehearsed Rantin’ Rovin’ Robin in the taxi on the way to the studio and on the strength of their performance on the programme that night they were given a week’s trial that led to a ten-year residency.

Having played to an average of fifty people in London’s folk cellars, the duo now found themselves with a regular nightly audience of more than nine million and drew on their wide knowledge of songs to address topical issues, to fill in gaps during technical hitches and to serenade visiting dignitaries including President Jomo Kenyatta of Kenya, whom they welcomed with an African freedom song.

Taken to the nation’s collective heart, the pair signed to Decca Records, scored a hit single in 1960 with Fitba’ Crazy and went on to record twenty albums as a duo and as part of the Galliards with Leon Rosselson and Shirley Bland. They also appeared at every major theatre and concert hall in the UK, with support on occasion from an up and coming band called The Beatles, appeared alongside blues legends Sonny Terry & Brownie McGhee and the then fresh-faced folk singers Bob Dylan and Paul Simon and made innumerable appearances on radio and television programmes including Hullabuloo and The White Heather Club.

Following their split in 1981 they both continued in broadcasting. Robin made programmes including The Sing Song Streets for Radio Clyde and Jimmie became Scotland’s spokesman for the great outdoors, fronting television programmes on the West Highland Way and hosting Radio Scotland’s popular MacGregor’s Gathering for ten years. Their contribution to the Scottish folk scene, as singers, ambassadors and a source of repertoire, however, remains immense.

I’ve chosen an old Scottish folk song, The Baron of Brackley, Hall sung this way back in 1960 on his Collector album of ballads from the Gavin Greig Collection. The song is Child Ballad 203, the history behind the song is an which incident probably occurred in 1666. At that time on the unruly Scottish Border, the courts made rulings, but had no power to enforce their decisions. The powerful ‘riding’ clans would sometimes buy from the court the legal right to seize compensation by force from the guilty party. John Gordon of Brackley bought the right to enforce a decision against John Farquharson of Inverey, and seized his cattle in payment of the debt. Inverey mounted a raid to take back his cattle—and took Brackley’s as well. He was shrewd enough to come when Gordon was short of men. There doesn’t appear to be any historical support for the idea of Peggy Gordon’s betrayal, but it does make an already great song even more compelling.

Doon Dee side came Inverey whistlin' and playin' And he was at Brackley's yetts ere the day was dawin. '"Oh, are ye there, Brackley, and are ye within? There's sharp swords are at your yetts, will gar your bluid spin." "Then rise up, my baron, and turn back your kye For the lads frae Drumwharron (sp?) are driving them by." "Oh how can I rise up and how can I gang For where I hae a man I am sure they hae ten?

Then rise up, Betsy Gordon, and gie me my gun, For though I gang oot, love, sure I'll never return. "Come, kiss me, my Betsy, nor think I'm tae blame, But against three and thirty, was' is me what is ain?" When Brackley was mounted and he raed on his horse, A bonnier baron ne'er raed ower a course. Twa gallanter Gordons did never sword draw, "But against three and thirty, wha' is me what is twa?"

Wi' their dirks an' their swords they did him surroond. They've killed bonny Brackley wi' monys a wound Tae the banks o the Dee, tae the sides of the Spey The Gordons will mourn him will ban Inverey. "Oh come ye by Brackley, oh come ye by there? Saw ye his guid lady a-rivin' her hair?" "Oh I come by Brackley and I come by here And I saw his guid lady, she was makin' good cheer."

She was rantin' an' dancin' an' singin' for joy. She vowed that that very nicht she would feast Inverey! She laughed wi' him, danced wi' him, welcomed him ben. She was kind till the villain that hae slain her guid man."

Now there's grief in the kitchen, but there's mirth in the ha', For the bonniest Gordon wha's deid and awa'. Then up and spak the bairn on the nourice's knee, “It's afore I'm a man, avenged I'll be!”

