#its a lot more reminiscent of the old dashboard i loved so much

[tauforged]

the fucked part of this update is that i remember back in ye olden days when the dashboard layout was much more similar to the current look, except it had all the stuff on the right side bar (where the current dash layout has the reccommended blogs and the tumblr radar iirc) and we still had the top bar with the little icons, and the stuff on the sidebar wasnt NEARLY as cluttered as it is now. and i remember when they got rid of it in favor of the top bar with little drop down menus and everyone fucking LOATHED IT, we were all clamoring for it to be rolled back. and they somehow managed to finally put the blog info back into a sidebar like we wanted all those years ago and they somehow fucked it up so bad that we all hate it and want the old layout back . what a website

[marasamoon]

You're driving home on Christmas Day. The sun is setting. The air is cold. Night descends just as tears gather in your eyes. These are the songs you listen to. I present to you:

Christmas Songs to Cry In Your Car To

Have Yourself a Merry Little Christmas by Judy Garland— Starting off with a classic. The context in which this song is originally sung is sad in itself. It feels like a green light to just let it all go. Go ahead, Judy says. It’s okay. Rest your head back on your car seat headrest while listening to this one. It’s starting to not feel like Christmas anymore and in a few hours, it won’t be. You’re not sure you’re ready.

Christmas Time is Here- Instrumental by Vince Guaraldi Trio— This cartoon was always so sad. You suddenly remember a quote from it: “The mere fact that you realize you need help indicates that you are not too far gone.” Who writes that for a children’s Christmas cartoon? Since this one is an instrumental, you’ll be able to hear your sobs a little clearer.

O Tannenbaum by Nat King Cole— No one has a voice quite like Nat King Cole. It is a warm blanket, a safe place to hide. The meaning of the lyrics in their original German escapes you (in the case you are not fluent), but their reverent cadence still resonates. You think that’s true of pretty much everything that is said in life. Words are hollow. You once said “I love you,” when you didn’t really mean it. It was more of a sound to you than a genuine feeling. You wonder if that coldness cradled in those words was discernible to them,  if it even really matters.

O Holy Night by Bing Crosby— Crosby might be the king of Christmas, musically speaking at least. Turn up the bass when the line “Fall on your knees” comes up; you want the entire frame of your car buzzing just as sad goosebumps of existential dread spread across your skin. 

I Heard the Bells on Christmas Day by David Bazan— This song does all the hard work for you. Acoustic, slow, each lyric heavy and defeated; there is a line in here stating that hate rules the world and peace will never really be achievable. This song sees hope and then in despair bows its head. 

Hark, the Herald Angels Sing by Vince Guaraldi Trio— Really sink in the first half because the last half with children singing kind of falls off. You’re at a red light, looking out the window at half-occupied parking lots of grocery stores and corner stores. The stores’ lights are on. There are people inside. Who are they? They have their lives and they have cried and they have loved, and you are certain they deserve better. Cruel world.

I’ll Be Home for Christmas by Bing Crosby— Reminisce about time as a concept and how the new year is almost upon us where you’ll have to do it all over again. Another year older. You still don’t know what you’re doing. If you could go back in time, you’d do it different. You’d appreciate so much more. The children playing with Nerf Guns and running around the house tonight have no idea how clean and clear their experience of the world is. 

There’s Always Tomorrow by Janet Orenstein— This song came out of nowhere in the original cartoon but it sure is good. This song cradles your teary face and tells you there will always be days like this when you are tired and disheartened, but hey, tomorrow isn’t that far away. 

Happy Xmas (War Is Over) by John Lennon— Let the tears flow. This is prayer for the world, broken as it is. You feel something like hope, but it hurts. “Let’s hope it’s a good one.” The tears in your eyes turn every passing street light into stars.

7 O’clock News/Silent Night by Simon & Garfunkel— Silent Night sung over grim news headlines; it’s a little too on the nose but reality doesn’t care for nuance. The air freshener hanging from the rear view mirror is a year old, odorless now. The dashboard display and digital time on the radio float in the dark of the interior of the car. You should’ve gassed up yesterday; you can’t get out of the car looking like this. It’s Christmas but the world keeps on turning.

God Rest Ye Merry Gentlemen by David Bazan— A small twist on a classic song, this time with a dash of religious doubt. There’s so much terrible shit in the world; what kind of god would allow this to happen? Saints and sinners alike have spilled tears like blood over the absence of an answer. Maybe it’s not for us to understand. Or you think there might not be an explanation and God is our horrifically perplexed parent asking us, “Why have you done this?” and our only answer is “I don’t know.”

Auld Lang Syne by Bing Crosby— We end with one last song by Bing Crosby, the patron saint of Sad Christmas. Goodbye old year, hello new year. There will come a day when you won’t be here. There will be one year that will be your last. That year will be someone else’s first. It’s been fun, in its own weird way, despite the dampened expectations, the failures, the heartbreak, the pain. You’ve dreamed dreams and you’ve smiled and laughed sometimes. There’s been warm sunlight and cleansing rain and pale mornings of cold wind when the world was gentle. All of that, the bad and the good—that’s life, right? You think it might be. And it hasn’t been all that bad. Here’s to a new year.

[bluesfortheredj]

The Sweet Escape Chapter 7.

Fri 23rd June

There was a lot less bewilderment when you woke up this time, knowing that you’d be in a room that wasn’t yours next to the man who had hijacked your holiday for one, and a smile creeps across your lips as you come around to find yourself wrapped up in his arms with your head resting against his muscular chest and your legs intertwined with his as if you were both two parts of the same puzzle. You’d forgotten what a truly blissful feeling it was to wake up next to someone, to feel their warmth covering you so much that you didn’t need the duvet, to smile as you feel your head rising and falling with every breath they take, and to just feel wanted again. Everything felt different this time though, not just because it was another person but because it genuinely felt as if they liked you just as much as you liked them, and there was no confusion over where you stood.

“No,” Gwilym frowns sleepily with his eyes closed as you try and escape his grasp, “no moving yet.”

“But I need the toilet,” you whisper.

“Nope,” he mumbles, his arms tightening around your body.

“Yes!”

You laugh as you peel yourself away from his body then slip out from underneath the duvet and quickly make your way to the bathroom across the carpeted floor, then you smile as you return to see Gwil’s arm already outstretched for you to resume your original position at his side, his eyes still closed as he refuses to wake before the alarm goes off.

“Don’t just stand there,” he grins without opening an eyelid, “come back to where you belong.”

“Where I belong?” you laugh as you lift the covers to get back in.

“Mhmm,” he hums, “with me.”

You raise your eyebrows as his answer and your mouth opens and closes as you try to find something to say back, but you’re not entirely sure what you could say to such a statement, and as he lazily drapes his arms around you to pull you back into his side all you can do is smile at his words. The two of you soon fall asleep again, and you only wake when you feel Gwilym’s fingers running through your hair to gently rouse you from your slumber.

“What’s the time?” you ask as you stretch your arms above your head, “how come you’re dressed?”

“Half seven, got half an hour before breakfast,” he replies softly.

“Shit! Why didn’t you wake me?!” you panic as you throw the covers off of you and collect your belongings to head next door.

“Do you know how cute you look when you’re asleep?! I couldn’t wake you before I absolutely had to I’m afraid.”

“Thanks, I guess,” you say with a roll of your eyes, “see you at breakfast.”

“Erm, (Y/N)?”

“Yeah?”

“Forgetting something are we?” he smirks as he holds up your bra which is hanging from his little finger.

You look down at the top you were wearing then back up to him and narrow your eyes before crawling across the bed to retrieve the item of clothing, but he moves it away as soon as you reach out for it.

“Gwilym, I really don’t have time for this!”

“We’ve got all the time in the world,” he smiles, his gaze darting from your eyes to your lips.

Just like that you are putty in his hands and he soon has you on your back on top of the bed covers, his face hovering dangerously close to yours with a smug smile across it, then his lips meet yours in a needy kiss and your hands are quick to pull his weight down on top of you. Your hips grind together, the bulge in his trousers rubbing against your knickers as your arousal seeps into fabric of them, and as his lips travel down over your jaw to your exposed neck an involuntary moan escapes your mouth. Just as his fingers tease their way past the hem of your t-shirt the bell rings from outside the room to signify it was eight already.

“Fuck!” you gasp, as Gwil groans, “you’re going to have to say I’m ill or something!”

“Why can’t you come as you are?” he pouts as he lifts himself off of the bed begrudgingly.

“Oh yeah, I’ll just wander into the dining room with bed hair wearing my knickers and your t-shirt with no bra underneath!”

“Well I’m pretty sure the old guy on the table opposite us would enjoy the view almost as much as me.”

“Fuck off,” you laugh, getting off the bed and pulling on your jeans, “pass me my bra would you?”

He throws it over to you and you turn around to whip off the top so you can put your bra on and cover yourself again, then you run your fingers through your hair to try and sort out the tangled mess to be at least a bit more presentable, and finally you nod towards the door.

“Morning you two,” Danielle smiles when you take your seats.

“Morning,” you chime together.

“Do I need to go and clean your room today, or can I save my poor old legs?” she asks with a knowing raise of her eyebrows.

“You can save your legs Danielle,” you confirm.

“Good… Very good! Well I hope you two are having fun together...”

“We are,” Gwil grins, “...not like that though, I haven’t… We haven’t…”

“You don’t need to explain to me!” Danielle laughs as she backs away after placing your breakfasts down.

“Great, now she definitely thinks we’ve had sex,” you whisper, “she’s like family and now she thinks I’ve slept with you under their roof.”

“Well if she thinks we’ve done it already, then it doesn’t matter if we do...” Gwilym winks.

“I haven’t forgiven you that much quite yet.”

“You almost did this morning!”

“I would have stopped you eventually...” you lie.

“Yeah, right after you’d screamed my name while you came,” he smirks.

“Gwilym!” you gasp, “you know me so well already.”

Once breakfast is over for another day you both head back to the annex and gather your things from his room to take back into yours, but he stops you when you go to open his door by taking a hold of your arm gently, and you turn to see a concerned look upon his face.

“What’s wrong?” you question.

“What’s wrong?” he scoffs as if you should know what’s going through his mind, “it’s our last night together tonight and tomorrow is our last morning… What’s going to happen then?”

“Can’t we just enjoy today without thinking so far ahead?” you sigh.

“No,” he states defiantly with a shake of his head, “I need to know I’m going to see you again, I need to know that this isn’t the last time I get to sleep next to you, because I really don’t know what I’ll do if it is.”

“Can’t we just enjoy today for what it is? We only live about an hour away from each other anyway, so of course we can see one another when we’re back home.”

