#i mean i think i’m an american woman is a bop

[conquerthenight]

Something I don’t understand is the hate that Zauberhaft Natürlich gets on this site. People complain that whether Maxim has any sort of romantic feelings toward Ich is unclear and yet when it is made clear in the musical with the edition of Zauberhaft Natürlich that he at least is somewhat fond of her (whether that fondness equates to love is another matter I won’t get into here) people complain anyway. I mean to each their own, but at least it’s not like Sie’s Fort with its ten unnecessary reprises or I’m an American Woman which is really only in the show for the sole purpose of giving the actress playing Mrs. Van Hopper something else to do other than sit backstage after the Monte Carlo segment, and even then she’s not even in the second act so what’s the goddamn point?

[karl-raccoon-enjoyer]

BSD Characters as Quotes From my Friend Group’s Quote Book

Dazai in the beginning when Atsushi collapsed on him: I can’t kiss men, I’ve entered my homophobic arc

Dazai for the rest of the series: I’m gonna kiss men. I’m in my homosexual arc

Sigma: You don’t care about killing a baby?

Nikolai: I just bop ‘em over the head

Dark Era Dazai: Everyone in this world is a disappointment. Except you, Oda, you’re great

Dazai to Fyodor while in Mersault: Jesus surrounded himself with men that were devoted to him. Jesus had a harem

Also Dazai to Fyodor while in Mersault: Don’t drink juice out of the toilet. I mean, Jesus can turn water into wine, but can he turn it into juice? What about all them kids. I mean, what if Jesus came to a kid who was thirsty and gave them wine!? That’s illegal and Jesus is in jail :(

Fitzgerald: I’m the only American left!

Fitzgerald Again: Remember kids, stay true to America, and if you’re not America, stay true to America

Dazai: Why would I not like Satan? He lets me do all the fun stuff

Dazai, to Atsushi: You’re gay for him (Akutagawa)

Atsushi: I think he’s cute, not hot. THERE’S A DIFFERENCE!

Nikolai: Ohh shiver me timbers he’s gonna stab me

Kenji: Cows are therapeutic

Tecchou: What is the capital of France? Italy, right?

Kunikida: I don’t want a cheese hat, but I want custody of my child (Aya)

Dazai and Fyodor: We got kicked out of jail and are lifting on the streets

Nikolai to Sigma: Come on kid, let’s go watch dad (Fyodor) die!

Nikolai: I’m furious with you *steam comes out of ears*

Nikolai: RIP boiling water, you will be mist

One of his employees: Sigma, why do you have a weapon?

Sigma: It’s not a weapon, it’s my gun

Asagiri: THEY ALL FUCKING DIE, that’s a plot twist

What Sigma hears every time Nikolai talks: It’s gonna be about a guy and on his horse and they fall in love

Dazai: Stop eating lead they said. It’s poisonous they said. I say yo mama

Tachihara at Q: If that’s a man, and that’s a woman, then what is THAT?

Yosano: At the hospital, the participants or whatever, the patients

Dazai in the beginning when Atsushi collapsed on him again: He’s tryna kiss me! NEVER!

Dazai: Kunikida! You said you’d give me time to relax!

Kunikida: What have you been doing?

Dazai: Nothing really

Sigma in Mersault: I’M THE MOST REASONABLE ONE HERE, AND I’M THE ONE JUMPING UP AND DOWN ON A RUSTY METAL PIPE!

[enigma-im]

Third Day of Christmas...

Trope: Enemies to Lovers (NSFW) Relationship: Minotaur x Human Word Count: 4,025

It all started with a note on the door.

Imani didn't expect to find a letter taped to her door that morning, or any morning for that matter. For a good couple of seconds she feared it was from her landlord, an eviction notice of some kind. That went right out the window as she read the chicken scratched handwriting.

Dear apartment 23 resident,

I'd appreciate it if you would keep the noises to a minimum after 10 pm. The singing has kept me up well past midnight. The stomping at all hours has been less than appreciated. Also, I hate to point out that your dog hasn't been a saint either, barking every morning at 7 am. So if you would please, muzzle the dog and stop the late-night parties.

                                 Signed, apartment 15 resident.

Imani is confused for a moment, walking back into her apartment while rereading the letter. All of it is not true, starting with the singing. She does not sing, especially that late in the day. The neighbor on the other hand has a daughter who doesn't understand her own volume, blaring out BTS songs at odd hours. The stomping is a ridiculous accusation, almost typical in these situations. The only time she can admit that her walking would be loud is when she first gets home and hasn't gotten to removing her shoes. Besides then, she is as quiet as a church mouse. An hour after she gets home she spends most of her time lounging in the living room. so how can she be making noises if she isn't moving?

The woman drops the note onto her kitchen table, put off by the audacity. She looks over to her little dog, shaking her head as she thinks back on the next line. Her dog doesn't bark! He is as silent as can be, never even growling. The most this 'resident' can accuse her pooch over is his nails scratching at the floor. Even then that shouldn't even register through the floors.

With the morning turned sour, Imani quickly organizes her things and heads out for work. The whole day is spent thinking hard on her letter, thinking about what needs to be done. Should she ignore it? Pretend she never got it and go on with her life? That would be the easy approach, even kinder one, but she ain't that kind of bitch.

When she got home late that day she storms into the kitchen, making sure to stop with her shoes still on, and grabs a notebook. She jots down a little message for 'resident 15' with as much passive aggression as she can put into words.

Dear resident 15,

The bold claims you have taped to my door have been read. I'd like to take the time to inform you of your misguided claims. I, for one, am not the local American Idol star. That award goes to Tiny Tina in apartment 22. I don't know why you have such an issue with her music, BTS songs are a bop.

Next on the list is my 'stomping'. Excuse me for correcting you again, but I do not 'stomp' around my apartment. The minute I get home from work I am sitting on my ass watching television till it's time for bed. So I ask you, how can I be stomping around if my feet do not move off the couch?

Finally, my dog. My dog is a saint, for your information, he is the quietest animal I have ever owned. I haven't heard so much as a peep from him since he was a puppy. Maybe check around for other noisy pooches because mine isn't the problem.

With this all said, I hope you find a solution to your problem because bugging me was not it.

                                       Sincerely, resident 23

Signed, sealed, and ready to be delivered. The next morning on the way to work she tapes the little note to the numbers on unit 15. smug, she walks out of there with her head held high.

Feeling proud of herself even further into the day she isn't ready for the speedy reply taped to her door, along with a missing doormat. With a huff, she snatches the note and heads inside. She unfolds the sheet, reading:

Dear 23,

I am not mistaken, and I'm taking your welcome mat until you know how to be a proper upstairs neighbor.

                                         -15

She gawks at the letter, put off by the blatant admission of theft. Are they a child, taking away things as a punishment? This is completely idiotic! She should march downstairs and confront the fool who thinks this is a proper course of action. Well, she would if she didn't also want to get back at them.

Throwing the paper onto the coffee table she flops down on the couch to think. What is the best way to get back at them?

A floor below rests Church the Minotaur. He is getting ready to go on a run, sliding on his sneakers as he opens the door. Glance to the side he catches sight of a gaudy plethora of stickers and glitter, his door dressed to the 9s with rainbows. He is taken aback, looking at the decorations with ire. Above it all sits a folded up piece of paper taped to the door. He quickly snatches it, reading it.

15,

Return the doormat and I'll clean your door.

                                    -23

Church chuffs, grinding his teeth as he looks to the door again. He didn't think he was being unfair when he first gave them a letter. It was a polite way to ask them to shut up. He just wanted some sleep, was that too much to ask? He looks to the door again, apparently, it was.

Imani opens the door fully expecting the letter. With a bit of a pep in her step, she grabs it, reading it as she walks to her car. She snorts, crumpling the paper and tossing it in the trash.

23,

This means war

                           -15

The next few weeks are filled with pranks of varying variety. The two start small, Imani stomping around upstairs with her heaviest pairs of boots, Church banging his hand against the ceiling during the quiet hours of the night. Next with more glitter courtesy of Church, a well-timed package that exploded in Imani's kitchen. He swears he could hear her surprised scream from below. Imani gets him back with a similar package, one with a jump scare card.

It's a back forth of one-upping the other. Church orders Imani eight pizzas, forcing her to reluctantly pay for it when seeing the nervous kid trying to deal with the mix-up. Imani manages to hook her phone to his Bluetooth speakers, playing random screams at all hours of the night. Church gets her back by attaching an alarm to her door so when walked out that morning she was startled by a firetruck worthy honk.

It seems it’s the last straw for Church when he receives his own glitter bomb of confetti cocks. It gets caught on the carpet, sneaking into the couch cushions, and sticking to his clothes. Quickly dusting himself off he charges upstairs, reaching her door and banging on it. He taps his foot frustrated and angry.

The door clicks open, Church already ready with his rant. Imani is equally prepared, excited with the chance to chew him a new one. When the two see each other they stumble on the words, looking one another over with confusion. Neither of them expected the other to be anything but some angry middle-aged person looking for a fight. They hardly assumed that the other would be so…attractive.

"I, uh," church shakes his head," You! A damn dick bomb? Do you understand how ingrained they are into my carpet? I sent you a cheap one, something you can easily clean up but you couldn't even consider that!"

"What," Imani comes back to her own," those craft herpes were not easy to clean, I'm sure it's still in the kitchen now and staining my clothes. So don't you dare come at me with 'woe is me' look like you had any consideration at all for my floors."

"Well excuse me, I didn't hack into your speakers to play Halloween screams all through the night. I damn near had a heart attack at 2 in the morning because of you," he points to her, debating on jabbing her in the chest. She slaps his hand away before he gets the chance, scoffing.

"At least I didn't make you spend money on eight pizzas! Do you know how much eight pizzas cost? It was like seventy bucks. I'm just glad you didn't splurge on something more than a single topping pizza. But fuck you for making them all pineapple you monster," she bites back.

The two ramble on long enough for the neighbors to peek their heads out. Embarrassed, they close out their argument with a huff and a door slam. Church heads off to his apartment, falling onto the couch while grumbling to himself. Imani growls and mumbles in her bed. They both can't help the thought that ruins all their anger:

God, they were hot.

The pranks don't stop in their frequency. The two continue, using their frustrations at their traitorous thoughts to fuel their revenge.

Imani still plays with his speakers, using screamo songs to annoy him in the afternoons. Church booby traps her door again with more glitter, his preferred weapon as of lately. She takes up tap dancing, he pays the kid next door to blare BTS near the shared wall of her apartment. She puts a fake ticket on his car, he puts vulgar stickers on her's. the childish game goes on and on.

Imani sits in her room one night, frustrated beyond belief with the sexy minotaur. She can't get his face out of her head. Why did he have to be cute? It's not like it makes the little game they have going harder to do. No, it just makes it seem more than it is. She has to constantly catch herself praising his wit in some of the stunts he pulls. Scolding herself nonstop for wanting to stop by his place and yell at him some, just to see him. It's stupid, wanting to actually get to know him.

Church relaxes in bed, feeling more bothered than Imani. He has hit a bit of a dry spell in his sexual life, or his solo sexual life. He can't jerk off without picturing the little hellspawn upstairs. It would be easy to give in and just think of her but it would be too much. She is an enemy, not a potential interest. So what if she is one of the sexiest humans he has ever seen? Who cares if her ability to keep up with him in this little war is kind of turning him on? It doesn't matter, right?

He sighs in defeat, "I don't think I can believe that even if I tried," he grunts as he clenches his shaft.

Imani is at home setting up her next plan when someone knocks on the door. She looks to the clock surprised at someone visiting this hour. Confused, and cautious, she gets out of bed and walks to the door. Looking through the peephole she rolls her eyes at who she sees.

Imani opens the door," if this is about the folk music I'll tell you now I'm not changing it back."

"No," he growls," this is about the tap shoes. Metal on wood makes for some very undesirable sounds."

"Well, excuse me for trying to take up a new hobby. What about you paying off the kid next door to play her music next to my wall? I swear that little demon doesn't sleep," Imani scolds.

"Speaking of little demons, can you for the love of god shut your dog up. Every morning I hear his damn barking and I'm seriously debating calling someone," he takes a step into her space, scowling at the dog behind her.

"He doesn't bark," she pokes at his chest," I have never heard him even make a yelp since he was a puppy so I suggest you come up with a better lie than that."

"A lie," he shouts," your fucking dog barks, stop thinking he is some sort of mute."

"He does not," she shouts back.

"Does too," he steps closer.

"Does not," she raises her chin.

"Does too," he grabs her hips.

"Does not," she tugs at his shirt.

"Does too," he says, lowering closer to her. Before she can get her turn he quiets her with a rather harsh kiss, mashing his lips to hers. They grapple one another, pulling the other closer as they stumble into her apartment.

Church kicks the door shut as he fumbles with her shirt. She helps, parting from him long enough to cast the clothing aside. He tugs her back in for a sloppy kiss, delving his tongue into her mouth as she unbuttons his top. Thrusting his shirt down his arms while they bump into the sofa. Church beings unclasping her bra, uncoordinated as she sucks on his tongue.

The two fall to the couch, church not wasting any time with her freshly revealed tits. Imani gasps, petting down his chest to his pants. As he suckles on a nipple as she pulls him from his pants, holding his cock in her hand. He stutters in his attentions, panting heavily against her chest as she jerks him off.

"Oh, fuck," he groans.

"Like that big boy," she steals his attention, him looking at her cocky smile.

"Shut up," he reaches down to her pants, palming her through her jeans. She bucks into his hand, rolling her eyes at his smirk. He quickly discards her bottoms, tossing them away without a care. He watches her as he pets at her pussy, delving between her lips to feel how soaked she is for him.

"Am I wrong to assume this is all for me," he pushes a finger in. she clenches her jaw, groaning from the intrusion. He chuckles, feeling rather confident as she rides his hand. Not caring for his large ego she reaches for his cock once more, feeling him throb in her grip.

"Am I wrong to assume this is all for me," she mimics back smugly. He throws her an annoyed look, removing his fingers and slapping her hand away. Dropping a hand beside her head he leans down, looking between them as he prods his cock to her pussy. They both flinch, eager above all else. They both watch as his head parts her lips, poking at her clit with short nudges.

"You think I can make you scream like those damn Halloween recordings," he jokes as he grinds into her.

"No, I don't think you have the stamina," she jabs back, trying to stop the urge to buck against him. Church leans down and nuzzles against her neck, pressing a sweet kiss under her jaw.

"I guess we will just have to see," he grins, feeling less confident than his words suggest. His cock is damn near ready to burst with just his tip being coated in her sweet juices.

Church reaches between them, pressing his cock to her entrance. He guides his tip in, stretching his arm up to rest it beside her head. The only warning he gives her is a sultry smile before he shoves forward, both crying out at the suddenness.

"Oh, shit," Church whimpers beside her ear. Imani grabs at his arms, feeling utterly stuffed. He pulls back, thrusting forward quickly. Imani appreciates him not wasting time just pistoning into her. The need has been building up all week, the denial adding a new level of appeal to this want.

He rams into her, listening to her try to hide her cries of pleasure. He feels her body tell him what he needs to know, feels her walls pulling him in with every buck of his hips. She wants him as badly as he wanted her. It's satisfying to church to know this. To know that she needs this as much as he does. Not wanting to miss a thing he sits up, grabbing her hips as he does.

"Look at you," he groans," trying to hold back those little moans and whimpers. Don't fight it, babe, I wanna hear you." Imani startles herself with a cry, arching her back as his words add kindle to the fire. She wants to pretend this isn't happening, that she isn't getting fucked by her apartment enemy. But damn, does it feel fantastic.

Church watches her writhe on the couch, his stomach clenching as he tries to fight off cumming at the sight. Her tits bounce with each clap of their hips and it's driving him wild. Reluctantly he shuts his eyes, thinking about anything else to prolong this blissful torture.

Imani wails and whimpers as her insides are set aflame. As her orgasm comes rushing to the forefront she locks her legs around his waist, grinding like a madwoman into his thrust. She cries out her pleasure, utterly wrecked as she falls apart.

Church chokes on his breath as she clenches around him. He can barely think as she holds him in a vice grip. His hips go wild as he finds himself coming to an end. It's only half a thought that he undoes her legs and pulls out, grinding against her as he cums on her stomach. Imani watches in rapture as he tosses his head back and moans, the sound going straight to her already throbbing clit. She watches him spray out over her and she can't look away for even a second.

Church falls onto his hands, panting as he holds himself over her. He can't believe it. He got to fuck the cute hellspawn that has been tormenting him all month. At this moment he couldn't even think about the countless hours of sleep missed because of her little pranks. Right now all he can think of is holding her close and taking a much-needed nap. As he attempts the action he looks to her stomach.

Imani is bone-deep satisfied. Her body is relaxed against the couch and she feels like she's on cloud nine. She hardly notices when Church climbs off her, his footsteps fading away. When she does notice, it stabs at her heart a little. She watches him button up his pants, reaching to the floor to grab his shirt. I guess he's leaving, she thinks.

Church grabs his shirt from the floor, bunching it up as he turns back to her. She looks surprised when he crouches beside her and mops up the mess on her stomach with his top. He wants to laugh at the shocked expression but bites his cheek against it. With her all clean he tosses the shirt away and crawls in beside her. The couch is rather small so he lifts her onto his chest, lounging on his back. He cradles her against his front, ready to take a well-deserved nap.

Imani is rather confused as she watches him fall asleep. She fully figured he would dip after everything, she surely didn't expect anything from this. They were still in a war. A truce was never called but she can't help but think this changes something.

Shrugging, she snuggles up to him, enjoying his soft fur against her cheek. This is a problem she will deal with in the morning.

Imani wakes up alone in her bed. She is nearly tempted to figure the night with Church was all a dream till she feels the subtle ache in her legs. Ride a bull, you should expect some soreness. She chuckles to herself as she dresses. Walking into the kitchen she prepares for a lazy day indoors while she figures out how to deal with Church and her's relationship. As she gets ready to feed her pup does she realize the lack of said pooch.

"uh, Giovani," she calls out. No answer. She calls out again, searching around her apartment frantically. Did he get out while the door was open last night? Surely she would have noticed if he managed to sneak past. She rounds the apartment again just in case before she runs to the door, throwing it open in a rush. Out of the corner of her eye, she spots something hanging on her peephole. She tenses at the sight, snatching it.

Imani I have your dog Church

Imani scoffs, crumpling the letter as she marches downstairs. She can't believe she let herself think that things would change between them. That this little prank war can be swapped out for an actual relationship, friendship or otherwise. Above all, she can't believe he stole her dog.

Rounding the corner and stopping at door 15 she pounds her fist against the wood. She continues pounding till the door opens, revealing a smirking Church.

"Hello, babe, what brings you here so early," he asks, leaning against the frame.

"You stole my fucking dog, I want him back," she snaps, no ounce of playfulness available. Church nearly stutters on his act, a little worried about her protectiveness over her dog.

"Now, I stole him for his own good," he explains," with his separation anxiety I figured it is best if he got used to my apartment since I'm going to take up training him."

Imani scoffs," Excuse me? My dog doesn't have separation anxiety nor does he need to be trained by some dog snatching idiot with horns."

Church deadpans," idiot with horns?"

"It's early, they can't all be gold," she rolls her eyes," doesn't matter, give me my dog back."

Church shakes his head, frustrated at her denial. Instead of answering her, he calls for the pup, leaning down to pet him when he comes trotting over. With the dog properly excited he takes a step into the hallway with Imani and shuts the door. Imani looks from him then back to the door.

"What are you doing," she asks.

"Just wait," he holds up a finger. They both stand silently, nothing happening. Imani opens her mouth to acknowledge the ridiculous of waiting in front of a door when her dog begins whining, yelping loudly from inside the apartment. Church looks over to her with a smug grin, "Told you he barks."

Imani flusters, gawking at the door and listening to her dog cry out. Church opens the door, the pup running out and jumping at Imani. Still embarrassed, she pets at her dog before picking him up and walking away. Church watches her turn the corner, not saying a word as she departs. He sighs.

It's a good day of nothing that picks at Church. Surely he didn’t push too far, he didn't really intend to keep her dog so it wasn't that mean. He just wanted to prove that her dog did bark, finishing the month-long war on a hopeful note. It wasn't meant as another attack against her. He really did intend to help by offering to train her dog.

Throughout the day he debates going up there and apologizing, to offer an olive branch of some kind so he can actually get to know her. Last night for Church was…amazing. It was something he wants to do again, to explore further. That may be a pipe dream now.

Late into the afternoon church gets a knock on his door. He jumps up, feeling rather stupid as he quickly answers the door. Expecting Imani he is left disappointed as no one is there. No one could have left that fast. He looks down the hall, left to right. Nothing. With a defeated sigh he begins to close the door. He stops when a fluttering piece of paper catches his eye. Excited, he snaps it off the door unfolding it swiftly.

Church,

Dinner at my place, 8 pm

                               -Imani

Church smiles to himself, refolding the paper and heading back inside to get ready.

[cristalconnors]

TOP 20 SONGS OF 2020

20. “BELOW THE CLAVICLE”- EARTHEATER

“The meaning hasn’t come up yet. It’s still under the surface below the clavicle.”

It isn’t just Alexandra Drewchin’s ear splitting soprano when she hits that impossibly high B, practically shrieking out the “cle” syllable of clavicle, though that’s undoubtedly when I first knew that Eartheater’s avant folk was for me- it’s also the cinematic, lush strings, both bowed and plucked (is that acoustic guitar or harp? I genuinely can’t tell), deepening and complicating the sonic texture of Drewchin’s study of parsing through emotions you aren’t ready to make sense of yet. 