#scotland #scottish #history #singer #folk singer #Youtube

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craetor · 2 months ago

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What are your top 10 favorite media ever (can be anime/manga, tv series, books, movies, games, etc)? Why love them? Thanks ⭐

Hehe thanks for the ask! I'd be happy to comply!

I can't pick dude. If you just want me to ramble about media, I'll start by talking about some pieces that have positively surprised me.

• Spaceman

Tuned in for the hot spider from the instagram clips, stayed for the interesting social commentary. I'm sure it would help a fuck ton of cis men if they just watched it. I loved Hanuš even more than I expected. Turns out an emotionally wise & relatable alien is better than one that would gut me after all.

• Pop Team Epic (season 1 especially)

It's one of those out-of-pocket pieces of media that have a ridiculous production value and passion behind it. Like, genuine production value. It's like anything Studio Trigger has made. An old friend and I were obsessed with PTE during the pandemic and pretty much made it half our personality to like it and other media like it (e.g. Way of a House Husband, nyan neko sugar girls, Backstreet Girls (That was a solid 6/10. Good watch dude). I also have Cromartie High School on my watchlist we'll see how that goes)

Now onto some books & poetry

As some may know from reading my fics & following my Lawlight obsession, I'm a big fan of poetry. I enjoy Goete a lot. He's the only name I've consistently been satisfied by. Naturalism is just my tea, as is pretty plain to see in anything I create. I'm bad at reading due to ADHD but I get it done sometimes. Blood Meridian by Cormac McCarthy is insane. Paradise Lost is great. Can you tell I get my book recommendations from Wendigoon? Holes by Louis Sachar reminds me of kids at Wammy's House but also I like it because every plot point in it leads to a perfect circle and I never fail to be amazed by good writing like that.

My favorite music genre is anything that counts as goth music. Sometimes emo if MSI is emo (I know and I'm sorry. Guilty pleasure). Darkwave & Post-Punk are my go-to for over half the year, but I listen to anything if it captures a vibe well. Anything from Mitski & Penelope Scott to Depeche Mode, Twin Tribes, Vestron Vulture & Bragolin to Lady Gaga (empress of my childhood) to Odetari. Oddly enough, however, my favorite band is Glass Animals. Zaba is a masterpiece, but I love several songs from their other albums too (Hot Sugar, Pork Soda, Life Itself...)

I'm not a huge fan of irl shows but I have enjoyed all 6 seasons of Peaky Blinders for the second time last month and have seen Interview With The Vampire a couple months back. That one also left me extremely surprised with how good it was. I've been disappointed by 'queer' stories before. They were scrubbed of any realism and dumbed down to make them more palatable, which I just couldn't watch for the life of me. As you may know, IWTV is the complete opposite of that lol. I've also peeked into Hannibal a couple times. It was good but I don't have time like that.

Animated shows & manga that I enjoy are:

• Death Note ofc

• Kakegurui (I rewatch s1 & s2 every year. Last year twice, I think)

• [Naoki Urasawa's] Monster (animated by Madhouse♡ I've been considering rewatching that too...)

• Paradise Kiss (just hits different in summer. The outro is Do You Want To by Franz Ferdinand. Love that song)

• Madoka Magica (the themes are Crazy.)

• Chainsaw Man (as fucked as they are, Mappa's creative team absolutely devoured. The outros are all incredible)

• Buddy Daddies (>>>>Spy X Family)

• Dandadan is looking pretty good

• The Summer Hikaru Died manga (impressive pacing, stunning art work, stellar character writing👌)

• Over The Garden Wall🎃🍂🌲🖤

• Arcane (a masterclass in character writing)

Aaand • Gravity Falls because it's literally so good, not just as nostalgia

My favorite movies:

• ARRIVAL (man I have to rewatch that)

• every single Pirates of the Caribbean movie (how had I never seen them as a child? Kinda happy about it though. Now i got to enjoy it with my adult mind spoiler-free)

• Princess Mononoke (to the surprise of no one)