“No, no, that’s not the same, you’re being vague. What about us?”

You want to run away, you never liked talking about your feelings and Gwilym was someone who was very open with them, and although you’d felt so happy this morning you were still unsure of what to make of all this. It would be easier if it were just kept as a holiday fling, surely? What if you got back to the mainland and things fell apart because you two had been so wrapped up in this perfect little world you had while away? How could you both adjust whatever this was to real life? He was heading home to a completely different world now, and would have so much to sort out with explaining what happened to friends and family; it wouldn’t help at all if a new person was mentioned.

“Listen, Gwil, this has been-”

“(Y/N), please.”

“Just listen!” you sigh, “this has been a really wonderful time, and despite what happened I do really like you, but I just feel it would be better if we left it at this.”

“Why?!”

“Because you’ve got a shitstorm to go back to, a shitstorm that would be made so much worse by the mention of another woman’s name. And what if this was all it was meant to be? What if we find that in real life we’re not compatible at all? We’ve been living in a bubble here, no responsibilities, no jobs, no friends or family sticking their noses in… It’ll be completely different when we get back home, and you know it. I just want to enjoy our last full day on the island together, can we do that and then talk about this later?”

“Okay,” he relents with a sigh, “later.”

“Let’s just enjoy today, yeah?” you suggest softly as your hand cups his cheek and your thumb runs from the corner of his mouth into his stubble.

He nods in response then briefly leans into your touch before you disappear to your room to freshen up and get changed and you tap lightly on his door when you return, him answering it with car keys in hand already.

“Where are we going today then?” you ask.

“You choose,” he smiles, “here.”

He hands you his car keys and you look at him in astonishment.

“You’re trusting me with your car?” you half laugh.

“Yep,” he nods, “I know you’ve been dying to have a go.”

It was true, his car was brand new and a model you could only wish of owning with all the latest technology on the dashboard, and it was such a smooth ride you’d been itching to have a go yourself.

“Right then, let’s go!” you grin excitedly.

You spend the day showing him all the old haunts you used to go to with your parents when you were younger, although some of them had been closed for a long time, and lunch is spent on a beach front overlooking the sea and inhaling the salty air while you eat, laugh, and reminisce about your childhoods. Studying his face as he looks out towards the water, you notice how calm and at ease he seems right now, and you rest your chin on your hand as you watch him intently.

“What?” he asks with a smile as he turns back to face you.

“You look different.”

“So do you.”

“Must be the sea air,” you sigh happily.

You drag him over to the arcades after lunch and spend the rest of the afternoon on the penny machines and trying to grab a stuffed animal with the claw ones, and just as you’re about to admit defeat with the stuffed bears, Gwilym comes up behind you and lowers a chocolate coloured teddy down in front of your face with a love heart clutched between its paws.

“Ta daaa!” he laughs as you take the animal from him, “especially for you.”

“It’s amazing,” you chuckle as you hold it against your chest and turn around to face him, “how did you get him?”

“Persistence,” he winks, “and a shit load of 20 pence pieces!”

“Thank you,” you grin giddily before giving him a kiss.

Gwilym drives you both back to the guest house in time for dinner but after dessert you tell him to stay put for another five minutes and grab his key from the table before running next door to change into your pyjamas then lock up your room before getting into his bed with a bottle of bucks fizz that Danielle had given you for your birthday, and you wait patiently for him to arrive.

“Are you decent?” he asks through the door eventually.

“Not at all, but come in,” you reply with a giggle.

“What’s this?!” he asks when he opens the door to find you sat up in his bed in your shorts and vest with the bottle balanced on the duvet next to you.

“A little party for two… or three actually,” you say as you lift the covers to reveal the bear sitting on Gwil’s pillow.

He chuckles as he shuts and locks the door then he moves to his side of the bed and throws the bear across the room before taking its place under the duvet with you.

“Hey!” you frown, “my bear!”

“Three’s a crowd,” he grins, grabbing the bottle and opening it up.

@painthatiusedto @winnielinleigh @queenslandlover-93 @excellentbecca @peachllobotomy @lovemarvelousfics @lovemelikeyou1997 @readinghorn @godohammers @timeandpixiedust @lv7867 @fuckyou-imspiderman @aynsleywalker @the-baby-bookworm @chlobo6 @drivenbybri @mazzellosjoe @muralskins

[wazafam]

Top Gear returns for its 30th season on BBC America April 25, and its racing right back into action without any stop signs ahead. The trio of popular hosts -  Chris Harris, Paddy McGuinness and Freddie Flintoff - have seen the iconic series rise to new heights and a wider audience thanks to their chemistry and the producers' innovative challenges.

The men hop into some "dad cars" for the premiere, reminiscing about their fathers and getting in touch with their emotions, but there are also plenty of Ferraris and hilarious racing segments in store. Despite the pandemic limiting their travel and interactions, the creators and hosts alike have found ways to keep their target audience entertained.

Related: Top Gear: 10 Best Jeremy Clarkson Quotes Of All Time

Harris, McGuinness and Flintoff spoke to Screen Rant and several other outlets at a recent press day, describing what was surprising about the latest season, explaining which they considered the "ultimate dad cars," and revealing how they'd like to celebrate their fifth series together.

Last season showcased how you can provide quality entertainment in the midst of a pandemic. What new ways have you been stretched creatively this season?

Paddy McGuinness: Well, it's been a little bit easier for us, as opposed to other people making TV shows, because for a lot of stuff we do we're in the car on our own with a little GoPro camera. We had to stay in a bubble together as well.

Apart from we've not traveled about as much, kind of filming in the UK, it's been sort of easier really. You feel fortunate that you can get out and work when everybody else is on, and we've got a chance to spend time with each other, drive cars, have some fun. You have a newfound appreciation of what you're doing.

Chris Harris: I think the producers had to come up with a couple of novel treatments to take us out of our comfort zone; you'll see those. One of them involves being towed behind the car, wearing a pair of titanium-soled boots at speeds that we never ever want to achieve again.

But other than that, really just trying to make the hub of the show the Cars. We've got a great spread of cars, from the new Defender to Ferrari Roma; we've got Fred in a bonkers electric Rally Car, and a beautiful old Alfa Romeo that's been reimagined. We've got a great spread of cars, and us lot having fun.

That's the core of the show, and actually, we're amazed at how much of that you can do still in the middle of a pandemic. So, we've been very, very lucky.

The Dad Cars episode was really wonderful to watch. What was it like to film?

Paddy McGuinness: It was lovely. We do a lot of mad stuff on Top Gear, and we're always having fun, so it was nice to rein that little bit back in a bit and be a bit honest with each other and talk about stuff and show a little bit of emotion. It'll be interesting to see how the viewers respond to something like that.

It was kind of honest. What you see is what you got with us, really. Yeah, it was a really nice episode, that one.

Freddie Flintoff: It was amazing getting into them cars and sitting there, looking around at the dashboard and all the dials, and all of a sudden everything starts flooding back from your childhood. I was [in] the car; I used to play cricket and my dad used to drive me up and down the country, and everything started flooding back. Then you flip it on its head: I'm driving and I'm a dad now, so I'm questioning myself as a dad and trying out, "Am I doing the right thing?"

So, it was emotional. And then, obviously, we lower the tone by sticking my ass in Paddy's face. There's a bit of everything there.

Chris Harris: Top Gear has been and is many things, but films like that make you realize it's actually a very simple product. It's about how human beings interact with motorcars, and why this weird mechanical object somehow elicits such emotional responses from human beings. Why we have opinions and why they cause arguments and, on that level, the memories that we have in them.

It was a very clever treatment from the producers, and not one that I was automatically comfortable with. But when you're they're presented with this thing that makes you remember such pungent memories, you can't really avoid it.

What would you consider the ultimate Dad Car, aside from the ones you drove in the episode or that brought back memories of your father's cars?

Paddy McGuinness: It'll be different because you're in the States, so you'll have a different view. You might be able to pull out some American cars that you think are dads cars.

Chris Harris: I think a Dad's car in the States would have to be something like a Mustang, because I just think it's the kind of car that you wish your dad had driven if he didn't drive one. And it's got some back seats, so you can actually go in there as a little person.

I know this is a difficult [ranking], but it's affordable. You can imagine a lot of people being able to afford a Mustang, because it can't be something that's too expensive and fancy pants. So, I'd go for that, really. I certainly wouldn't go minivan, F150, a truck or something. You could argue that, but for me, I'd like to think it was 'stang.

Freddie Flintoff: We've got four kids, we need a lot of seats. But on Chris' theme, I've bought these Camaros quite often. My kids love that, because in England it's completely different to anything else that you see on the roads. They don't have them out in the country, these left-hand drives, so it's a bit of an adventure for the kids. It's something a bit different. Just to get them all in at the same time, that's the other thing.

You moved to BBC One, the ratings have increased, and people really responded to your chemistry. What is it that you think works so well between the three of you?

Paddy McGuinness: I think we don't act when we're on. We are who we are, and it's a natural sort of chemistry we have around each other. Our personalities are different but, then again, they're very similar. I think viewers like it when they know you're being yourself, and we definitely are. If we lose a race, we hate it; if we win, we really go over the top with our celebrations. And we have a good time together.

We're talking about, hopefully - once this pandemic gets a bit more under control and we can travel again - coming over to the States and maybe doing a big road trip there as well. So, that'll be quite interesting. It's all exciting things ahead. But, yeah, I think we're just ourselves.

Freddie Flintoff: I think as well, the more time we spend together, the more you know each other. I think we are improving. The three of us, but also the producers, the crew and everyone has an understanding of what makes people tick; what people don't like; where to niggle people when you need to. I think we're going in the right direction. We can still improve obviously, but we're getting there.

What are you most proud of in Season 30?

Paddy McGuinness: Surviving it. Coming out alive; that was some achievement with the things they've had us doing.

Chris Harris: We were very lucky to be given the chance to get some cars from James Bond movies together, and that's not often done. To go onto the internet and find film or pictures of a load of old famous Bond cars in one place? You won't, because the fil productions very rarely allow that. But they did this time, so we got the chance to open a hangar that we've had filled with significant Bond cars. That was a great moment.

We also got to drive some as well. That's one that, when it comes to negotiating your paycheck, you actually in the back of your mind are thinking, "I'd pay to do that. I don't need to be paid to do that." It's one of those.

Freddie Flintoff: I think for me, it's hard to get past the dad cars. It's a change of pace, and it's also an opportunity to talk up your dad. He's the center of it, and you're driving the car he drove. I think when you watch that, as I say, it's a change of pace from a lot of stuff we do.