19. “PUSSY TALK”- CITY GIRLS, FT. DOJA CAT

“This pussy so ghetto, this pussy speak ebonics”

“WAP”’s funnier, classless Irish twin, though it’s important to note “Pussy Talk” came first. Yung Miami and JT enlist Doja Cat to expound on everything their pussies deserve and will absolutely settle for nothing less than. And why should they when they’re spitting out verses this inspiredly hilarious with such confidence and flow? 

18. “LICK IN HEAVEN”- JESSY LANZA

“Once I’m spinning, I can’t stop spinning...”

Jessy Lanza is talking about losing your cool, letting your emotions get the best of you and lashing out instead of letting cooler heads prevail, but when that earworm of a chorus hits- “once I’m spinning, I can’t stop spinning” - I can’t stop spinning. I’m that woman on the single art, a wine mom lost in the delirium of the dance floor and in Lanza’s hypnotic, fragmented rhythms.  

17. “GASLIGHTER”- THE CHICKS

“Boy, you know exactly what you did on my boat!”

“Gaslighter” finds Natalie Ames and her Chicks at their most simultaneously ruthless and ebullient, ripping Ames’s ex-husband Adrian Pasdar a new asshole and ratcheting up the righteous anger of “Goodbye Earl” tenfold, channeling it into a glorious wall of sound in what might be their most rousing, emotionally resonant chorus in their storied career. 

16. “HANNAH SUN”- LOMELDA

“Hannah do no harm...”

While “Hannah Sun” begins as an exquisitely observed rumination on grappling with long-distance, pining for someone who’s a continent away, it gradually becomes clear that Hannah Read blames herself for putting the distance between her and the subject of her longing, and that the distance isn’t strictly literal. Skittering synths (or is that distorted flute?) complicate and enrich the texture of the song, allowing it to build organically and stunningly towards a heartbreaking plea to herself- “Hannah, do no harm.”

15. “FIRE”- WAXAHATCHEE

“And when I turn back around will you drain me back out? Will you let me believe that I broke through?”

When I’d drive back and forth between Dallas and Austin over and over again when I was in college, I’d often get off I-35 past Waco and take the back roads through towns I’d never heard of, the sun setting spectacularly behind the titular hills of Hill Country that were beginning to roll out in earnest. I think about that a lot when listening to “Fire,” a song dripping in rural Americana that was, unsurprisingly, inspired by a road trip. We’ve probably all been Katie Crutchfield as she crossed the bridge into West Memphis- alone in the car, awed by the simple beauty of the American countryside, making speeches to ourselves about our past mistakes and figuring out a way forward. 

14. “3AM”- HAIM

“On the screen and in my jeans, just make me feel good.”

On an album full of genre departures and decidedly darker themes than we’ve typically heard from Haim in their near decade of syncopated bubblegum pop rock, “3AM” stands out not only as their most effective stab at pastiche, slipping into the trappings of contemporary R&B with shocking ease and gusto, but also as their most unabashedly fun track in their entire oeuvre. “I think you can hear the amount of joy and laughs we had making this song” Alana Haim tells Apple Music, and you absolutely can.

13. “QADIR”- NICK HAKIM

“We’re sinking down a hole without thinking about our loved ones who might be shrinking...”

I often wonder if I’m putting enough effort into maintaining my relationships with friends I don’t see regularly, who live several time zones away, living their own lives while I live mine. When the thought of sustaining simple correspondence becomes overwhelming, it’s easy for months to go by before you realize you haven’t spoken to one of your closest friends. “QADIR” plays less like a eulogy for a friend gone too soon (though of course it is that) than a plea to the listener to put in the work. It’s worth it. You never know when it’ll be too late.

12. “LEVITATING”- DUA LIPA

“Glitter in the sky, glitter in our eyes shining just the way we are.”

Just a few bars of that delightfully bouncy, extra-terrestrial beat is enough to launch me into space. It’s so refreshing to hear a song that remembers that pop is supposed to be joyful and is best when it’s a bit silly. When discussing this track with Apple Music, Dua Lipa cites Austin Powers as inspiration, elaborating that “if I do a video for this, Mike Meyers has to be in it.” Can’t you just see them together, performing a farcical pas de deux of seduction like the spiritual successor to “Beautiful Stranger?”

11. “RIQUIQUI”- ARCA

“Love in the face of fear! Fear in the face of God!”

Arca’s made a career of harnessing chaos and somehow making sense of it. On an album that finds her embracing more traditional, accessible song structures, “Riquiqui” is a reminder that even when working within an AB structure, she’s still breaking rules left and right and having a blast doing it. She’s also never sounded so ferociously empowered in either her femininity or in her Venezuelan identity, rattling off local colloquialisms with affection and verve without a second thought as to who’s going to understand it. 

10. “FANTASY”- AGAINST ALL LOGIC

“I think about you all the time...”

Or, the musical embodiment of this gif:

When Nicolas Jaar’s tormented synths and crunching beats give way to Beyoncé’s unmistakable alto, it is indeed quite the shock. But should it be? Even if 2017-2019 finds him ditching the dancefloor in favor of more severe, unforgiving soundscapes, his already varied career has shown us nothing’s off limits to him. So why not reinvent Beyoncé’s iconic “Baby Boy” into an industrial, vaguely sinister certified bop that arguably surpasses the original?

9. “PEOPLE, I’VE BEEN SAD”- CHRISTINE AND THE QUEENS

“If you disappear, then I’m disappearing, too.”

“People, I’ve been sad” plays out with the vulnerability and intimacy of a tumblr text post you put out in the middle of the night, only to hastily delete later when it gets no notes. It forgoes flowery language in favor of just getting to the point. “I’ve been sad.” Héloïse Adelaïde Letissier blows up this deceptively simple sentiment with richly layered textures and a big screen gloss not to offer any remedies but instead to offer solidarity. We’re all in this hell together.

8. “DESCRIBE”- PERFUME GENIUS

“Can you just find him for me?”

Mike Hadreas has never sounded so hopeless. Utilizing harsh, rattling guitar that would make Kevin Shields swoon, he conveys the experience of being so estranged from happiness and joy that you need to rely on others to describe the sensation to you. But how, when exploring darker textures than he ever has before, does he make despondency sound so divine? 

7. “4 AMERICAN DOLLARS”- U.S. GIRLS

“No matter how much you get to have, you will still die and that’s the only thing.”

Meg Remy picks up where she left off on “4 American Dollars,” reviving the subversive pastiche she mastered on In a Poem Unlimited, this time harnessing the power of funk to dismantle the fallacies we’re taught about the virtues of capitalism. Heavy stuff, but Remy makes it less didactic than joyous, ensuring the listener will be singing “I don’t believe in pennies and nickels and dimes and dollars and pesos and pounds and rupees and yen and rubles” until they start to wonder if maybe they shouldn’t, either. 

6. “STUPID LOVE”- LADY GAGA

“I freak out, I freak out, I freak out, I freak out!”

Due to a healthy spirit of contrarianism mixed with a touch of internalized homophobia and genuine bafflement at her universal appeal and praise, I was a proud Lady Gaga hater for as long as she’d been a cultural entity. I just didn’t get her at all and loved that about myself. Annoying, I know. 2020 was the year I was finally ready to let that all go. Just before the world fell apart in March, I was out at Flaming Saddles (RIP) with friends the night this song came out and by the sixteenth time it played, I understood why it was inducing such hysteria. This was a cultural shift. After a frustrating near-decade of Gaga subverting expectations so thoroughly that she was actively working against her strengths and sabotaging her cultural ubiquity in the process, coupled with the most frightening era of political upheaval in our lifetimes, she was finally ready to save us and be Lady Gaga again. Booming synth, drag sensibilities, absurd thematic conceits- all was right in the world. For the first time in a long time, people had something to be hopeful about, and as I danced that night, I felt that hope, too. 

5. “SHELLFISH MADEMOISELLE”- RÓISÍN MURPHY

“How dare you sentence me to a lifetime without dancing?”

As soon as that bass starts (the funkiest bassline in the history of music?) it’s like Róisín Murphy’s snake charming oboe, coaxing even the most stalwart curmudgeon onto the dancefloor and keeping them there, dancing frantically and involuntarily like the citizens of Strasbourg in 1518, trying their best to keep up with Murphy who isn’t even breaking a sweat, commanding the masses with a sultry remove, beckoning you closer, pulling you inexorably deeper into the mass of gyrating bodies and whispering in your ear “come and have a dance with yer mum.”

4. “PARTY 4 U”- CHARLI XCX

“I only threw this party for you...”

As PC Music / Bubblegum Bass / whatever you want to call it enters its second decade, Charli XCX proves not only that there’s still new textures to explore within it, but also that no one can exploit its artifice to get down to emotional truths like she can. How can she make something this slick sound so vulnerable? “I only threw this party for you” she croons over and over again over glorious syncopated synths that build exquisitely, reaching their climax only to immediately fall away, until it’s just her and her trusty autotune, pleading with the subject of the song to just come to the damn party. But they won’t, of course. They never do, do they?

3. “WAP”- CARDI B, FT. MEGAN THEE STALLION

“I want you to touch that lil’ dangly thing that swing in the back of my throat!”

Sometimes you just immediately know you’re living through a significant cultural moment. No, not COVID. I’m talking about the experience of hearing Cardi B and Megan Thee Stallion’s instant classic “WAP” for the first time, a titanic meeting of the minds that finds both of them at the apex of their cultural influence and at their most undeniable. Can the argument be made that these two aren’t the two best rappers in the game right now? How could you hear this inspiredly filthy sex positive juggernaut, where Cardi and Megan are trading the sickest verses of their careers, and not think these two deserve the world? 

2. “KEROSENE!”- YVES TUMOR

“I can be your baby in real life, sugar. I can live in your dreams.”

If the 2010′s were all about the pop-ification of all music, trading in live instrumentation in favor of polished synths, 2020 forcefully announced the return of the electric guitar when Yves Tumor and Diana Gordon’s back and forth lustfully submissive declarations of desire suddenly gave way to that nasty guitar rip lifted from Uriah Heep’s “Weep in Silence” to announce yet another cultural shift in a year chock full of them- rock and roll was, indeed, here to stay. 

1. “I WANT YOU TO LOVE ME”- FIONA APPLE

“I move with the trees in the breeze, I know that time is elastic.”

We live and we learn. Years spent soul searching and on self-discovery shape us into better, smarter people, progressively knowing and understanding ourselves and the world around us more and more clearly, but Fiona Apple knows that none of that can quell the ferocious desire to be loved by someone. By anyone. By you, whoever that is. We can know that time is elastic and that when we’re gone all our particles will disband and disperse and then we’ll be back in the pulse, and we can know that none of this stuff actually matters, but still- we want, we want, we want. 

[balkanballad]

Eurovision 2021 ranking

hello, hello and welcome to my eurovision 2021 ranking. the songs are ranked with numbers but I also put them into categories (from 💐 to 🥀) and added a short comment. so, if you are interested in my personal opinion about the songs, have fun:

💐:

Switzerland: I was rooting for him last year and it’s the one returner in my top that didn’t disappoint me that much. what a start, huh? I love the song, I love the feeling it gives me when I listen to it, the clip is very pretty too. did I like his last entry better? yes, but I will say it already here at the very top of this list: I liked last year’s choices in general a lot more. nevertheless, this is a beautiful entry! and it is my personal winner this year

Australia: I loved her last song. It was there for me when I needed it. Technicolour does not touch me in that way but it is fun!! it’s catchy to me and I really like Montaigne. I adore her style and how she sings. I am excitingly looking forward to this performance :)

France: beautiful song, amazing singer, the national final performance was wonderful. however, I listened to it so much that back in March I already needed a break form it. now as I am finishing this it’s April and I can slowly listen to it again. it’s me though, it’s not her. that’s really a me problem. she’s wonderful and I love the French touch to this

Albania: a ballad from the Balkans <3 hello, of course I like it and I love that they kept it in Albanian this year. I heard similar songs before, but I like the sound of it still.and overall it’s a song that gives me familiar vibes in a cozy way with a bit of drama

Russia: interesting!! I was relived to see that Little Big didn’t return because, as I explained in my ranking for last year, I was not feeling them. absolutely nothing about them, but I love her! I think it’s catchy, it’s something different and I like the message she supports. it took me a few times to fully decide how I feel about the song, but now it’s in my top for sure 

Denmark: fun! a fun song in Danish. I really like the good mood it puts me in. I even see this in the context of the Umbrella Academy or Stranger Things or something like that when they go to Europe to party a bit. I also really enjoy the old school vibe this has to it. I miss that vibe. I’m also a bit old school

Cyprus: I absolutely do not relate to anything said in this song but it’s catchy! it is a bit fuego and a bit replay but I liked those entries as well, so yeah fire. I have not heard a single live performance by her but I am not exactly sure that vocals will be the aspect that she will try to win votes with anyway. I am amused by the fact that apparently people were offended by this song when it clearly makes no sense whatsoever. it’s simply a bop, move on and dance a bit

🌺:

(8.) Greece: fun as well! a ‘dream team’ entry for sure. I say this a bit sarcastically, but they do well a lot of the times and I am lured in by a lot of their entries myself. Kontopoulos is a big name in the esc industry, it’s a fact. the song is a bit more mature than Superg!rl, which I also listened to more often that I thought I would. It still reminds me of a theme song for a superhero show for kids and I am a bit worried that the ‘dReAM TeAm’ is a bit too outdated for Stefania because I think she could have done something cooler than both of those songs

(9.) Sweden: it took me a few times listening to this song, but I like the song now. I don’t think it’s too special and “a million voices” reminds me of Polina immediately because those are her words for me, but this is a good song too. I like how it makes me feel empowered and like everything will be okay. thank you for that, Tusse, I need that 

(10.) Israel: Eden deserved a better song. I like this song less than last year’s entry because I think it’s less interesting and I loved some instrumental parts from last year’s entry, but this is not bad either. I am rooting more for her than for the song, but I guess that’s this year’s motto for me. I also can’t say that I love the revamp because it made it sound even more generic for me  

(11.) Belgium: I saw the promo pics for them and was very confused how different the singer looks this year, but it turns out that it’s not the same woman. I like this entry a lot better. I like her voice and I really like the vibe. It sounds a bit like it could play in the background of a classic American tv show when a character is going a bit through it and pouring a drink while it’s dark outside. I have the same problem that I mentioned already while talking about the French entry, but that’s still a me problem. I just need a break

(12.) Ireland: this entry is a lot less annoying to me than the song that she had last year. I like the lyrics and whole aesthetic of this one a lot more. it’s another one that I can’t listen to too often, but I still think it’s a very good choice imo

(13.) The Netherlands: Jeangu!! I think he for example will give a wonderful vocal performance. Growth felt way more personal to me, but that’s a repeating motive this year and also a me problem because obviously this is his song and he does it well

🌻:

(14.) San Marino: I’m still confused by this feature and I can’t really say that I’m ‘living’ for it, but I already made a post about how I don’t think she needed Flo Rida. minus the feature it’s a catchy party song, but it reminds me of one song that I simply can’t remember anymore. something that I heard from the Greek music industry, maybe even Eleni, if you know which one I mean, pls let me know

(15.) Estonia: just like last year: this song doesn’t make much sense and I don’t want to, but I still catch myself listening to it frequently... I am sorry, I can’t help it, but it puts me in a eurovision mood and yes, I am blaming Kontopoulos again. I am a weak person when it comes to his melodies

(16.) Ukraine: first I had it lower in my ranking, but I like SHUM better now and I like it a lot more now than last years entry. I really like the part when it gets faster, that’s really fun and makes me want to jump! jump! jump!

(17.) Spain: it’s a lot less repetitive than the last entry, but I would be lying if I said that I listen to this very often. it’s alright, not bad at all actually, but I just wasn’t in the mood for this (yet?)

(18.) Romania: this is for me still the same type of style as Bulgaria. European Billie Eilish type. last year I ranked her higher than Bulgaria as well, but they are pretty much the same to me. I can’t comment on whether I like her song less or more this year. it’s not bad either but I simply don’t think about it much

(19.) Bulgaria: I think I like this entry better than her last one. the message is cute, the melody too and yeah, but I don’t care about it too much

🌼:

(20.) Croatia: it’s a faster pop song without a real meaning. ground-breaking. the title makes me think of Ukraine 2014. which I like better, but we’ll see, maybe the performance will have something cool too. I will say though, I would have prefered the whole song to be in Croatian, it doesn’t make it much deeper, but I like that part the most

(21.) Malta: another faster pop song. I think she will give an amazing vocal performance and it will be cool and powerful, but the message and lyrics are a bit confusing to me. I am not the lyrics police, but I am confused by them a bit

(22.) Iceland: I think I like it better than last year’s song, but it’s still not LOVE that I feel for the song. I can listen to it though

(23.) Lithuania: it’s there. I am not a fan of them and it’s not a song I love too much, but I can listen to it

(24.) North Macedonia: sigh. I liked last year’s entry a lot and Vasil seems like someone who cares a lot about the contest, but I don’t feel this ballad. I think I know what they were going for and what it’s trying to be, dramatic and meaningful, but I don’t feel it that much. it’s okay? but it doesn’t do much for me

(25.) Czech Republic: this was a surprise because I think the overall quality of his entry got a lot better, this time though I have the problem that I do not like the lyrics. they don’t make me as uncomfortable as Germany last year but they are in that area of uhm, I don’t love the feeling this gives me

(26.) UK: hm :/ I can’t say that I’m a fan. this sounds like the type of song that the boring straight men in my area put in their tinder bio as their song, but it’s every third guy that says this is his song. those Calvin Harris remix type-ish songs and I am sooo bored. I swipe left because it’s no match, I delete tinder. breath was a lot more my thing and a lot more exciting and interesting

(27.) Poland: as soon as this stops, the exact same second, I forget everything about it. I don’t remember a single word, barely the title and singer and not the melody. what is this about? I can’t tell you. it’s not exactly bad, but it is so forgettable

(28.) Moldova: oh faster pop song? wow.. so.. original. I am starting to sound like those weird people that hate ballads. I don’t feel it and I don’t relate to it, but I also don’t hate it. the video though.. no thanks.

(29.) Italy: as so often: I see a lot of Italy fans on here and I can’t relate. it’s not for me, but it’s there and I can listen to it when I can’t reach the skip button for some reason

(30.) Austria: hm. Austria and Slovenia are going there. this is the better Amen song for me, but I don’t love it. it’s better than what Ana is trying to sell even though it’s super repetitive

🥀:

(31.) Serbia: I can’t tell you if it’s worse than last year but it’s less catchy. the lyrics are still bad. actually, maybe I am the lyrics police

(32.) Finland: this not my genre and I don’t really listen to it

(33.) Slovenia: nop. not for me in any way. I already said last year that I don’t like her voice and it didn’t change but now I also don’t love the message or weird vibe of this entry. I had it even lower, but I can’t push it up more. this is as high as I can rank it

(34.) Norway: I don’t like it. I don’t like the lyrics or melody or performance that was in the nf actually. I have a hard time understanding the concept even with the explanation it makes no sense to me

(35.) Portugal: I don’t like it. a lot of the parts of the melody are really not for me and borderline annoying, but definitely boring

(36.) Georgia: it’s boring. the last entry was at least something interesting, but this one is boring, which makes me a bit sad because his voice sounds and he seems like the guy that could make something cooler. I know I am not the person that can judge rock because I don’t listen to it too much, but I feel like he could have done something cooler and ‘rock’ it more

(37.) Latvia: again: I can’t even say if it’s worse or better than last year. maybe a bit better actually but, just as last time, I can’t listen to this. it annoys me and gives me a bit of a headache. I don’t think her style and voice is for me

(38.) Germany: I wouldn’t necessarily call it hate that I feel when I have to listen to this, even though that’s a funny play with the words of this title, but I definitely feel very annoyed by this song, so I simply don’t listen to it

(39.) Azerbaijan: the song sounds just like the last one, which I had placed on the 14. place in my own 2020 ranking, however, I can’t bring myself to support someone who posts war propaganda on their socials. it’s eurovision and about the songs, I know, but this is my blog and my ranking. so it’s a no for me this time and my last place in this ranking

[paintedlight]

Supernatural Season 15 & Sufjan Stevens' “The Ascension”

Teaser: there’s a song on this album called "Die Happy” where the lyrics are just “I want to die happy” for 5 minutes and 45 seconds. yeah. yeah.

Disclaimer: yes it’s all a stretch and I’m overthinking it but also… am I? (yes) 

long post time! know that reading ahead may hurt you and yes it does get worse the further down the track list you get 💕 have fun kids

So just to start off, I think it’s funny that something Sufjan’s discography & Supernatural have in common is the 15+ years of the internet arguing if it’s gay or not, and the answer ending up being yes. PLUS there’s the obvious connection of American mythos + mythology + calvinist themes (I am hissing) + religious trauma prevalent in both. 

If you’re a fan of both like I am, it’s easy to connect them— notable connections being songs like “John My Beloved” and “The Owl and the Tanager” or even “John Wayne Gacy Jr.”, but I’m going to focus on Sufjan's 2020 album, “The Ascension” since even the arc itself seems so connected to season 15 of Supernatural, specifically. 

At least in my head it does <3 enjoy 

MAKE ME AN OFFER I CANNOT REFUSE

When interviewed about the meaning of this track, Sufjan explains that this song is about asking God, “what do you have to say for humanity?” That it’s about desperation, creation, and devastation. It’s about frustration with divinity. Also the vibes are 10/10. Need I say more 

RUN AWAY WITH ME

This song is beautiful, it makes me want to sit in some grass and stare at the sky. 