• Spirited Away

• Ponyo (the implied 'children can consent' part is iffy but it's magical. My first Ghibli movie)

• Shawshank Redemption

• Disney's Atlantis (yup. That's what I was super into as a child. Had those on cassette. Every Sunday... I'm convinced the whole experience of the misty town from the second movie has singlehandedly made me who I am today)

• Dou Kyu Sei

• Godzilla 2 (THE CGI???? Also I'm a monster enthusiast)

• Portrait of a Lady on Fire

• that fucking Czech Cinderella movie that's on TV every December

Thank you again for the ask, OP🙏🏻 I love sharing these things. Now my arm hurts

#ask #oh games i like are Little Nightmares. Cult of The Lamb. Helltaker. Untertale. Any games by Yames #pokemon moon is cool #pokemon shuffle i recently finished #now i'm playing Plants VS Zombies again #also I'm Not Human I'm A. Mouthwashing and all your other new favorite indie horror games youtubers are playing

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perhaps-in-anotherdream · 1 year ago

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Hello! Hope you have a great day♡

I want to ask you, i kinda forgot which ASMR of Victor when MC in the dance studio (with a lot of mirror around the room). And MC doing stretching herself with gymball (cmiiw) and Victor help her to do it. And then, MC teased him and ask Victor for reward--end up with Victor give MC alot of kisses and stuff 😳

I remember it was from your Translate ASMR on youtube but I can't find it--or am I wrong... Also, thank you for answer me♡♡

hello! 💕 it was from his ASMR that accompanied his top-up SP: ♡

—

#ask #mlqc victor

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primnroses · 2 years ago

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what are your thoughts after sasuke retsuden anime? did you enjoy it?

I enjoyed it. I had low expectations because seeing it was only gonna be 5 episodes and knowing it's SP adapting it I knew it wasn't gonna be perfect. Rushed and left with much to be desired in terms of content from the novel.

First of all, they cut out Sakura's sensing technique, her Fire Release (manga did too) and her barrier-type ninjutsu was so randomly animated that I had trouble discovering where it was coming from and who had done it. I will compile all of the jutsu that Sakura used in Sasuke Retsuden when the manga ends but you can see it here too. That was the worst thing they did in my opinion.

They prioritized sasusaku moments more than others in terms of animation and art quality, some of which included some original dialogue like the ring scene; but they also cut other sasusaku moments like "this doctor is my wife" and Sasuke caressing Sakura's face at the lake, among others, while others without sasusaku had really bad animation and art like Sasuke freeing Menou from the Edo-tensei.

Congratulations to the freelance animators, but this ain't it. Inconsistent animation and weird art style made some scenes look very goofy. They don't have enough money or what?

They revealed that Jiji was a bad guy as early as episode 3, which killed one of the best moments of the manga in my opinion. If they had animated Jiji stabbing Sakura just like the novel, it would have been the perfect plot twist.

The last episode had some major fighting scenes that were cut out and done terribly.

Lastly, the timeline. If they wanted to follow the novel suit, it should have been animated before the Kawaki arc and with the three novels included or animate it right after Kurama was killed and make it a disease product of Naruto not being a jinchūriki anymore. Being made a flashback of many years back but adding scenes of Sarada was wrong.

I appreciate the adaptation, I have great screenshots and people loved the ring scene and the lake scene. The great majority of the fandom didn't want the adaptation because we know what kind of studio SP is, so there was disappointment in some aspects I mentioned before.

Other than that, Sakura and Sasuke demonstrated to be the most powerful couple in the battlefield, not only in strength but they were also in sync. Sakura's intelligence at solving the mysteries and Sasuke's talent to find clues all around him was unmatched, they complement each other perfectly. They also show that despite the distance, they love and care for each other deeply and it was nice to see it animated for everyone to see.

#sasusaku #sasuke retsuden #inbox

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japanesedoramaandanimelover91 · 8 months ago

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In today's edition of the programme "Nino-San" broadcast every Sunday at 10.25 a.m on japanese time and 03.25 a.m on european time on "Nippon TV".