Hopefully fans will like that. I enjoyed watching that and listening to Paddy and Chris' reactions. Because, as Paddy said before, we don't see what each other are doing on board in the car. It was obviously Paddy and Chris talking about their dads, but they're not necessarily conversations that we'd have.

Do you watch the episodes with your families? What do they think?

Paddy McGuinness: I don't, actually. I don't watch it with my family, weirdly enough.

Chris Harris: It's tricky, that. My youngest boy is 10, and I'll sometimes watch it with him. But the others... There's a terrible self-consciousness about television, where you can't stand the sound of your own voice.

You've been through the process. You're not watching it afresh; you've seen the edit, you've done the voiceover for the film. So actually, you're familiar with most of the film. It sounds awful, but I'm very proud of what we do, and I'll watch their films. I'll watch their individual films, but I won't watch mine. When it's on, I would rather be anywhere than in front of a television. That's not because I'm not proud of it, it's just because I think so many people that make television or present it feel the same way. I'd rather go and kick a wall; I just cringe whenever I see myself and television,

Freddie Flintoff: My father'll watch it. Unlike Chris, I don't watch it with him. I hear the music come on, and they're all sat there. I'm a bit of a hoverer; I just hover about, popping my head around the door, and seeing if they're enjoying it.

And then I think my kids as well; they just expect me to embarrass myself as well. They're at an age now, where [everyone's] watching at their school and people are talking about it.

There hasn't been very much opportunity to drive with the pandemic. A lot of people haven't been in cars very much, and there's been a big detachment from the way that we think of them. Top Gear's always been a big, frivolous, masculine, outrageous thing - but was there an urge to make the cars more relatable to people, and to bring that emotive element back in different ways?

Chris Harris: Naturally, we've had less scope to go out and do that hyperbolic stuff. Top Gear always has to be a little bit of a cartoon, I think. If it isn't a cartoon, it just becomes a very cold and antiseptic review show, and everyone's realized that's not what mainstream television want. Because it would get about half a million viewers and would be off the air fairly quickly.

The masculine side of it, I don't necessarily see that. I think at the moment, it's just presented as, "If you like machinery, you like machinery." I think the "Dad's Cars" film was a good demonstration of the fact that we're exploring people's relationship with motor cars, as opposed to just going out and going too nuts.

But yes, to add to your point, there is a crazy Lamborghini that's got too much power that is unaffordable. It's a very difficult balance, really. Top Gear should be a good balance of silliness and relatable content, and in the last year the motorcar has not continued its role in our lives that it once had. I suppose we've had to slightly move with that, although being out and about when everyone else wasn't driving was tricky - because at times I think we felt guilty that we had that freedom.

But what were we supposed to do? We're not just going to go sit at home and do nothing either. Hopefully, we're providing a product that people can sit and watch and enjoy. It's a bit of a soup of emotions. Hopefully, we've trodden the right path, and I think the "Dad's Car" film first up will make people go, "We haven't seen that before."

Next year is going to be your fifth series as a trio. Is there something that you would love to do to celebrate?

Paddy McGuinness: I'd like to do more stuff on me own. [Laughs] I'll just go on a little road trip; on my own in the car. I'll be happy with that.

I don't know. I think I always like it, and it's been tricky doing it at the moment with a pandemic. But I like doing stuff when the three of us are in the same vehicle together. Because when you're talking to each other on a radio, it's okay, but you miss the little nuances. When we're in the car together, I feel as though they get more out of us.

So, going forward - like we've said about maybe a trip across the States - it'd be great to do that in a big RV or something. And I think it will be quite a funny episode as well. That's what I'd like to do; something where the three of us are in the same vehicle.

Freddie Flintoff: I love the sound of that. I'd like to do a big, unplanned adventure and just see what happens. It's been God knows how long, and I'd love to be with these two going across America. To me, that'd be brilliant if and when we can start traveling again.

Chris Harris: I agree with those two and America. I think an RV, a really shonky old Winnebago for the 70s - one of those really upright ones. Pile us into that, give us a tetanus jab so we don't catch anything off upholstery, and then just send us off to experience silly American [things].

On World of Outlaws, those speedboats that do that thing - all that stuff would be brilliant. One of us will die, but it'll be worth it for the greater good.

Paddy McGuinness: Graceland, all that stuff. But I'd love to go to Alaska. I want go to Alaska, I just look at the map... Look at the size of it! It's just massive; there must be adventures to be had in Alaska.

Since you mentioned Alaska, is there any place that you would love to take the camper van across states?

Paddy McGuinness: I'm a real movie buff, so a lot of America I see from films I've loved over the years. I'd really like to see San Francisco, just because I've seen the Golden Gate Bridge on tons of Alcatraz TV shows and films. I'd love to kind of drive over that and see that place, all the windy roads. I just love all that, but that's just me.

Freddie Flintoff: I'd like to do America, but follow a music group. So you've got Graceland, you go see Sinatra stuff. Just follow the greats of music and all that.

Chris Harris: I'd do what he'd do; I'd just be going north over the Golden Gate Bridge, and I'd just go straight to Napa, and basically just stay there and drink wine.

Was there anything this series that really surprised you when you went in? Anything unscripted that brought new depths, or conversations that made you see things in a brand new light?

Paddy McGuinness: Watching it back, it was seeing the loves reactions on the road, talking to the camera. It was quite nice to see that; even though we all have different experiences with our dads, it's all the same thing essentially. We have very similar memories, so it was just nice seeing all that. It was quite surprising.

Chris Harris: We've also done a film about what we call Midlife Crisis Cars. We've taken the idea of the midlife crisis - which clearly, the three of us and the way we're dressed, we're right in the middle of one anyway - and we've turned it into a midlife opportunity.

Rather than being ashamed of what you might want to do when you're in your mid- to late 40s, and have better resources than perhaps when you were in you 20s, we've said, "Embrace it. Celebrate it." That's quite a fun film, saying, "Don't be ashamed of it." I think there's been quite a few people that watch Top Gear that might be accused of being in a bit of a midlife crisis by their loved ones. We're like a comfort blanket to them. Come and be a part of our club; we know how you feel.

Freddie Flintoff: We're all in lycra in that episode. So, if you've got an HDTV, turn it off. You'll save yourself a lot of a lot of misery.

More: 10 Best BBC Dramas, Ranked

Top Gear premieres its 30th season on Sunday, April 25 at 8pm ET/7c on BBC AMERICA and AMC+.

Freddie Flintoff, Paddy McGuinness, & Chris Harris Interview: Top Gear Season 30 from https://ift.tt/3qnhO8w

[adrenalineguide]

Adieu Old Friend: Undoubtedly the Beetle will become an instant classic…again

By Michael Hozjan

It is with deep sadness that I have to report that Volkswagen has decided to axe the Beetle from its lineup. Hard to believe that it’s already been 20 years since the “New Beetle” was launched, and while the original was…lets just say less than spectacular, Wolfsburg did get it right with the second generation. Even going so far as touting that there was no flower vase in this one. But I suspect the damage had been done. And it’s too bad because the latest version is a truly handsome, wonderful car. Note the handsome connotation and not “cute”.  As I reported a couple of years back even the Harley guys love the sleek, low roof design.

The Beetle is available in three trim levels starting with a base price of $21,895 for the Trendline and rising to $29,295 for the top of the line Dune. No matter the trim level, there’s only one engine/transmission combo a new 2.0L turbocharged four mated to a 6-speed automatic with Tiptronic (manual shifting). Choose the base model and you get 16” wheels with wheel covers, my tester, the Coast (formerly known as the Classic) arrived in a classy Silk Blue Metallic hue, it gets 17” wheels with alloy wheels that hark back at the classic looks of the ’67 Beetle. Step up to the Dune and you get 18” alloys and RoughRoad suspension – just the ticket for Quebec roads.

Stepping up to the Coast you’re rewarded with a 6.33” touchscreen over the base car’s 5” unit, keyless entry/push button start cruise, panoramic power sunroof, sat radio as well as Android Auto, Apple Car Play and Mirrorlink connectivity. Whew, there’s also auto-dimming rear view mirror, rain-sensing wipers, a back up camera that is simply the best in the business. And this is where it becomes weird��.the Beetle’s camera is hidden behind the large VW logo keeping the lens clean at all times, no matter the weather. My buddy’s new higher price Toureg has an exposed camera leaving it open to grime, slush and what not.

My Coast came with the Style package – a $1970 option that includes bi-xenon LED head lights, as well as Led tail and plate lights, dual zone climate control, Fender premium audio system complete with a trunk mounted woofer, static cornering lights are a nice option for my country roads thank you.

My previous Beetles had body colored dashboards, reminiscent of the old bug, the Coast gets a surfwood design with sandy colored – two tone cloth seating. Different, but I prefer the body colored version for the dash and well, for the material used, let’s just say VW has had quirky tastes over the last few years when it comes to patterns.  Otherwise the Beetle interior just plain works. It’s Teutonic simplicity at its best, no extravagant waste, just high quality fit and finish.

Unlike the Golf that the Beetle is based on, where you’ve got vast spaces of room fore/aft/trunk the Beetle’s rear seat is best left for the groceries and kids. With two seat belts in the rear bench, the Beetle is a four passenger.  Thankfully the front seats offer loads of room no matter where you measure. What they lack in lateral support they make up for in comfort.

The small trunk has always been a nagging point and even with the rear seat folded down, it falls far short of its cousin. But that’s the price you pay for the shape.

On the road

At one and a half tons the Beetle feels solid, very solid. In car talk it’s called tight, another Teutonic trait but this time in a car almost half the price of car’s with similar traits. Point the car and the wheels take you there, it’s precise, comfortable and agile, with perhaps a bit of too much sway, it’s no Porsche. The Continental WinterContact tires proved invaluable this past winter taking to ice, snow, and cold temps with aplomb.  

Ice? Not a problem.

Where Beetle owners once fought to achieve highway speeds this latest Bug does it effortlessly. You may not win any stoplight-to-stoplight races with the 174 horses powering the front wheels, but then I don’t suppose that too many people who buy Beetles care about such things. Braking is spot on with very little to no fade from the four-wheel discs.  Gas mileage is more on the forefront of their minds and I still managed to eek out 7.7L/100kms in winter’s worst.   

Nostalgia

There are of course other cars that are building on the nostalgia craze, the Fiat and Mini are both higher priced and have different advantages/drawbacks. Sadly the Beetle’s sales stats continue to plummet.

I.D.Buzz

Volkswagen is replacing the Beetle with another vehicle that harks back at VW’s glory days, the I.D. Buzz is a modern version of the Type 2 bus/van that was first imported to North America in the ‘50s and gained world prominence as the vehicle of choice for a generation of peace loving, pot smoking, free love, hippies. It was the coolest vehicle to see and be seen in. And fifty years later the 21-window iterations are fetching exotic car prices at car auctions like Barrett-Jackson.

