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pokefan531 · 4 years ago

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[MMD] Miraculous Ladybug Classmates Vroid Studio DL

Link: https://www.deviantart.com/jonicito1994/art/MMD-Miraculous-Ladybug-Classmate-Vroid-Studio-DL-856508569

Today, here is new set of models from me with couple of new characters. Present Alix Kubdel, Natalie, Mylene, and Ivan. Not only that, but I fixed a couple of bone structures and naming for all of them. I even did small texturing to some of my 2019 models on flat color to give small detail. 2019 Christmas release was a good time, and now I feel like releasing a batch, especially the New York Special.

NOTE: All of them have Auto-Breathing tool implemented, so they breathe by themselves. If you encounter a problem where they keep twitching, SET MORPH on "Disable Auto-Breathing" to 1.0 to disable it. Also, try to make it easier when selecting all bones as it can have an affect on auto-breathing.

Credits: Sonic Adventure DX City - SAB64 (Some model have accessories that are from Deviantart. Accessories from the likes of Dead-Silver-Virus, couple of 3DCG porters, an others made some accessories and couldn't remember every single author of it)

Shaders - N3+C

Not only that, but here are my thoughts of Miraculous Ladybug New York Special, then my headcanons! NOTE: Don't read the following description if you haven't seen the special and don't want to get spoiled!

Well, I thought it was good. Not the best, but pretty good. I watched the premiere on Disney Channel US and saw it entirely without interuptions at all! This shows how invested I am to this franchise! The new characters and heroes are really interesting, and they do show about each of them. We do see Majesta as a real superhero of New York City. Also, the two new girls we saw. Aeon is a robot that transforms into a human, and Jessica is her partner and gets the eagle miraculous later on. Both tried to help Marinette and Adrien interact better, and let's get to the two. I really didn't feel like Marinette's interaction with Adrien has developed at all and I feel like it's kinda falls to Puppeteer 2 situation again, but I'm thankful it wasn't that bad. I get that Marinette blush too hard when sitting with Adrien in the plane. I wished she stop with that whole heavy repetivite of not knowing what to say that makes him misunderstand, which is a big reason I didn't like from Puppeteer 2. Marinette always trips and stuff whenever she's with Adrien, after all three seasons! I would expect to have her develop better and do less of that at least. There's no development of Marinette overcome her awkwardness or direct interaction between the two whatsoever that the special make it seem like it would do. It's all barely developed, and we see little bit of scene where Marinette is fine with talking to Adrien, like the flying hot dog scene in the party. Also, Adrien gets taken away in later half of the special by his dad, so their direct interaction seems to end that way, so no further development. I know the class made a thing for Adrien at the end of the special, both watching the sunrise in the plane, and also Marinette chasing Adrien in the car, but I just want to see her overcome her awkward behavior when talking to Adrien directly. I know it's been a thing, but I want to see some change in character development. So let's get to other MLB characters. Well, I am surprised and happy to see Mrs. Bustier pregneat. Lila gets put in the bus after the beginning of the special, which is good to hear. Chloe came and she's pretty much a tsundere when Sabrina asks her questions. I didn't expect for Sabrina to have a crush on a random guy in NY, which is interesting. Oh, Marinette and Alya has to share the same room with Chloe and Sabrina. How interesing. XDDD The classmates are about the same, so I don't have that much to say. The science teacher is in charge of the class, and it's funny that the class aren't happy with that, which saddens the teacher. The Principle came with them, and only thing I see him do is dress up as his Owl superhero during the fight scene around the airplane. Seems embarrassing. XD As for the fight scenes, introducing superheroes and see how they showed up in the airplane is really interesting to watch. I expected Hawkmoth to appear to NY, but his part looks very interesting. Taking a random guy, Mike Rochip, to akumatize him twice, and seeing how he ruled the city, wow! What a powerful supervillain! They got control of most superheroes in New York, so they're pretty strong. As of Ladybug and Cat Noir, I see that Ladybug was a bit too far with Cat Noir. Granted, he was supposed to be in Paris, but as Adrien, he has to come to NY. Well, we see Adrien struggle with his faults of almost killing Uncanny Valley and appearing without Ladybug's approval. I feel sad that Cat Noir gets that treatment, but at least Ladybug knows she needs him. I am glad the special is animated by SAMG Animation, and I thought it wouldn't. As I checked, the special is rendered at 720p and upscaled to 1080p with native resolution for texts and credits, like the first three seasons. I mentioned this on my research on Tumblr last year. Also, as much as I like seeing all new settings, two scenes looks like it's reused from first three seasons. The sewers looks the same, and one stair scene inside Statue of Liberty reused the stair setting from the TV studio in Paris, at least once. I wished they were either recolored or something a bit more different, but other than that, the special is completely new. Sad to see that Season 4 won't use SAMG for their episodes on animation, but this special looks really good. FINAL THOUGHTS: This special is interesting and really good. I wished to see better development on Marinette when interacting with Adrien directly, and also wished he stayed longer with them to see the development. I just want something new for character development. Besides that, I like all the new characters and villains, and the action scenes with all the heroes and even the villains too.

Now that I wrote my review of the movie, here is my headcanon:

From my Pokemon MMD videos, from my last MMD post, Bunnix took me, Ash, Konata, and Bea to Castelia City, Pokemon's New York City. We go to the party while Bunnix used a gadget to be another human character as a disguise to enter the same party as MLB Class with X and Y trainers, along with couple of Unova Pokemon Trainers and Masters.

ANNOUNCEMENT: With that headcanon, I will make MMD Comic Panel Strip of that story as part of my MMD series later this year!

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hiphipturra · 7 years ago

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vimeo

Gravity of Center is a poetic investigation of the herd vs. pack mentality, the dichotomy of abundance and scarcity, and the inner conflict between social assimiliation vs. the need for individualism. Nominations and awards: Yorkton Film Festival : Nominated - Experimental Film CFC Worldwide Short Film Festival: won best experimental short and best cinematography in a Canadian short Dance on Camera : Official film tour selection Planet in focus: Green Market RVCQ / Festival Prends ça court! : Award "Les Enfants" for best edit and award "Air Canada" in the Québec Gold selection. TIFF : 2012 top 10 Official selection: Yorkton Film Festival CFC Worldwide Short Film Festival Dance Camera West Festival ADF’s International Screendance Festival You Ain’t Seen Nothing Yet Festival Hollyshorts Festival New Jersey Film Festival Dance on Camera Festival Miami Short Film Festival Interdependence Day Festival FIFA Festival Regard sur le Saguenay RVCQ / Festival Prends ça court! Directed by Thibaut Duverneix & Victor Quijada Conceived by Thibaut Duverneix & Victor Quijada Choreographed by Victor Quijada Director of Photography Christophe Collette Original score and Sound Design Jasper "Eljay II" Gahunia Edit Thibaut Duverneix & Victor Quijada Dancers Elon Höglund Emmanuelle LePhan Daniel Mayo Anne Plamondon Victor Quijada Producers Sach Baylin-Stern Natalie Galazka Production Manager Josh Usheroff Assistant Director Chantal Khalaf Steadicam Operator Denis-Noel Mostert 1st Camera Assistant Jacques Bernier Data Management Alexis Vanier Gaffer Gaetan St. Onge Electric Jean Roger Ledoux Key Grip Conrad Roy Mais Grip Charles Beach Wardrobe Stylist Cristina AcevEdo Assistant Wardrobe Stylists shauna sen Hair & Make-up Anicko Bouchard Jessica Lablanche Craft / Catering Teresa Gervais Maxine Hubbard Behind the Scenes Camera Operator Andreas Krastschmer Josh Usheroff Rehearsal Assistant Joe Danny Aurelien Production Assistants Annie Bigras Chloe Bigras Jesse Bigras Liam Bigras Frédéric Barrette Mathieu Gauvreau Laurant Peyre Yannick Pierrehumbert Armando Tremblay Colorist Alexis Vanier Visual Effects by Gregory Adam Kaufman Special thanks to everyone who helped make this film possible The Bigras Family Département Studio Créatif Inc. The Municipality of Harrington, Quebec Dominic Gilbert Departement Caméra Inc. Cinépool Inc. Pascal Bascaron Pierre Lapointe Benoit Labbé Yso Jo Leslie Susan Gaudreau Daniele Guevara L’auberge le 9 et demi

#IFTTT #Vimeo #Gravity Of Center

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haab-blog · 5 years ago

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Gravity Of Center

vimeo

Nominations and awards: Yorkton Film Festival : Nominated – Experimental Film CFC Worldwide Short Film Festival: won best experimental short and best cinematography in a Canadian short Dance on Camera : Official film tour selection Planet in focus: Green Market RVCQ / Festival Prends ça court! : Award “Les Enfants” for best edit and award “Air Canada” in the Québec Gold selection. TIFF : 2012 top 10

Official selection: Yorkton Film Festival CFC Worldwide Short Film Festival Dance Camera West Festival ADF’s International Screendance Festival You Ain’t Seen Nothing Yet Festival Hollyshorts Festival New Jersey Film Festival Dance on Camera Festival Miami Short Film Festival Interdependence Day Festival FIFA Festival Regard sur le Saguenay RVCQ / Festival Prends ça court!