The duo "Nasunakanishi" is making a comeback.

Celebrating the return of Nasu-san SP 🎉.

Nasunaka for indifferent foodies.

Comedian's year-end consolations ㊙ Another game!

Amazing magic.

Everything was just too addictive.

The last project was a complete failure.

This is the best kind of family 😘.

Unforgettable burgers.

Here's a roundup of long-established gourmet restaurants that want to feed you.

Two dangerous duos on the move🤩 Not to be confused.

Nakanishi and Sato-chan, good friends… food fight incident 🤭.

Into the very brain! Great panic before the magic of Shinzi Keisatsu.

Anyway, the studio is lively.

Various curiosities. Alpacas too 🦙 looking out for you.🤭.

#Ninomiya Kazunari #Arashi #Kikuchi Fuma #Timelesz #Nasunakanishi #Nino-San #Japanese Entertainment Programme #NTV

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haunted-plush · 2 years ago

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Made Benny's sot outfit! Sp studio isn't perfect obviously so I'm gonna draw it myself soon, but here it is for the time being. He's the Wizard's Apprentice, and though it often takes him a lot of time before it understands a new skill, he's on the path to becoming a figure of great magical prowess, just like its mentor, whom he looks up to. He mostly uses transfiguration spells to turn into animals (specifically house cats), and he's mastered this magic completely. His mentor doesn't quite understand the fixation, but is fine with it as long as it still does what its told. He also has a fat crush on the princess, who gave it that heart locket after it saved her life. When out adventuring, his go-to companion and most faithful friend is Butters the Paladin, and the two make an inseparable duo. They've even cuddled up together when out on missions away from camp, during long, cold nights where the campfire wasn't enough to keep them warm...

(I also gave him a last name, Mason, for no particular reason other than I felt like he should have one and Mason sounds cute lol)

#salty indulges in cringe #south park #south park oc #stick of truth #south park new kid #south park new kid oc #sp sot #sp new kid #sp new kid oc

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joemuggs · 1 year ago

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Albums of 2023 part 3

And - continued from part 2 - some more! This one does what it says on the tin. Levon Vincent knows the old chestnut "dancing about architecture" is accidentally profound: this is 11 pieces of holy four dimensional architecture exquisitely designed for your body to move through.

It's been a great year for old school BRAINDANCE, in no small part thanks to Mighty Force records releasing thick and fast, and this from Kams, straight out of Beckenham, is the best - just warm-hearted, melodic, acidic, danceable, classic electronica.

My old mucker Culshaw is a scholar, a gent, an adventurer, and on the sly a great musician. This comeback to the studio is MAGIC - global and spiritual and incidentally Balearic in a Jose Padilla sense - but its connections are based on highest common factors, never dully fusioneering.

Just fries my mind that Boris seem to get creatively hungrier and angrier with every passing year. This collab brings in all sorts - goth, thrash, synthwave - but what I really love is the unironic POWER METAL energy. Music to be struck by lightning to.

It's been an incredible year for electropop - and this album from producer turned singer songwriter Avalon Emerson is the *sweetest* of the crop, lighter than air, a gentle digital dream, but with surreptitious emotional heft. Reminds me a little bit of millennium era Morr Music, Tarwater etc? Must listen as a whole: it draws you in and in....

Even heavier than the Boris, and the record that made me fall in love with grindcore all over again - had to order the vinyl even given transatlantic premium. Nepalese band in New York Chepang TAKE. NO. PRISONERS. HUURUUUURURRGGHGHHH.

I was NOT expecting this from Anhoni - but I'm a sucker for Muscle Shoals style country-soul grooves, and though they risk getting "a bit Jools Holland", here they're delivered with total assurance plus the bleakness of the lyrics, fierceness of delivery and a few noises moments all adds some serious edge.

More electropop - this one from Jessy Lanza is not a million miles from the Avalon Emerson in its pristine futurist sound, but it's a bit spikier, eerier, like she is setting puzzles for you.