Volkswagen is betting a lot on the I.D. Buzz (God I hope they change the name by the time it hits the showrooms), the most progressive VW of all time. Scheduled for a 2022 release the fully electric bus is based on VW’s new Modular Electric Drive kit platform with 369 horses from the twin electric motors on each axle. That’s more than 10 ten times the power my ’56 split window! VW is shooting for a 300 mile range on a full charge and can be 80% recharged in half an hour using VW’s fast-charge system.

Ironically while the I.D. Buzz has taken the car show world by storm it won’t be the first vehicle to use the new plat form, that honor goes to the I.D. Crozz (an electric SUV) slated for a 2019/20 lunch. Talk about a buzz kill. Oh and while the I.D. Buzz may be reminiscent of the flower power generation something tells me VW won’t be pushing flower vases any more.  Till then go out get your self a Beetle and have fun. Like someone said one day a long tie ago...you can’t be angry with someone driving a Beetle.   

Maybe just maybe I might get lucky enough to get into a convertible Beetle this summer.

[jodybouchard9]

Free (and Fabulous) Decor! 7 Ways to Reuse Items in Your Home That Will Blow Your Mind

flil/iStock

It can be very expensive keeping up with the latest decor trends—trust us, we’ve tried. That’s why we love the concept of upcycling, because with a few old scraps and some creative DIY power, you can have all-new decor that costs next to nothing.

But what exactly is upcycling? Much like the name suggests, upcycling involves taking your old stuff (furniture, knickknacks, unworn clothing) and re-creating it into something better.

The best part is that you likely already have most of this stuff just lying around your house waiting to be remade into something new. Check out this list of our seven favorite upcycling projects—perfect to tackle on your next snow day.

1. Vintage suitcase side table

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Re-purpose, re-love

This leather suitcase is now a one-of-a-kind coffee table, thanks to @daveaperkins and our copper hairpin legs V V V #hairpinlegs #upcycling #recycling #diy #handmade #art #upcycle #design #vintage #ecofriendly #homedecor #recycle #slowfashion #suitcasetable #fashion #interiordesign #reuse #instagood #home #zerowaste #love #recycled #upcycled #sustainability #sustainable #sustainablefashion #handcrafted #suitcase #suitcases #thehairpinlegco

A post shared by The Hairpin Leg co (@thehairpinlegco) on Mar 15, 2019 at 1:25am PDT

Have an old suitcase lying around and not sure what to do with it? Consider taking on this fun and easy DIY project to transform your old travel bag into a shabby-chic side table (like this one featured by @thehairpinlegco).

“I love all things vintage and have actually started the hunt for vintage suitcases to include in my own home design,” says Stephanie Purcell, owner of Redesigned Classics. “This idea of a side table uses the suitcase in such a clever way that still manages to show off its original charm.”

2. Nostalgic CD mosaic

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Florence and the Machine. Judy Garland. Avril Lavigne. Dashboard Confessional. MGMT. Bright Eyes. Rufus Wainwright. Paul Oakenfold. And so many more! One of the greatest parts about downsizing is finding new ways to use our things rather than just getting rid of them. These CDs have little monetary value anymore, but retain their sentimental value. But why keep things around just so we can reminisce sometimes? I really love the idea of still keeping these memories alive, but honoring them in such a beautiful and fun way! I am so happy with the final result! Now every time I look at our backsplash I will be reminded of so many sweet, sad, and exciting memories! As always….thanks for looking! #ourtinybusadventure #turtletop #busreno #tinyliving #tinybus #busconversion #vanlifediaries #tinykitchen #skoolie #skoolieconversion #cds #cdmosaic #30hours #mosaic #florenceandthemachine #judygarland #avrillavigne #dashboardconfessional #mgmt #brighteyes #rufuswainwright #pauloakenfold #music #fortheloveofmusic #backsplash #talentedkitchen

A post shared by Kristin and Kyle (@ourtinybusadventure) on Sep 1, 2019 at 8:04am PDT

If you still haven’t gotten around to throwing out or selling your ancient CD collection, then you’re in luck—because you’ll want every single one of them for this upcycling project.

“With media having gone digital, it leaves a lot of music lovers with epic stacks of unused CDs,” Purcell says. “Instead of paying for expensive mosaic tile, you can create your own with some of your favorite music—it adds a sentimental and personal touch.”

The possibilities for this DIY are endless. You can make a kitchen backsplash, like we see in this post from @ourtinybusadventure, a set of plates, or even a birdbath.

3. Gilded honey bear vase

https://www.instagram.com/p/BWWLKeUBxEQ/?utm_source=ig_web_copy_link 

Ever wondered why it’s worth paying extra for those adorable honey bears? Well here’s a solid reason: because they can be made into even cuter vases (like this one featured by @girldoitblog).

“These are beyond adorable, and you could also paint them to match a nursery or give them as baby gifts,” says Vicki Liston, the voice behind On the Fly DIY. “Your little ones would also love finger-painting cleaned honey bears as a project.”

Get all the details on how to best prep and decorate your empty honey bears with this DIY.

4. Customizable crate shelving

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My easy & affordable plant shelves! This has made my living room much cozier and relaxing! Extra shelves calls for more plants

A post shared by @ lizasplantygram on Aug 12, 2019 at 1:34pm PDT

The possibilities for old wooden crates are endless. You can paint them and hang them on the wall, make organizer bins for the kids, or just give them a coat of varnish and stack ’em up, like we see in this photo from @lizasplantygram.

“This is so customizable, you can mount them farther apart and place taller items on top of the boxes, or closer together for more compact shelving,” says Liston. “Mounting them all either ‘portrait’ or ‘landscape’ will give a more streamlined, modern look while mixing both is eye-catching and rustic.”

Get the full list of materials plus some extra inspiration from this DIY.

5. Entertainment center-turned-kids’ play kitchen

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Our DIY upgraded all white play kitchen was my very first DIY project 1.5 years ago when I started blogging and still to this day, my number one pinned image from www.mamajots.com website (craft moms unite!) For more details on this little beauty head over to my stories

A post shared by Hello! I’m Steph! (@mama.jots) on Nov 20, 2019 at 4:29pm PST

Have an old entertainment center collecting cobwebs in the basement? Get the kids involved, and make it over into the ultimate play kitchen (like this one from @mama.jots).

“I see so many entertainment centers at thrift stores and yard sales just begging for this project,” Liston says. “What a great way to breathe new life into an old piece of furniture while avoiding the purchase of unnecessary, eco-unfriendly plastic.”

Get started with this tutorial.

6. Shipping boxes that become storage baskets

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Cute diy twine basket!

Credit: @buzzfeednifty

A post shared by A R T S & C R A F T S

(@diyandcraftinginspo) on Dec 13, 2018 at 8:50am PST

You can never have too many storage baskets, and after this DIY tutorial, you’ll never want to pay for one again. Who would’ve thought you could have such a cute basket (like this one featured by @diyandcraftinginspo) just by upcycling all of your Amazon boxes?

“We could all use more storage options in our lives, but baskets are ridiculously expensive,” says Liston. “This easy solution gives you the same beautiful baskets but at a fraction of retail prices.”

7. Sustainable teacup candles

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There's something so cozy about winter. It makes me want to light the house with fresh-scented candles and crawl under a fuzzy blanket. I think that's why I've been creating so many candles this winter. I found these cute little teacups at an antique store near me and knew I had to make them into candles

I made three different scents: juniper berry, grapefruit mint, and eucalyptus lavender. Which candle would you choose? . . . . . . . #moonlightmuse #candles #candleseason #winter #cozy #handmade #soycandles #teacupcandles #teacup #antiqueteacups #handmadecandles #handmadewithlove #naturalcandle #essentialoils #lavendereucalyptus #juniperberry #grapefruitmint

A post shared by Moonlight Muse (@moonlightmuse_designs) on Dec 31, 2019 at 7:40am PST

Old teacups are hard to part with, but you won’t have to once they’re upcycled into candles like these ones featured by @moonlightmuse_designs, and in this awesome DIY.

“While some suggest using soy wax, the most eco-friendly option is to make beeswax candles,” says Stephanie Seferian, host of “The Sustainable Minimalists” podcast. “Soy and paraffin pollute air, while beeswax purifies it. And while beeswax pellets require significant time to melt, the end product will be just as lovely as its soy or paraffin counterparts.”

The post Free (and Fabulous) Decor! 7 Ways to Reuse Items in Your Home That Will Blow Your Mind appeared first on Real Estate News & Insights | realtor.com®.

[j-watched-something]

J Watched Netflix’s Death Note 2017 [SPOILERS]

Introduction

When it comes to adaptations, viewers for the most part fall into two groups: fans of the original source material who want to see the adaptation do the original justice and viewers who have either no or some passing knowledge of the source material and are there to enjoy a movie. With Netflix's Death Note, the recent American film adaptation of the Japanese manga of the same name, I find myself in the second group.

Now, I'm not a complete Death Note virgin. I've been in fandom circles for the past 12 years now and with a series as iconic as Death Note, you can't not know at least a little about it. Personally, I've seen the first two episodes of the anime and the first Japanese live action film that came out. I saw these probably when I was fourteen or fifteen which dates my exposure to this series by about nine or ten years (I feel old...). The rest of what I know comes from the billions of internet memes, listening to one of my mega-fan friends talk about the series (these conversations also taking place nine or ten years ago), and whatever I happened to come across on my dashboard while scrolling through Tumblr.

I'm writing this introduction part out before I watch the movie. I wanted to jot down what I knew about the series and my position in relation to it so that everyone could know where I was coming from when I gave my review. So to establish a starting point for myself, here's what I (think I) know about the Death Note series (potentially inaccurate spoilers up ahead):

Death Note is about a genius high school student named Light Yagami who comes across a book, the titular Death Note, that has the power to kill a person if you write their name down in it. The book will even allow you to specify the time and details of the person's death and you can plot out their actions for quite some time leading up to their demise. Light sees the Death Note as a way to become a god and starts using it to rid the world of those he deems evil. Multiple deaths start occurring and somehow people come to the conclusion that a person is behind it and this person becomes known as “Kira.” A task force is organized with the purpose of bringing in Kira and Light's father is one of the people on this task force. Enter L, a detective who is very reminiscent of Sherlock Holmes. His mental abilities far surpass the people around him, he displays strange quirks (a love of sweets and the strange manner in which he holds his body and how he sits), and his social skills are lacking and perhaps unimportant to him. L and Light are equally matched intellectually and a cat and mouse game begins to take place as they try to outsmart one another. Light's ego and increasing paranoia from being pursued by the police leads him to sometimes stray from his original intentions with the Death Note as he tries to destroy the people in his way.