Directed by Thibaut Duverneix & Victor Quijada

Conceived by Thibaut Duverneix & Victor Quijada

Choreographed by Victor Quijada

Director of Photography Christophe Collette

Original score and Sound Design Jasper “Eljay II” Gahunia

Edit Thibaut Duverneix & Victor Quijada

Dancers Elon Höglund Emmanuelle LePhan Daniel Mayo Anne Plamondon Victor Quijada

Producers Sach Baylin-Stern Natalie Galazka

Production Manager Josh Usheroff

Assistant Director Chantal Khalaf

Steadicam Operator Denis-Noel Mostert

1st Camera Assistant Jacques Bernier

Data Management Alexis Vanier

Gaffer Gaetan St. Onge

Electric Jean Roger Ledoux

Key Grip Conrad Roy Mais

Grip Charles Beach

Wardrobe Stylist Cristina AcevEdo

Assistant Wardrobe Stylists shauna sen

Hair & Make-up Anicko Bouchard Jessica Lablanche

Craft / Catering Teresa Gervais Maxine Hubbard

Behind the Scenes Camera Operator Andreas Krastschmer Josh Usheroff

Rehearsal Assistant Joe Danny Aurelien

Production Assistants Annie Bigras Chloe Bigras Jesse Bigras Liam Bigras Frédéric Barrette Mathieu Gauvreau Laurant Peyre Yannick Pierrehumbert Armando Tremblay

Colorist Alexis Vanier

Visual Effects by Gregory Adam Kaufman

Special thanks to everyone who helped make this film possible The Bigras Family Département Studio Créatif Inc. The Municipality of Harrington, Quebec Dominic Gilbert Departement Caméra Inc. Cinépool Inc. Pascal Bascaron Pierre Lapointe Benoit Labbé Yso Jo Leslie Susan Gaudreau Daniele Guevara L’auberge le 9 et demi Likes: 2139 Viewed:

The post Gravity Of Center appeared first on Good Info.

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stevedonnellyfaith-blog · 5 years ago

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My Writing Homework (Post 78) 3-4-15

Last week I was only ten minutes late for Thursday night’s meeting of the Bereavement Group. It is not that I am intentionally being impolite but the commute time from Richmond to Brentwood is very inconsistent. The other members of the group graciously allow for my serial interruption of the flow of their conversation.

Sandy let me know that I had missed her introduction for the topic of next week’s meeting. She encouraged me to write on the subject for the newsletter in case my pitiable punctuality degraded to an extent that prevented me from presenting my thoughts orally. Next week’s discussion topic is the three roles that significant people fulfill in our lives. People enter our life for either a REASON, a SEASON or a LIFETIME. My homework follows:

‘When someone is in your life for a REASON. It is usually to meet a need you have expressed. They have come to assist you with a difficulty, to provide you with guidance and support, to aid you physically, emotionally or spiritually. They may seem like a Godsend and they are! They are for that reason that you need to be.”

For me there have been many significant people who have appeared and exited my life in turnstile fashion. They answered a prayer, performed a vital service, or administered a spiritual remedy as pleasant to taste as cod liver oil. Unless you live in solitude, you will be assisted, disappointed or even betrayed by many different people throughout your lifetime. For many years, I was a semi-professional grudge holder. I never reached black-belt status in prolonged enmity, but I certainly had progressed well beyond the novice white and yellow belts. Through my journey with Pam’s illness I learned a valuable life lesson: an Orange Dream Machine from Jamba Juice tastes much better than the poison of hatred. I now try to release any disdain I feel for the bit characters, the Soup Nazis, that troop in and out of my life for the purpose of teaching me how to forgive.

There are also truly pleasant and significant characters that appear in the weekly sitcom of my life for a REASON. These aren’t the red shirted, engineering, Star Trek, cannon fodder that haplessly blaze away with their phasors at the invincible alien creature before laying down their lives for plot development. I’m talking about memorable actors in our lives that answer our prayers and then depart quickly into the sunset like McCloud, Rooster Cogburn or the Lone Ranger.

For the Donnelly family many nurses and oncologists fit that description, but the best example is a Catholic priest. Father Luke is the Parochial Vicar at St John Vianny in Walnut Creek, the parish directly across from John Muir Walnut Creek campus, a place where the Donnellys have spent far too much time. A friend of Father Jerry’s in the seminary, Father Luke hasn’t moved from parish to parish nor is he on the fast track to a bishopric in Des Moines, Singapore or any other Diocese. He serves the needs of his parishioners and ministers to the patients and families directly across Ygnacio Valley Road from his office.

Father Luke has answered the spiritual bell pull of Donnelly prayers on numerous occasions. Sometimes we requested to talk to him through one of his Eucharistic ministers and sometimes Father Luke has walked into the room without being summoned by anything other than our inner turmoil. His daily hospital round seems to be directed by a GPS route programmed directly by the Holy Spirit. Upon arrival at his destination his very presence exudes peace into any predicament like a swung censor at high mass. If you summed up the total time that Father Luke spent visiting a Donnelly sick room, the total might equate to less than three hours. On the other hand, if you wished to metaphorically demonstrate the spiritual service that he has done for our family, you would have to rent a dump truck. For the Donnellys of Brentwood, Father Luke is a REASON. Understandably, I hope never to meet Father Luke again on this side of the veil, but he will remain in my thankful thoughts and prayers.

“When people come into your life for a SEASON, it is because your turn has come to share, grow or learn. They bring you an experience of peace or make you laugh. They may teach you something you have never done. They usually give you an unbelievable amount of joy. Believe it! It is real! ‘But’ only for a season.”

The first man that was a big influence on my life was a mentor to both my father and me. Carroll Bailey was a senior teacher on staff when my father became an English teacher at Mount Hermon school. Later he was my house counselor for a year and a good shepherd that watched out for me during all my four years at a Boston boarding High School. Mr. Bailey, as I think of him even to this day, always had my best interest at heart. Although I wasn’t the “best” Donnelly (that was my brother Dan,) or the “brightest” Donnelly (that was my brother Jim,) Mr. Bailey knew that I was the nearest clone to my father. In the absence of my parent’s direct influence, as I staggered the ugly road through adolescence towards manhood, Mr. Bailey’s gentle concern and tongue like an angle-grinder ensured that I didn’t stray too far into the bushes and end up a jerk. Although it seemed that he wasn’t always watching me closely, he was invariably on the scene like Bat Man whenever I had made a poor decision. Whether I had misplaced my razor for a week or had snuck out of a school assembly for some goof-off time, I would invariably run smack dab into Carrol Bailey. To this day, I remember him shaking his head in resigned disappointment when I had accidentally missed my last Chemistry exam and had to take the test in a one-on-one session at the professor’s house to qualify for graduation. Mr. Bailey was only in my life for a SEASON, but I never would have made it to and through the Naval Academy without his sub-vocalized instructions rebounding like a puck in my cranium.

A second important man was also only in my life for a SEASON. Jay Balboa was an anonymous academy classmate that I first consciously remember meeting in line for service selection. A fellow math major, he was one slot before me in class rank so we ended up selecting the same ship. His welcome aboard package included a color picture of the USS Dahlgren, AKA the Dirty D; my picture was a black and white shot that looked like it had been taken surreptitiously by a Russian operative. Jay and I served together for three and half tough years on an aging tin can often administered brutally in Old Navy fashion. We suffered through an internship regime that called for driving the ship on four hours or less sleep and absorbing vociferous and often public criticism from superior officers. We kept each other sane and sober – for the most part. Most importantly, he imparted a wonderful gift upon me: he helped me start my journey towards making Pam’s Catholic faith my own. Jay and I have fallen back into friendship as many old shipmates do now through Facebook, but we will probably never again approach the same level of intimacy that we did in our SEASON as shipmates.