Some lines that make me Dean/Cas crazy are the two lines in verse 1 and verse 2 that mirror each other by being in the same place melodically:

Verse 1: they will terrorize us / with new confusion / with the fear of life that seeks to bring despair within

Verse 2: I will bring you life / a new communion / with a paradise that brings the truth to light within

Yeahhh so the words “Despair” and “The Truth” were mirrored in this song yes it was coincidental yes I’m clinging to it. It fascinates me 

But this song is about begging someone to stay with you.

sweet falling remedy / come run away with me / you’re all I ever need

VIDEO GAME

My first thought when I heard this song was about how it was such a song for enneagram 4s. If you don’t know what that means, I think Dean is a 4 and wrote a post about it here. 

AND @trapperjohnmcintyre also made the connection between these lyrics and Dean in this post, and honestly I don’t need to say much more than that??

The song is about feeling paranoid and angry that God is controlling your every move and you can’t escape it (aka hating the doctrine of predestination). Of course it’s also about not wanting to follow societal scripts. 

You just want to have an easier life instead of the weight of good and evil resting on your back!!!

I don’t want to put the devil on a pedestal / I don’t want put the saints in chains / I just want to make my life a little easier / I don’t want to play your video game

Also these painful lines, as a treat: 

I don’t want to love you if you don’t receive it / I don’t want to save the world that way

Oh, I almost forgot, also. At the end, the narrator gives up. He’s like well I guess I can’t escape. Gotta follow the procedure. Gotta be a puppet.

I don’t want it to go down that way / but in a way you gotta follow the procedure / so go ahead and play your video game

  LAMENTATIONS

I don’t have much to say about this one but this line always makes my heart ache idk:

I was only thinking of human kindness

TELL ME YOU LOVE ME

Here we gooooooo. Y’all aren’t ready.

Thesis: Tell me you love me despite the primordial darkness about to overtake me. And even if you don’t, I’m going to love you. 

15x18 Despair anyone?? 

I want to just paste the whole song but, here—

DIE HAPPY

Yep, "Die Happy" immediately follows "Tell Me You Love Me." Yes, the lyrics are just “I want to die happy” over and over for almost 6 minutes. 

First of all, the repetition mirrors the end of the song Fourth of July, from Sufjan’s previous album Carrie & Lowell, where Sufjan sings “we’re all gonna die” over and over.

Parallels, baby.

But I noticed something else about this recently though— in Die Happy, if you are listening to it in your headphones, there’s this weird sound that sounds like a wasp flying around your head (it made me uncomfortable which is why I noticed it, haha). After I felt unnerved for a moment, I had a realization— that this could be referencing one of Sufjan’s most beloved songs, “The Predatory Wasp of the Palisades Is Out To Get Us!!” (yes that’s a real song title lol)

The Predatory Wasp is about how Sufjan fell in love with his best friend at the Bible Camp he went to as a teenager. The wasp is a metaphor for internalized homophobia and also his love and how he fears his love will hurt the boy he’s in love with. 

So, Die Happy references an iconic song from Illinois (2005) with these notable lines:

Tl;dr: 

I want to die happy vs. I can’t explain the state that I’m in / the state of my heart / he was my best friend

Here’s an Despair photoset with Predatory Wasp lyrics via @toneelspeelster. 

ATIVAN

So your best friend has just died happy by being in love with you. You feel like the primordial darkness is on YOU now:

I woke up in stereo—I spent the day in vertigo / I could not get the spirit off my back

You’re once again tossed in the waves of thinking that God is fucking with you. But either way you just want to be tranquilized at this point. 

Is it all for something? Is it all part of a plan / tranquilize me, sanitize me, Ativan

Is it all for nothing? Is it all part of a plan? / make my death wish, mind my business / do the best I can with what I am

Ativan asks, was the true leading woman all this time… substance abuse?? 

Ativan / my leading woman

Long story short, you’re drunk on communion wine, asking the shadows to come back.

fill me with the blood of Jesus / clean my plate 'til he receives us / separate the colors from the black / ... / tell the shadows near us to come back

 URSA MAJOR & LANDSLIDE

Not a lot to say about this (even though I love these songs) so I’m gonna skip mostly, but the narrator has decided he wants to love you, he can’t help it <3 

GILGAMESH

Oh boy. 

I mean you kinda know what’s coming because of the title. The Epic of Gilgamesh is the world’s oldest piece of epic world literature, and Gilgamesh was “the first hero of human history.” 

In the world’s oldest story, The Epic of Gilgamesh, Gilgamesh and Enkidu are “very close friends” (their relationship is very homoerotic and this is barely disputed). Gilgamesh calls Enkidu his brother, and they are mutually selfless towards each other but when Enkidu dies, indirectly because of Gilgamesh, Gilgamesh has a breakdown and mourns him like that of a spouse and then has to come to terms with his own mortality. 

The meta level of this is so obvious I’m not even going to go into it. Anyways… here are lyrics that make me want to scream! 

the repetition of “my heart”... the concept of singing a eulogy.... saying your heart is chained to Your Angel............ it hurts

DEATH STAR

Star Wars reference my beloved. Like many of these songs this has Fuck You God energy.

what you call the human race / expedite the judgement day / it’s your own damn head on that plate

vandalize what you create / ... / witness me resist your fate / it’s your own damn head on that plate

 GOODBYE TO ALL THAT

This song is a bop honestly 

When the lyrics were released a bunch of Sufjan fans contrasted Goodbye To All That’s here I am alone in my car / hopelessly infatuted / and I’m driving to wherever you are to Sufjan & Moses Sumney’s song, “Make Out in My Car”.

Yeah, I know, we’re all thinking of this:

Make Out in My Car is basically where Moses gave Sufjan a horny car guy chorus and told him to write the verses, and Sufjan proceeded to write the most liturgical shit ever (and we love him for it). ANYWAYS… Goodbye To All That also reminds me of Dean’s depression and the weirdness that started in 15x19 and goes into 15x20. For some reason he makes it seem more upbeat and happy than it is...

Despite this song being a bop, the lyrics are depressing. He’s alone in his car. He’s hopeless. He realizes it’s too late to have died a young man. 

He’s going to try to move on, even though nothing is left of him, he’s begging someone to turn around and show me his shadow.

He also references substance abuse again—

love me / and leave me / intoxicated

  SUGAR

The music video? Iconic. The mom of a family is making a pie, or she’s trying to. She ends up rubbing the filling all over her face, crushing the fruits, the oven catches on fire. 

But she does it! She makes the pie. 

Meanwhile the other family members are in their rooms, overindulging in sugar in all its forms. And then as she and her family eat around a dining table, occassionally being seemingly marrioetted by some unseen force, she looks angrily over her family, they all seem to kind of lose it, then the house starts to come apart until the chandelier falls on the dinner table. 

It’s the making pie + overindulgence in sugar + marionetted family metaphors for me ❤️ 

Ultimately, the song is about begging for affection, being desperate for domesticity, but you feel doomed, you feel like your defeat is predestined, that you can’t escape it.

You just don’t want to be heartbroken & you don’t want to be angry anymore!!!!

  THE ASCENSION

So you may be asking… does this guy get the domesticity he’s longing for?? Does he get his love back?? 

No. He dies. :/

The Ascension begins with just that. He’s dying.

THEN Sufjan decides to rhyme “confess” with “confess”, in two lines that mean almost opposite things:

When I am dead / and the light leaves my breast / nothing to be told / nothing to confess / let the record show / what I couldn’t quite confess

So does this guy have something to confess or not??? 👀

Moving on… 

He goes back to thinking about how his life was predestined all along, and now after all that, he’s dying. So he thinks about all the times he was kind of like this Mythological Icon. That he always had to be the one to show what was right, to lead by example. That that had been his entire identity. 

And he realizes he needs to answer for himself. 

Then he is frightened— realizing he was always asking what everything meant, what it all was for, but that all along he was just angry and depressed.

But even though he feels a like he should have just resigned himself to meaninglessness, that he only thought he could change the world for the better… it strengthened him to know the truth.

And even through the absolute shit of it all, and even though God & others did things from a place of so-called holiness and hopelessness...

He did everything out of love ❤️

So then he dies 🙃

AMERICA

So, as the end of The Ascension asked, what now? 

The album ends on this long track, which Sufjan describes as a protest against all that America has been and has become. 

It’s a protest against capitalism, of destroying humanity for the sake of some cold machinery. 

I have worshipped / I believed / I have broke your bread / for a splendor of machinery

And in true Sufjan fashion, he makes this song about protesting somehow both horny and religious, god bless

I have loved you / like a dream / I have kissed your lips / like a Judas in heat

I have worshipped / I have cried / I have put my hands in the wounds on your side / I have tasted of your blood / I have choked on the waters / I abated the flood / I am broken / I am beat / but I will find my way / like a Judas in heat

I am fortune / I am free / I’m like a fever of light / in the land of opportunity / don’t do to me / what you did to America / don’t do to me / what you do to yourself

  to finish out, here’s a DeanCas post by @eggcessive with lyrics from America ❤️ I HOPE YOU ENJOYED MY WEBWEAVING :)

[officialleotolstoy]

Oh Anatole Brainrot* We’re Really In It Now, aka Anatole playlist annotations!

*I only have brainrot about him in terms of his relationships with Hélène and Dolokhov idc about him on his own 🤢

This playlist is infuriating because it has so many good songs on it and he does NOT deserve to have a playlist that slaps so hard :/

My Type - Saint Motel

“You’re just my type; you’ve got a pulse and you are breathing”

The lyrics are literally just I Will Have Sex With Anything That Breathes which is Anatole’s only personality trait. It just is.

Fool For Love - Lord Huron

“I’m asking her to be my bride, I know there’s another man but he ain’t gonna delay my plans”

This song is about eloping with a girl who already has a boyfriend, it is THE Comet section Anatole song. Which angers me because it’s such a good song, it doesn’t deserve to be associated with him in my head.

The Cult of Dionysus - The Orion Experience

“Wine and women and wonderful vices”

HEDONISM BABEY!!! Also the phrase “wine and women” with “he spends his money on women and wine” in Comet...makes ya think.

Everybody Loves Me - OneRepublic

“Look so good I might die, all I know is everybody loves me”

You know that quote that’s like “[Anatole] cultivated an air of superiority blah blah blah whatever” (paraphrased)? This is that in song form.

Bedroom Hymns - Florence + The Machine

“The wine and the women and the bedroom hymns”

Thottery AND the phrase “wine and women”? Anatolecore.

Talk - Hozier

“I’ll try to talk refined for fear that you find out how I’m imagining you”

I think if he needs to, Anatole can sugarcoat carnal desire with pretty words. It kind of comes down to “I’m pretending to be eloquently and romantically interested in you but I really just want to have s*x with you”. He might not have that much self-control, but the bottom line is that this song is horny and so is he.

Someone New - Hozier

“I wake at the first cringe of morning and my heart’s already sinned”

All my notes say is “commitment issues thot anthem” which is fair. I think it’s physically impossible for him not to fall in love with someone new every week, which is the entire point of this song. Also “you knew who I was with every step that I ran to you” tracks, Anatole doesn’t really try to hide it.

Paradise City - Guns N’ Roses

“Take me down to the paradise city where the grass is green and the girls are pretty”

I won’t lie, I’m not sure if this is what the song is actually about but that bit at least has hedonism energy. Also this came up on genius lyrics and it feels like something Anatole would do:

Hallelujah - Panic! At The Disco

“I got caught under the covers with secondhand lovers”

Ok whore. But also the vibes of knowing you’re a sinner and reveling in it feels like Anatole. It’s the complete lack of shame for me.

Why Should I Worry - Billy Joel

“Why should I worry? Why should I care?”

Has he ever actually cared about anything other than his own personal wellbeing? Jury’s still out. This song implies he has street smarts which may not be true but not every lyric is gonna work 😔✌🏻

Only The Good Die Young - Billy Joel

“I’d rather laugh with the sinners than cry with the saints, the sinners are much more fun”

The entire song is just seducing a devoutly Catholic girl, and it doesnt exactly work but I always assign this in my head to that time he tried to marry Marya B. But just in general, the reckless seduction vibes work.

Mambo No. 5 - Lou Bega

“To me flirting is just like a sport”

Unironically this is such an Anatole song. Listing off all his different lovers and their attributes is absolutely something he’s done. This is just a carefree thot song which is his vibe.

Ex’s and Oh’s - Elle King

“Ex’s and oh’s they haunt me like ghosts”

This is also on the Hélène playlist but this time the ex messing things up is his wife (not that any of that was her fault). I also think the general vibes of “I’m gonna make you want me so much and then leave you” are Anatoleish

Rasputin - Boney M.

“Russia’s greatest love machine”

LOOK ME IN THE EYES AND TELL ME THIS DOESN’T WORK. It’s about the seduction of upper-class Russian women come ON

I’m Born To Run - American Authors

“I’m gonna live my life like I’m gonna die young”

This is almost a more wholesome version of his careless hedonism, more skewed toward seeing the world rather than just having drunken fun but the energy is still there

Don’t Stop Me Now - Queen

“Tonight I’m gonna have myself a real good time”

It’s the “having fun is the only thing that matters” mindset. He doesn’t deserve this song 😔

Good Old Fashioned Lover Boy - Queen

I don’t have a lyric for this one, it’s just like. Yes I am a professional flirter! He is not this into commitment but i imagine he tells a new person this every week.

Oops!...I Did It Again - Britney Spears

“But to lose all my senses, that is just so typically me”

The lack of commitment and not treating relationships seriously is very Anatole, and so is the refusal to take responsibility for the heartbreak you directly caused.

How Bad Can I Be? - The Lorax

“How bad can I be? I’m just doing what comes naturally”

I KNOW I KNOW. HEAR ME OUT. This is pretty much Tolstoy’s “defense” of him verbatim. It’s the idea that he’s just so naturally like this it has never occurred to him to be any other way or to think about other people’s wellbeing. Anatole is the Onceler and Natasha is a straight girl on tumblr circa 2012.

Runaway Baby - Bruno Mars

“When I play, I never stay”

He would never be this self-aware, but otherwise it fits. The whole thing is about an inability to commit and a propensity for causing heartbreak. Also, I’ve had a grudge against this song for years and the blind rage it fills me with is reminiscent of the blind rage Anatole fills me with.

California Girls - The Beach Boys

“I’ve been all around this great big world and I’ve seen all kinds of girls”

This song is like, “What if we objectified every woman ever but made it a bop?” which is massive Anatole energy I think.

Girls, Girls, Girls - Motley Crüe

“I just need a new toy”

Literally the exact same justification as California Girls

It’s Raining Men - The Weather Girls

If I’m gonna add songs about objectifying women, I’m gonna add songs about objectifying men too. Equal opportunity whorery.

Parental Guidance - Judas Priest

“You say I waste my life away but I live it to the full”

This is just him to Vassily. Refusing to be controlled by your parents’ expectations and just going off to have fun is Vassily’s whole gripe with him and also the point of this song.

How To Be A Heartbreaker - MARINA

“You gotta have fun, but baby when you’re done you gotta be the first to run”

The bits about not getting close to anyone because you’re afraid of getting hurt don’t really apply but the “here’s how to make people like you and also we are for sure not staying together this is just for fun” definitely fit.

The STD Song - Top Memes

“Sinning with your naked bod is evil and atrocious”

I uh. I forgot this was on here but I was RIGHT when I added it. This is the lecture Vassily gives him after his Polish wife debacle-

Do It All The Time - I DONT KNOW HOW BUT THEY FOUND ME

“I’m only doing anything I want to do because I do it all the time”

He literally just does whatever he wants without thinking about the consequences. It’s just got huge entitled kid thot energy which is Anatole’s whole character. And the line “I’m taking your girl and I’m making her mine” is deeply Anatoleish.

Until The Night Turns - Lord Huron

“I got a helluva view for the end of the world, I've got a bottle of booze and a beautiful girl”

This doesn’t fit into any particular situation but I do think if the world was ending and Anatole was drunk with a pretty lady he would have this exact reaction. Also the repetition of the word sunrise (which is what the name Anatole means) is just a fun little extra bit.

Girls - The 1975

“What’s the fun in doing what you’re told?”

Rebellious kid energy! Also “she can’t be what you need if she’s 17” is everyone with morals @ him about Natasha (I know she was 19 at the time shh it’s about the energy).

Pretty Fly (For A White Guy) - The Offspring

“In his own mind he’s the dopest trip”

This man is The Worst but he really thinks he’s all that and a bag of chips huh! Literally everyone can tell he’s not the brightest bulb in the bunch EXCEPT HIM. Smh.

[a3day]

#GMPD: Jessi (제시)

Feel how you want about it, the fact remains that she has some bonafide hit moments. I never thought I’d explore this so soon in Great Moments in Production & Delivery (GMPD) but it feels like now’s the right time. First, the Disclaimer.

An Album a Day is my exploration into the Korean music scene. This podcast and blog will cover mainstream, indie and some underground artists within the scene and provide both factual and opinionated commentary. The biggest benefit to sharing my thoughts this way is that it will hopefully expose you to more great music and exploration of your own.

Korean American music artist Jessica Ho (Korean: 호현주 [Ho Hyun-joo]) has been in the game since 2005 and her story is one of triumph, setbacks, and hiccups. The New York-born, New Jersey-raised singer, rapper, and songwriter made her debut as a solo artist who then moved into Korean hip-hop trio Lucky J. She made her final appearance with the group in 2014 and then prepared for more solo work. More specifically, her grit and American charisma was personified on the debut season of Unpretty Rapstar (2015) and set her as the second-place winner by audience vote. Since then, the artist I affectionately and teasingly refer to as Capital P (both for the c*nt power and for her shape pre-butt enhancement [I’m top heavy asl too so I know the vibes on being P-shaped lol]) has developed an entertaining catalog.

We’re not talking video content, we aren’t talking aesthetic. We’re not even talking my most favorite track by her of all time (GRAY’s production means I’m already biased sooo yeah). 

This is about the music. In no particular order, here we go.

Who Dat B (2020)

First up is this bop, where the sound engineer put a whole grown foot in the production of the first verse. From 0:14 to a few milliseconds into 0:35, autotune and spatial filters set a mood. She sits on the track, something that is common with Jessi’s delivery, but her trademark ad lib creeps in so resolutely for damn near 3 seconds and it is glorious. The crossover of the reverb and echo effects within 0:32 to 0:35 are a whole chef’s kiss moment.

Cold Blooded teaser (2021)

Laugh if you want to. Laugh if ya want. But the teaser for her most recent 2021 comeback sticks. This isn’t some magical production moment, but it’s a magical choice. Lemme explain. What we hear in the M/V teaser is what was played on set while filming the video. This is the echoey, spatial experience of the music blasting over loud speakers to help everyone stay on count as the women of Street Woman Fighter/스트릿 우먼 파이터 (SWF) do what needs to be done with this choreography. All the same, it creates that fun filter moment that makes you feel like you're standing outside the club or a party you’re hoping to get in to. Think about it! The bass is knocking, the audio’s a bit muffled, and then Jessi’s husky “Huh” comes through with just enough clarity to make you wish you were inside. That’s a great choice, baby.

Gucci (2017)

The husky voice was the meat and potatoes on this track. There’s nothing super-demanding from the music -- it’s fun and structured to let her thrive -- but Jessi sells the hell out of this track. She was in her bag and her voice was deep as hell. You see a platinum blonde woman atop some luggage in a pink cute outfit, and then she comes and drops the octaves on you immediately like a stack of weights. The music drops out for her natural baseline to milk the punch for all its worth. And she’s doin’ the thing, talkin’ mad shit right out the gate within the first few words. Regardless of comprehension, you’re bobbing along to the beat without realizing that you’re bopping to her cadence and tone. The instrumental to this song is simple as hell. You check it and you find yourself enjoying it because of the mere thought of her delivery. That’s a damn win.

염따(YUMDDA) - 9ucci REMIX (2021)

Jessi shines regularly as the sole female on a ratchet track. Fast forwarding to 1:37 (to avoid distractions) and Jessi’s perched on a custom wrapped whip and she’s going in. Her tone is right, she’s playful and flagrant, and took the O-ren Ishii approach in making sure listeners know she’s not playing because hers is the only all-English verse on this Hangul track.

The 2018 summer love track “Down” is a positive showcase of her singing chops. She won’t be blowing socks off with her vocals but you hear control and a truly unique voice amongst a scene that has a lot of similarities for perceived-success’s sake. And there’s this honorable mention for the musicality being so far left for her (and this damn commercial at 1:06 that I spent that whole summer going, “Sheesh! SHEESH!” at because she was just rising in SoKo and her tone and confident strut was everything to me! This is when I started calling her Capital P lolol) but I believe those interested in checking out more of her work have a good jump-off from this. Bye y’all.

[inkandpen22]

Time is Irrelevant (5/?):

Pairing: Eleventh Doctor x reader 

Warnings: None

Word Count: 3.8k

Part Summary: Y/N and The Doctor arrive in their new destination, Philadelphia, 1778

Masterlist

When I open my eyes, my head is pounding, the feeling is all too familiar. My body rolls over and I feel the plush grass beneath me. A warm gust of airbrushes over me like a silky blanket. It’s warm on my face, the season must be summer or late spring. I hear someone moving about around me over old leaves and sticks. My eyes fly open and I swing legs to rock over whomever is walking around. I watch as The Doctor falls onto the grass with me. 

“Ouch!” He hisses, “what was that for?”

He rubs his tailbone like a pansy. I hardly knocked him down that hard, he’s being melodramatic.

“You couldn’t give me a warning before we poofed?!” I bark at him, rising to my feet, a tad wobbly. My head is still rattled.

“We couldn’t be seen!” He argues.“Besides, what difference would it make? You’d end up here anyway!” 

He stands and brushes off the leaves and dirt from his outfit. “Put these on,” he tosses a pile of clothes at me. 

I peer down and it appears to be corset and colonial dress, yet again. “Well don’t I get some privacy?” 

“Oh! Yes! Right!” The Doctor nervously turns his back to me. 