Other characters I know about are Misa Amane and Ryuk. Misa has feelings for Light and has a Death Note of her own. She has an ability linked to the Death Note that Light finds useful and he treats her as a pawn in his bigger plan, keeping her around only because of this ability and not because he returns her feelings. Ryuk is a Shinigami, or Death God, and is connected to the Death Note. Only people who've touched the Death Note can see him and he spends a lot of his time snarking at Light and his plans. Also he really likes apples.

There's a scene in which L manages to trick Light into revealing his general location by limiting a news broadcast to a specific area and another scene where Light uses a potato chip to throw off the police and that's about all I know for plot points.

As you can see, I know probably about as much as one would get by reading a summary slapped on the back cover of a book, and I'm not even sure if some parts of my information is accurate. I'm pretty removed from the source material as I head into this movie. I've noticed that a lot of the fans of the original are very unhappy with the movie (to put it lightly) and I'm curious as a non-fan if I'll enjoy it. Are the problems with this film strictly as an adaptation or does it fall flat as a standalone as well? My review will look at the film first and foremost as a movie, but I will set aside some time at the end to reflect on it as an adaptation as well (though I'm not sure how much I can contribute to that conversation).

I'll see you all on the other side!

Review [Spoilers Ahead!]

There is so much to talk about.

This movie is bad. The lead is atrocious, the leaps in logic are ridiculous, and the movie can't for the life of it figure out what tone it's going for, but damn if I did not enjoy every minute of this movie.

I watched it with my dad, who knew absolutely nothing about Death Note going in, and we laughed our asses off. I'm reminded of the first time I watched Maximum Overdrive, and how the over the top ridiculousness of it just made it even more fun. It felt as though at every moment where they should have taken things seriously, someone in production tripped and dropped cheese onto the project.

There is a part in this film where, during what's supposed to be a serious and tragic moment, everything goes into slow-mo and “I Don't Wanna Live Without Your Love” by Chicago starts playing in the background. That is all I need to tell you for you to understand what kind of movie you're getting yourself into.

Let's start getting into the specifics of this beautiful disaster.

Everything about this film is over the top. A lot of the deaths are super gory in the film. Everyone's head has to explode, or their body has to explode. Human beings in this universe are one hard push away from gooey destruction. One guy in the film has a heart attack, but he couldn't just have a heart attack, he also had to fall down a flight of stairs. Mia's death at the end of the film wasn't gross, but it was still over the top. Homegirl fell down onto a display from a flower shop, petals erupting from her crash site in slow motion as an 80s love ballad played on in the background. Good lord.

Speaking of slow motion, there's a lot of it in this film, or at least it feels like there is. I wouldn't say that they use slow motion more in this movie than what is typically normal these days, but it's how they're using it. There aren't any complex choreographed action scenes in this film, the only times they use slow motion is to enhance a serious moment or to show off the aforementioned gore, and in the case of the former, it really doesn't work out. The use of slow motion to make things more dramatic reminds me of slow motion in 90s movies where I'm sure everyone at the time thought it was really enhancing the impact of the serious moment but in hindsight it's unintentionally funny.

The over the top nature of the film really hurts it. Everything is taken a step too far and because of that, what's supposed to be taken seriously becomes comical. Yes, I'll say that it's because of this that I really enjoyed the film, but that wasn't the intention here. This film wasn't supposed to entertain me in the way it did.

There were some good ideas in this film that never went all the way through. The soundtrack has a lot of 80s soft rock in it and even the score seems 80s inspired with its use of synthesizers. A lot of the important conversations and confrontations between characters take place with the actors lit up by a nearby neon sign. The chase scene towards the end of the movie where the characters are running through alleys and across construction sites, through a diner, also features a lot of neon lighting. It felt like the film was trying for an homage to 80s detective thrillers but they never fully committed to it. While I'm not sure an homage to 80s detective thrillers would have worked out, they shouldn't have just stopped halfway through the concept. Another good idea that went nowhere was the possible moral dilemma that naturally comes along with the nature of something like the Death Note. Being presented with the power to kill anyone with a low chance of getting caught is an Ethics professor's wet dream. We get some talk here and there of whether or not Kira has the right to do what they do, but it's in passing conversations that never go anywhere important.

There are certain things that I will say were genuinely good in this movie aside from a couple of the actors. I thought there was a lot of well shot scenes in this film, I thought the lighting at certain moments was good and as a fan of 80s music, I liked the soundtrack and score.

On to the characters. The ones I'll be focusing on are Light Turner, the person who receives the Death Note at the beginning of the film, Mia Sutton, Light Turner's crush, then girlfriend and partner-in-crime as the serial killer Kira, Ryuk, the Death God who gave Light Turner the Death Note, and L, the FBI detective determined to bring Kira in to answer for their crimes.

Light Turner. Dear God. First of all, besides Ryuk and L, all of the other characters from the series that I'm aware of got westernized names and honestly they should have done that for Light, because “Light Turner” is way too ridiculous for me to deal with right now and I'm probably going to say it as many times as I can in this review just because it makes me laugh. I guess the creative team thought that the fans might be mad if they changed Light's name, but man that is probably the last thing they should have been worried about and I'll get to that later.

I honestly have no idea what they were going for with Light Turner, because nothing they try sticks its landing. I haven't seen the actor, Nat Wolff, in anything before this, so I can't speak about his talents as an actor in general, but this didn't seem to be the right role for him. Most of his line delivery fell flat, there were times when Light Turner was supposed to say something sarcastic and he never got the timing or the tone right, and it seemed to me that every time he had to say a swear word, he'd fumble over it like he wasn't comfortable with saying it. It doesn't help when he has to act alongside established actors like Willem Dafoe and in general, a lot of his costars outperform him.

There wasn't any charisma or intensity to Light Turner. There's a part at the beginning where he's trying to defend his crush from a bully and his “threat” to this bully is telling him that because he was held back in school and is 18, if he hit Light Turner, it would technically be child abuse and he could get in tr-*punch* And yes, it was funny, but it was also kind of lame and it doesn't help Light Turner's character when added to what I have to believe is the now infamous “screaming scene” where he spends a full minute screaming like a goat and hiding under desks after seeing Ryuk for the first time. He's never able to shed that image of him during the rest of the film, making his more serious moments hard to take seriously.

Throughout the film, there are times when other characters will speak about how smart Light Turner is, but we're never really shown anything to suggest that he's smarter than the people around him, in fact, he does things that are very, very stupid. I'm not kidding when I say that this guy is probably the worst serial killer I've ever seen, and it's kind of troubling that I know I'd be able to pull it off better than he does. Right off the bat, he shows the Death Note to Mia the day after he kills his first two victims and goes as far as to kill another person to prove it to her that it actually works. This is stupid for many obvious reasons and he doesn't stop there. He and Mia decide to use the Death Note to rid the world of evil, he chooses the name “Kira” then acknowledges that in some languages Kira means “Light.” When Mia smartly points out that that would make it easier for people to connect to the killings to him should they look hard enough, he tells her that it's okay because Kira also “kind of means 'killer' in Japanese,” and then uses that point to throw people off but even that is seen through eventually (by L, but the fact remains that he saw through it). His father, James, is investigating Kira, and Light Turner is cartoonishly suspicious whenever he tries to get information on how the investigation's coming along from his dad. At the end of the film, Light Turner pulls off some genius plan using the Death Note, but let me tell you, nothing in the movie leading up to that point led me to believe that he was smart enough to do that. This point actually brings me to Mia.

Mia Sutton starts out as Light Turner's love interest but then becomes, in my opinion, the head of the operation when it comes to their activity as Kira. She's more cold and calculating than Light Turner, and enjoys the god aspect of being Kira more than he does, referring to the people of the world as sheep. Mia would go as far as she needed to go to keep Kira a secret, which is something Light Turner wouldn't do. She's so ruthless that I honestly found her a more interesting character than Light Turner, she definitely made a smarter killer than he did and sometimes I felt as though L should have been pursuing her rather than Light Turner as the person behind Kira. At the very least, L, as smart as he's supposed to be, should have been able to deduce that Kira was not one person, but two. The script pushed so hard for it to be between Light and L (probably because they had to, but that's a point for later) that even though Mia's doing a lot of the driving as Kira, her involvement is basically ignored by the plot at certain points. I will say that as much as I enjoy her character, this is still Netflix's Death Note, and she doesn't escape the fate the other characters suffer. She doesn't do anything ground breaking, and really, it's hard not to outshine Light Turner in this movie. She also falls victim to the idiocy that plagues most of the characters in this film, like using the testimony of random people on the internet as good enough evidence that a person deserves to die (though honestly I'm not sure if she particularly cares about the guilt of the people she kills, but we're not allowed to learn anything about who she is and what drives her), and eventually getting outsmarted by Light Turner, which is super embarrassing.

Ryuk is...fine? I mean he's just sort of there. Willem Dafoe does a good job with his voice work here but the character honestly isn't given much to do. I liked how they presented Ryuk in the film, always keeping him partially in the shadows. His glowing eyes peeking out of the darkness was really cool, and judging by the effects on him that I could see when he moved a little further in the light, I do think the shadows help make up for the limitations of what they could do. He looks more real this way, and yeah it's bad that the CGI's quality requires this sort of trick, but honestly it's better than parading poor effects around in the light.

L was pretty interesting in the first half of his screen time. Lakeith Stanfield is a good actor and he played his part well. His obsession with candy, how he carried himself, and his weird way of sitting in chairs fit well into the movie, but I'm not sure if this was a good thing. It was definitely ridiculous to watch and at times it was hard to take him seriously, but when I think about it, Light Turner was hard to take seriously so it kind of works out fine in this ridiculous movie. One thing that bothered me about his character is the insane leaps in logic he had. He jumped to conclusions quite a bit in this film and he  doesn't really explain himself very well if at all. Yes, most of his deductions turned out to be right, but that doesn't excuse the writers for cutting corners. There's a point in this movie where L's associate and father figure, Watari, is in danger and is ultimately killed, and after that L's character goes off the rails. He becomes angry and reckless. He ends up getting his hands on a gun and the final confrontation between him and Light Turner is a chase scene. I'm honestly very split on the shift in L's character. It's obvious from Lakeith Stanfield's performance earlier in the film that he did some homework and tried to stay true to the L from the anime. He nailed his idiosyncrasies to the point where it's hard to view his performance without thinking about the anime. With everyone else so divorced from the characters that they're supposedly playing, he was the one character that was still pretty faithful and it's hard not to take note of that. So then comes the character shift. From what I know about the anime I don't think L would act like this, but just looking at the L that appears in this film who's under the control of a different creative mind, maybe he would. It's also hard to deny that there are moments when Lakeith Stanfield does a good job of getting across the anguish, anger, and grief his character is experiencing. I guess ultimately what disappoints me about the turn L takes in this film is that I wanted more of an intellectual confrontation between him and Light Turner, and then what follows that is the deeper disappointment of realizing that Light Turner doesn't seem smart enough for that kind of confrontation. Maybe they had to make L into a last minute action character to make the confrontation with his adversary work.