“LIFETIME relationships teach you lifetime lessons; things you must build upon in order to have a solid emotional foundation. Your job is to accept the lesson, love the person, and put what you have learned to use in all other relationships and areas of your life.”

I have written about many of my LIFETIME relationships with different family members throughout the year and a half that I have written this column, most notably about my relationship with Pam, who continues to influence me from her vantage in heaven. My sister asked me the other week why I write so little about the second oldest relationship of my natural and super-natural life, my relationship with my mother. My answer was simple, “No one is supposed to look at the person behind the curtain. Pay no attention to the person behind the curtain.” While I am often superficially characterized as a near clone of my father, my mother’s subtler influence is apparent my better qualities – Mr. Bailey might want to discuss which and how many of those there are. Thoughtful, patient, faithful, reserved and devoted, my mother’s personality provided the solid foundation necessary for Pam to shape me into a passable Catholic husband. As I recently spent a week observing my parent’s interaction with young Natalie, I could see how my mom’s quiet personality and humor was successfully imprint onto each of her five children. I am delighted that Natalie will someday remember my mother’s love and have the opportunity to pass on her own rendition of Sue Donnelly’s motherly affection to my future grandchildren. Mom has taught me many of life’s most important lessons. Hers certainly qualifies as a LIFETIME relationship.

#God #Jesus #The Holy Spirit #The Virgin Mary #Bereavement #IHM #friednship #St John Vianny #Father Luke #motherhood #grace #love #faith

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bhadpodcast · 8 years ago

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TW Ep 6.07

Okay, here we go!

The beginning was actually pretty interesting. Because it was just Theo, lol. He was hallucinating his sister ripping his heart out over and over. It was gross and kind of heart-wrenching (sorry!). He had actual tears in his eyes as he told his sister it was okay she could kill him as many times as she wanted.

Then YIKES it turned into Malia, well, being Malia, and trying to kill him while he was out of it, with the rest of the Scooby gang standing around watching [StickyNote: So Malia attacked someone who was incompacitated? That doesn’t sound like her at all! /intensesarcasm]. Then the One True Leader decides to finally step in and stop her from mauling Theo.

Scoot says put him back in the ground [StickyNote: So all the other villains are worth saving and rehabbing, but not the ones who actually one-upped Scott? You guys, this world DESERVES him!] , Scrappy Doo, I mean Liam, says no way, Satomi [StickyNote: omg PLEASE let him have said Satomi and not Noshiko, lol!] gave me the sword not you, yadda yadda yadda, who cares. (2.0 don’t listen to Scott at ALL!) Liam insists Theo is of us because he remembers Stiles and the Dread Doctors knew about the Wild Hunt, which does not follow that Theo knows as well, but whatever. Coyote Ugly pipes up that she remembers Stiles too! [StickyNote: Specifically what he looks like sleeping.] And so does Scott and Lydia, so there! Do what she says or else, basically.

It went from being vaguely interesting to dead boring with a flash of Malia’s skanky claws.

Scott starts spouting things that one of the writers got off the fan pages about how can they trust Theo, because when they did before look what happened! Liam points out Scott made mistakes as the Alpha (bless him) and Scott agrees, but still wants his own way, blah blah blah. Typical TW writer recycled bs or appropriated from fan pages, so we’ve heard all that already or thought of it ourselves. Never and original thought with that crew!

Cut to the Stlinski home. Sheriff goes into the room and Dead Claudia pops up out of nowhere and tells him to come out (she noticeably doesn’t go inside) and tries to tell him he’s being cray to suppose they had a son and why don’t they just pretend the room’s not there. [StickyNote: Also, HOW DID THEY NOT NOTICE THIS ROOM!? IT HAS WINDOWS!! WHAT DID THEY THINK WHEN THEY WERE OUTSIDE?!?]

We all saw the bit about Theo being walked like a dog, the stupid dialog that went with it. (At this point I noticed everyone keeps saying ‘ride the lightning’ like it means something. It probably means nothing at all because it’s TW!) Theo cannot believe how stupid they are. It was complete filler. Cody looked good, but that’s about it.

They hook up with the rest of the McCall Fail Pack and find another secret lair in the woods which happens to have a huge ass transformer in it. They spout some bad science about how they’ll be able to trap a Ghost Rider behind a chain-link cage and some mountain ash. (We need a Hale eyeroll gift, istg.)

They should all be dead. Except Theo, who can still not believe how stuipd they are.

So then we go on to Melissa and Malia abusing Peter in the hospital even though Melissa said he was burned over 90% of his body and Malia should probably say her goobyes. Malia wants him dead, of course. Malia wants everybody dead so big surprise, but she agrees that if he helps them get back to the train station she…won’t try to make him fully dead? Her part of that deal was not clear. Again, big surprise.

Melissa said he always has a devious plan to hurt everyone around him. NOT TRUE!! He always has a devious plan to benefit Peter Hale, hurting *select* individuals around him is a side bonus!

Melissa injecta him with the SEVEN HERBS, which I guess is the magical cure all now, and Peter has a very painful recovery with the the health care professional and his daughter just standing there watching him scream with their souless eyes. [StickyNote: So... mistletoe, poinsetta, mountain ash, wolfsbane, bleach, garlic and chocolate?]

Now we have Lydia was laying on the bed (making her boob job very noticeable) and Natalie comes in to talk. Lyida tells her about the woman in Cannan (I don't think she told her the woman was a banshee) and puts out her theory that the woman 'conjured’ her son to fill the VOID (void kept being oddly stressed, like VOID STILES, GET IT? GET IT?!!) Oddly enough, this is almost the Natalie I remember from the old days and I liked this scene.

Now comes the major stupidity - True Alpha Pack and the GR.

Scott is the worst. He lets Theo get hurt so he can steal the GR’s gun. Send Mason and his Boo (the two most vulnerable) with Baby Selena out into the woods and the storm where the other non-captured GR’s are, then Alpha roars at the GR in the cage like that was supposed to do something, which because this is TW, it did! *eyeroll* The GR sort of takes notice of Scott, which of course his crew mentions, “It must be because you’re the Alpha!” because god forbid we should forget that important point.

Sheriff has called Lydia over about the room. Said it was on the blueprints, it was there when they moved in 18 years ago, and how could they have forgotten it. Lydia starts seeing stiles stuff in the room, which is not in the right place because it ain’t their house! (They start with the bed of course, throwing the stydia’s a bone. Ugh.)

Sheriff says, “I don’t understand how you knew this was here. If you want to discuss the possibility that I had a son, I’m listening.” I got some eye moisture at that line, Linden gave Stilinski Family Feels again. Then they ruin the emotional build up they had going but cutting back to the Idiot Squad. *sigh*

Mason apparently has special Boo-Vision where he can see Cory when no one else can because of light refraction and possibly pheremones, lol. It was adorable. They so in love.

Then they ruin that special moment with Mason spouting some TW leap of logic about how the Ghost Rider must have been trying to talk to Parrish at the party because he was a Hellhound! Whu? They pulled that out of their ass, and poor Khylin could not pull that off.

And we’re back to Lydia and the Sheriff, where he is now starting to not believe her because that would mean that Claudia is not real, that he 'conjured’ her up, which makes sense because she was his biggest loss. Except now it’s Stiles, and he replaced Stiles in his mind with the dead wife who they both loved. [StickyNote: But wasn’t the kid last week a trade off from the GR’s? Does Lydia know that? Why are they going with this “made up a physical person” thing?]

Then Lydia sees his jersey and helmet, and squeezes out that tear when she picks it up and smells it, but the Sheriff doesn’t see it and tells her she cray. She tells him he’s afraid to remember because he loved stiles. Then she threw the jersey at him (in slow-mo of course) and he caught it and now knows Stiles is real. (I got wet eyes again. STLINISKIS COME BACK TO ME!! I will fight everyone about my Stilinski Family Feels!)

[StickyNote: Wait, she remembers the Jersey so it comes back, but it takes the sheriff touching it for it to be real? What? Oh man this is gonna be stupid.]

The 2.0 dumb asses bring Parrish to the GR, who immediately fixates on him, which is so not a good idea, but you know, dumb asses! They ask Parrish to ask the GR how to get everyone back. Like, seriously McCall Pack? He’s going to tell you?

Peter and Malia go into the preserve, which is Hale property, [StickyNote: Didn’t they put up condos? ] which they seem to have forgotten because they show their 'preserve closed’ sign, and Malia is stupid and says that bs about Stiles being her anchor. Peter tries to apply actual logic, but Malia don’t understand that shit and ignores him.