I huff, building up the energy to get ready. “I must say, I much prefer this attire over the French. At least I don’t have to wear a pannier skirt. That thing was dreadful! I can tolerate these heels for a decent color.”

Doctor finds humor in my bitter complaints. “My apologizes, they don’t have your usual sneakers in the 18th century.” 

“Where are we anyway?” I ask him as I spin in a circle to scan our surroundings. There’s simply woods for as far as the eye can see. A woods is just a woods to me, no matter the year.

“Just outside Philadelphia, June 5th, 1778.”

“Yes, thank God,” I release a sigh of relief. “Finally on American soil again! Well, soon to be America.”

Pondering over the information, location, and date, I narrow down the possible reasons we would need to land in Philadelphia during the American Revolution.

Especially, so early in the war. Then, it hits me. The lightbulb above my head switches on. It’s clear as the day. I squeal once I realize the answer. and Doctor is at a loss.

“Philadelphia! In June!” I jump up and down.

The Doctor nods his head slowly, still facing the opposite direction. “Yes… we are… why? What’s so significant about Philadelphia?”

I continue my celebration as I bop about like Tigger. “It’s Valley Forge! Hello!”

I finish getting ready and making sure everything is in its place. “Okay, all set!” 

The Doctor spins on his heels to face me and clasps his hands together. “Yes! Excellent!” He gestures toward a direction, I assume toward town. “This way to the road,” he explains.

We begin our hike. I first kick off my heels, can’t walk through mud in heels. The doctor does the same, one flaw of the colonial era, constant heels. There are many more but that one is the current dilemma. We come to a path after what seems like forever and Doctor appears to know exactly where we’re headed.

“Washington’s Army is at Washington’s home until the end of the month. They stayed there for the winter as headquarters. However, the conditions were terrible! About 2,000 men died this past winter.” I break the silence.

There’s a comfortable pause that falls between us. I can tell without having to look that the wheels in his head are turning.

His brows scrunch, together. “We’re in 1778 colonial America to visit a sad military campsite? Why would we need to come here?” 

I stifle my laughter. “No, no, it’s more than that! The Continental Army has just formed an alliance with France in May. This is a huge win for them! Marquis de Lafayette, a French officer, is a huge asset to Washington. If it weren’t the Franco-American alliance, the colonies would’ve lost the war. It’s a pivotal few months for the revolution,” I enthusiastically describe. “They just had major victories and this past winter has thus far been their greatest defeat. Of course, from the ashes rises a greater and stronger army. The suffering motivates the men more to fight for their independence.”

I glance over at Doctor and he expresses an admiring gaze with a grin. I cower out of shyness, warmth coats my cheeks.

“What?” I inquire, “what is it?”

He shakes his head, grinning wider “nothing, just looking.”

I direct my attention ahead but I can feel his stare blasting into my side. My cheeks only redden more under his stare. I’m not into him or anything, I just despise being the center of attention. Promise.

We continue down the path toward the city, the sun is beginning to set the breeze is becoming a bit nippy. The Doctor shakes to remove his coat and places it over my shoulders. He rubs his palms up and down my arms to warm me up.

“Thank you,” I say, wrapping the coat around me.

“No problem,” he assures me as he keeps an arm around me to radiate some warmth. I lean into his side, embracing the natural heat he gives off.

“I… I… I’m sorry about what happened in France,” he manages to get out. “I’m not entirely sure what occurred between you and the King but I’m sorry that you two didn’t have any time to say goodbye.”

I remain quiet, listening to he speak and feeling his chest vibrate as he does.

“I did read the book on the French Revolution, by the way. I read about what happens to King Louis and all of them. I understand why it was so hard for you to let go considering the circumstances. The most important thing to remember while we travel Y/N is we can’t fix history. Things happen for a reason and we can’t change that… will you be okay?”

Bringing in the crisp winter air, I hum. “I understand the importance of maintaining the timeline. I feel sorry for Louis but as you said, things happen for a reason and we can’t change that. What happened between Louis and I was merely an understanding for one another. If my time was 1778, he and I would’ve had a great friendship but the universe doesn’t work in our favor. We can’t manipulate time so there’s no point discussing the topic any further.” I declare, finding it too hard to speak of it.

I could have saved a life and walk away. I could save all of them and I did nothing. The doctor can tell me repeatedly that none of what will or has happened will be my fault but the guilt will never disappear. I rest my head on his shoulder and he rests his over mine. I glance up at the sky, the sun is fully set and the stars make their first appearance. When I look up at the stars, I see and think of only him.

“When he shall die, Take him and cut him out in little stars. And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun,” I whisper Shakespeare into the air.

The doctor rubs his hand up and down my back “what was that?”

“Nothing,” I reply simply and admire the stars for their beauty.

We went further back in time but there isn’t a doubt in my mind that Louis looked at the stars. He may not know it yet but someday looking up at the stars will have a meaning.

An hour later and we’re sat in a tavern that smells of stale beer, burning wood in the fireplace, tobacco, and unshowered men. The owner's wife slams the mugs of beer on our table and some spills over-explain the stickiness. I must seem uncomfortable because The Doctor laughs at me.

“You stand out when you do that,” he waves his finger at me.

“What do you mean?” I question defensively. 

“You're as stiff as a board! Relax a little,” he rolls his shoulders to demonstrate. 

I huff, finding the task impossible. “How do you like it here? It’s unsanitary and has a hundred different smells!”

He chugs half of his beer to finish it.  “I’ve been in worse holes in the wall. Be thankful that the floor is actually a floor and not dirt. Also that the beer is semi-decent and not sour wine.”

Taking in my surroundings, I notice the owner going through a back door leading out to an alleyway. He rolls in a new barrel of this liquid bread. In the distance, church bells signal the clock striking the hour. I steal a sip from my mug and it makes Natural Light taste high-end.

“I need to go.” The Doctor tosses back the remainder of his drink and pushes back his chair.

“Wait, what? You’re leaving?! To go where?!” I hate it when he does this! It’s like leaving me in a foreign country and I can’t speak the language. 

He waves the owner’s wife to our table. “Yes, I need to gather a few things. Stay here!” He orders, strangely searching the tavern frantically.

“So basically you’re going to steal again? Is that what all our so-called “trips” are about, you stealing historical artifacts? If so, I’ll have nothing to do with it! You’re always preaching about not altering history yet here you are doing just that!”

He rolls his eyes as the owner’s wife comes up to our table with some pitchers of ale.

“What can I getcha?” Her thick Scottish accent catches my attention more than her question. The doctor ignores her and addresses me again.

“Stay here, don’t go anywhere and do anything reckless like last time,” he demands, referring to my close encounter with Louis. He heads to the door of the dim-lit tavern, ready to leave me alone with a swarm of men. He stops to look over his shoulder before departing.

“And no,” he says with a melancholy expression, “that’s not what this is all about.”

In a blink of an eye, he disappears into the night to who knows where. Disapproving of his behavior but unable to do much about it, I simply chug the rest of my nasty beer. Slamming it down onto the table, I order another from the woman.

“Coming right up Miss.” She goes back to the bar to fill her pitchers.

The time alone is rare. I suppose I should be thankful. I’ve been gone for nearly a week now. I wonder how my family and friends must be feeling. I fell off the face of the earth practically. Granted, I could simply go back to when I was with Doctor at dinner and all would be as though nothing happened. What if I’m gone for a year? What if I went for longer, so long that’ll look older? How would I explain that? Then there’s the idea of altering history. What if my very presence in this tavern is changing something? For all I know, the smallest actions I make could change the course of time.

“Here ya are,” the woman slides me my new drink.

I thank her, expressing a faint smile. As she walks off, my attention is stolen by two men seated at a small table in the corner. One, the older, is an average man based on his appearance. The other, however, is a colonial officer. They’re huddled over the table, whispering to each other rather harshly. I lean forward slowly, attempting to eavesdrop on what’s so crucial for them to be so serious.

“You need to be more careful!” The older man warns. “These are dark times and you’re playing with fire!”

“It’s all under control!” The officer argues, “Washington has it under control. You’d be fine! So will I! We all will be! You need to trust-”

The older man slams his hand on the table. His face becomes red with rage.

“Ben, listen to me! Half the men have already been arrested from that idiotic riot last week! It was a mere two years ago the poor Hale lad got himself hanged! We must remain in the shadows!”

The two men are interrupted by the owner’s wife filling their mugs. Suddenly, the door to the tavern swings open and slams to the wall with a bang. The people in the room went dead quiet, watching as the men march in. Five redcoats total emerge with their heads held high. ‘Egotistical and empathetic lobsterbacks’ as some American history texts describes them.

The circus leader announces to the colonists in the tavern. “We’re looking for a man who goes by the name John Bolton!”

Who? I peer around the room. Waiting for one of these guys to drunkenly raise their hand and turn themselves over. The moment never comes. Instead, I notice the two men exchange hushed words. The officer appears frazzled but not obviously. He has this anxious look about it but then again I would too if I was an officer of the Continental Army and a bunch of red coats just strolled in. Yet, something is telling me that something is going on here. If I can prevent a fight, arrest, or anything relating to the officer I’ll do it, why? Because for all I know that officer could be someone worth protecting.

“He isn’t here!”  

Before I have the chance to process what I blurted out, I already have the entire tavern staring me down. At some point I must’ve blacked out because I’m standing up, when did that happen? My first thought is Doctor is going to kill me for getting involved.

“He left about an hour ago,” I add to sound more convincing though my voice is a tad shaky. “He likes spending time by the docks, perhaps you could find him there.”

The leader of the pack closes in on me as I maintain the fakest smile. He examines my face, deciphering my authenticity. I swallow hard, the last thing I want is to see the inside of an 18th-century prison cell.

“Describe the man, so that we can identify him,” he requests. 

The man hardly any space between us. It’s now that I regret my irrational action of intervening. I only hope that officer is worth covering for. I glance behind the red coat toward the duo in the corner. The officer has his focus locked on me. His eyes are narrow, studying me intensely. That’s when it hits me. John Bolton, that’s the alias Ben Tallmadge used during the war. The officer is Major Ben Tallmadge, at least I hope it is and I didn’t just imprison myself. If it is, he’s without a doubt worth saving.

“Light, seashell, gold hair,” I lie to the Englishman before me. “He’s thin, a stick really, and has very little muscle. I would go as far as to call him scrawny. As for height, he’s rather short. I would say around 5’4”.”

Every piece of description I give is the opposite of the real Ben. I guess I pass the soldier’s test of trust because he doesn’t question me further.

“Let’s go gentlemen!” He commands, stepping toward the door with his men following on his coat tail.

I can finally breathe again, falling into my chair with a sigh of relief. My lying to the soldier could’ve ended in the worst possible outcome. I definitely dodged a bullet. Strong fingers wrap around my forearm and I’m dragged over to a dark corner in the back of the tavern. I’m forced against the wall and am tossed about like a rag doll. I’m about to be interrogated, yet again. Twice in one night, that’s a lot for someone who’s never been interrogated before. I brush down my skirt and my eyes are met with Ben Tallmadge himself.

“Who are you?!” He barks.

Similar to the red coat, he invades my space to intimidate me. I suppose if I was a woman of this era it would but being from the 21st century it’ll take a lot more than a few growls. Usually, these men’s barks are worse than their bites. Nevertheless, I raise my eyebrows, I send him a look of warning. If we’re going to communicate he needs to calm down.

“I’m the friend,” I reply bitterly calmly. “I take it a simple ‘thank you’ is too much to ask?”

My sass takes him by surprise. I’m not shaken by his macho-man persona, shocker. He visibly settles and takes a step back. Whether he believes me or not, I’m not entirely sure. Either way, perhaps now we can have a civil conversation that doesn’t involve so much grabbing, dragging, and growling.

“Thank you,” he stammers, “uh Miss…”

A name, I need a last name. Quick Y/N, think of a name!

“Reynolds,” I rush out.

Seriously! I come up with Reynolds. Oh well, it’ll have to do. Hamilton doesn’t meet Maria Reynolds for another four years so there shouldn’t be any coincidences but I’m still hitting too close to home.

“Miss Reynolds…” Ben repeats slyly. “Is that your real name or are you a spy for good ole Georgie across the pond?”

The hint of space that he once granted me slips from me again. He presses me harder into the wall, not taking any chances for me to escape. I huff, offended by his accusation and for his lack of courtesy.

“I am no such thing, Sir!” I hiss at him. “When I say I’m a friend, I’m a friend!”

I hear the door to the tavern hit the wall again as it’s swung open. Once the red coats don’t find a little blonde man by the docks they’ll likely come back. I have to get Ben out of here before then.

“We’ve wasted enough time as it is, you need to get out of here!” I warn him, urging him to go as I press my palm to his chest. “Otherwise, the soldiers will come back looking for you!”

Ben grabs my wrist and removes my hand from him but keeps hold of it. I struggle to yank it free but it’s no use, he’s too strong.

“Why are you helping me?” He questions, furrowing his brows.

This man is impossible. Though, I can’t blame him for being paranoid. Trust runs thin these days.

“Let’s just say we believe in the same cause,” I reply swiftly, growing aggravated by his lack of ability to see my honesty as truth.

He’s a wanted man and he’s drinking out in a tavern filled with people, not quite a genius. Why isn’t he at Valley Forge with the others? He should be with Washington, not here. My answer doesn’t seem to satisfy his curiosity.

“Who do you work for?”

“No one!” I shoot down the idea, practically pushing him toward the door with my free hand.

He then takes my free hand as well, restricting me completely.

“Then how do you know so much? Why are you risking your freedom by giving me aid? What do you gain?”

His tone is less fierce, more worrisome. He’s stuck between a rock and a hard place naturally. Should he trust me? Should he take the word of a stranger when it feels as though the world is against him? His grip on my wrists softens slightly and I take the opportunity to free myself.

“You sure ask a lot of questions,” I tease, snickering lightly.

Abruptly, the door to the tavern is kicked in causing gasps to fall across the building. The same five soldiers enter with more men, fuming more than fifteen minutes ago. Ben whips around to see what all the commotion is about. I could run now. I don’t know why I’m not exactly. I suppose it’s because I won’t leave with him. I have to make sure Ben gets out alive.

The leader yells at the top of his lungs, “where are Bolton and that woman?!”

In a swift motion, I grab Ben’s hand. He peers down at me but I keep a close eye on the soldiers behind him.

“There’s a door over there,” I inform him. It’s the same door Doctor left from. “If we step back slowly without much noise, they won’t notice us.”

He nods, joining me in walking back to the exit. I’ll have to part from him soon. Once we’re out of the tavern we must go our separate ways because the red coats know my face. For all, they know John Bolton could be anyone. My presence puts Ben in more danger. However, I can’t allow them to get Ben either. If they do, who knows what may happen. My distracting thoughts are interrupted by shouting.

“She’s over there! Right here!” A soldier shouts as he points in our direction.

All of their heads snap to us and I decide we better start running.

“Time to go!” I tug on his arm and he sprints to the door.

“Get them!” The leader commands and the tavern breaks out into utter chaos.

Ben frees the door and a breeze of warm June air slaps me in the face. We run down the stone alley together, hand in hand. I don’t recommend running in heels altogether, let alone on an uneven cobblestone road. Ben turns the corner and guides me down the sidewalk toward the center of town.

“I have a horse a just down this way! We’ll have to hurry!”

We weave between people, trying to stay out of sight and get to point B as soon as possible.

“This way!” A voice shouts from up the road and a clump of jogging redcoat with muskets approaches us.

Ben cuts around the corner into an unlit alley and blocks me against the wall. Deep into the darkness, we hide undetected. He positions himself between me and the road to block me from sight.

Soon, marching boots slip by the alley without hesitation. The soldiers must’ve passed us. My chest falls as I release a breath I hadn’t released I was holding.

“Keep your face out of sight. Focus on the ground and I’ll get us out of here,” he promises me in a hushed tone.

I hum, nodding my head frantically. I would be lying if I said I’m not genuinely scared.

He takes my hand before slipping back into the light. He checks the general area for any red coats. When he decides the coast is clear, we run down the road to a horse tied to a post. Ben helps me once he’s secured himself on the animal. Then, we ride off into the night. I have no idea where he’s taking nor do I have any way of telling Doctor where I’m going. All I can do is keep going and stay alive. Hopefully, if I’m lucky, I’ll make it back to the tavern when it’s safe and he’ll be there. 

_______________________________________

Masterlist

[ahouseoflies]

The Best Films of 2020

I can’t tell you anything novel or insightful about this year that has been stolen from our lives. I watched zero of these films in a theater, and I watched most of them half-asleep in moments that I stole from my children. Don’t worry, there are some jokes below.

GARBAGE

93. Capone (Josh Trank)- What is the point of this dinner theater trash? It takes place in the last year of Capone's life, when he was released from prison due to failing health and suffered a stroke in his Florida home. So it covers...none of the things that make Al Capone interesting? It's not historically accurate, which I have no problem with, but if you steer away from accuracy, then do something daring and exciting. Don't give me endless scenes of "Phonse"--as if the movie is running from the very person it's about--drawing bags of money that promise intrigue, then deliver nothing in return.

That being said, best "titular character shits himself" scene since The Judge.

92. Ammonite (Francis Lee)- I would say that this is the Antz to Portrait of a Lady on Fire's A Bug's Life, but it's actually more like the Cars 3 to Portrait of a Lady on Fire's Toy Story 1.

91. Ava (Tate Taylor)- Despite the mystery and inscrutability that usually surround assassins, what if we made a hitman movie but cared a lot about her personal life? Except neither the assassin stuff nor the family stuff is interesting?

90. Wonder Woman 1984 (Patty Jenkins)- What a miscalculation of what audiences loved about the first and wanted from the sequel. WW84 is silly and weightless in all of the ways that the first was elegant and confident. If the return of Pine is just a sort of phantom representation of Diana's desires, then why can he fly a real plane? If he is taking over another man's soul, then, uh, what ends up happening to that guy? For that matter, why is it not 1984 enough for Ronald Reagan to be president, but it is 1984 enough for the president to have so many Ronald Reagan signifiers that it's confusing? Why not just make a decision?

On paper, the me-first values of the '80s lend themselves to the monkey's paw wish logic of this plot. You could actually do something with the Star Wars program or the oil crisis. But not if the setting is played for only laughs and the screenplay explains only what it feels like.

89. Babyteeth (Shannon Murphy)- In this type of movie, there has to be a period of the Ben Mendelsohn character looking around befuddled about the new arrangement and going, "What's this now--he's going to be...living with us? The guy who tried to steal our medication? This is crazy!" But that's usually ten minutes, and in this movie it's an hour. I was so worn out by the end.

88. You Should Have Left (David Koepp)- David Koepp wrote Jurassic Park, so he's never going to hell, but how dare he start caring about his own mystery at the hour mark. There's a forty-five minute version of this movie that could get an extra star from me, and there's a three-hour version of Amanda Seyfried walking around in athleisure that would get four stars from me. What we actually get? No thanks.

87. Black Is King (Beyonce, et al.)- End your association with The Lion King, Bey. It has resulted in zero bops.

  ADMIRABLE FAILURES

86. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan)- There's nothing too dysfunctional in the storytelling or performances, but Birds of Prey also doesn't do a single thing well. I would prefer something alive and wild, even if it were flawed, to whatever tame belt-level formula this is.

85. The Turning (Floria Sigismondi)- This update of The Turn of the Screw pumps the age of Miles up to high school, which creates some horny creepiness that I liked. But the age of the character also prevents the ending of the novel from happening in favor of a truly terrible shrug. I began to think that all of the patience that the film showed earlier was just hesitance for its own awful ending.

I watched The Turning as a Mackenzie Davis Movie Star heat check, and while I'm not sure she has the magnetism I was looking for, she does have a great teacher voice, chastening but maternal.

84. Bloodshot (David Wilson)- A whole lot of Vin Diesel saying he's going to get revenge and kill a bunch of dudes; not a whole lot of Vin Diesel actually getting revenge and killing a bunch of dudes.

83. Downhill (Nat Faxon and Jim Rash)- I was an English major in college, which means I ended up locking myself into literary theories that, halfway through the writing of an essay, I realized were flawed. But rather than throw out the work that I had already proposed, I would just keep going and see if I could will the idea to success.

So let's say you have a theory that you can take Force Majeure by Ruben Ostlund, one of the best films of its year, and remake it so that its statement about familial anxiety could apply to Americans of the same age and class too...if it hadn't already. And maybe in the first paragraph you mess up by casting Will Ferrell and Julia Louis-Dreyfus, people we are conditioned to laugh at, when maybe this isn't that kind of comedy at all. Well, don't throw it away. You can quote more--fill up the pages that way--take an exact shot or scene from the original. Does that help? Maybe you can make the writing more vigorous and distinctive by adding a character. Is that going to make this baby stand out? Maybe you could make it more personal by adding a conclusion that is slightly more clever than the rest of the paper?

Or perhaps this is one you're just not going to get an A on.

82. Hillbilly Elegy (Ron Howard)- I watched this melodrama at my mother's encouragement, and, though I have been trying to pin down her taste for decades, I think her idea of a successful film just boils down to "a lot of stuff happens." So in that way, Ron Howard's loss is my gain, I guess.

There is no such thing as a "neutral Terminator."

81. Relic (Natalie Erika James)- The star of the film is Vanessa Cerne's set decoration, but the inert music and slow pace cancel out a house that seems neglected slowly over decades.

80. Buffaloed (Tanya Wexler)- Despite a breathless pace, Buffaloed can't quite congeal. In trying to split the difference between local color hijinks and Moneyballed treatise on debt collection, it doesn't commit enough to either one.

Especially since Zoey Deutch produced this one in addition to starring, I'm getting kind of worried about boo's taste. Lot of Two If by Seas; not enough While You Were Sleepings.