One scene I just have to talk about in full is the chase scene which has to be my favorite scene in the movie as well as a perfect example of everything wrong with the film. The chase starts off with L in a police car armed with a gun and driving like a maniac through the streets trying to catch Light Turner, who's currently escaping on foot. At several points, L nearly runs down pedestrians and at one point crashes through an ironic sign about safe driving because this movie can't help itself. Eventually, L leaves his car and begins to pursue Light Turner on foot and I swear to God these two run through specific places just so that they have people to push out of the way and stuff to knock over. The movie is so convinced that watching them push people over is super cool and action-y and wow that at one point they show Light Turner running through a back alley that just happens to have a group of twenty people standing there and positioned so that they block the entire way through and Light Turner has to push them aside. The boys take a turn into a stereotypical action diner, entering through the back so they have to run through the kitchen and then they go out to the seating area and through the front door. Again, because this movie just can't help itself, as L runs through the seating area of the diner, he bumps into one of the patrons and accidentally shoves the man's face into his bowl of soup. The whole way through this, L is shouting after Light Turner and Light Turner is letting out little high pitched yelps. It's so dumb, so cheesy, and so beautiful. I love this scene.

For the most part, I've tried to avoid talking about this film in comparison to the original source material, but the rest that I have to say about it only makes sense if I talk about it as an adaptation so I'm going to head into that now.

Light Turner's character is a really dramatic departure from his anime counterpart, and in some respects I feel like this is kind of insulting to the western audience this adaptation was made for. Light from the source material was a mastermind, a megalomaniac, a genius. Light Turner is a stereotypical high school loser edgelord with a crush on the popular girl. The only thing the two Lights really have in common is that they're high school students and their fathers are in law enforcement. None of the original Light's character traits were carried over. It makes me think that the creative team or the marketing team didn't think we could be invested in a story with a complex character like Light Yagami, that our dumb western minds weren't ready for the intense intellectual cat and mouse game of the source material and that's why we got the lazy Hollywood trope for our lead and ended the movie with a chase and a sequence on a collapsing ferris wheel. Not to mention the changes they made for Light Turner really reminded me of how they adjusted Goku for an American audience in Dragon Ball Evolution. It's just about as lazy as you can get when westernizing a concept. The westernization is so predictable that they jammed a school dance into this. Really.

Mia, from what I can gather, is supposed to be the American version of Misa Amane, and the difference is even greater in this case than it was for the two Lights. It's funny how in this adaptation, the relationship dynamic between Light and Misa seems to have completely flipped. By the end of the film, Mia seemed more like the Light from the original than Light Turner did.

One of the thoughts that I came out of this movie with was that this might have been better off as a spin-off of Death Note rather than an adaptation of the original story, and my reasoning all comes down to the nature of Kira. Light as Kira in the original was an egotistical, calculating killer, taking careful steps to not get caught. Light Turner and Mia as Kira in the adaptation was more reminiscent of teenage couple spree killers. They make reckless mistakes, killing people too close to home, they seem to make a date night out of choosing their next victims, and the killings fuel their romance, especially from Mia's side. These different types of killers with different motivations will naturally make for different types of stories, and it feels like the creators in the adaptation's case really didn't want to make it. With how dramatically they changed Light and Misa, it seems to me that they liked the concept of the Death Note, not the story, but the book itself.

This movie focuses on the “what if” scenario of two dumb, jaded, pretentious kids suddenly having the power to kill whoever they want and what happens afterwards. That's not what the original Death Note was about, true, but it's still a story that could have been interesting. It's just that it wasn't the story the adaptation was supposed to tell, and I don't think it was right to try to tell that story with characters that weren't theirs. Even with original characters, this film still doesn't work, but it's not as insulting.

Final Thoughts

In the end this is a really bad adaptation, and possibly an entertainingly bad movie so long as you don't have any strong feelings for the source material. I feel kind of bad for enjoying this film as much as I did, especially when I think back on all the horrible comic book adaptations I've seen in my life, but I can't help but recommend this movie to the So Bad, It's Good crowd, so long as you don't know anything about Death Note. To all the Death Note fans, I'm so sorry.

(And a final tidbit I couldn't find anywhere else to bring up: The calculus book that plays a crucial role in this film is the same textbook my dad used in college back in 1972, and he got very excited about it. This book has been out of print for a long time, so I have no idea why Mia has it.)

[gingerandwry]

Rio de Janeiro, Brazil - Week 2

After the sweltering, unseasonable heat during my first week in Rio, the forecast for the next week called for rain. It’s rained everywhere I’ve been so far, but the short bursts and high temperatures meant that the rain did not hold me back. I was not prepared for the flood that was heading toward Rio.

I approached Monday trepidatiously, unsure when the clouds would burst and end my day. But it was sunny and hot as usual (and especially humid) when I woke up so I walked up to the lagoon and over to Leblon. The lagoon offers some lovely views from the running/cycling path that surrounds it.

Leblon is adjacent to Ipanema and almost indistinguishable. It’s known to be quieter and more laid back (and ritzier it seems). And on Monday morning the crowd was much older, kind of a Palm Beach to Ipanema’s Miami. I walked along the beach on the delightfully, swirly designed sidewalk promenade that lines the beaches all the way up to Leme (and some of the city streets too). I reached the base of Dois Irmaos, the iconic peaks that cap the beach’s eastern end, and enjoyed the views from the Mirante do Leblon there. And then I walked inland to my real destination: BB Lanches. In “The Beastie Boys Book” the band mentions that this is their favorite juice bar in Rio, and they named one of their songs (”Suco de Tangerina”) after an item here. So naturally I had to stop by for some tangerine juice.

With no sign of rain yet, I took an Uber to the Urca neighborhood at the base of Pao de Acucar. Just south of the Morro de Urca is Praia Vermelha, a small sheltered beach. At the end of the beach is Pista Claudio Coutinho, a popular 2k walking path that wraps part way around the hill. It’s a pleasant jungle stroll where you can hear waves crashing below and take in expansive views of the ocean and nearby islands.

I reached the end of the trail, turned around and walked back to the beach and up to the west side of the hill. The Urca neighborhood felt very distinctive. It begins with a small marina full of little fishing boats and then turns into a cute residential area, tucked in to the base of Acucar. Most of the homes are modest (with a few princely estates, especially up the hill), and there is just one small commercial strip. The most notable feature is the Mureta, or sea wall, that looks out over the city and the bay. It’s a popular place to sit, hang out, drink beer and enjoy a quiet moment in this hectic city. The area feels like a small coastal town unto itself. In fact Urca is actually where the city of Rio started before it moved farther north. And there are still a few military bases here, presumably protecting the city from seaborne attacks.

With clouds forming, I decided to head home. I took a short nap, and when I awoke, rain was pounding the city, dumping buckets while thunder and lightning jolted the sky. This continued for several hours, and when I walked outside for dinner, a river was gushing down the street (which must be why it’s called Rio...). Water was up to my ankles on the sidewalk and my calves in the intersection. Fortunately I did not have to go far to eat dinner before I retreated back to my apartment. The rain calmed down a bit by midnight but it did not stop until....

Tuesday around 3pm. Rio normally receives 95mm in April. In nine hours on Monday night it got 246mm. Some neighborhoods saw walls of water taking out cars, and some favela endured mudslides (which killed at least three people). Apparently the lagoon overflowed too. My friend here said he had never seen anything like it in 15 years here. I was relieved that the event was as cataclysmic as it seemed to me and not a commonplace carioacan affair. The rain was less intense on Tuesday, but the city was recovering from the impact so many things were closed. I had to cancel my plans and stay shut in.

On Wednesday I re-emerged and headed to the Museu de Arte Moderna. It’s looking a little run-down these days but still has a good collection of mostly Brazilian art from the 20th century. It’s displayed according to traditional painting subjects (landscape, portrait, still-life, etc.), and they have some fun with modern artists’ takes on the classics. I particularly enjoyed the last exhibit on illusion and how context changes art.

My day took a turn for the frustrating after that. I wanted to go to the Flamengo FC match at Maracana stadium on Thursday night. I bought tickets online, but this being Brazil, it was not so simple. First I had to print out a voucher, so I asked my friend to do this at his office, then I met him to pick it up. Then I brought the voucher and my passport and credit card to one of Flamengo’s stores. There I was informed that I had bought student tickets so I could not use them (the website said nothing about this). The game was sold out, so I could not get other tickets. My tickets were supposedly refundable (minus the service fee of course), but as of this writing, the money had not been returned. I was disappointed not to get to see Maracana, a legendary stadium, but mostly annoyed at having to go through this big hassle for nothing. I know that Latin American countries require saintly patience, but I was really missing good ol’ American (and Silicon Valley) efficiency at that point.

Nevertheless, I persisted. I stopped by Igreja Sao Francisco de Paula, a gorgeous church whose interior is covered with intricately detailed carvings. It looks more like an opera house, but with the refreshing lack of gilding it felt more tasteful than the other churches I’ve seen.

I carried on to Museu Nacional de Bellas Artes. The collection is supposedly formidable, but most of the museum was closed for construction and/or exhibit rotation. Really just a few rooms upstairs were open, as well as two hallways with some busted-up Grecian marble statues that were copied from the Louvre and some oddly configured side rooms that did not look interesting. (Brazil does not seem to be aware of central air conditioning since most buildings have separate A/C units for each room (if any at all). This fits uncomfortably with places like museums that should be open and lend themselves to a flow, rather than a series of rooms behind closed doors.) After a short look around I stopped for some beers then returned home for the night.

On Thursday the clouds had mostly parted and the sun was high and hot again, so I could resume my outdoor activities. I took a car back to Parque Lage (the first place I visited when I arrived) so that I could take the steep hike up to Cristo Redentor. It was only upon reaching the trailhead-- some ten minutes into the park-- that a security guard informed me the trail was closed due to the rain. Thwarted again. I explored some more of Lage (which is just a small section of the tropical Parque Nacional de Tijuca, something I would now not be able to see) before calling another Uber to take me to the Corcovado train station.