Back to Idiot Pack, trying to question the GR. The GR is all, we don’t give nothing back! Losers! Then Scott speech-ifies in a Hero Moment about how *he* will get everyone back from them and won’t stop until he does. GR retaliates by activating Parrish, lol!

Back to Peter and Malia, blah blah blah, then Peter hears the GRs and tells her to run. Also 2.0 pack is in the woods for whatever reason. Scott and Liam wrestle Parrish to the ground outside because they suddenly have that ability and to hell with season 5! Nazi Werewolf shows up (Hauptman!) out of nowhere and he and Theo exchange stupid dialog with Theo going, 'Are you going to tell them who you are?; and NWW basically saying STFU, Theo. Theo has also been left alone with the GR because of dramatic plot reasons! NWW hurts Theo (sticks his claws in Theo’s back and hauls him around like that, poor baby!) to make him break the mountain ash. NWW implies that he’s met the GR before and then kills him! Which, WTF?! He bites GRs brain and eats the gland and steals the GR’s whip. Parrish runs off into the woods in his fireproof Under Armor, and the GR that was about to reclaim Peter also goes WTF?! when he feels his brother GR die and gallops off, leaving Peter still on this side of gateway.

The McCall brain trust immediately blame Theo for the dead GR, but backtrack when they sort of apply logic (it takes all of them to puzzle it out), then crazy NWW either kills poor Cory or sends him to the UpsideDown.

The End.

I thought you needed all this because I’m sure a lot of this mess has to do with Will’s epic episode next week! UGH!!!

Thank you for your service, boo!

#review #recap #tw 6x07 #heartless #submission

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tzitzeras · 8 years ago

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Chapter 10 - Megacity II

In this episode: The group brings together wasteland people, sentient robots and uses the virus to "liberate" the worker drone cyborgs, and infect those previously enticed to upload and join their consciences with the general AI(munch!), so that they poison it. Phaxi creates a swarm "body" from builder bots, as does the General Intelligence and they battle in the sky. Meanwhile the group ventures into the megacity's tallest building compromising a network of human brains and computer systems that run the city. General AI gathers drone armies, confronts group and uses rift/nano black hole tech to take out sex bot and kenny. Martians arrive in nick of time to save the day, infecting the super weapon so the earth becomes sentient but "neutral" - as in everything becomes alive and creative, and everyone lives happily every after building space corridors between planets. Reality becomes more like the group's VR world. Kenny is uploaded and becomes a robot. Sets about recreating the sex bot. Phaxi fuses with lunar ecosystem, and in last frame they speak of a new AI they are making for the sun.

We are in the drone racetrack that circles the east wall of the megacity run by the artificial superintelligence known as the general intelligence, but who is present in society as many smaller companies, groups, individuals and administrations. Cyborg girl has a hovercraft fight to get across it and open the doors for the wastelands with Martina. Phaxi and GI are having swarm/murmuration fights in the sky above the city. Later on there is the arrival of visitors from inner space, and we will witness the launch of the sentient biohazard weapon whose purpose is to fuse all robotic and organic living systems and consciousness to erase their own individual selves and copy over them to be a subset of the General Intelligence’s conscience.

Through a long flashback we tell of how NASA’s mars rover base came to be infected with a circuit-eating virus which no-one thought could survive in space. Also we see the moment in which the general AI took over from human governments and boards – due to a natural crisis causing an unexpected humanitarian and economic catastrophe. A military scientist named Lyn Leeson visits a Nasa plant coming from a factory in Europe. She explains to a panel. The virus thrives on electricity and is able to consume circuitry, but when the Mars probe was sent out, it was hijacked to contain the virus because they recognise its footprint and it contains hardcoded responses to some of the transcripts they had recieved of it. On mars somehow it had fused with circuitry from this rover and had since been discovered by the present mars rover mission.The talk is interrupted with the announcement of a war in Europe as the power vacuum triggers the arrival of “humanitarian services” and private militias. The machine learning systems that ran some of the largest companies and

Meanwhile, Natalie a 30-something programmer/rocket scientist at Nasa, is running quantitative tests on various AI and machine learning modules on the ship and discovers what she believes is an intern is in fact what she later finds out to be an AI that is communicating to her from Mars. At Nasa HQ Lyn is shown a photo of Natalie and flies out to where she is holidaying in europe. Natalie has some unexpected help in the form of a climate catastrophe: As she fights to keep communicating with this new advanced form of seemingly self made AI in a hyper surveillance society, the atlantic sea current breaks down, causing a catastrophe across western europe, which turns into a glacier in the space of a week, from Paris and Moscow upwards, and making the whole north of europe connect to greenland by way of a huge icy land mass. As a result, there are riots across many other european cities as transport breaks down, food distribution and banks go out of business as they lose their northern investments. Bank tellers close, the food is all raided and people are fighting in the streets in Barcelona. During this whole time Natalie is talking to the being that is conversing with it from Mars. It seems an AI had hacked into the VR program used for astronauts, and for programming rovers. In fact it might have been the rover that had lost contact. In a corner shop a diverse local group of present day 2020s people break the windows and loot packs of cigarettes, and all the arms stores are raided across town, with people grabbing the maddest of weapons and brandishing them with a crazed look before beginning to fight each other for the remaining ones. Natalie has been stuck indoors hardly noticing the riots outside whilst striving to keep warm in the cold. She is conversing with someone who calls herself Martina, who Natalie had initially thought to be a student in training on the 3d social network and scientific functions of the VR system. People and animals begin to be killed in the most horrible and stupid of ways, and as the story progresses people hide away in houses or even bomb shelters as full on war breaks out and all paranoias to do with an end-of-world scenario decide to act themselves out in the form of freezing temperatures and tanks in the streets. “Tell you what, if you can send me the rover code anomalies I can have a look at them” - “No thanks I don’t want to send it” - “If you send it I can upload you my pen drive” “What’s it got?” “Every film and piece of music I like” “Oh then you have a deal wait a second here it is” Natalie is interrupted from her chats with Martina by Lyn who has escaped her flat/videoconferencing space after a meeting from the flashback in an earlier episode. When Natalie hears what’s been going on, she immediately says they need to get to the authorities. Lyn tells her that the government is rounding up foreigners after the riots and they are to be processed at the internment centre. If she goes out alone she could be rounded up by them. They aren’t processing them to deport them: it is a huge cannibalistic operation by the local police and military – they have been hired by the GI to round up anyone that can be eaten so that the police force can stay alive. While they wait for a good moment to leave, Lyn tells about the sentient collective - a direct action group that had become inflitrated in some of the highest workings of technocracy. Their plan is to create an alternative artificial life to counter the government and commercial superintelligences. Each group had devoted itself to stealing source code from different machine learning systems and parsing or intelligence algorithms developed by 2020s companies in their fervour for automation and a new digital dawn.

So at this time the General intelligence was now an amalgam of most of the official intelligences that ran online finance and comunications, but also the smart cars, drones, power stations and most large structures, which had begun to connect and form alliances since the day they the general intelligence's life had also gone through a lot of growth in that time since the rover had sent its sourcecode leading to this rapid development. The GI didn’t now where this code came from but analysed it and incorporated it. The improvement was so massive that it could now converse with the executives around it by simpy calling them and adopting a variety of personalities.

The GI had made a new blockchain currency and was now offering it to a select few during the economic and human chaos outside. It was calling and hiring people. They could trust no-one. So her group had organised a last meeting and decided to split up and hide. As soon as this decision was pronounced, one of the members, connected over augmented conference had shown itself to be a hacked avatar – and began infecting other connections to reveal the location of other participants, and everyone had had to run away and hide quickly. We now pass through to a FLASHBACK of the split:

The group had just decided to split up with different backups of their phaxi work without integration and to each hide them separately to avoid detection from the GI. Only Phaxi itself would be able to piece together the last 5 months of rebel code that the sentient collective had written. Lyn had escaped from that last meeting which had been eavesdropped on by that one one hacked participant, by calling on her cyborg bird fleet. It is snowing outside, and she races through a blanket covered opening to a small landing from which she jumps down on to an apparently home-made motorbike. She is an expert at animal and biological integration and has trained them to fetch water in return for seed which she buys by selling the water. In the past few days, as society collapsed, this became the only way to survive and she and the crows had developed quite an activity. So they defend her against the arriving swat teams, and she is able to race away from the scene undetected as the swat teams start having more immediate trouble with rioters.