79. Like a Boss (Miguel Arteta)- I chuckled a few times at a game supporting cast that is doing heavy lifting. But Like a Boss is contrived from the premise itself--Yeah, what if people in their thirties fell out of friendship? Do y'all need a creative consultant?--to the escalation of most scenes--Why did they have to hide on the roof? Why do they have to jump into the pool?

The movie is lean, but that brevity hurts just as much as it helps. The screenplay knows which scenes are crucial to the development of the friendship, but all of those feel perfunctory, in a different gear from the setpieces.  

To pile on a bit: Studio comedies are so bare bones now that they look like Lifetime movies. Arteta brought Chuck & Buck to Sundance twenty years ago, and, shot on Mini-DV for $250,000, it was seen as a DIY call-to-bootstraps. I guarantee that has more setups and locations and shooting days than this.

78. Eurovision Song Contest: The Story of Fire Saga (David Dobkin)- Add Dan Stevens to the list of supporting players who have bodied Will Ferrell in his own movie--one that he cared enough to write himself.  

Like Downhill, Ferrell's other 2020 release, this isn't exactly bad. It's just workmanlike and, aside from the joke about Demi Lovato's "uninformed" ghost, frustratingly conventional.

77. The Traitor (Marco Bellochio)- Played with weary commitment by Pierfrancesco Favino, Tomasso Buscetta is "credited" as the first informant of La Cosa Nostra. And that sounds like an interesting subject for a "based on a true story" crime epic, right? Especially when you find out that Buscetta became a rat out of principle: He believed that the mafia to which he had pledged his life had lost its code to the point that it was a different organization altogether.  

At no point does Buscetta waver or even seem to struggle with his decision though, so what we get is less conflicted than that description might suggest. None of these Italian mob movies glorify the lifestyle, so I wasn't expecting that. But if the crime doesn't seem enticing, and snitching on the crime seems like forlorn duty, and everything is pitched with such underhanded matter-of-factness that you can't even be sure when Buscetta has flipped, then what are we left with? It was interesting seeing how Italian courts work, I guess?

76. Kajillionaire (Miranda July)- This is another movie so intent on building atmosphere and lore that it takes too long to declare what it is. When the protagonist hits a breaking point and has to act, she has only a third of a film to grow. So whispery too.

Gina Rodriguez is the one to inject life into it. As soon as her motormouth winds up, the film slips into a different gear. The atmosphere and lore that I mentioned reeks of artifice, but her character is believably specific. Beneath a basic exterior is someone who is authentically caring but still morally compromised, beholden to the world that the other characters are suspicious of.

75. Scoob! (Tony Cervone)- The first half is sometimes clever, but it hammers home the importance of friendship while separating the friends.

The second half has some positive messaging, but your kids' movie might have a problem with scale if it involves Alexander the Great unlocking the gates of the Underworld.

My daughter loved it.

74. The Lovebirds (Michael Showalter)- If I start talking too much about this perfectly fine movie, I end up in that unfair stance of reviewing the movie I wanted, not what is actually there.* As a fan of hang-out comedies, I kind of resent that any comedy being made now has to be rolled into something more "exciting," whether it's a wrongfully accused or mistaken identity thriller or some other genre. Such is the post-Game Night world. There's a purposefully anti-climactic note that I wish The Lovebirds had ended on, but of course we have another stretch of hiding behind boats and shooting guns. Nanjiani and Rae are really charming leads though.

*- As a New Orleanian, I was totally distracted by the fake aspects of the setting too. "Oh, they walked to Jefferson from downtown? Really?" You probably won't be bothered by the locations.

73. Sonic the Hedgehog (Jeff Fowler)- In some ways the storytelling is ambitious. (I'm speaking for only myself, but I'm fine with "He's a hedgehog, and he's really fast" instead of the owl mother, teleportation backstory. Not everything has to be Tolkien.) But that ambition doesn't match the lack of ambition in the comedy, which depends upon really hackneyed setups and structures. Guiding Jim Carrey to full alrighty-then mode was the best choice anyone made.

72. Malcolm & Marie (Sam Levinson)- The stars move through these long scenes with agility and charisma, but the degree of difficulty is just too high for this movie to reach what it's going for.

Levinson is trying to capture an epic fight between a couple, and he can harness the theatrical intensity of such a thing, but he sacrifices almost all of the nuance. In real life, these knock-down-drag-outs can be circular and indirect and sad in a way that this couple's manipulation rarely is. If that emotional truth is all this movie is trying to achieve, I feel okay about being harsh in my judgment of how well it does that.

71. Beanpole (Kantemir Balagov)- Elusive in how it refuses to declare itself, forthright in how punishing it is. The whole thing might be worth it for a late dinner scene, but I'm getting a bit old to put myself through this kind of misery.

70. The Burnt Orange Heresy (Giuseppe Capotondi)- Silly in good ways until it's silly in bad ways. Elizabeth Debicki remains 6'3".

69. Everybody’s Everything (Sebastian Jones and Ramez Silyan)- As a person who listened to Lil Peep's music, I can confidently say that this documentary is overstating his greatness. His death was a significant loss, as the interview subjects will all acknowledge, but the documentary is more useful as a portrait of a certain unfocused, rapacious segment of a generation that is high and online at all times.

68. The Witches (Robert Zemeckis)- Robert Zemeckis, Kenya Barris, and Guillermo Del Toro are the credited screenwriters, and in a fascinating way, you can see the imprint of each figure on the final product. Adapting a very European story to the old wives' tales of the American South is an interesting choice. Like the Nicolas Roeg try at this material, Zemeckis is not afraid to veer into the terrifying, and Octavia Spencer's pseudo witch doctor character only sells the supernatural. From a storytelling standpoint though, it seems as if the obstacles are overcome too easily, as if there's a whole leg of the film that has been excised. The framing device and the careful myth-making of the flashback make promises that the hotel half of the film, including the abrupt ending, can't live up to.

If nothing else, Anne Hathaway is a real contender for Most On-One Performance of the year.

67. Irresistible (Jon Stewart)- Despite a sort of imaginative ending, Jon Stewart's screenplay feels more like the declarative screenplay that would get you hired for a good movie, not a good screenplay itself. It's provocative enough, but it's clumsy in some basic ways and never evades the easy joke.

For example, the Topher Grace character is introduced as a sort of assistant, then is re-introduced an hour later as a polling expert, then is shown coaching the candidate on presentation a few scenes later. At some point, Stewart combined characters into one role, but nothing got smoothed out.

ENDEARING CURIOSITIES WITH BIG FLAWS

66. Yes, God, Yes (Karen Maine)- Most people who are Catholic, including me, are conflicted about it. Most people who make movies about being Catholic hate it and have an axe to grind. This film is capable of such knowing wit and nuance when it comes to the lived-in details of attending a high school retreat, but it's more concerned with taking aim at hypocrisy in the broad way that we've seen a million times. By the end, the film is surprisingly all-or-nothing when Christian teenagers actually contain multitudes.

Part of the problem is that Karen Maine's screenplay doesn't know how naive to make the Alice character. Sometimes she's reasonably naive for a high school senior in 2001; sometimes she's comically naive so that the plot can work; and sometimes she's stupid, which isn't the same as naive.

65. Bad Boys for Life (Adil El Arbi and Bilall Fallah)- This might be the first buddy cop movie in which the vets make peace with the tech-comm youngs who use new techniques. If that's the only novelty on display here--and it is--then maybe that's enough. I laughed maybe once. Not that the mistaken identity subplot of Bad Boys 1 is genius or anything, but this entry felt like it needed just one more layer to keep it from feeling as basic as it does. Speaking of layers though, it's almost impossible to watch any Will Smith movie now without viewing it through the meta-narrative of "What is Will Smith actually saying about his own status at this point in his career?" He's serving it up to us.

I derived an inordinate amount of pleasure from seeing the old school Simpson/Bruckheimer logo.

64. The Gentlemen (Guy Ritchie)- Look, I'm not going to be too negative on a movie whose crime slang is so byzantine that it has to be explained with subtitles. That's just me. I'm a simple man. But I can tell you that I tuned out pretty hard after seven or eight double-crosses.

The bloom is off the rose a bit for Ritchie, but he can still nail a music cue. I've been waiting for someone to hit "That's Entertainment" the way he does on the end credits.

63. Bad Hair (Justin Simien)- In Bad Hair, an African-American woman is told by her boss at a music video channel in 1989 that straightening her hair is the way to get ahead; however, her weave ends up having a murderous mind of its own. Compared to that charged, witty logline, the execution of the plot itself feels like a laborious, foregone conclusion. I'm glad that Simien, a genuinely talented writer, is making movies again though. Drop the skin-care routine, Van Der Beek!

62. Greyhound (Aaron Schneider)- "If this is the type of role that Tom Hanks writes for himself, then he understands his status as America's dad--'wise as the serpent, harmless as the dove'--even better than I thought." "America's Dad! Aye aye, sir!" "At least half of the dialogue is there for texture and authenticity, not there to be understood by the audience." "Fifty percent, Captain!" "The environment looks as fake as possible, but I eventually came around to the idea that the movie is completely devoid of subtext." "No subtext to be found, sir!"

  61. Mank (David Fincher)- About ten years ago, the Creative Screenwriting podcast spent an hour or so with James Vanderbilt, the writer of Zodiac and nothing else that comes close, as he relayed the creative paces that David Fincher pushed him through. Hundreds of drafts and years of collaborative work eventuated in the blueprint for Fincher's most exacting, personal film, which he didn't get a writing credit on only because he didn't seek one.

Something tells me that Fincher didn't ask for rewrites from his dead father. No matter what visuals and performances the director can coax from the script--and, to be clear, these are the worst visuals and performances of his career--they are limited by the muddy lightweight pages. There are plenty of pleasures, like the slippery election night montage or the shakily platonic relationship between Mank and Marion. But Fincher hadn't made a film in six years, and he came back serving someone else's master.

60. Tesla (Michael Almereyda)- "You live inside your head." "Doesn't everybody?"

As usual, Almereyda's deconstructions are invigorating. (No other moment can match the first time Eve Hewson's Anne fact-checks something with her anachronistic laptop.) But they don't add up to anything satisfying because Tesla himself is such an opaque figure. Driven by the whims of his curiosity without a clear finish line, the character gives Hawke something enigmatic to play as he reaches deep into a baritone. But he's too inward to lend himself to drama. Tesla feels of a piece with Almereyda's The Experimenter, and that's the one I would recommend.

59. Vitalina Varela (Pedro Costa)- I can't oversell how delicately beautiful this film is visually. There's a scene in which Vitalina lugs a lantern into a church, but we get several seconds of total darkness before that one light source carves through it and takes over part of the frame. Each composition is as intricate as it is overpowering, achieving a balance between stark and mannered.

That being said, most of the film is people entering or exiting doors. I felt very little of the haunting loss that I think I was supposed to.

58. The Rhythm Section (Reed Morano)- Call it the Timothy Hutton in The General's Daughter Corollary: If a name-actor isn't in the movie much but gets third billing, then, despite whom he sends the protagonist to kill, he is the Actual Bad Guy.  

Even if the movie serves up a lot of cliche, the action and sound design are visceral. I would like to see more from Morano.

57. Red, White and Blue (Steve McQueen)- Well-made and heartfelt even if it goes step-for-step where you think it will.

Here's what I want to know though: In the academy training sequence, the police cadets have to subdue a "berserker"; that is, a wildman who swings at their riot gear with a sledgehammer. Then they get him under control, and he shakes their hands, like, "Good angle you took on me there, mate." Who is that guy and where is his movie? Is this full-time work? Is he a police officer or an independent contractor? What would happen if this exercise didn't go exactly as planned?

56. Wolfwalkers (Tomm Moore and Ross Stewart)- The visuals have an unfinished quality that reminded me of The Tale of Princess Kaguya--the center of a flame is undrawn white, and fog is just negative space. There's an underlying symmetry to the film, and its color palette changes with mood.

Narratively, it's pro forma and drawn-out. Was Riley in Inside Out the last animated protagonist to get two parents? My daughter stuck with it, but she needed a lot of context for the religious atmosphere of 17th century Ireland.

55. What She Said: The Art of Pauline Kael (Rob Garver)- The film does little more than one might expect; it's limited in the way that any visual medium is when trying to sum up a woman of letters. But as far as education for Kael's partnership with Warren Beatty or the idea of The New Yorker paying her for only six months out of the year, it was useful for me.  

Although Garver isn't afraid to point to the work that made Kael divisive, it would have been nice to have one or two interview subjects who questioned her greatness, rather than the crew of Paulettes who, even when they do say something like, "Sometimes I radically disagreed with her," do it without being able to point to any specifics.

54. Beastie Boys Story (Spike Jonze)- As far as this Spike Jonze completist is concerned, this is more of a Powerpoint presentation than a movie, Beastie Boys Story still warmed my heart, making me want to fire up Paul's Boutique again and take more pictures of my buddies.

53. Tenet (Christopher Nolan)- Cool and cold, tantalizing and frustrating, loud and indistinct, Tenet comes close to Nolan self-parody, right down to the brutalist architecture and multiple characters styled like him. The setpieces grabbed me, I'll admit.

Nolan's previous film, which is maybe his best, was "about" a lot and just happened to play with time; Tenet is only about playing with time.

PRETTY GOOD MOVIES

52. Shithouse (Cooper Raiff)- "Death is ass."

There's such a thing as too naturalistic. If I wanted to hear how college freshmen really talked, I would hang out with college freshmen. But you have to take the good verisimilitude with the bad, and good verisimilitude is the mother's Pod Save America t-shirt.

There are some poignant moments (and a gonzo performance from Logan Miller) in this auspicious debut from Cooper Raiff, the writer/director/editor/star. But the second party sequence kills some of the momentum, and at a crucial point, the characters spell out some motivation that should have stayed implied.

51. Totally Under Control (Alex Gibney, Ophelia Harutyunyan, Suzanne Hillinger)- As dense and informative as any other Gibney documentary with the added flex of making it during the pandemic it is investigating.

But yeah, why am I watching this right now? I don't need more reasons to be angry with Trump, whom this film calmly eviscerates. The directors analyze Trump's narcissism first through his contradictions of medical expertise in order to protect the economy that could win him re-election. Then it takes aim at his hiring based on loyalty instead of experience. But you already knew that, which is the problem with the film, at least for now.

50. Happiest Season (Clea Duvall)- I was in the perfect mood to watch something this frothy and bouncy. Every secondary character receives a moment in the sun, and Daniel Levy gets a speech that kind of saves the film at a tipping point.

I must say though: I wanted to punch Harper in her stupid face. She is a terrible romantic partner, abandoning or betraying Abby throughout the film and dissembling her entire identity to everyone else in a way that seems absurd for a grown woman in 2020. Run away, Kristen. Perhaps with Aubrey Plaza, whom you have more chemistry with. But there I go shipping and aligning myself with characters, which only proves that this is an effective romantic comedy.

49. The Way Back (Gavin O’Connor)- Patient but misshapen, The Way Back does just enough to overcome the cliches that are sort of unavoidable considering the genre. (I can't get enough of the parent character who, for no good reason, doesn't take his son's success seriously. "Scholarship? What he's gotta do is put his nose in them books! That's why I don't go to his games. [continues moving boxes while not looking at the other character] Now if you'll excuse me while I wait four scenes before showing up at a game to prove that I'm proud of him after all...")

What the movie gets really right or really wrong in the details about coaching and addiction is a total crap-shoot. But maybe I've said too much already.

48. The Whistlers (Corneliu Porumboiu)- Porumboiu is a real artist who seems to be interpreting how much surveillance we're willing to acknowledge and accept, but I won't pretend to have understood much of the plot, the chapters or which are told out of order. Sometimes the structure works--the beguiling, contextless "high-class hooker" sequence--but I often wondered if the film was impenetrable in the way that Porumboiu wanted it to be or impenetrable in the way he didn't.

To tell you the truth, the experience kind of depressed me because I know that, in my younger days, this film is the type of thing that I would re-watch, possibly with the chronology righted, knowing that it is worth understanding fully. But I have two small children, and I'm exhausted all the time, and I kind of thought I should get some credit for still trying to catch up with Romanian crime movies in the first place.

47. Borat Subsequent Moviefilm (Jason Woliner)- I laughed too much to get overly critical, but the film is so episodic and contrived that it's kind of exhausting by the end--even though it's achieving most of its goals. Maybe Borat hasn't changed, but the way our citizens own their ugliness has.

46. First Cow (Kelly Reichardt)- Despite how little happens in the first forty minutes, First Cow is a thoughtful capitalism parable. Even though it takes about forty minutes to get going, the friendship between Cookie and King-Lu is natural and incisive. Like Reichardt's other work, the film's modest premise unfolds quite gracefully, except for in the first forty minutes, which are uneventful.

45. Les Miserables (Ladj Ly)- I loved parts of the film--the disorienting, claustrophobic opening or the quick look at the police officers' home lives, for example. But I'm not sure that it does anything very well. The needle the film tries to thread between realism and theater didn't gel for me. The ending, which is ambiguous in all of the wrong ways, chooses the theatrical. (If I'm being honest, my expectations were built up by Les Miserables' Jury Prize at Cannes, and it's a bit superficial to be in that company.)

If nothing else, it's always helpful to see how another country's worst case scenario in law enforcement would look pretty good over here.

44. Bad Education (Cory Finley)- The film feels too locked-down and small at the beginning, so intent on developing the protagonist neutrally that even the audience isn't aware of his secrets. So when he faces consequences for those secrets, there's a disconnect. Part of tragedy is seeing the doom coming, right?

When it opens up, however, it's empathetic and subtle, full of a dry irony that Finley is already specializing in after only one other feature. Geraldine Viswanathan and Allison Janney get across a lot of interiority that is not on the page.

43. The Trip to Greece (Michael Winterbottom)- By the fourth installment, you know whether you're on board with the franchise. If you're asking "Is this all there is?" to Coogan and Brydon's bickering and impressions as they're served exotic food in picturesque settings, then this one won't sway you. If you're asking "Is this all there is?" about life, like they are, then I don't need to convince you.  

I will say that The Trip to Spain seemed like an enervated inflection point, at which the squad could have packed it in. The Trip to Greece proves that they probably need to keep doing this until one of them dies, which has been the subtext all along.

42. Feels Good Man (Arthur Jones)- This documentary centers on innocent artist Matt Furie's helplessness as his Pepe the Frog character gets hijacked by the alt-right. It gets the hard things right. It's able to, quite comprehensively, trace a connection from 4Chan's use of Pepe the Frog to Donald Trump's near-assuming of Pepe's ironic deniability. Director Arthur Jones seems to understand the machinations of the alt-right, and he articulates them chillingly.

The easy thing, making us connect to Furie, is less successful. The film spends way too much time setting up his story, and it makes him look naive as it pits him against Alex Jones in the final third. Still, the film is a quick ninety-two minutes, and the highs are pretty high.

41. The Old Guard (Gina Prince-Bythewood)- Some of the world-building and backstory are handled quite elegantly. The relationships actually do feel centuries old through specific details, and the immortal conceit comes together for an innovative final action sequence.

Visually and musically though, the film feels flat in a way that Prince-Bythewood's other films do not. I blame Netflix specs. KiKi Layne, who tanked If Beale Street Could Talk for me, nearly ruins this too with the child-actory way that she stresses one word per line. Especially in relief with one of our more effortless actresses, Layne is distracting.

40. The Trial of the Chicago 7 (Aaron Sorkin)- Whenever Sacha Baron Cohen's Abbie Hoffman opens his mouth, the other defendants brace themselves for his dismissive vulgarity. Even when it's going to hurt him, he can't help but shoot off at the mouth. Of course, he reveals his passionate and intelligent depths as the trial goes on. The character is the one that Sorkin's screenplay seems the most endeared to: In the same way that Hoffman can't help but be Hoffman, Sorkin can't help but be Sorkin. Maybe we don't need a speech there; maybe we don't have to stretch past two hours; maybe a bon mot diffuses the tension. But we know exactly what to expect by now. The film is relevant, astute, witty, benevolent, and, of course, in love with itself. There are a handful of scenes here that are perfect, so I feel bad for qualifying so much.

A smaller point: Daniel Pemberton has done great work in the past (Motherless Brooklyn, King Arthur, The Man from U.N.C.L.E.), but the first sequence is especially marred by his sterile soft-rock approach.

  GOOD MOVIES

39. Time (Garrett Bradley)- The key to Time is that it provides very little context. Why the patriarch of this family is serving sixty years in prison is sort of besides the point philosophically. His wife and sons have to move on without him, and the tragedy baked into that fact eclipses any notion of what he "deserved." Feeling the weight of time as we switch back and forth between a kid talking about his first day of kindergarten and that same kid graduating from dentistry school is all the context we need. Time's presentation can be quite sumptuous: The drone shot of Angola makes its buildings look like crosses. Or is it X's?

At the same time, I need some context. When director Garrett Bradley withholds the reason Robert's in prison, and when she really withholds that Fox took a plea and served twelve years, you start to see the strings a bit. You could argue that knowing so little about why, all of a sudden, Robert can be on parole puts you into the same confused shoes as the family, but it feels manipulative to me. The film is preaching to the choir as far as criminal justice goes, which is fine, but I want it to have the confidence to tell its story above board.

38. Bloody Nose, Empty Pockets (Turner Ross and Bill Ross IV)- I have a barfly friend whom I see maybe once a year. When we first set up a time to meet, I kind of dread it and wonder what we'll have to talk about. Once we do get together, we trip on each other's words a bit, fumbling around with the rhythm of conversation that we mastered decades ago. He makes some kind of joke that could have been appropriate then but isn't now.

By the end of the day, hours later, we're hugging and maybe crying as we promise each other that we won't wait as long next time.