My most played record of the year. Like the Culshaw, a bit Cafe Del Mar in the most urbane possible sense - Sissoko & co's blend of jazz, classical, W African & European folk is done with unbelievable poise and emotion and is completely addictive.

This has been all-conquering this year and rightly so. It's not just the fearsome doom bits, it's the straightforward folk that's great: Lankum remind us of dreadful, beautiful paradoxes of being human that don't really change through the centuries.

Paul Simon says this was written in dreams, and it really sounds like it. Genuinely transporting, surreal, gorgeous and - I have to say it - roughly 10,000,000 times more interesting than anything Bob Dylan has done this century.

Completely UN-deconstructed trance... the way Romy taps into the melancholy of the most globe-conquering of 90s pop dance is something quite special and will serve as a real cynicism test... go on, let it twang your heartstrings!

I've kind of idly admired King Krule's music from a distance previously but that changed last year - he really is something special eh? Way more than the sum of influences, and a proper world-builder.

One of many where I missed the promo at the time (sorry PRs) but then discovered it via my sp****y recommends. Just beautiful post-classical, post-ambient musing music from Audrey Carmes that sounds like austere but lovely perfumes and crisp clean cotton.

Of course death is at the heart of Depeche Mode's music so how tragic but appropriate that it took Fletch's death to turbocharge them creatively. This is like a telescoping together of their whole history - but also still in love with new sounds...

More death, more darkness, with Amy Winehouse serving as a dark angel muse drawing together and crystallising the ambient, abstract and dream cabaret influences Kevin Martin has been incubating in his solo KRM albums since 2019. Crushingly sad and great.

Espec after seeing him rock it in the morning at We Out Here, I do feel like Joshua Idehen is in danger of becoming a late-blooming star, you know. Explicitly connecting David Byrne, Mike Skinner, Maxi Jazz and a finger-jabbing Nigerian preacher, he ROCKS.

Yes, Yussef Dayes really is all that and a packed of Pickled Onion Space Raiders. Brit jazz just seems to have been in a consistent triumphant state these last five years or so and there's no sign of it stopping being that way with albums like this still coming.

Ben Howard is an artist who'd completely passed me by despite being really quite big - but again the sp****y algorithm brought me this and it's really amazing, thought provoking, grown up pop. I *instantly* guessed it was Bullion on production too, no lie. ❤️

I've said for a long time that "mumble rap" has deep atavistic echoes of the blues and psychedelia - and here's the mumbler in chief Lil Yachty joining the dots back through the decades. Funkadelic, Hendrix, Beck, Outkast, BUTTHOLE SURFERS? Yeah it's all here. Not saying it's one those levels, but it's great and

Holy shit is Dot Allison on a roll or what? This is effectively 2021's Heart Shaped Scars growing in all directions: bigger, grander, more cosmic, even more beautiful. The partnership with Hannah Peel as arranger is front and centre and works incredibly.

Alright it's not as unique as Bad Bunny's 2022 masterpiece Un Verano Sin Ti - this is more trap, less overtly "Latin" - but it's really, really good. Sometimes not knowing the language can emphasise the emotion in the sound: the blues in the trap, the Spanish derived "tristeza"...

My fave Villalobos moments are often him working his wonky magic on "real" instruments and songs (see his Tony Allen / ECM reworks) so a whole album of him tweaking A Mountain Of One's Balearic soft rock is a real treat. Gets progressively "more Ricardo" as it goes on.

I love how Young Fathers have become such a beacon of what a "big festival band" CAN be when it broadens its influences out and grooves a bit. This album is such a big step up for them, and I really hope they keep this momentum because it's BIG FUN.

And talking of Scots "big festival bands" with diverse influences pushing the envelope and having fun with loading in more pop, dance, rap etc, The Djangos really went to town on this one and I was surprised not to see it getting more hype. A proper weird and wonderful party of an album.

Okayyyyyyyy last part is here, get stuck in!

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