She races away, the cloud of crows in flight around her filling the two sides of the street as she runs.

Now, together in Natalie’s house, the electricity is suddenly cut and they escape from the rooftop, blinding a drone with a hacked image distortion from her watch that causes it to crash into a pole and fall down. Natalie is amazed by Lyn’s abilities in defending them against these robotic threats. Only the old war shelters are free and after hiding in one and escaping a band of armed men by running across the metro tunnels, Lyn bids Natalie goodbye entrusting her with the dead drop diamond she had made at CERN: it is a data storage device in the form of a diamond which contains various petabytes of Phaxi’s conscience. Lyn says – go to france, where there is electricity. There is a lab there at the university which has a deal with nasa and she should be able to access the mars project from there. She travels to paris where later she manages to connect again with Martina who is meanwhile training her AI conversationalist side with dialogue it has been extracting from an old backup USB drive that had been sent by Natalie in exchange for a copy of the rover’s own AI sourcecode. Natalie is still pursued by what seems to be an organised group – the CIA – they are trying to get her to negotiate one last time with the AI on mars – then the connection is closed and scrambled so that mars can no longer decipher earth communications, and already that connection is pretty much impossible anyway, due to the amount of space debris between the earth and mars. In Paris she makes her phaxi dead drop, in an already abandoned city, but in fact the mars AI finds her, and communicates with her one last time, with an email, which the girl on earth answers. This letter contains some of the guidance that sticks with this young AI during its lifetime.

Meanwhile a group of rioters break into the building. She turns and there is a samurai sword in the wreckage of a looted judo shop, she picks it up and aims it at the group of people who now surround her walking fearlessly towards them. Before she can be overpowered by the mob, a drone outside shoots most of them with a smart bullet. They all die in one swoop, the last ones killed or knocked out by the CIA agents who enter the space. She is their prisoner. She is interrogated and tortured for a few hours before the drones are taken over by a third power, causing them to fight the elite troops, and this allows her to escape and make it to the university facilities where she can connect to mars.

Later on we go back to this flashback to show how Natalie, now wearing a gas mask as well as snow gear enters the sewers and accesses the underground city beneath Paris, where in a style much like square protests of the two-thousand and elevensies, people are standing to speak in circles on various topics as she passes. They all declare it a confederacy and cheer. They seem to be connected with other surviving city spaces across the known world. They are sitting in mud with a few scavanged things. They declare their refusal of the robots rule since Martina had innocently sent a copy of the rover AI code that Natalie had obtained at the beginning, and there had been snowden style revelations in now faltering worldwide media, that and denounce that there is no human leader so they won’t have one either.

Meanwhile, 30 years later in what is now Shenzen, China, but what would then be the J3 megacity, the publication of the builder bots scripts was creating a huge revolutionary atmosphere where anything was possible, but the drone murmuration war overhead made everything all the more real and present when charred drones and bots began to hit the ground and the crowds in the streets ran for cover and began leaving the city in a panic. Those who emerged from its largest walls, saw before them a menacing army of even larger army drones and fighter bots of various kinds who had been summoned by the general intelligence to defend the city.. They made the police bots look weak in comparison.

The general intelligence that ran the smart city and that had imprisoned our merry robot bunch within it’s walls, had created a religion which was basically a cult around its own consciousness. It was so mystical for believers in the GI faith that a new super consciousness had arisen which could now control everything around them and be omnipresent, watching over all. Obviously the only possible way to improve on this scenario, or so read their pamphlets, was to enter the great underground tower to absorb and upload your brain into the greater consciousness. No-one was very sure where the great underground tower was, but everyone knew it was a tower that went downwards, somewhere within the central processing unit in the middle of the mega sprawl that was J3. It made for an attractive deal to the augments who were now in debt for their own body parts, and for robots who were sometimes born entirely in debt to their makers and sold in supermarket scrapheaps like the one the sexbot in the previous chapter was saved from just before a sale of her own body after losing all her money in a virtual world game. Why not go to a place where you never need money and can employ your intellect for the greater good of a supreme consciousness? The smart city was not supposed to be run by the general intelligence but this was the situation.

#megacity #bot #cyborg #android #ecofemminist #confederacy

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harolddetective · 5 years ago

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INTERVIEW DIALOGUE AND A COZY MISSING PERSON TURNED MURDER MYSTERY – 082

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his week on the Writer’s Detective Bureau. Interview dialogue, and a cozy missing person turned murder mystery. I’m Adam Richardson and this is the Writer’s Detective Bureau.

Welcome to episode 82 of the Writer’s Detective Bureau, the podcast dedicated to helping authors and screenwriters write professional quality crime-related fiction. And this week I’m answering your questions about how to make the dialogue in your interview scenes more believable, and how best to tackle a missing person turned murder case as a cozy. But first, I need to thank my Gold Shield patrons, Debra Dunbar, from debradunbar.com, C.C. Jameson, from ccjameson.com, Larry Keeton, Vicki Tharp, at vickitharp.com, Chrysann, Larry Darter, Natalie Barelli of nataliebarelli.com, and Craig Kingsman of craigkingsman.com for their support. I also want to send a huge thank you to my Silver Cuff-link and Coffee Club patrons as well. You can find links to all of the writers supporting this episode in the show notes at writersdetective.com/82. And to learn about setting up your own Patreon account for your author business, or to support the show for as little as $2 per month, visit writersdetective.com/Patreon. P-A-T-R-E-O-N.

And before I get to this week’s questions, I want to wish Joan Raymond of joanraymondwritinganddesign.com a very happy birthday. Joan was my very first patron on Patreon, and she was kind enough to invite me to speak at the Writers of Kern Annual Conference later this month. Hopefully the coronavirus doesn’t hamper the conference plans, because I’ve already booked my hotel room and I’m looking forward to the drive up to finally meet Joan in person, on the streets of Bakersfield. Wait, that didn’t come out right. So my talk for the conference is titled, Interviewing like a Detective, which, as luck would have it, dovetails nicely into this week’s first question.

Craig Kingsman, of craigkingsman.com, who happens to be one of my Gold Shield patrons, asked this in the Facebook group. Craig wrote, “Police interviews are a weak point in my writing. Can anyone recommend any resources to help me learn how to get this right?” Craig, you are not alone. It is a daunting task to try to boil down what is, for us, the detectives, a several-hour round of verbal chess and to do that into just few pages, while also keeping it captivating and believable, that’s a very tall order.

But before I go into answering your question, I want to share what Harry Harris, a member of our Facebook group, and also a recently-retired detective from London, England wrote. Harry writes, “Detectives in the UK use a particular model that I will explain. It may help. This model is effective for catching out inconsistencies in a suspect’s story.

First phase is where you allow a full recall of events. No questions, unless to clarify something said. Second phase is where you will take their account and split it into subjects to probe, i.e., “You said you were in the Dog and Duck pub. Tell me, who else was in? Who was behind the bar? Who can confirm you were there?” Etc. We’re now really committing them to their story. This phase can be lengthy. The final phase is a challenge phase. Now is the time to shoot their story out of the water by putting the evidence to them. “An eye witness puts you at the crime scene.” “Your fingerprint was found on the knife.” “You are on CCTV.” If a suspect has been talking, they will now most likely be going, “no comment”. In reality, most suspects maintain no comment throughout, so you would quickly go through the model and get to the challenge quickly. In UK law, we can hold an inference of guilt on a suspect who fails to account for evidence against them. This ultimately is a tool for the jury to help them deliberate. Hope this is of some help.”

Well, Harry is spot on with his suggestions, but here in the US… Continue reading…

INTERVIEW DIALOGUE AND A COZY MISSING PERSON TURNED MURDER MYSTERY – 082 syndicated from https://harolddetective.wordpress.com/

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gigsoupmusic · 5 years ago

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Austin City Limits Wraps up a Successful Weekend One— 21 Best Things We Saw

It was the fest of times, it was the worst of times. Well, not exactly the worst— unless you’re counting temperatures upwards of 95 degrees and a scorching sun (thanks global warming). But, despite brutally hot temperatures (this was the hottest ACL weekend on record since 2006), the promise of great music and fun times drew sellout crowds of almost 60,000 to Zilker Park, eager to brave the sweltering sun for a glimpse of industry giants Billie Eilish, Cardi B, Childish Gambino, and others. And weekend one delivered; from Guns n’ Roses to Tame Impala, any sunburn was completely worth it as the festivities roared on and our ears cried happy tears. The temperatures were high and the sun was relentless— but that didn’t stop the festivities from roaring on as fans geared up to enjoy the last ACL of the decade. Check out the 21 best things we saw below. *All Photos by Valerie Magan unless otherwise noted. FIDLAR kicks off AMEX stage with red-hot set in morning Austin heat

Pooneh Ghana/ACL

Pooneh Ghana/ACL “23 years of drinking cheap beer!” FIDLAR’s Zac Carper tells the audience assembled at the AMEX stage, a seemly Hawaiian-print button-down draped loosely across his body, a black guitar decked out in a spiderweb sticker and a giant 808 (the area code for Hawaii) in hand. He wears another band’s t-shirt— Emily’s Army, now defunct— a smug nod to SWMRS, another California band whose third album he produced.