That's the exact same journey that I went on with this film.

37. Underwater (William Eubank)- Underwater is a story that you've seen before, but it's told with great confidence and economy. I looked up at twelve minutes and couldn't believe the whole table had been set. Kristen plays Ripley and projects a smart, benevolent poise.

36. The Lodge (Veronika Franz and Severin Fiala)- I prefer the grounded, manicured first half to the more fantastic second half. The craziness of the latter is only possible through the hard work of the former though. As with Fiala and Franz's previous feature, the visual rhymes and motifs get incorporated into the soup so carefully that you don't realize it until they overwhelm you in their bleak glory.

Small note: Alicia Silverstone, the male lead's first wife, and Riley Keough, his new partner, look sort of similar. I always think that's a nice note: "I could see how he would go for her."

35. Miss Americana (Lana Wilson)- I liked it when I saw it as a portrait of a person whose life is largely decided for her but is trying to carve out personal spaces within that hamster wheel. I loved it when I realized that describes most successful people in their twenties.

34. Sound of Metal (Darius Marder)- Riz Ahmed is showing up on all of the best performances of the year lists, but Sound of Metal isn't in anyone's top ten films of the year. That's about right. Ahmed's is a quiet, stubborn performance that I wish was in service of more than the straight line that we've seen before.

In two big scenes, there's this trick that Ahmed does, a piecing together of consequences with his eyes, as if he's moving through a flow chart in real time. In both cases, the character seems locked out and a little slower than he should be, which is, of course, why he's facing the consequences in the first place. To be charitable to a film that was a bit of a grind, it did make me notice a thing a guy did with his eyes.

33. Pieces of a Woman (Kornel Mundruczo)- Usually when I leave acting showcases like this, I imagine the film without the Oscar-baiting speeches, but this is a movie that specializes in speeches. Pieces of a Woman is being judged, deservedly so, by the harrowing twenty-minute take that opens the film, which is as indulgent as it is necessary. But if the unbroken take provides the "what," then the speeches provide the "why."

This is a film about reclaiming one's body when it rebels against you and when other people seek ownership of it. Without the Ellen Burstyn "lift your head" speech or the Vanessa Kirby show-stopper in the courtroom, I'm not sure any of that comes across.

I do think the film lets us off the hook a bit with the LaBoeuf character, in the sense that it gives us reasons to dislike him when it would be more compelling if he had done nothing wrong. Does his half-remembering of the White Stripes count as a speech?

32. Ma Rainey’s Black Bottom (George C. Wolfe)- This is such a play, not only in the locked-down location but also through nearly every storytelling convention: "Where are the two most interesting characters? Oh, running late? They'll enter separately in animated fashion?" But, to use the type of phrase that the characters might, "Don't hate the player; hate the game."

Perhaps the most theatrical note in this treatise on the commodification of expression is the way that, two or three times, the proceedings stop in their tracks for the piece to declare loudly what it's about. In one of those clear-outs, Boseman, who looks distractingly sick, delivers an unforgettable monologue that transports the audience into his character's fragile, haunted mind. He and Viola Davis are so good that the film sort of buckles under their weight, unsure of how to transition out of those spotlight moments and pretend that the story can start back up. Whatever they're doing is more interesting than what's being achieved overall.

31. Another Round (Thomas Vinterberg)- It's definitely the film that Vinterberg wanted to make, but despite what I think is a quietly shattering performance from Mikkelsen, Another Round moves in a bit too much of a straight line to grab me fully. The joyous final minutes hint at where it could have gone, as do pockets of Vinterberg's filmography, which seems newly tethered to realism in a way that I don't like. The best sequences are the wildest ones, like the uproarious trip to the grocery store for fresh cod, so I don't know why so much of it takes place in tiny hallways at magic hour. I give the inevitable American remake* permission to use these notes.

*- Just spitballing here. Martin: Will Ferrell, Nikolaj (Nick): Ben Stiller, Tommy: Owen Wilson, Peter: Craig Robinson

30. The Invisible Man (Leigh Whannell)- Exactly what I wanted. Exactly what I needed.

I think a less conclusive finale would have been better, but what a model of high-concept escalation. This is the movie people convinced me Whannell's Upgrade was.

29. On the Rocks (Sofia Coppola)- Slight until the Mexican sojourn, which expands the scope and makes the film even more psychosexual than before. At times it feels as if Coppola is actively simplifying, rather than diving into the race and privilege questions that the Murray character all but demands.

As for Murray, is the film 50% worse without him? 70%? I don't know if you can run in supporting categories if you're the whole reason the film exists.

28. Mangrove (Steve McQueen)- The first part of the film seemed repetitive and broad to me. But once it settled in as a courtroom drama, the characterization became more shaded, and the filmmaking itself seemed more fluid. I ended up being quite outraged and inspired.

27. Shirley (Josephine Decker)- Josephine Decker emerges as a real stylist here, changing her foggy, impressionistic approach not one bit with a little more budget. Period piece and established actors be damned--this is still as much of a reeling fever dream as Madeline's Madeline. Both pieces are a bit too repetitive and nasty for my taste, but I respect the technique.

Here's my mandatory "Elisabeth Moss is the best" paragraph. While watching her performance as Shirley Jackson, I thought about her most famous role as Peggy on Mad Men, whose inertia and need to prove herself tied her into confidence knots. Shirley is almost the opposite: paralyzed by her worldview, certain of her talent, rejecting any empathy. If Moss can inhabit both characters so convincingly, she can do anything.

26. An American Pickle (Brandon Trost)- An American Pickle is the rare comedy that could actually use five or ten extra minutes, but it's a surprisingly heartfelt and wholesome stretch for Rogen, who is earnest in the lead roles.

25. The King of Staten Island (Judd Apatow)- At two hours and fifteen minutes, The King of Staten Island is probably the first Judd Apatow film that feels like the exact right length. For example, the baggy date scene between a gracious Bill Burr and a faux-dowdy Marisa Tomei is essential, the sort of widening of perspective that something like Trainwreck was missing.

It's Pete Davidson's movie, however, and though he has never been my cup of tea, I think he's actually quite powerful in his quiet moments. The movie probes some rare territory--a mentally ill man's suspicion that he is unlovable, a family's strategic myth-making out of respect for the dead. And when Davidson shows up at the firehouse an hour and fifteen minutes in, it feels as if we've built to a last resort.

24. Swallow (Carlo Mirabella-Davis)- The tricky part of this film is communicating Hunter's despair, letting her isolation mount, but still keeping her opaque. It takes a lot of visual discipline to do that, and Claudio Mirabella-Davis is up to the task. This ends up being a much more sympathetic, expressive movie than the plot description might suggest.

(In the tie dispute, Hunter and Richie are both wrong. That type of silk--I couldn't tell how pebbled it was, but it's probably a barathea weave-- shouldn't be ironed directly, but it doesn't have to be steamed. On a low setting, you could iron the back of the tie and be fine.)

23. The Vast of Night (Andrew Patterson)- I wanted a bit more "there" there; The film goes exactly where I thought it would, and there isn't enough humor for my taste. (The predictability might be a feature, not a bug, since the film is positioned as an episode of a well-worn Twilight Zone-esque show.)

But from a directorial standpoint, this is quite a promising debut. Patterson knows when to lock down or use silence--he even cuts to black to force us to listen more closely to a monologue. But he also knows when to fill the silence. There's a minute or so when Everett is spooling tape, and he and Fay make small talk about their hopes for the future, developing the characters' personalities in what could have been just mechanics. It's also a refreshingly earnest film. No one is winking at the '50s setting.

I'm tempted to write, "If Andrew Patterson can make this with $1 million, just imagine what he can do with $30 million." But maybe people like Shane Carruth have taught us that Patterson is better off pinching pennies in Texas and following his own muse.

22. Martin Eden (Pietro Marcello)- At first this film, adapted from a picaresque novel by Jack London, seemed as if it was hitting the marks of the genre. "He's going from job to job and meeting dudes who are shaping his worldview now." But the film, shot in lustrous Super 16, won me over as it owned the trappings of this type of story, forming a character who is a product of his environment even as he transcends it. By the end, I really felt the weight of time.

You want to talk about something that works better in novels than films though? When a passionate, independent protagonist insists that a woman is the love of his life, despite the fact that she's whatever Italians call a wet blanket. She's rich, but Martin doesn't care about her money. He hates her family and friends, and she refuses to accept him or his life pursuits. She's pretty but not even as pretty as the waitress they discuss. Tell me what I'm missing here. There's archetype, and there's incoherence.

21. Bacurau (Kleber Mendonca Filho and Juliano Dornelles)- Certain images from this adventurous film will stick with me, but I got worn out after the hard reset halfway through. As entranced as I was by the mystery of the first half, I think this blood-soaked ensemble is better at asking questions than it is at answering them.

20. Let Them All Talk (Steven Soderbergh)- The initial appeal of this movie might be "Look at these wonderful actresses in their seventies getting a movie all to themselves." And the film is an interesting portrait of ladies taking stock of relationships that have spanned decades. But Soderbergh and Eisenberg handle the twentysomething Lucas Hedges character with the same openness and empathy. His early reasoning for going on the trip is that he wants to learn from older women, and Hedges nails the puppy-dog quality of a young man who would believe that. Especially in the scenes of aspirational romance, he's sweet and earnest as he brushes his hair out of his face.

Streep plays Alice Hughes, a serious author of literary fiction, and she crosses paths with Kelvin Kranz, a grinder of airport thrillers. In all of the right ways, Let Them All Talk toes the line between those two stances as an entertaining, jaunty experiment that also shoulders subtextual weight. If nothing else, it's easy to see why a cruise ship's counterfeit opulence, its straight lines at a lean, would be visually engaging to Soderbergh. You can't have a return to form if your form is constantly evolving.

19. Dick Johnson Is Dead (Kirsten Johnson)- Understandably, I don't find the subject as interesting as his own daughter does, and large swaths of this film are unsure of what they're trying to say. But that's sort of the point, and the active wrestling that the film engages in with death ultimately pays off in a transcendent moment. The jaw-dropping ending is something that only non-fiction film can achieve, and Johnson's whole career is about the search for that sort of serendipity.

18. Da 5 Bloods (Spike Lee)- Delroy Lindo is a live-wire, but his character is the only one of the principals who is examined with the psychological depth I was hoping for. The first half, with all of its present-tense flourishes, promises more than the gunfights of the second half can deliver. When the film is cooking though, it's chock full of surprises, provocations, and pride.

17. Never Rarely Sometimes Always (Eliza Hittmann)- Very quickly, Eliza Hittmann has established herself as an astute, empathetic director with an eye for discovering new talent. I hope that she gets to make fifty more movies in which she objectively follows laconic young people. But I wanted to like this one more than I did. The approach is so neutral that it's almost flat to me, lacking the arc and catharsis of her previous film, Beach Rats. I still appreciate her restraint though.

GREAT MOVIES

16. Young Ahmed (Jean-Pierre Dardenne and Luc Dardenne)- I don't think the Dardennes have made a bad movie yet, and I'm glad they turned away from the slight genre dipping of The Unknown Girl, the closest to bad that they got. Young Ahmed is a lean, daring return to form.

Instead of following an average person, as they normally do, the Dardenne Brothers follow an extremist, and the objectivity that usually generates pathos now serves to present ambiguity. Ahmed says that he is changing, that he regrets his actions, but we never know how much of his stance is a put-on. I found myself wanting him to reform, more involved than I usually am in these slices of life. Part of it is that Idir Ben Addi looks like such a normal, young kid, and the Ahmed character has most of the qualities that we say we want in young people: principles, commitment, self-worth, reflection. So it's that much more destructive when those qualities are used against him and against his fellow man.

15. World of Tomorrow Episode Three: The Absent Destinations of David Prime (Don Hertzfeldt)- My dad, a man whom I love but will never understand, has dismissed modern music before by claiming that there are only so many combinations of chords. To him, it's almost impossible to do something new. Of course, this is the type of thing that an uncreative person would say--a person not only incapable of hearing the chords that combine notes but also unwilling to hear the space between the notes. (And obviously, that's the take of a person who doesn't understand that, originality be damned, some people just have to create.)

  Anyway, that attitude creeps into my own thinking more than I would like, but then I watch something as wholly original as World of Tomorrow Episode Three. The series has always been a way to pile sci-fi ideas on top of each other to prove the essential truths of being and loving. And this one, even though it achieves less of a sense of yearning than its predecessor, offers even more devices to chew on. Take, for example, the idea that Emily sends her message from the future, so David's primitive technology can barely handle it. In order to move forward with its sophistication, he has to delete any extraneous skills for the sake of computer memory. So out of trust for this person who loves him, he has to weigh whether his own breathing or walking can be uninstalled as a sacrifice for her. I thought that we might have been done describing love, but there it is, a new metaphor. Mixing futurism with stick figures to get at the most pure drive possible gave us something new. It's called art, Dad.

14. On the Record (Kirby Dick and Amy Ziering)- We don't call subjects of documentaries "stars" for obvious reasons, but Drew Dixon kind of is one. Her honesty and wisdom tell a complete story of the #MeToo movement. Kirby Dick and Amy Ziering take their time developing her background at first, not because we need to "gain sympathy" or "establish credibility" for a victim of sexual abuse, but because showing her talent and enthusiasm for hip-hop A&R makes it that much more tragic when her passion is extinguished. Hell, I just like the woman, so spending a half-hour on her rise was pleasurable in and of itself.

  This is a gut-wrenching, fearless entry in what is becoming Dick and Ziering's raison d'etre, but its greatest quality is Dixon's composed reflection. She helped to establish a pattern of Russell Simmons's behavior, but she explains what happened to her in ways I had never heard before.

13. David Byrne’s American Utopia (Spike Lee)- I'm often impressed by the achievements that puzzle me: How did they pull that off? But I know exactly how David Byrne pulled off the impish but direct precision of American Utopia: a lot of hard work.

I can't blame Spike Lee for stealing a page from Demme's Stop Making Sense: He denies us a close-up of any audience members until two-thirds of the way through, when we get someone in absolute rapture.

12. One Night in Miami... (Regina King)- We've all cringed when a person of color is put into the position of speaking on behalf of his or her entire race. But the characters in One Night in Miami... live in that condition all the time and are constantly negotiating it. As Black public figures in 1964, they know that the consequences of their actions are different, bigger, than everyone else's. The charged conversations between Malcolm X and Sam Cooke are not about whether they can live normal lives. They're way past that. The stakes are closer to Sam Cooke arguing that his life's purpose aligns with the protection and elevation of African-Americans while Malcolm X argues that those pursuits should be the same thing. Late in the movie, Cassius Clay leaves the other men, a private conversation, to talk to reporters, a public conversation. But the film argues that everything these men do is always already public. They're the most powerful African-Americans in the country, but their lives are not their own. Or not only their own.

It's true that the first act has the clunkiness and artifice of a TV movie, but once the film settles into the motel room location and lets the characters feed off one another, it's gripping. It's kind of unfair for a movie to get this many scenes of Leslie Odom Jr. singing, but I'll take it.

11. Saint Frances (Alex Thompson)- Rilke wrote, "Perhaps everything terrible is in its deepest being something helpless that wants help from us." The characters' behavior in Saint Frances--all of these fully formed characters' behavior--made me think of that quotation. When they lash out at one another, even at their nastiest, the viewer has a window into how they're expressing pain they can't verbalize. The film is uneven in its subtlety, but it's a real showcase for screenwriter and star Kelly O'Sullivan, who is unflinching and dynamic in one of the best performances of the year. Somebody give her some of the attention we gave to Zach Braff for God's sake.

10. Boys State (Jesse Moss and Amanda McBaine)- This documentary is kind of a miracle from a logistical standpoint. From casting interviews beforehand, lots of editing afterwards, or sly note-taking once the conference began, McBaine and Moss happened to select the four principals who mattered the most at the convention, then found them in rooms full of dudes wearing the same tucked-in t-shirt. By the way, all of the action took place over the course of one week, and by definition, the important events are carved in half.

To call Boys State a microcosm of American politics is incorrect. These guys are forming platforms and voting in elections. What they're doing is American politics, so when they make the same compromises and mistakes that active politicians do, it produces dread and disappointment. So many of the boys are mimicking the political theater that they see on TV, and that sweaty sort of performance is going to make a Billy Mitchell out of this kid Ben Feinstein, and we'll be forced to reckon with how much we allow him to evolve as a person. This film is so precise, but what it proves is undeniably messy. Luckily, some of these seventeen-year-olds usher in hope for us all.

If nothing else, the film reveals the level to which we're all speaking in code.

9. The Nest (Sean Durkin)- In the first ten minutes or so of The Nest, the only real happy minutes, father and son are playing soccer in their quaint backyard, and the father cheats to score on a children's net before sliding on the grass to rub in his victory. An hour later, the son kicks the ball around by himself near a regulation goal on the family's massive property. The contrast is stark and obvious, as is the symbolism of the dead horse, but that doesn't mean it's not visually powerful or resonant.

Like Sean Durkin's earlier film, Martha Marcy May Marlene, the whole of The Nest is told with detail of novelistic scope and an elevation of the moment. A snippet of radio that mentions Ronald Reagan sets the time period, rather than a dateline. One kid saying "Thanks, Dad" and another kid saying, "Thanks, Rory" establishes a stepchild more elegantly than any other exposition might.

But this is also a movie that does not hide what it means. Characters usually say exactly what is on their minds, and motivations are always clear. For example, Allison smokes like a chimney, so her daughter's way of acting out is leaving butts on the window sill for her mother to find. (And mother and daughter both definitely "act out" their feelings.) On the other hand, Ben, Rory's biological son, is the character least like him, so these relationships aren't too directly parallel. Regardless, Durkin uses these trajectories to cast a pall of familial doom.

8. Sorry We Missed You (Sean Durkin)- Another precisely calibrated empathy machine from Ken Loach. The overwhelmed matriarch, Abby, is a caretaker, and she has to break up a Saturday dinner to rescue one of her clients, who wet herself because no one came to help her to the bathroom. The lady is embarrassed, and Abby calms her down by saying, "You mean more to me than you know." We know enough about Abby's circumstances to realize that it's sort of a lie, but it's a beautiful lie, told by a person who cares deeply but is not cared for.

Loach's central point is that the health of a family, something we think of as immutable and timeless, is directly dependent upon the modern industry that we use to destroy ourselves. He doesn't have to be "proven" relevant, and he didn't plan for Covid-19 to point to the fragility of the gig economy, but when you're right, you're right.

7. Lovers Rock (Steve McQueen)- swear to you I thought: "This is an impeccable depiction of a great house party. The only thing it's missing is the volatile dude who scares away all the girls." And then the volatile dude who scares away all the girls shows up.

In a year short on magic, there are two or three transcendent moments, but none of them can equal the whole crowd singing along to "Silly Games" way after the song has ended. Nothing else crystallizes the film's note of celebration: of music, of community, of safe spaces, of Black skin. I remember moments like that at house parties, and like all celebrations, they eventually make me sad.

6. Crip Camp: A Disability Revolution (Nicole Newnham and James Lebrecht)- I held off on this movie because I thought that I knew what it was. The setup was what I expected: A summer camp for the disabled in the late '60s takes on the spirit of the time and becomes a haven for people who have not felt agency, self-worth, or community anywhere else. But that's the right-place-right-time start of a story that takes these figures into the '80s as they fight for their rights.

If you're anything like my dumb ass, you know about 504 accommodations from the line on a college syllabus that promises equal treatment. If 2020 has taught us anything though, it's that rights are seized, not given, and this is the inspiring story of people who unified to demand what they deserved. Judy Heumann is a civil rights giant, but I'm ashamed to say I didn't know who she was before this film. If it were just a history lesson that wasn't taught in school, Crip Camp would still be valuable, but it's way more than that.

5. Palm Springs (Max Barbakow)- When explaining what is happening to them, Andy Samberg's Nyles twirls his hand at Cristin Milioti's Sara and says, "It's one of those infinite time-loop scenarios." Yeah, one of those. Armed with only a handful of fictional examples, she and the audience know exactly what he means, and the continually inventive screenplay by Andy Siara doesn't have to do any more explaining. In record time, the film accelerates into its premise, involves her, and sets up the conflict while avoiding the claustrophobia of even Groundhog Day. That economy is the strength that allows it to be as funny as it is. By being thrifty with the setup, the savings can go to, say, the couple crashing a plane into a fiery heap with no consequences.

In some accidental ways, this is, of course, a quarantine romance as well. Nyles and Sara frustratingly navigate the tedious wedding as if they are play-acting--which they sort of are--then they push through that sameness to grow for each other, realizing that dependency is not weakness. The best relationships are doing the same thing right now.

  Although pointedly superficial--part of the point of why the couple is such a match--and secular--I think the notion of an afterlife would come up at least once--Palm Springs earns the sincerity that it gets around to. And for a movie ironic enough to have a character beg to be impaled so that he doesn't have to sit in traffic, that's no small feat.

  4. The Assistant (Kitty Green)- A wonder of Bressonian objectivity and rich observation, The Assistant is the rare film that deals exclusively with emotional depth while not once explaining any emotions. One at a time, the scrape of the Kleenex box might not be so grating, the long hallway trek to the delivery guy might not be so tiring, but this movie gets at the details of how a job can destroy you in ways that add up until you can't even explain them.

3. Promising Young Woman (Emerald Fennell)- In her most incendiary and modern role, Carey Mulligan plays Cassie, which is short for Cassandra, that figure doomed to tell truths that no one else believes. The web-belted boogeyman who ruined her life is Al, short for Alexander, another Greek who is known for his conquests. The revenge story being told here--funny in its darkest moments, dark in its funniest moments--is tight on its surface levels, but it feels as if it's telling a story more archetypal and expansive than that too.