The “Christ the Redeemer” statue is probably the most iconic, recognizable feature in Rio. The most popular way to get to it is on a small old train that slowly runs up the steep incline three times an hour. Stepping off the train and up a few flights of stairs, the view at the top is spectacular. Corcovado hill is right in the middle of the city, and it’s one of the tallest, so you can see everything, past Maracana in the north, past Niteroi across the bay and past Dos Irmaos to the south. I was pleased with how much of the city I could identify at this point and with the realization that I had covered a good chunk of it. The statue itself, while a feat of engineering, is nothing special, as it’s meant to be viewed from afar. (I’ve actually been surprised at how small it is. I think I’m used to aerial photos taken from above it where it seems to loom over the whole city. Or as Homer Simpson put it, “It’s like he’s on the dashboard of the entire country.”) The journey has two notable downsides tho. One: all the tourists, clogging the best viewpoints and all taking the same photos of themselves with their arms outstretched under the statue. The other drawback is the waiting. When I arrived the next available train was almost two hours off (although you can make reservations online). Then you wait to board the train. Then you sit on the train for 20 minutes, mostly looking out at dense, unspectacular forest. Then you wait for an opening to take the photos you want. Then you wait to board a drain down and then another 20 minute ride. There are so many hills around; I wonder if any others offer a similarly thrilling view while being more accessible. At the very least, I would take a van up (which they offer from a few parts of the city) since the train adds considerable time and nothing more than kitsch value.

When I was back in the Cosmo Velho neighborhood, I walked east to its other attractions. The first is Largo do Boticario, an old square surrounded by colorful colonial houses near a babbling brook in a jungle canopy. One hundred (plus) years ago, it must have been a charming area reminiscent of an old Portuguese plaza, but it’s completely decrepit now. (Apparently the buildings have been bought by a hotel company that will restore them.) Farther up the road is the brand-new Casa Roberto Marinho. Roberto founded Globo, now a huge Brazilian media empire. He restored this Mediterranean villa and grounds as his home and hosted who’s-who parties in the 1960s and 70s. The building has now been turned into a private museum to display his art collection, with a heavy emphasis on modern Brazilian art. The works are phenomenal and the home and gardens beautiful. You really get a sense of what it might have been like to hobnob at one of his parties. After that it was time to call it a day and have a relaxing evening at home.

Before I went to bed I developed a stomachache that kept me up much of the night. (In Brazil a lot of restaurants offer cheap per-kilo buffets; it’s probably best not to eat at these places at the end of the night.) The next morning I still felt ill and tired so I stayed in bed most of the day. Bummer since my days in Rio were nearing an end.

I felt well enough (and well-rested enough) on Saturday to get myself to the ferry for Ilha de Paqueta. This is a car-less island deep into Guanabara Bay. I mostly wanted to go to see the views from the ferry, but the island is nice too. I rented a bike and rode around the perimeter (without stopping you could do this in under 30 minutes). The shore is dotted with little beaches and parks and (questionably) Brazil’s only baobab trees. Other than a small commercial area near the dock, the rest is full of homes (and a cemetery). I really enjoy enclosed, flat bicycling like this, and it was a nice, calm respite from the city. For the people of Rio it seems to be a mostly working-class getaway-- the beaches are not really that nice but the general environment is. I was mostly intrigued by the locals who live there. Although there is no local economy the island seems to encompass the full social strata-- large gated mansions, lovely cottages, modernized townhouses, abandoned waterfront estates, even a favela. It’s so Brazil to have all of this side-by-side on a tiny, beautiful island.

After a few hours I took the ferry back to the city. I stumbled upon a street party (Rivalzinho) and ambled around it a bit. I returned home and chilled out on my final Saturday night in town.

And then I awoke for my final day in Rio. I had planned to walk or bike around, but the on-and-off light rain showers made that less desirable. So I walked over to Copacabana beach since I still had not been. (Yes it’s one of Rio’s most famous sites, but Ipanema is a better beach, and I’m not much interested in hanging out on the beach anyway.) Copa is beautiful indeed, especially its graceful northeastward curve.

It made me consider what makes Ipanema and Copa so special and enticing. I realized that for both the natural beauty lies in the views: the jutting peaks at the ends, the water and the mountains and islands on the other side. But the immediate surroundings are not lovely at all-- the beaches are thick with barracas (vendors) and lined with densely-packed, (mostly) unattractive high-rises. It’s a very different approach than we take on the US west coast. There, beaches tend to be removed from cities and kept close to their natural state. Where there is nearby development it is usually minimal and often “beach-appropriate”, e.g. boardwalks, cottages, surf shacks, etc. But I’m not sure which I prefer. While I love an unspoiled, untouched beach (which Rio has if you go farther out), I like the way they incorporate their beaches into the city. It’s not pretty in a natural sense but it does add to the urban appeal. Perhaps on the west coast in our drive to “protect” our coastline we are actually under-utilizing public space. That said, Rio’s beaches do have two huge drawbacks. One, the vendors: it’s nice to know you can get anything you want right on the beach but it’s impossible to relax with someone in your face trying to sell you something every few minutes. And two, the stench: the waters here must be seriously polluted because every time I approached an open body of water (ocean, bay or lagoon), I was hit with an overpowering, stomach-turning scent of human waste. It doesn’t blanket the shoreline so you can settle into a spot out of smell’s way, but good luck getting there without wanting to vomit in your mouth.

And so my time in Rio drew to a close. (Well not before one final aggravation. For my flight to Brasilia, I was departing from the smaller Santos Dumont airport, which is on a tiny strip of land in the bay next to downtown. I opted for a window seat so that I could look out over the city as we took off. But on this plane, 7F did not have a window, just a wall. It was torture. Thanks Gol Airlines!) Rio is a beautiful, exciting city, and I enjoyed my adventure there. However I left with mixed feelings and wonder if I will return. The longer I spent there the more I missed things I take for granted at home: pedestrian right-of-way, good customer service, lower urban density, leafy greens, buildings that aren’t walled off, friendly strangers, punctuality.... And as much as I complain about our gay scene, it’s relatively friendly and low-attitude, unlike Rio’s. Rio is a big city that comes with big city people and problems, and despite its sweltering heat, it can be a cold place, at least to an outsider. I had a fantastic visit, perhaps just a few days too long. And I think I would like to return but next time it will be with friends or a loved one so that I can share all the good times the city has to offer.

[lesbenoits]

same stars

title: same stars (read on ao3)

word count: 2676

rating: T 

description: Iko heads to Rieux for a well-needed vacation, hoping to find a mission, now that the wolf packs are rounded up. She doesn’t find her mission, but she does find Émilie.

anyway this was supposed to be a character study but then Émilie showed up and fucked it all up so here are your gay pre gfs ft. iko feeling lost. this gonna be long so prepare yourselves

arrival (chapter one)

Iko’s expression twisted into disgust as her heels sunk into the muck. She lifted her feet, trying to shake the clumps of dirt from her sparkly shoes. Even the air seemed to be clogging her circuits, dragging her spirits down. She had known Rieux would be rural, but she hadn’t imagined it being quite so heavy. Her friends’ advice echoed in her head as she resigned herself to a lost pair of shoes.

“I think it’ll be good for you.”

(Iko didn’t understand why she couldn’t stay with Cinder.)

“Plus, you’ll get to see Scarlet and Ze’ev! And Émilie is really nice.”

(It would be nice to see them in person, but they chatted over video often enough.)

“It’ll be nice to be out of the spotlight for awhile.”

(But Iko liked the spotlight. She reveled in it. Where was the spotlight here?)

“I don’t know what you’re complaining about, I would love a break.”

(She had crossed her arms at this, glaring. Iko didn’t want a break; she didn’t need a break. She just wanted to be useful. With the wolf packs vanquished, there was no mission for her. Iko was an extra piece of malfunctioning technology. Despite Cinder’s assurances that “of course there was room for her,” and “nobody wants you gone!” couldn’t cover the way children were ushered from her and the whispers behind her back, calling her “it,” saying things like broken, and needs replacing.)

A mud-splattered vehicle rumbled towards her, spewing gray exhaust. Her vocabulary struggled to find an appropriate word. The clunky machine could really only be called a truck – but they hadn’t made those in years. It spluttered to a stop a few meters away, making noises that would have had Cinder under the hood in seconds.

Iko thanked the stars for the filtering system she had had implanted on Luna as a blonde figure clambered out, coughing and waving away the fumes. “Hi! I’m Émilie.” She wiped a grimy hand on her (very stylishly cut) jeans before offering it to Iko. “Scarlet’s friend. You’re Iko, right?”

She covered Iko’s outstretched hand with both of hers, smiling as she blew loose hair out of her face. “I’ve heard so much about you! It’s lovely to finally meet. Oh stars, look at your shoes!” Émilie grimaced. “It’s all right, it’s happened to me enough times. I’m sure we can clean them off, they’re awfully cute.” She giggled. “Watch out, I might steal them.”

Iko blinked a few times before giggling back. Émilie’s words bubbled out of her like a fountain, spilling over and soaking Iko, short-circuiting her for a moment. “Thanks! I love your jeans, by the way.”

Émilie glanced down like she had forgotten what she was wearing. “You’re sweet. Want to hop in? I’m sure we can find room for your bags somewhere in there,” her eyes sweeping the heaping suitcases. She gave the battered truck a pat. “Nellie can take anything.”

“Nellie?” Iko helped Émilie swing her biggest bag into the trunk, stumbling a little as her heels sunk into the ground.

“Yeah, that’s her name,” Émilie replied. “I don’t know exactly when it caught on, she’s been around awhile.”

“I didn’t even know they made automobiles anymore.”

“They don’t – at least not in Europe – but there are still some around, especially in less developed parts of the world.” Émilie frowned. “Not that I would know, I’ve never really been too far from Rieux, but I’ve read a lot about them. You would not believe how far you have to search the net for basic car maintenance! And fuel is so hard to find.” Émilie chattered on as she sparked two wires sticking out under the dashboard together. At Iko’s curious glance she explained, “lost the keys, but this works just as well. Usually.”

Iko gripped the seat beneath her, preparing for the car to launch them out the window or implode on itself. “Couldn’t you just have had another key made?”

“Would you believe we couldn’t find someone that still made keys? Crazy, I know. But apparently, people just go electronic when they lose their keys nowadays.” Émilie pushed her hair out of her face, grinning at Iko from her hunched position over the exposed wires. “Her wiring is too old to have a card scanner implanted, so here we are. Oh, here we go!” Nellie shuddered and groaned, but after much complaining, she started down the dirt road.

Iko clung to the armrest for dear life as they bumbled down the road in a five hundred-year-old deathtrap. Emile just laughed and chattered on, one hand on the steering wheel, looking over to make sure Iko was listening.