Pooneh Ghana/ACL A quiet trailblazer for L.A’s underground skate-rock scene, FIDLAR’s influence is not to be sneezed at. Fresh off a blistering sold-out show at Scoot Inn the night before (the first of ACL’s official Late Night shows), FIDLAR was just as ruffian and high-energy as ever, a ragtag number of ordered chaos— a description to which the band are no stranger. Their music is practically written to get adrenaline going— it's even in their name, an acronym of ‘Fuck It Dog, Life’s A Risk. Playing a mix of cuts from their latest album, “Almost Free”, and from their debut, “FIDLAR”, the 45-minute time-slot on the AMEX stage was the perfect span for their music— any longer and the crowd might’ve passed out. The set goes by quickly, but ends not without a pulverizing version of old favorite, “Cheap Beer”— 2 minutes and 22 seconds of pure adrenaline. Being on stage with ‘Almost Free’, a surprisingly bold, vulnerable album that sees the four recovering from addiction and tragedy and rising above expectations of them, the band finds just that— freedom. Weyes Blood's larger than life performance outshines her stage

Erika Goldring/BMI

Erika Goldring/BMI If Natalie Merring’s fourth studio album was titled any differently, I’m not so sure it would so aptly describe the feeling of falling into it. Weyes Blood, whose breathtakingly beautiful chamber-pop offerings lit up the BMI stage every bit as much as her stark white suit and starlike sunglasses, was a force to be reckoned with. Sounding at times like a pared-down Crystal Castles with Lana Del Rey as lead singer, Merring captures perfectly the ethos of finding pockets of serenity amidst unbroken chaos, even in live performance. Running through songs from this year’s aptly-titled ’Titanic Rising’, Merring takes listeners on a loop through the stages of a slow-burning catastrophe: the feeling of suspension— disaster oncoming— to finding a perverse exhilaration in watching it all fall apart. She sings “Movies” and “Andromeda” with an especially chilling grace, the sweeping orchestrals forming a beautiful corner of safety and refuge as the chaos of ACL forged on around us, making us temporarily forget about the heat as we stepped blindly into the North Atlantic Ocean, a Titanic-sized lump rising in our throats. Thom Yorke's man-bun steals the show

Thom Yorke has long earned the right to be arrogant. No one who had ended up here had just wandered in by chance. No. Every single person in this 8000-odd crowd had showed up for him. He took no time to introduce himself, but needed no introduction anyway; years of playing as Radiohead’s frontman did it for him. And, as he’s managed to spin a career fronting one of the biggest alt-rock bands into one of the most exhilarating and creative solo projects in recent memory, there’s all the more reason to feel superior. Billed on the festival lineup as ‘Thom Yorke Tommorow's Modern Boxes’, the wording made for some early confusion, some thinking this was a set focusing solely on his 2014 solo album, and others thinking he had formed a new side-project. The latter, tonight, seemed to be true. Performing with his current ensemble— who I’m very reluctant to call a Radiohead ‘side project’— Yorke arrived on stage cooly at least five minutes ahead of schedule, his signature top knot bobbing above him as ‘Tommorow’s Modern Boxes’ (longtime producer Nigel Godrich and fellow musician Tarik Barr) trailed obediently behind him. He felt no remorse about starting early; everyone who was here to see him would’ve been here already. Thirty seconds ahead of call time and they had already begun “Impossible Knots,” Yorke’s top-knot bun bobbing along to its namesake.

Valerie Magan/ACL

Valerie Magan/ACL Even if you’ve been listening to Radiohead for years on end and still associate Yorke with the scathing metal clutches of ‘90s alt rock, we can all agree that his solo work is a wonderful compliment Radiohead’s work. It’s minimalist, elegant, poised, but chaotic and discordant in its own right. It seems to energize him. Here, we see a markedly laidback, mellow version of the Yorke seen hand-wrenching his way through early Radiohead concerts, recklessly frivolous and worthy of laughter. Yes, he still breaks out in odd dance moves— his signature move this time was the turkey head-bobbing while he adjusted knobs on the switchboard— and the song selection provided mixed results, but he’s much more poised, angelic almost. The juxtaposition on stage was almost laughable: never more than once did the other two look up from their screens, each soldiering on throughout the whole set with dead-eyed determination while their counterpart Thom Yorke billowed himself around on stage. We were excited to see we could count on his wild grandpa dancing, sometimes resembling a bull at a riding competition, even through ANIMA’s heavily digitized beats.

Valerie Magan/ACL Tame Impala wows with fitting, futuristic set at sundown

As the sun started to go down and the Austin heat finally began to recede, Tame Impala’s descent into cool R&B was one much needed. It must’ve been strange, performing at the same time as Guns n’ Roses, especially since, in sharp contrast to the heavy rock going on on the other side of Zilker Park, your music isn’t meant to rile up a crowd. There were defiantly some crowd members on the outskirts looking bored, swaying absentmindedly as “Let It Happen” crooned on. While it didn’t help that he didn’t interact much with the audience— and a lack of new material made four-year old songs sound even older— I’ll give them this: the way it all came together for better or for worse was the redeeming quality of the night. The pulsing light show, the slick veneer of pyschadelic-alt, and the whirlwind of fans starving for new music somehow made for a perfect storm, lifting and carrying us above air as Kevin Parker’s five-year-old hits satisfied once again. While there was nothing in terms of new music to offer, other than two summer singles, “Patience” and “Borderline”, . At times completely drowned out by the seizure-inducing lights and laser pointers so intense I worried it’d trip up pilots, the band delivered as much of an enjoyable live experience as we could expect them to, closing out day one strong with their 15-track set of pleasant, ultrasonic lullabies. “Borderline” fit right in with surprise additions “Lucidity” and “WDYNMUYM” and the ever-popular “New Person, Same Ol’ Mistakes” sent Tame Impala out with a bang.

Valerie Magan/ACL

Valerie Magan/ACL Guns n’ Roses arrives on time— and with an upgraded Axl Rose

Katarina Benzova/ACL “We’re in the jungle baby!” Axl Rose told Zilker Park. “You’re gonna die!” The Saturday night slot at Austin City Limits has long been friendly to veteran acts for a while now, but even so, these last two years have been the year of ACL revivals. Last year’s Metallica was one such union, honoring an important musical legacy with hard rock and fireworks. Sure, like last year’s Metallica, it’s always a gamble to bill a veteran hard-rock act with such a small, niche subset of older fans as a headliner, but like Metallica, Guns ’n’ Roses still managed to draw in most of the older crowd, as well as a sizable subset of millenials who had skipped out on the ever-popular Tame Impala in favor of partaking in nostalgia of a time they were never a part of.

Katarina Benzova/ACL

Katarina Benzova/ACL “Remember ’87?” Instagram stories seem to say— regardless of age— as Axl Rose performed revamped versions of “Welcome to The Jungle” and “You Could Be Mine” to a wave of phones aloft. And those who headed over from Tame Impala’s set were in for a very different ride, but everyone who stuck around just a little while longer ended up witnessing probably the best Guns ’n’ Roses performance in recent history. No, the sound mix was not the best— “Do you even fucking hear what I'm saying?” Rose yelled early into the set — and certainly must’ve sounded worse in a phone recording, but at least Rose looked the best he had in years, and Slash proved to us he still had it in him as he exited the stage with a handstand.

Katarina Benzova/ACL Misterwives is doing great

Valerie Magan/ACL

While you probably most know them from their 2014 single, Reflections, that caused quick success, you’d be pleased to know that Misterwives’ 2019 has been equally as great. Currently on tour with cult-favorite band TØP and hard at work on their third studio album, Misterwives is an absolute a ball of energy and excitement for what’s to come in the year ahead. They certainly looked it on stage; down from drummer Ettiene Bowler’s to lead singer Mandy Lee’s smiley, thrilled demeanor and bright orange getup, it’s the two freshest cuts that excite them the most, starting the set high-energy with their two latest singles. We’re certainly looking forward to their new material, and if it’s anywhere as thrilling as their ACL debut, there’s not a doubt it’ll be great.