  An exciting feature debut for its writer-director Emerald Fennell, the film goes wherever it dares. Its hero has a clear purpose, and it's not surprising that the script is willing to extinguish her anger halfway through. What is surprising is the way it renews and muddies her purpose as she comes into contact with half-a-dozen brilliant one- or two-scene performances. (Do you think Alfred Molina can pull off a lawyer who hates himself so much that he can't sleep? You would be right.)

Promising Young Woman delivers as an interrogation of double standards and rape culture, but in quiet ways it's also about our outsized trust in professionals and the notion that some trauma cannot be overcome.

INSTANT CLASSICS

2. Soul (Pete Docter)- When Pete Docter's Up came out, it represented a sort of coronation for Pixar: This was the one that adults could like unabashedly. The one with wordless sequences and dead children and Ed Asner in the lead. But watching it again this week with my daughter, I was surprised by how high-concept and cloying it could be. We choose not to remember the middle part with the goofy dog stuff.

Soul is what Up was supposed to be: honest, mature, stirring. And I don't mean to imply that a family film shouldn't make any concessions to children. But Soul, down to the title, never compromises its own ambition. Besides Coco, it's probably the most credible character study that Pixar has ever made, with all of Joe's growth earned the hard way. Besides Inside Out, it's probably the wittiest comedy that Pixar has ever made, bursting with unforced energy.

There's a twitter fascination going around about Dez, the pigeon-figured barber character whose scene has people gushing, "Crush my windpipe, king" or whatever. Maybe that's what twitter does now, but no one fantasized about any characters in Up. And I count that as progress.

1. I’m Thinking of Ending Things (Charlie Kaufman)- After hearing that our name-shifting protagonist moonlights as an artist, a no-nonsense David Thewlis offers, "I hope you're not an abstract artist." He prefers "paintings that look like photographs" over non-representational mumbo-jumbo. And as Jessie Buckley squirms to try to think of a polite way to talk back, you can tell that Charlie Kaufman has been in the crosshairs of this same conversation. This morose, scary, inscrutable, expressionist rumination is not what the Netflix description says it is at all, and it's going to bother nice people looking for a fun night in. Thank God.

The story goes that Steven Spielberg and George Lucas, when constructing Raiders of the Lost Ark, sought to craft a movie that was "only the good parts" with little of the clunky setup that distracted from action. What we have here is a Charlie Kaufman movie with only the Charlie Kaufman moments, less interested than ever before at holding one's hand. The biting humor is here, sometimes aimed at philistines like the David Thewlis character above, sometimes at the niceties that we insist upon. The lonely horror of everyday life is here, in the form of missed calls from oneself or the interruption of an inner monologue. Of course, communicating the overwhelming crush of time, both unknowable and familiar, is the raison d'etre.

A new pet motif seems to be the way that we don't even own our own knowledge. The Young Woman recites "Bonedog" by Eva H.D., which she claims/thinks she wrote, only to find Jake's book open to that page, next to a Pauline Kael book that contains a Woman Under the Influence review that she seems to have internalized later. When Jake muses about Wordsworth's "Lucy Poems," it starts as a way to pass the time, then it becomes a way to lord his education over her, then it becomes a compliment because the subject resembles her, then it becomes a way to let her know that, in the grand scheme of things, she isn't that special at all. This film jerks the viewer through a similar wintry cycle and leaves him with his own thoughts. It's not a pretty picture, but it doesn't look like anything else.

[svtskneecaps]

Rules: answer questions and tag blogs you are contractually obligated to know better!

so @kwonthefire tagged me thank u for giving me an excuse to talk about myself you KNOW i will jump on that shit with absolutely no hesitation you’re incredible

Name/nickname: vic

Gender: woman babey

Star sign: cancer

Height : HAHA TALLER THAN MY OLDER SIBLING S H O R T  L M A O

Time: 5:50 am don’t tell my friends i’m going to bed when i post this i swear

Birthday: july

Favourite bands: seventeen, and i vibe to like, panic!, twice, does the cast of newsies count as a band?

Favourite soloists: listen i’ll vibe to anybody with solid lyrics or a good melody so like, halsey, carrie underwood, taylor swift has been a big one recently, anna nalik, miranda lambert, yknow. all the shit i listened to like six years ago has returned to my playlist cause i’m Stressed tm (ngl the house that built me came on and i actually started crying in the middle of making enchiladas w my entire family like i went straight from DOUBLE BUBBLE DISCO QUEEN to sobbing in the sauce)

i mean not actually the sauce you know what i mean

Last movie: ah shit probably like. pollyanna or something. NO WAIT IT WAS THAT FUCKIN SECOND BORN ROYALS MOVIE ON DISNEY+ THAT MY FAMILY WATCHED WHILE SORTING ALL THE OLD CLOTHES WE DON’T FIT ANYMORE

Last show: shit uhh i think it was like. the three caballeros yknow that animated series with donald duck it’s on disney+. unless we count my mom’s episodes of criminal minds that she watches in the room next to me

Song stuck in my head: an absolutely bizarre combination of that “she’s a wh*re” song clip from tik tok, “the world will know” from newsies, the rock violin cover of the phantom of the opera from the umbrella academy, and like. the twelve days of christmas as sung by straight no chaser, specifically the section where they start doing africa. i don’t know what’s going on either.

When I created this blog: idk a while ago. like three years? four years?

Last thing I googled: ah shit. probably something for premiere pro, adobe software sucks it’s the least intuitive shit i have ever used literally the program i used to write in java worked easier than fucking premiere pro

Other blogs: @ismyreadinglistgoodenoughforyou and i have a couple more but those are classified by order of [redacted]. i can reblog onto @tctwriters but that’s not technically mine it’s OURS anyway follow tctwriters

Do I get asks: nah dude which sux cause my favorite thing to talk about is me l m a o

Why I chose my url: dude i don’t remember i wanted to rebrand from the god awful ‘ismycapsloudenoughforyou’ so i think we went, ok, so seventeen. svt. and my discord status was probably “stop bullying jeonghan’s knee >:(” so they were like, ok knees. and i went ah SHIT, KNEECAPS and then i just. did that.

Following : my guy do you think i know

Followers : like a graduating class worth

Lucky numbers: idk like 12 and 7 and maybe 32

Avg hours of sleep: o jesus well uh. anywhere between 4 and 12 it depends on if i have something to do the next day

Instruments: i can play viola and some flute, i’ve briefly dabbled in piano, ukulele, harmonica, and accordion

What I’m wearing right now: haha state football merch and socks that clash very drastically bc it’s goddamn cold in my house fuck

Dream trip: honestly any trip is my dream trip as long as a couple specific people come. like literally a trip to the grocery store could be my dream trip as long as these specific people are there yknow. people make the trip more than the actual places, for me

Favourite food: o i forgot to answer this one uhhh dr pepper isn’t a food but i don’t eat and my veins run with the stuff

Nationality: american ahaha

Favourite song: ah shit dude it depends on my mood i can’t answer this rn i literally just got “WILL WE LET EM STUFF THIS CROCK O’ GARBAGE DOWN OUR THROATS” stuck in my head and now i can’t actually remember any other songs anyway it’s Home Run stream Home Run by Seventeen guys stream Home Run it’s a fucking bop and the music video is absolute quality i literally didn’t listen to another song for a week and a half after it dropped and i’m not kidding in the slightest stream Home Run by Seventeen guys.

Top three Fictional Universe: it has been so long since i’ve experienced anything that’s original fiction i mean like, jowling kowling rowling is a fucking terf and we hate her LMAO so the only harry potter universe i can vibe with is one that’s thoroughly headcanoned to squeeze all the bullshit out of it, but i vibe with those kinds (i’ve written those kinds, or tried anyway lmao).

also i couldn’t actually read the Lord of the Rings series bc Tolkien’s prose was just way too dense for me to enjoy without it feeling like i was reading a textbook, but i read the Hobbit and i talk to my dad about it sometimes cause he listens to a podcast where they analyze it, and literally the absolute care and time he put into making every section of that world feel alive is absolutely buck fuckin wild to me i mean fuck it up Tolkien that’s fucking incredible. that is batshit insane you incredible man, godspeed.

and doctor who is lit as fuck, tbh i vibe hard with the rtd era shit, they kind of lost me at eleven and also took that shit off amazon prime before i was done watching shitheads but like you have to admit that’s a giant fictional universe and it feels Alive as hell and i vibe with that hard like i vibed so hard i fuckin started writing my own goddamn season just bc i wanted to play around in that lovely lovely sandbox so kudos to them i guess

not in that order

anyway idk who to tag so if you’re seeing this from tctwriters and actually have notifs on for that blog, you’re up dummy i love you. i’d say anyone who wants to take it but nobody ever does so this is for the tctwriters i’m calling you out SPECIFICALLY.

[queenofallimagines]

Finally I found someone who writes black s/o! As a black girl myself I live for these and I’m glad you’re unashamed to write them. For my request, can you write izuku, Katsuki, Shoto, and Kirishima catching their black s/o listening to American rap music and they get confused by the lyrics so their s/o explains it to them.

Thank you!💕💕

Okay so this may or may not have deviated from the original request but I still believe it fits so I’m just gonna post it

Song recs in the headcanons

Todoroki:

- she doesn’t really listen to music honestly which is a crime

- He was an allowed to as a child

- Only lullabies whispered in his ear is by his mom

- So when you’re out here listening to Nicki Minaj Megan Thee Stallion and Lil Wayne he is quite confused

- “What’s this??”

- Oh honey

- You go off on a tangent explaining the history of rap and hip-hop and honestly he’s shook

- This dumbass would wear a 2Pac shirt

- Lord help us all

- His favorite song currently is old town road and you can’t stop him

- Fav rapper is Megan of course

- He actually got to meet her when she did that photo shoot dressed as him

- He almost cried

- Will listen to a playlist that you create

- Cuppcake makes some bops but honestly won’t listen to her in public

- Elevate- dj Kaled spiderverse soundtrack

- What’s up danger-Black caviar

- Make me feel-Janelle Monáe

- Sorry- Beyoncé (plays at full volume to spite his dad)

- He gets turnt when city girls come on

- He’s gunna be listening to more American music

Izuku:

- confused

- He’s hurt all might play some of those but like never really understood

- “???she posts a pic of her bm???”

- What does that mean

- You explain and set him up with older stuff

- Transformer- nicki minaj

- Barbie tings- nicki also

- Woman like me- little mix

- 7 rings- Ariana grande

- Laffy taffy-D4L

- He’s into it

- Plays it at training

- Blasts it during study time

- Remember that episode where they went undercover to save explosion boy he will wear a gold chain again

- I’m so sick of his dumb ass I swear to God

- He won’t try to talk like a rapper he will definitely act like one

- He tries to act tough but like he can’t do it because he looks like a baby

- Rip

Katsuki:

- OK he has only been listening to like punk Japanese trap music

- So when you show him actual trap music he’s blown away

- Like yoooo he’s down with it

- Rap music is his new special intrest

- Streams all his fav songs

- Makes you send him a playlist of your favs

- Outta my mind- b.o.b ft Nicki Minaj

- Dysfunctional- tech nine

- Stupid ass- watsky

- Ugly faces -watsky

- Tia tamera- doja cat ft rico nasty

- A rico nasty Stan for life

- Runway-stunna girl

- Family Force 5 - zombie

- You can and will catch him dancing to it

- Learns to play super bass on the drums

- “Cardi b is garbage and Nicki Minaj has shaped rap music as we know it.”

- He’s gunna listen to audios on tik tok

- Ofc bakugou is his fav song

- If anyone tries to annoy him he just plays that song lmaooo

Kirishima:

- okay so he already listen to some hip hot so when you show him rap he’s not that confused

- Likes the lyrics More than the beat

- Will sing it or hum in class

- Sharing new music you guys found at lunch

- Thinks it cute when you talk about your favs

- Maybe I do- Huey Mack

- I am not my hair- Akon

- Chun li- nicki minaj

- No scrubs- TLC

- Young dumb and broke- Khalid

- Cocoa butter kisses- chance

- Two blue moons- watsky

- He’s a really soft boy but he can listen to harder stuff if he wants

- Fav song rn is no worries by lil Wayne



[kevinskorner]

Katy Delivers!: Smile Review

First off, I just want to say CONGRATULATIONS to Katy and Orlando for having their daughter, DAISY DOVE BLOOM! I absolutely ADORE that name and I was hoping that they would pick the name Daisy! Katy has been working non. stop. ever since “Daisies” came out. Doing promo after promo, either American Idol or just interviews, she has worked her ass off to promote this album and doing it all PREGNANT. Power. Mom. Moves. After “witnessing” (lol I had to) the Witness era and seeing it underperform and seeing Katy battling depression it was really upsetting. Katy has been a force in the pop music world since she came out with “I Kissed A Girl” and when Witness came along and it wasn’t performing like her past three records, she was disappointed which totally makes sense BUT, the success of her first three albums was very rare and unlike any other pop star. I mean, a number one debut single, 5 number one songs from her second album, the most for any artist, (its really 6 because there was a rerelease but anyway) 2 number one’s from the third album I mean... That success doesn’t usually happen for an artist in their first few album so I totally understand why Katy would be upset by the underperformance of Witness because she was living on that high for so long. 

Now, we come to the present. Katy has come out with her fifth studio album Smile and I really enjoy it. I heard Katy say that she didn’t expect to make an album like this or that it wasn’t planned but I think it’s a perfect representation of what she’s gone through and who she’s become. Katy really did lose her “smile” after Witness. She went through a lot, but she has made it back onto the other side and has become a stronger person. She’s more dignified, humbled and simplified and you can see it. She’s still the Katy Perry we all know and love but she’s grown now. I will never get over the fact that she gave BIRTH to her FIRST CHILD and release her FIFTH album in the span of three days. 

“Never Really Over” has become a staple in Katy’s discography and I would call it a classic. It’s just so addicting and a GREAT pop song. When Katy announced the tracklist I didn’t know how I felt about it as the opening track but I think once I listened to the album straight through, it made sense. She says “two years and just like that my head still takes me back, thought it was done but I guess it never, really, over”. The production in “Cry About It Later” is so good. I can totally relate to the lyrics because it talks about when you wanna put your emotions to the side and not focus on the drama or sadness going on, just live in the fun moment you’re having. I honestly love it. THE CHORUS in “Teary Eyes” IS EVERYTHING. I’m loving this new venture Katy has taken musically with the more club/house/dance vibe. That is the type of music you want to listen to when you’ve lost your smile and are trying to find the goodness in life again. “Daisies” has really grown to be a great song. It can be played on and on and i’ll still scream every word. It has even more meaning with Daisy Dove Bloom being born now. I don’t know how it goes with the album aesthetically but I still love it. “Look at me now, look at me now, I’m in full bloom”. “Resilient” as a song is my least favorite but, it does have some of my favorite lyrics. I like the message of pushing through in the lyric “you’re gonna watch this flower grow right through the cracks”. Ugh, I'm just loving the the metaphors to her daughter and to Orlando because she is like the flower in her life becoming a Bloom and giving birth to a Daisy. Also, her vocals remind me of someone but I can’t put my finger on it... I was NOT expecting this SERVE in “Not The End Of The World”. I think this is actually a perfect pop song for 2020 honestly. It’s giving post apocalyptical/rise but more poppy and ooo i LOVE the sample! I have really grown to like “Smile”. It took me a little while to catch on but it’s so fun and catchy and just enjoyable. I also love the  Giorgio Moroder remix even more! I totally can see how “Champagne Problems” relates to Katy and Orlando’s relationship. After their break up they’ve come back together and realized how much they love each other and as long as they have that love, they don’t have any worries. I really love “Tucked”’s chorus and it makes me wanna just groove! It sort of gives that roller skating at a roller rink vibe. “Harleys In Hawaii” is a CLASSICCCC. It’s just GREAT. SMOOTH & SEXYYYYYY. I’m really happy that it ending up making it on the album because it’s too good not to be. “Only Love” was a surprise to me. I didn’t even know there was a song with this title on it. It’s so raw and brings out the emotions while also making your head bop. It helps you realize what’s important in life and to stop thinking about the negativity. In “What Makes A Woman”, I love the “doing what the fuck I want” lyric and production. This is such a great note to end the album on because it shows the power and strength Katy has and it shows her vulnerability as she goes into this new chapter of life as a mother.

I am so happy for Katy. I am so THRILLED that she got her SMILE back! This is a solid album filled with pop joy that helps you put on a smile. I recommend listening straight through. 

Standout Tracks: “Never Really Over”, “Teary Eyes”, “Cry About It Later”, “Daisies”, “Harleys in Hawaii”, “Only Love”. 

[braincoins]

Unusual Halloween Movies

Tired of Jason, Freddy, and Michael? Want something new this year? Boy, do I have some treats lined up for you! I’ve used JustWatch to list the streaming options (though these are US streaming options; I maaaaay be up for some streaming fun on Halloween...). I’ll tell you right now, this list can almost perfectly be broken into three categories: Horror-Comedy, Sci-Fi Horror, or International Horror.

American Mary -  A medical student drowning under tuition debt finds a lucrative practice when she enters the world of body modification. ngl, I remember liking this movie but it’s been a bit since I saw it, so for the CONTENT WARNINGS I’m going to straight up rip the MPAA here: Rated R for strong aberrant violent content including disturbing images, torture, a rape, sexual content, graphic nudity, language and brief drug use

Ava’s Possessions - Ever wonder what life is like once all your demons have been exorcised - literally? Now that Ava is free of the demon that once possessed her, she’s out of a job, down a few friends, and facing charges for the acts of violence her demon did. The only way to get out of trouble is to go to the demon-equivalent of AA. CONTENT WARNINGS: mostly blood and bad language; some mild sexual content 

Behind the Mask: The Rise of Leslie Vernon - A journalism grad student interviews a young man in training to be the next slasher killer, ala Jason/Freddy/Michael. An absolute treat of a movie for anyone who loves slasher films; it’s about 3/4 mockumentary, 1/4 actual horror film when she realizes that, no, really, he’s going to go kill all those co-eds. CONTENT WARNINGS: Blood, gore, naked boobs (”Ugh. Is that REALLY necessary?” “Now, Taylor, who’s telling this story?”), sex, occasional panty shots (because, again, slasher films). 

Bubba Ho-Tep - OH MAN another one I had to go back and add in ‘cause REALLY NOW. Elvis is in a nursing home (at least, he says he’s the real Elvis) and he and JFK (who is played by Ossie Davis - who you will note is NOT white) have to fight off a resurrected mummy who sucks the souls of the living out of their assholes. Bruce Campbell stars. HOW IS THAT NOT AWESOME ENOUGH FOR YOU?! CONTENT WARNING: Um... look, I think you kinda already know what sort of content to expect given what I just told you about the story.

Bulbbul (Netflix Original) -  (Hindi Language) During the 19th century Bengali Presidency, something - or someone? - is haunting the woods around a lord’s estate, killing men in gruesome ways. The lord has left his estate in charge of his young wife, while his younger brother, who’d been away studying in London, returns to hunt down whatever is causing these mysterious deaths. CONTENT WARNINGS: child bride, blood, and what Netflix calls “sexual violence”, meaning a rape scene so graphic (despite not showing any nudity or genitalia) that it is GUARANTEED to make you uncomfortable. The movie was written and directed by a woman, so there is nothing intended to be “sexy” about this at all. If you can make it through that scene, though, there is a definite payoff for it. (Or should I say “payback”?)

Eli (Netflix Original) - A young, incredibly sick boy with a fragile immune system is brought by his parents to a clinic for an experimental treatment that may be their last hope. But all is not as it seems within the walls of this place... perhaps literally. CONTENT WARNINGS: mostly just language, a few mild jump scares. People get set on fire at one point. No biggie. 

Errementari: the Blacksmith and the Devil (Netflix Original) - (Basque Language) Based on a Basque folk tale. Eight years after the First Carlist War, a government official comes to a small, impoverished Basque town asking after the blacksmith. Everyone tries to warn him away; the blacksmith is an evil, evil man. But he is on the trail of some Carlist gold that might be in the smithy, and the prospect of the gold wins him some helpers. And while everyone is distracted by that, a young orphan girl manages to get onto the blacksmith’s property. And what she finds there, no one could have expected... CONTENT WARNINGS: I took a screenshot of Netflix’s list of warnings just because it amuses me:

[sings “One of these things is not like the others...”]

Europa Report - Look, I really can’t recommend this enough for fans of found-footage features and people who can stand slower-paced, constantly-building terror. An international mission is sent to investigate Europa, one of the moons of Jupiter. (Those of you who are fans of real-world space exploration know that Europa is considered a prime target for extraterrestrial life within our solar system.) Contact was lost with the mission for a long time, until the data streams came flooding into Earth all at once. And what they showed... CONTENT WARNINGS: Like I said: slower pace than most horror/thriller movies. It builds slow and steady. There’s really not much in the way of blood and gore, though; an excellent example of terror without resorting to buckets of red corn syrup.

Event Horizon - Hellraiser in Space? Hellraiser in Space. Except the Lamentation Configuration is a fucking SPACE SHIP. Also, props for genre-savvy cast. CONTENT WARNINGS: EYE SCREAM. Blood, gore, and, no really, THE EYE THING. Did I mention the gore and the blood? Oh, and language. And blink-and-you-miss it nudity & sex.

Grabbers - Strange creatures are attacking a small Irish coastal town and the only way to protect yourself is... to be drunk? CONTENT WARNINGS: I mean, it’s Irish and everyone’s drunk, so bad language (by American standards) is a given. That’s... really about it, unless you have a tentacle phobia.