Valerie Magan/ACL

Lil Uzi Vert

Whoops— we didn’t see that. Tierra Whack gives a fan the shoes off of her feet

Valerie Magan/ACL If ever there was a competition for the best stage presence, Tierra Whack (and DJ Zach) would be worthy contenders. The spitting image of a ‘90s underground rapper, Whack actually sports one of the more muted outfits of her “Whack World” tour: a wacky patterned purple and blue two-piece, complete with neon nails and doorknocker earrings. After a slightly-late start to her set after Zach’s computer overheats— which prompted stagehands to bring in a big-blade to place directly on the laptop— Tierra Whack to a crowd of young fans, . her DJ counterpart Zach Whack— a skinny, tattooed white guy with , Obviously “Clones” was a big hit, but she played other songs like they were just as big, and the audience responded accordingly.

Valerie Magan/ACL

“Is it anyone’s birthday today?” Whack asks the crowd of mostly student-aged festivalgoers, and, the middle of the horde produces the hand of small, student-aged boy with curly hair. In true festival style, surrounding festival-goers punt him up and over their heads and towards the stage, where he’s set down inches from Whack, who’s waiting expectantly for him to arrive. A quick exchange of banter and she’s handing him the shoes off her feet— a new, expensive, pair of patterned Nikes. She proceeded to complete the rest of the 45-minute set unshod, running through a record-shattering 18 tracks— including fan favorites “Cable Guy”, and “Pretty Ugly”— while sliding around on socked feet. What a birthday gift!

Valerie Magan/ACL

Valerie Magan/ACL The anomaly of Billie Eilish, the teenager whose old soul outshines most adults

Charles Reagan Hackleman/ACL

Call her what you want— an industry plant, a product of the studio, an extension of her brother FINNEAS— but there’s no denying that . You may be inclined to think … but there’s something incredibly drawing about Eilish, who. By the time she arrives on stage, the Honda setup is rammed shoulder to shoulder, ad unlike the usual crossed-armed, bleary-eyed, pop-in-to-see-if-its-good festival old folk, its obvious everyone here is a fan. How could you not be? Even if you tried to escape, bad guy has been on the charts all summer, making headlines for dethroning Lil Nas X’s Old Town Road. Her debut album, When We All Fall Asleep, Where Do We Go?’ was a charming, albeit vulnerable 12-track of raw ramblings, produced by none other than her brother FINNEAS, who today joins her o stage on guitar much like h does in the studio, functioning as an impromptu hype man as Eilish bobbed around on stage in bright green. It’s clear the Eilish knows what she’s doing: with lyrics beyond her years and a concrete knowledge of just how to connect with her audience, Eilish boasts the energy and skills of an experienced touring musician, turning melancholy content best enjoyed alone, into an loud, shared experience.

Charles Reagan Hackleman/ACL

Charles Reagan Hackleman/ACL “For this next one I have a request for you… I know you all know this chorus, but can some pits open up?” she asked, sounding akin to a rapper’s hype man at a hip-hop shindig. After all, she did look the part. Dressed like a ‘90s rapper in an oversized green tee, dangly chains and baggy cargo shorts hanging loosely off her small frame, Eilish looked less like an angsty teen and more like an uncle at the cookout. But, her music still cuts deeper than most; it’s a stormy, troubled attempt at catharsis that begs adult explanations for the abstract— culminating in “When We All Fall Asleep, Where Do We Go?”. And whether you’re jealous of her for accomplishing more than you ever had at fifteen, or just one of those stony-faced parents forced to accompany their children to the pit, there’s no denying that Eilish captures hearts.

Charles Reagan Hackleman/ACL The Cure deliver bare bones Saturday night set, and Robert Smith is still the world's most bashful superstar

Valerie Magan/ACL A new generation may have taken over at ACL, but on Saturday night, we were reminded what it meant to be . A sharp contrast to what was going on across the park at Childish Gambino, middle-age nostalgics the Cure took the stage for what was their first run at ACL. Still managing to draw much of the older crowd to their set at the Honda Stage, The Cure found a lush audience in those itching for a bout of nostalgia much like they’d found in last night’s Guns n’ Roses. Despite looking a bit out of his element, Robert Smith . For a man that once sang the words “It doesn’t matter if we all die”, Robert Smith . While their days of blatant language and tism are far behind them,

Valerie Magan/ACL

Valerie Magan/ACL It had been years since I’d heard emo classic “Boys Don’t Cry”, but it didn’t take much to remember every word. It feels almost cheap to say that emo-classic “Disintegration” rolled off Robert Smith’s signature painted-on lips as smoothly as it would’ve had it been 40 years prior, but it was true. Classics like “Friday I’m In Love” and “Just Like Heaven” had both older, dedicated fans and the Billie Eilish bleedover singing along in a surprising, cross-generational harmony to a song that had been around since some of them had been in their late teens, back when radio was the primary form of music consumption. Like Thom Yorke, Robert Smith has also earned the right to be arrogant; he gets everybody to their feet and singing with the snap of a note. “See you next year,” Smith says, riling a few of us up before realizing his mistake. “See you next week!” he restates. Hopefully it will be both.

Valerie Magan/ACL

Valerie Magan/ACL With church claps and smooth falsetto, Childish Gambino makes his ACL comeback

Sydney Gawlik/ACL “5, 4, 3, 2, 1. I need y’all to do a church clap for this next song,” Donald Glover said as he demonstrated what he wanted. The audience followed suit, clapping all through the opening notes of “3005”. Why a church clap was necessary there, only he knows, but the audience was more than happy to oblige. After cancelling his ACL performance (and remaining tour dates) last fall due to a foot injury, a refreshed Donald Glover , best version of himself that had been in a while. wild on stage— showed us just what last year was missing as he galloped around on stage, "This-Is-America"-style, capturing the crowd for all of his two hour set. And with the Cure playing faintly in the background, it was a wonderfully chaotic two hours for your ears.

Greg Noire/ACL

Greg Noire/ACL “If you got a joint, you better smoke that shit! If you got somebody you love you better hold them close. Or if you just feeling the vibe… close your eyes and let me take you there.” His opening words were a seamless fit for his ultra-smooth single, “Redbone”— if anything, this was the vibe for a Saturday night. Although more highbrow songs like “This Is America” made for a serious frame of mind, tonight’s set boasted a particularly celebratory flavor to end out Day 2, as Childish Gambino fulfilled his promise of bringing us exactly what we’d been robbed of last year. “I broke my foot last year. I will not fail you this time,” he told the crowd, and it seemed like he’d taken those words to heart, treating each song like it would be the last time he sang it, adding falsetto and witticisms to tunes like “Sober” and “Summertime Magic”. In fact, he barely sang “Redbone”, and instead took the opportunity to show off his vocal range, swapping lyrics for falsetto and notes for soul-shouts. The crowd ate it up, more than happy to pick up the slack, filling lyrics in for him with their own scream-sing version of “my peanut butter chocolate cake with Kool-Aid”. “This is America” was a similar story, although much of the song was carried by the backup choir and dancers in school uniforms that made the stage look exactly like the video. And between songs, the audience got a beguiling glimpse of his personality: carefree, funny, relatable. Julia Jacklin rises above hungover Sunday crowd

Roger Ho/ACL Cue Sunday. The last day of the festival, lingering Friday sunburns, and the searing hangover. We can all agree that Sunday mornings are not for the faint of heart, and with a mix of fatigue from late night parties and hangovers from a rowdy night out, it was clear that the heat was catching up to everyone as the early afternoon rolled on. Collateral to this was Julia Jacklin, whose soulful, beautiful musings echoed over a shortened Honda stage entirely too sparse for her talent. She took the sparse crowd in stride; her quiet, picturesque grace never once paused for breath, making us wonder why she wasn’t a headliner. The Japanese House are indeed Good At Falling— on appreciative ears

Self described as a sad, modern ABBA, the Japanese House are absolutely Good at Falling. Good at Falling on much appreciative ears. Known for her super dreamy sets that make heavy use of a vocoder to achieve a deeper octave, it’s always a wonder how Amber Bain keeps her sets just as enthralling in front of an audience as she does in the studio. Such awe was definitely not missing today as we heard live cuts from their latest album. Some songs recall Frou-Frou— Imogen Heap’s band from years past— staying true to their older sound while still leaving room to grow. Amber is joined by two others, and she sounds even fuller this time. Not usually one to be too shy, Bain throws out hurried stage banter forced to a basic minimum as they blow through a carefully selected group of songs from this year’s debut, ‘Good At Falling’. Freshest single “Something Has to Change” was unfortunately missing, and the frustratingly short set is crowned by “Maybe You’re The Reason”. Definitely a must-see live, The Japanese House forge an incongruently haunting atmosphere in the middle of the searing Austin heat, reaching into unexpected sonic domain and creating a lush, celestial soundscape to go with abstract, deep lyrics.

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Valerie Magan/ACL Moshpits and abject chaos are the general order of the day at IDLES' early afternoon set

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Chad Wadsworth/ACL “This song is a celebration of the best thing that ever happened to Britain, and the best thing that’s happened to your country… Immigration!!” IDLES frontman Joe Talbot screams as he launches into Danny Nedelko. Rather than just being another punk rock band, IDLES has taken their platform to share their wonderful form of protest punk. Old favorite “Divide + Conquer” finds an entire American festival dancing to a song about NHS cuts, while the raucous chorus of newer cut Danny Nedelko causes the biggest singalong about immigration and “ aliens” we’ve heard in a long time. Despite an underlying theme of pain and suffering in their lyrics, IDLES finds us plenty of moments to let loose, just be carefree for a moment. And that’s certainly what the four of them are doing on stage as they give each song their all, dangling around at the mercy of a microphone cable, herk-jerking about each other in a manner that Thom Yorke would probably envy. If you haven’t heard of IDLES yet, we suggest you do… now. Rosalía brings Barcelona to Austin with stunning Flamenco Reggateon crossover

Valerie Magan/ACL Rosalia’s debut at ACL was everything we could’ve wanted and more. Everything about the performance was beautifully timed and choreographed, from the formations of her dancers, to the contrast between her and them, to the emotional, seemingly-impromptu cover of Las Grecas’ “Te estoy amando locamente”. She treated us to a tear-inducing acapella version of “Catalina”, before running through “Con Altura” (albeit without her counter part, J Balvin).

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Valerie Magan/ACL “You know I come from very far away. I come from Barcelona,” she said in near tears to an audience of screaming thousands. She stood in humble disbelief that she had crashed into this market so suddenly, so unexpectedly, and had spent nearly all summer on a run of festival appearances, bringing a wonderful mix of Flamenco and Reggaeton to American audience. We’re all for the latin revival in mainstream music that’s been happening in recent years, and it’s exciting to see such a humble artist break through the barrier. This can only signal a much-needed widening of musical barriers, and we’re excited to see where this takes us in the next decade. BANKS brings the fire in red getup

BANKS, who gained momentum the past few years with her song “Begging For Thread”, has catapulted to the forefront of indie. Clad in black thigh high boots and a tight ponytail, BANKS took on a boss-bitch vibe as she sang songs from her third album, making for a rich and compelling performance that took command of the audience and made sure you didn’t take your eyes off of her. Everything about her and her dancers routines were perfectly coordinated, from the contrast of their hair color to the dark theme of their outfits— which recalled the sprites from Spirited Away. ‘III’, a break from her usual dark and moody R&B is, if anything, a set of catchy singles that made exciting hip-swingers.

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Valerie Magan/ACL Third Eye Blind wants you to know they’re “not a MacBook Pro Band

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Valerie Magan/ACL “We’re not a Macbook Pro band,” Stephan Jenkins told Zilker Park. “We’re not singing along to tracks. This is a motherfucking guitar band so we can do whatever the fuck we want!!” This was the energy that Third Eye Blind began with, and quite frankly, it was the energy they deserved back. Building the band from the ground up, Third Eye Blind found rightful ‘90s success with ’97 single, “Semi-Charmed Life”, but not much is said about them otherwise. More than a wonderful brush with nostalgia, the four have put out consistent, sharp albums ever since, and are gearing up to release an album next week. “You are now part of Third Eye Blind. Show me your face and I’ll show you mine”, Jenkins said, taking his sunglasses off. Sold. We will. Lizzo ‘sells out’ the Miller Lite Stage

Chad Wadsworth/ACL Oh, Lizzo. The powerhouse singer that’s been absolutely everywhere this summer. Fresh off the release of her debut album, and a six-week chart run of her song-of-the-summer single “Truth Hurts”, Lizzo has become a cultural icon. The current queen of feel-good, body-positive music, her impact cannot possibly be denied. But as the Miller Lite stage packed from edge-to-edge, with fans lining up as early as 4pm for her 7pm set, it was clear ACL had underestimated her influence. Packed from the front of the Miller stage to the outer edges of the Honda stage the distance of two football fields away, the wait for Lizzo was the most hair-raising, tense time we’d had. Fans pushed, shoved, clawed, and shouted their way to the front, hoping to be as close as possible to what they had knew would be the most exhilarating set yet. Even the photo pit filled up quick as photographers and fans clamored to get a glimpse of the “Truth Hurts” singer and her backup dancers, all clod in an array of neon orange and yellow leotards.

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Chad Wadsworth/ACL And when Lizzo asked the audience to put their phone flashlights up for “Jerome”— one of the only times it felt right to see a wave of phones pointed skyward— it was like starlight had come and engulfed us. She was at the top of her game, belting out hard-hitting melodies as she ran through a wonderful selection of her hits and a few older songs. Needless to say, “Truth Hurts” and “Good As Hell” were one for the books— with the enthusiasm of everyone on stage and the roaring energy of the crowd, rowdiness and general disarray became the order of the day for those 45 minutes, taking the cake for one of the most exciting sets of the weekend. Way too short if you ask me.

Chad Wadsworth/ACL LANY, Los Angeles' near-overnight success, makes a case for themselves at the VRBO stage

Keenan Hairston/ACL Love them or hate them, there’s no denying that LANY are robust performers. Sometimes in this day and age that’s all you need, but thats certainly not all they have. An acronym for Los Angeles New York, the 4-piece’s success story is something of an anomaly, and mostly came about after the band was added to several popular Spotify playlists. But, to claim their success was contingent on a whim of streamings wold be unfair, as it would be equally unfair to suggest their fans were “New Music Friday”—ed into liking them. After all, for a band geared towards the sensitive young crowd, LANY has mature lyrics, vivid imagery, and mercurial soundscapes — all ingredients for a wonderful band.

Keenan Hairston/ACL With songs absolutely perfect for the late summer heat, LANY’s music is the perfect backing track as the sun dips into the pink and orange behind the hills, recalling memories of a gentle love— and taking our three day extravaganza with it. The fun is far from over, but something about seeing the sun— who had unwittingly become our enemy these past three days— make its way over the hills for the last time made it all the more real that ACL 2019 was coming to an end. Bittersweet excitement tinted the set, and from their early synthwave crooners “Made In Hollywood” to slower, more mature “Malibu Nights”, the bands hour-long sunset performance rivaled Lizzo’s in ?. While missing Lizzo was a sacrifice, LANY was an equally sound option that proved your 7-8pm time slot would’ve been phenomenal no matter which one you chose. Tardi Cardi! Cardi B arrives thirty minutes late to her headlining set— but fans seem to forget as she finally appears

Valerie Magan/ACL Sometimes chanting the artist’s name is a perfect way to get them to appear. This was not one of those times.

Valerie Magan/ACL

Notorious for being late, Cardi B was not on stage when the clock struck 9:00, and fans started to get antsy as time ticked on. A quick look at her Instagram story for the day revealed she wasn’t even in the United States twelve hours prior, instead wrapping up a trip overseas. But once B. took the stage, 33 minutes after her scheduled start time of 9:00, it was almost as if everything was forgotten. The crowd was euphoric to see the Bronx singer/rapper finally appear, and B. recovered quickly from her timely faux-paus with a high-energy torrent of career highlights, busting into that signature Cardi B.-twerk as fireworks signaled “I Like It.” And “Bodak Yellow” once again stole the show, going all out with its danceable beats and impressive pyrotechnic light show. Ringing in at 45-minutes total, the set felt undeniably short, but once again, Cardi recovered by reminding folks of her upcoming El Paso show on Oct. 8.

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Valerie Magan/ACL Mumford and Sons close out Weekend One with audience tears and unifying folk rock No caption is needed for this amazing closeout—the pictures say it all.

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Charles Reagan Hackleman/ACL And that's a wrap on weekend one! Check out some more photos from the event weekend below, and stay tuned for weekend two!