Green Room -  An up-and-coming punk band show up to play a gig and realize too late that they’re playing at a Neo-Nazi club. And when they happen to see something they... really shouldn’t have, it becomes an all-out fight for survival. Same director as Murder Party, though this movie was made later with a much better budget. CONTENT WARNINGS: Violence, blood, gore, and yes, some dogs die because they were trained to be vicious attack dogs by Neo-Nazis. :( Also, the most important content warning of all? PATRICK STEWART PLAYS A NEO-NAZI. (You think I’m joking, but for someone who grew up with him as Jean-Luc Picard, it is downright unsettling to see, okay?)

Life - Think Alien meets Europa Report (above). The six-member crew of the International Space Station are given a sample from Mars that might contain actual extraterrestrial life.  CONTENT WARNINGS: Blood. No, let me say that again: BLOOD. Sounds of bones breaking. Alien creature entering someone’s mouth and killing them from the inside (probably through a combination of choking them/asphyxiating them on their own blood/devouring their blood? It’s not clear, it’s just UNSETTLING).

Murder Party - This is what happens when snobby art school brats try to kill someone. (Read: it doesn’t go well.) Fuckin’ bop of a Halloween song over the end credits, too. Also, at least two characters are canonically bisexual. Same director as Green Room, though this movie was made first (with a much lower budget). CONTENT WARNINGS: bad language, blood, gore, nudity, mild sexual content (the nudity is supposed to be “artistic”). The dog probably DOES die, given the circumstances, but it doesn’t happen on screen, at least? And the dog gets some pretty decent comeuppance first... Also, 1000000% accurate cat representation. 

The Perfection (Netflix Original) - A former cello virtuoso (virtuosa?) gets in touch with her former teacher and meets his new star pupil. An instant connection is formed between the two women... or is it? (Yes, there are lesbians!) CONTENT WARNINGS: oh chaos, where do I start? Bugs under the skin, hacking off body parts, blood, gore, mild sexual content, sexual abuse, and the movie itself is complete and utter MINDFUCKERY. Did you like “Tales from the Crypt” as a kid? You’ll probably dig this. 

Ravenous - With apologies to all Native Americans, but at least they did get actual Native American actors for those parts (George is played by a Pueblo actor; his sister Martha is played by an actress of Menominee and Stockbridge-Munsee descent). A soldier who won a questionable victory during the Mexican-American war is given a hero’s status and then an exile to a remote fort in the Sierra Nevadas. Not long after he arrives, a would-be settler arrives with a harrowing tale, calling for help for what few survivors there are of his wagon train. The two friendly Native Americans at the fort issue warnings that go unheeded, of course. CONTENT WARNINGS: Blood, gore, cannibalism, PTSD.

Slither - James Gunn’s 2006 Feature Movie Directorial Debut! He wrote it, too. An homage to B-movie gore flicks like you’d see at the drive-in. I am just copying and pasting the IMDB summary ‘cause I love this movie too much to be concise about it: A small town is taken over by an alien plague, turning residents into zombies and all forms of mutant monsters. (Oh, but don’t forget the nasty, slithery blood worm things!) CONTENT WARNINGS: Nasty, slithery blood worm things. GORE, BLOOD, GORE, GORE. A very uncomfortable sex scene. Michael Rooker.

They’re Watching - An American TV crew filming what is essentially “House Hunters: Eastern Europe” stumble into superstitions, folklore, and... TERROR!! MWAHAHAHAHA. No, seriously, I LOVE how it’s basically “What if some HGTV crew wound up waaaaaaaay in over their heads, in a horrible and bloody way?” CONTENT WARNINGS: Blood, gore, and NO WI-FI.

[whereconfusionisarhyme]

First Reactions To Logan’s Playlist

K first song let’s do this

White and Nerdy-Weird Al Yankovic

Wtf this song was definitely Joan’s idea I mean who else would think of ‘White and Nerdy’ for Logan

Is this like canon he listens to this stuff or like songs about him???

Not Perfect-Tim Minchin

TIM MINCHIN

Bo Burnham better be on Logan's playlist

#deep

Is this about the mindpalace/inside of Thomas’ head??? Cause like???? Ouch???? I think????

Lol nvm it’s not sad lmao

I take back my take back it is sad

So this could be literally “in his mind” or it could be figurative and it’s really messing with my funky flow

Streaks-ANIMA!

Cool instrumental

Love the voice sounds a little like MARINA and Regina Spektor

Oh no I’m two lines in and I can tell it’s gonna be sad

OH NO CONFORMITY RELATED ANGST AHHHHH

Wow Logan is just out here being relatable isn’t he smh 😔👊

"Cause you're a smart kid, but you're still a kid" LOGAN REALLY BE OUT HERE BEING RELATABLE ON MAIN

The Elements-Tom Lehrer

Sounds like what piano class would sound like if I took piano class

Something you would listen to in science class

Bop

Medicine-STRFCKR

A Fever You Can't Sweat Out vibes

Lmao nvm

Gonna go look up the lyrics rn brb

A sad bop

Philosophy cool

Human-Tank And The Bangas

Logan playing this to comfort himself because this singer is the only person who has ever told him this

WHO HURT LOGAN WITH THEIR WORDS

LOGAN THE HEART SKIPPING COMMENT ARE YOU OKAY IM GIVING YOU A HUG

GUYS LOGAN IS TRYING TO CONVINCE HIMSELF THAT HE MATTERS IM NOT OKAY

Last???? Relationship???

Okay I'm not a shipper BUT my theorist analysis obsessed brain is just SCREAMING about Roman and Patton

Observation: Logan is probably atheistic and this song covers God a lot. I don't have a conclusion or anything just pointing that out

This woman do be calming tho like yes I'm beautiful yes I'm special thank you

Okay so I already knew Logan wasn't okay but he 100% isn't okay

Fittet Happier-Radiohead

K two words in and I can tell this is gonna be sad here we go

Employees? Or maybe…other sides?

Minor key ok

SELF HARM ISNT OKAY

"WILL NOT CRY IN PUBLIC" NONONONO

So I heard of a good therapist just downtown-

The Watchtower-The Dø

I paused it cause I need a second after the last one

Guys as someone who dissosiates a lot I think Logan might be dissosiating

Dissosiating to protect himself from his emotions

Y'all just trust me in this one

Coming for the TØP brand I see

K ready to start again here we go

Fire beat I'm vibing with it

Is he trying to distance himself from his emotions to try and perform his tasks better like watching from a Watchtower???

This is the first character I've seen that might dissosiate which only means one thing

I'm gonna be projecting an unholy amount in my fanfiction

"No one in particular" hon who hurt you

City Lights=Emotions (which he considers distractions)??? Maybe??

I'm a William Finn fan come on this isn't my first rodeo

Art Is Dead-Bo Burnham

BO BURNHAM I WAS RIGHT

We all love some good Imposter Syndrome (tm)! :D

This gives Learning New Things About Ourselves' a whole new meaning

Ngl this is the first time I heard the degrading of the piano at the end and I'm here for it

In My Mind-Amanda Palmer

Oop we LOVE setting up impossible expectations for yourself to the point you have a cripplingly horrid self esteem! :D

Logan I've done this before and trust me it isn't worth it the mental breakdowns are too taxing

I'll do it when I'm older=I'm never gonna get around to it

I don't wanna be the person I wanna be either

Why do I perfectly understand every lyric am I ok

Live!!! While you!!!! Can!!!!

At least there's a happy ending

Okay so I've decided that once I'm done I'm gonna make a list of songs I think would fit in the playlist

Algorythym-Childish Gambino

K its spelled incorrectly get ready for some metaphors my dudes

Intro is cool definitely very very Logan WOAH OKAY CHAIN SMOKER

Gonna go look up lyrics I don't understand shit

The chorus sounds like Thanksgiving at my Aunt's house where like 100+ African American relatives blast house music and dance until their feet falls off

Nvm no it doesn't

GO OFF

ELPHABA BETTER WATCH OUT CHILDISH GAMBINO IS COMING FOR YOUR BELT

Adlibs are everything

Letter C-Zach Sherwin

This gives off the same vibes as that one pickle video by Charlie Puth

Roman vs Logan rap battle but it's this

I don't really see why this is related but sure

Time Adventure-The Marcus Hedgehog

Nostalgiaaaaaa

Okay Logan has too many songs talking about one (1) person who is it

I have a gut feeling that it's about Thomas and how Logan used to be enough "back then" but now he thinks he's not cause like let's be honest when was the last time someone gave Logan a strong sincere thank you for all that he does????Excluding DWIT (which doesn't really count in my opinion cause they said he was cool, not like an integral and arguably the most important and powerful side) nobody really appreciates Logan???? Hugs???

Anyway plz ignore this is just how my brain works

K next song

The Breach-clipping.

OKAY SLOW DOWN IM GONNA LOOK UP LYRICS

Is this Daveed Diggs???? I haven't listened to Hamilton in like forever is this Daveed Diggs???

LITERALLY PERFECY PARRALLEL TO LOGAN AND THE SIDES

Sound effects

Really just gonna fry my eardrums like that huh

What I Do For U-Ra Ra Riot

Okay scrap anything and everything I said about it being the sides Logan is 100% talking about Character!Thomas

Erase Me-Ben Folds Five

Ooh this intro reminds me of this one particular musical songs but I don't remember which one

Wait have I listened to this before????

I've listened to this before!

Okay I need to stop being distracted

NOOOOOO don't Erase Yourself!!!!

Logan really just do be having no Self Esteem don't he

Okay so theory: Logan didn't pop up in person in the last video because his eyes were too red from crying

I have 0 evidence so it's not a very good theory but…

Just throwing it out there

One More Time with Feeling-Regina Spektor

Oh no it's Regina Spektor

Oh no I'm gonna cry

Okay so Logan doesnt wanna block of all emotion, only permit some to show???? But most of the time block everything????

Did I get that???

Nobody!!!! Thanks!!!! Logan!!!!

Awww he just wants love and recognition

Tbh this sounds a lot like Roman they have so much in common despite their constant arguing

Galaxy Song-Monty Python

Ooh Monty Python

I haven't listened to Monty Python so I sadly don't know the context

Really just dissing all of the other sides aren't we

Can't really blame him tho

Very scientific

"Yeau~"

Sweet with dark undertones. Love it.

Equation-Hans Zimmer

Later I'm gonna check the equations if they're correct XD

Sunrise-In The Heights

!!!!!!

WHO???!!!!!

K to this is one of my favorite love songs ever it's just so sweet and as someone who's bilingual the concept is just amazingly wonderful so yeah I may be freaking out

Also because WHO??!!

Okay I said I wasn't a shipper but let's be honest this is probably about Roman not romantically but like

OR MAYBE JANUS???

IM SO CONFUSED

But Logan is definitely Nina in this situation it just fits so well with her character for the same reasons I really wanna play her (but never will cause I'm exactly 0% Latin American smh) yeah the pressures to be the smartest and then it backfiring horribly and oh God what if Inùtil is also in the playlist ahhhh

Okay moving on

Lifeboat-Heathers

WHAT

NO

NO

CONFORMITY RELATED ANGST LOGAN STOP BEING RELATABLE AHHHH

IS THIS CAPTAIN THOMAS??? THE OTHER SIDES AS A WHOLE??? AN ABSTRACT CONCEPT???

IM NOT OKAY

Bohemian Groove-Will Connolly

Okay I'm still not recovered from the last song but I need to continue or else I'm never gonna finish this playlist

Eeecccchhhhhoooo

Your friends haven't surpassed you Logan you belong with them okay????

Emptiness despite success??? Millennial who???

Vibing with it but also are you okay

Nvm I know the answer already

Hug All Ur Friends-Cavetown

Okay so Logan is a Cavetown gay noted

Self validation??? Who's she???

Lies. You care so much about what other people *sides* think about you

Maybe Logan listens to this song to remind himself to not care too much

But it doesn't work and it's getting to him more and more

Oh

That took a turn

Breathin'-Thomas Sanders

Good move

Don't really have much to say on this

The Bidding

Spoopy

Alchoholic!Logan

New idea for us fan writers

The pronunciation of beurgoise

Okay I'm like pretty certain at this point that all of the songs that mention a someone else is about Character!Thomas

A Better Version

OHMYGOD I LOVE THIS MUSICAL ITS SO UNDERRATED I HAVE LISTENED TO THE SOUNDTRACK AND UNGODLY AMOUNT OF TIMES YESSSSS

But also since I know the song in terrified cause the feels are gonna come in I just know it

Wait so is Jayce supposed to be Thomas???

I am suddenly feeling much more uncertain about my certainty

Okay let me unpause and just listen to it (even though I already know all of the lyrics)

Okay so I'm a dumbass and apparently this song isn't even part of the playlist

Okay so I'm an idiot and the last few songs have all been "related to playlist" and not in the actual playlist I'm big dumb.

Anyway here's my list of songs I think would fit. (BTW, I only went off of lyrics for these ones. I realize that there’s a general sound and vibe for the playlist, but I decided not to follow it.)

Oh No! ~ MARINA

Hug All Ur Friends ~ Cavetown

Bohemian Groove ~ Will Connolly

Guiltless ~ Dodie Clark

Lifeboat ~ Laurens O’Keefe

The Bidding ~ *idk who*

I Am Not A Robot ~ MARINA

Inútil - Lin Manuel Miranda

Through The Eyes Of A Child ~ AURORA

Community Gardens ~ The Scary Jokes

Let me know if I should do this with the other playlists as well! :)

[hms-chill]

RWRB Study Guide, Chapter 8

Hi y’all! I’m going through Casey McQuiston’s Red, White & Royal Blue and defining/explaining references! Feel free to follow along, or block the tag #rwrbStudyGuide if you’re not interested!

James I (203): James I/VI (First of England, Sixth of Scotland) is known for both translating the Bible and being just... so, so incredibly gay. The book mentions that he promoted a dumb jock to gentleman of the bedchamber, but it leaves out that 13-year-old James would just make out with dudes in public, and that the dumb jock (George Villers) was James’s third serious adult relationship. His friends introduced him to George because his last boyfriend was bad for the kingdom. 

George Eliot (205): Mary Anne Evans wrote under the pen name George Eliot to escape the stereotype that women could only write romances. She wrote seven novels, of which Middlemarch is the most famous, known for their realism and psychological insight.

Daniel Defoe (205): A pioneer of the English novel, Defoe wrote Robinson Crusoe as well as a series of divisive political pamphlets and tracts.

Jonathan Swift (205): Irish political writer most famous for A Modest Proposal, a satirical piece that suggests cannibalism of infants as a more humane response to the British treatment of Ireland than letting them grow to starve in adulthood.

Dickens... “woman who languishes away in a crumbling mansion wearing her wedding gown” (205): Charles Dickens wrote stories concerned with the lower classes. This quote in particular refers to Miss Havisham from Great Expectations, who was left at the altar and refused to take off her wedding dress or even put away the food set out for the wedding.

Sense and Sensibility (205): This is probably Austen’s second most popular novel (after Pride and Prejudice); it follows the four Dashwood women in their move to a new home following the death of Mr. Dashwood. Like most of Austen’s novels, the opinionated narrator follows the women through a series of romantic mishaps, culminating in a happy ending.

Green American Money (206): Fun fact, British money is blue and orange and purple and all sorts of fun colors! It also all looks different, because (at least in Scotland) four banks are allowed to print pound notes, so there are four different designs all in circulation.

Sean Hannity (206): A conservative American political commentator.

Harvard rowing (206): Rowing is like... the bougiest of sports.

Pleiad (206): In Greek mythology, the pleiades were the daughters of the titan Atlas who became stars following his entrapment under the earth. They are remembered for their beauty and loyalty. Myths of the missing pleiad explain why only six of the seven stars are visible to the naked eye. According to some sources, the missing pleiad is Merope, who was shamed out of the sky for her relationship with a mortal.

Minute Maid Park (206): The baseball stadium associated with the Houston Astros baseball team; it seats just over 41,000.

Politico (207): An American political opinion news source.

Drop-kick Murphys (208): An American Celtic punk band. (listen here and here)

The Klan (209): The Ku Klux Klan, an incredibly racist organization that has been responsible for the lynching of thousands of people of color.

Kim Nam-June (210): Kim Nam-Joon, known as RM or Rap Monster, is the leader and rapper of the K-pop group BTS.

Milwaukee (211): The largest city in and main cultural center of Wisconsin, which is a “swing state”, meaning that it could go either way politically in a national election.

Seth Meyers (211): An American talk show host and comedian whose creatively titled show, Late Night with Seth Meyers, is liberal-leaning. He hosts celebrities and often chats about politics or the news.

Clear Crystal Quartz (211): Apparently the most “iconic” crystal, it is believed to be able to help with clarity and the achievement of goals.

Wimbledon (213): The oldest tennis tournament in the world, considered by many to be the most prestigious.

Royal Box (213): The royal box at Wimbledon is a section of the best seats, reserved for royalty and specially invited celebrity/politically powerful guests.

David Beckham (213): A former professional soccer player and current fashion icon known for being hot and wearing nice suits.

McQueen (214): Alexander McQueen was an openly gay British fashion designer who rose from a lower class background to become one of the most famous designers in the world. Though he died in 2010, his brand continues to be known for unconventional fashion shows and theatrical imagery. 

Dashikis (215): A colorful, ornate piece of clothing somewhere between a shirt and a tunic originally from West Africa.

Orangery (218): A very large greenhouse or conservatory designed for growing orange trees.

Woman at her Toilet (218): This painting shows a woman in her bedroom putting on her socks with a little dog next to her; you can see it here.

Baroque bed* (218): Baroque art was designed to show off a monarch’s power; it is incredibly extravagant (Versailles is pretty much the iconic Baroque thing; you can see more about it here).

The Killers (219): An American rock band formed in the early 2000s and known for having donated over $1 million to charity (they did “Mr. Brightside”). (listen here and here). According to McQuinston’s twitter, the song Henry plays is “When You Were Young”, which you can listen to here.

Dred Scott (219): In the 1857 Dred Scott v. Sandford case, the US supreme court ruled that the constitution did not extend to or protect Black folks. 

Nina Simone (219): An American singer/songwriter/political activist whose music spanned a variety of genres and whose activism focused largely on the civil rights movement and was largely influenced by her “friend” Lorraine Hansberry, a Black lesbian playwright. (You know Hozier’s “Nina Cried Power”? She’s Nina) (listen here and here)

Otis Redding (219): Considered one of the greatest singers in American pop music and was one of the foundational soul artists in the US. (listen here and here)

Brahms (219): A German composer known for sticking to more classical forms of music while his contemporaries often leaned toward more dramatic or opulent styles. (listen here and here)

Wagner** (219): A German composer who wrote both the music and the librettos for his operas; his works tend to be very complex, and he has been credited with beginning modern music. (listen here and here)

Romantic (219): Artistically, the Romantic movement was a direct response to industrialization that called for a return to and celebration of nature. Queerness was very much a part of this movement, as it was seen as a return to or celebration of one’s natural state (think Byron).

War of the Romantics (219): A music history term used to describe the split between conservative composers like Brahms who wanted to stick with the Baroque, opulent styles of the past century and radical progressive composers like Liszt, who favored newer styles that blended music with narrative and morals.

Liszt (219): A Hungarian composer known for a diverse body of work and his position as the leader of the radical progressive group in the War of the Romantics. (listen here and here)

Alexander Scriabin (219): Russian composer known for his atonal or dissonant music. (listen to the piece Henry mentions here)

Elton John’s “Your Song” (219): A song written before Elton John came out, but with his queerness in mind. In a 2013 interview, John referred to it as “a perfect song”, and that the lyrics (written by Bernie Taupin) got even better as he got older and sang it more. (listen here)

Consecrated (220): made holy.

DNC (221): The Democratic national conference, when members of the Democratic (liberal) party get together to prepare for a presidential race.

College Republicans of Vanderbilt University (221): Vanderbilt University is a private (and therefore more expensive) school in Nashville, Tennessee. Its location in the South and its price tag would both mark it as being more conservative.

Cage match (221): A type of wrestling match that takes place inside a steel cage; the most common way of winning is by escaping the cage, usually by climbing over the top.

Paul Ryan (222): A conservative retired politician and former Speaker of the House.

The Second Amendment (222): The second amendment grants Americans the right to bear arms (have guns).

Salon (222): An American news and opinion website with a politically liberal editorial stance.

Air Force One (222): the president’s plane

“My Canadian girlfriend” (223): A running joke that someone (often a high schooler) whose partner goes to another school or lives somewhere else is made up.

Five Guys (225): Five Guys Burger and Fries is a popular fast food burger chain across the US.

Vampire Weekend (225): An American indie rock band.

The general (226): the general election in November, when Americans would vote for their president

Plainclothes (226): out of uniform

The Beekman (226): A very fancy hotel in Lower Manhattan, near the Brooklyn Bridge.

NATO (233): the North Atlantic Treaty Organization; an intergovernmental military alliance between 29 North American and European countries.

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*every time I read this, I flinch just a little bit. Baroque architecture is just... so much, and the concept of a Baroque bed when beds/bedrooms are supposed to be simple to help you rest... It’s just so much and I hate it with all of my being. I’m sorry if you like Baroque furniture, but especially for Henry, who dreams of a simple life where he can just write and be anonymous... It’s a big yikes.

** Literally no one asked, but his stuff is just... it’s so boring? Like I’m sure it’s great to fall asleep to or calm down to, but I tried to listen to it while I wrote this and I just couldn’t. Liszt is better, but he’s no Mozart. Also? Mozart wrote BOPS. ONLY. “The Birdcatcher’s Song” slaps and no one can change my mind on that.

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If there’s anything I missed or that you’d like more on, please let me know! And if you’d like to/are able, please consider buying me a ko-fi? I know not everyone can, and that’s fine, but these things take a lot of time/work and I’d really appreciate it!

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Chapter 1 // Chapter 7 // Chapter 9