“Oh stars, keep your eyes on the road!”

                                                        …

As soon as they rolled up to the Benoit-Kesley farm Iko scrambled out of their so-called transportation. “That,” she said, pointing at Nellie, “should not be legal.”

Émilie shook her head, laughing. “It’s a bit rough at first, but you get used to it. Plus, it’s not a bad excuse to wrap an arm around the person in the passenger se– oh! Scarlet!”

Scarlet had burst out the front door, Ze’ev not far behind her. There was a kitchen spoon hastily stuck in her hair and Ze’ev wore oven mitts and a far-too-small apron with floral print. Iko dropped her bag to crush Scarlet in a hug, shoving her face in Scarlet’s tickly mass of hair. They clung together, swaying, for several seconds before Iko broke off to wrap her arms around Ze’ev, throwing a kiss on his scarred cheek. He no longer flinched when people ran their fingers over his marred skin, or wide-eyed children asked to touch it. The stood there for a few moments, the android and the soldier, both able to squeeze as hard as they wanted without harming the other.

“Stars, it’s good to see you guys.” Maybe they were right. Chatting over the net and seeing each other through screens just wasn’t the same as walking into their cozy farmhouse and being greeted with hugs and kisses, the atmosphere wrapping Iko up in its arms, handing her a metaphorical hot drink and seat in front of the fireplace.

Scarlet wrapped an arm around Iko, bumping her hip. “You remember where the loft is? You’ll be okay staying there?”

“Perfect. Thanks for letting me stay. Cinder thought– ” Iko’s chest hitched, and she hesitated. “Well. I’m here.”

Scarlet smiled softly, her eyes conveying more than what she said. “Ze’ev and I are finishing up dinner. Émilie’s staying for dinner too.”

“Émilie is really nice.” Iko had heard and said that word too much. What did it even mean?

“She is.”

“Well. I’m going to put my things away. And clean off,” she said, gestured to her mud covered legs.

Scarlet opened her mouth as if to say something, but closed it. “Okay. We’ll see you in a bit.”

“Yeah.” Iko stood there, watching her walk back to the kitchen. Watching the smile on her face as she wrapped her arms around Ze’ev, saying something Iko couldn’t hear to Émilie, who laughed and flipped her hair over her shoulder. The sounds of human interaction filled the Benoit-Kesley home, and it echoed inside Iko’s emptiness. She turned away, lugging her bags up to the loft. Everyone had said Rieux would be different, but she was still an extra piece. Replaceable.

                                                      …

Iko spent the evening catching up with Scarlet and Ze’ev, reminiscing about the years past and filling in the gaps of both their stories since. She talked to Émilie, who always seemed to have more questions. “What is Luna like?” “Did you really take down an entire pack of soldiers?” “What’s New Beijing like?” “Is Carswell as handsome in person?” Émilie never brought up Iko’s android-ness, nor probed too deep into anything sensitive or traumatic. Iko realized her questions were purposeful, engaging Iko but not going too deep, just making her feel at home. A smile flickered to her lips as she realized this, and she met Émilie’s mischievous eyes, trying to thank her wordlessly.

The world grew quiet around them as they migrated to the living room, Scarlet’s head in Ze’ev’s lap, the pair murmuring in hushed tones. Ze’ev’s was soft as he ran his fingers through her hair, the look of adoration on his face making Iko realize just how lucky Scarlet was as his eyes crinkled. The firelight began to flicker as the logs shifted, casting new shadows on the plaid couches.

“They’re good together, huh?” Émilie nudged Iko.

Iko startled for a moment before she settled into the touch. She bit down a giggle, instead flashing a smile at Émilie. “Aren’t they?”

It wasn’t just Iko and Émilie that thought so. Scarlet and Ze’ev didn’t have as much of a media presence of, say, Cinder and Kai, but they had shattered boundaries, being the first Earthen and Lunar to be married. Their accounts were full of pictures of each other and the farm. Scarlet often spoke or wrote about feminism, and the pair had developed quite the following. They both were rather bewildered by the sweet comments and an overwhelming amount of likes they began to accumulate. They were the parents of the crew, and the rest of the world – at least those with an internet connection – agreed.

Émilie’s expression was a little bittersweet as she watched the pair; Scarlet now curled up, her head still on his lap. “They’re adorable.” Her gaze turned to Iko, her brown eyes sweet and maybe a little bit curious. “Do you have someone? Back in New Beijing, I mean.”

Iko froze for a second. She thought of Kinney, with his harsh words and harsh lips and eventually even harsher blows. They had never been together, thank the stars. She came to her senses long before that. There had been a few men, but she had always stopped them before their hands went up her skirt, because she knew they would recoil if they knew who – what – she was. Their kisses had been nice, and she had liked holding hands and having someone to call hers. There was that word again. Nice. A relationship should be more than nice. Even Cinder, not one to gush and wax poetic, would never call her relationship with Kai nice. And Kai, one to wax poetic, had called Cinder a large array of adjective, all flattering and more informational than Iko was interested in, none of them being nice.

“Um, no. Not at the moment,” she added, trying to sound less pathetic. “But who knows? There’s a whole town of men here!” Her laugh was a bit higher than she had intended. “You?”

Émilie laughed that light laugh that made Iko’s skin tingle. It must be her sensors acting up. “No, no one for me. But if you’re trying to find someone, you should come to Rieux Tavern with me. I work there,” she explained. “Most of the guys there are assholes, but you never know. Scarlet met him there,” she said, jerking a finger at Ze’ev.

“Right, and then he turned out to be a wolf soldier and they proceeded to overthrow a tyrannical reign and go through ten levels of distress and trauma before they got their happily ever after. I’d rather be single than do that again,” Iko said flatly, throwing a glance at Émilie, hoping she realized she was joking.

“Well,” Émilie said seriously, “at least he turned out to be a good wolf soldier. Maybe you’ll get a nice and wholesome vampire.”

They both collapsed into fits of giggles, hiding laughter behind their hands.

“Finally, I can live out my vampire erotica dream,” Iko said with a breathy sigh. “I’ve always wanted to wear cute clothes while killing monsters, with the occasional makeout in between.”

Émilie shifted. “Didn’t you do that, though? Hunting wolf soldiers and all that.”

Iko shrugged. “I guess. It’s not as much fun as in the net dramas. A lot scarier. Less cute boys and even less cute clothes.”

“That makes sense.” Émilie bit her lip. “I’m sorry for bringing it up.”

“It’s okay, don’t worry about it.”

The silence that hung in the air was almost tangible, weighing down their hearts and their words. Émilie hesitated. “Is that – is that why you’re here? I wondered, a little. Of all places to take a vacation, why Rieux?”

Iko twisted her fingers together, avoiding Émilie’s gaze. “Partially. There just wasn’t much for me to do back in New Beijing. Living in the palace isn’t as glamorous as it seems, especially when no one wants you there.” Iko laughed, a little bitter. “The revolutionary crew: Kai, the handsome emperor, Cinder, the girl that delivered the moon from slavery, Scarlet, resident badass, Ze’ev, big softie, Cress, an adorable genius, Carswell, the handsome criminal, Winter, the most beautiful girl to ever exist, Jacin, always glued to the princess’s side and, oh yeah, wasn’t there another one? Oh, just that android. Wonder what happened to it.” She spit out the last word more bitterly than she had intended and immediately felt guilty. It was the first time she had voiced her frustrations like that. “I felt so useless.”

She looked up to see Émilie’s eyes trained on her, filled with sympathy and understanding. Émilie had known she was an android, then. Iko wondered if she had found out by one of the various articles written on her “fascinating personality chip malfunction” or if Scarlet had told her. It didn’t really matter. She was just grateful that Émilie was treating her like – well, like a human. There were so few people that did that. “Anyway,” she continued, “Cinder thought I should take a vacation. Get out of the spotlight, you know?” Iko licked her lips. “Cress suggested Rieux. She came here for a bit a few years back, right?”

Émilie nodded. “Yes, about two years ago.”

“Everyone agreed it sounded like a good idea, and it did seem nice to go somewhere new. I’ll miss the shopping, though,” Iko said wistfully. “But that’s what the net’s for, right? Scarlet and Ze’ev agreed and Thorne flew me in on the Rampion. I – I wonder a little if it’s because they didn’t want me around,” she admitted.

Émilie grabbed both of her hands. “Well, I want you here. And so do Ze’ev and Scarlet. Screw them. You’re going to have the best vacation ever, okay?”

Iko looked down at their hands. “Okay.” She straightened up. “Okay! You’re right!”

“That’s the spirit!” Émilie’s eyes glimmered in the dying firelight. “Aww, look at them.” She pointed to the sleeping couple on the couch. “I think we should help get them to bed.”

Ze’ev jerked awake with wild eyes that softened almost immediately as soon as they touched his shoulders, but Scarlet slept soundly on his lap, snoring slightly. He blinked bleariness from his eyes, lifting Scarlet up, cradling her in his arms as he made his way towards their bedroom, her sleeping head lolling, red curls everywhere.

He emerged from their room to turn off the lights and clear up a few glasses. Émilie waved him off. “Go sleep, we can handle it.”

Ze’ev nodded reluctantly, sleep still heavy on his tongue as he invited Émilie to stay overnight if she didn’t want to take oh-so-unreliable Nellie back at this hour. He stumbled towards the closet, mumbled about blankets. Émilie guided him back to bed, a fond smile on her lips. “I know where the blankets are. You just sleep.”

Once the door was shut, they worked quickly and quietly, washing the dishes and pulling out blankets for Émilie’s makeshift bed on the couch.

Before she headed up the stairs, Iko turned to face Émilie. “Thanks for picking me up. And for – everything else.”

“Of course. I’ll see you in the morning?”

“Yeah. Sleep well, Émilie.” She had already wiggled underneath the blankets, only the top of her head sticking out. Iko smiled and shook her head.

In this new world she was trying to navigate, it was nice to have a friend.

[gigsoupmusic]

SORAIA's New Album 'DIG YOUR ROOTS' Out Today

Personal growth, rebirth, even revolution – such transformative concepts are the heart of what Soraia is all about. These heady themes inform the songs on Dig Your Roots, the band’s latest album, out March 13 on Wicked Cool Records. “I look at Dig Your Roots as a continuation of what was begun on Dead Reckoning,” says singer and frontwoman ZouZou Mansour of the new album’s relationship to their 2017 Wicked Cool LP. That record’s release prompted Rolling Stone/Mojo scribe David Fricke to write Soraia’s “searing guitars, burning soul and true CBGB grit…are the rock you need, in your face now.” “Dig Your Roots is coming to terms with the light and dark inside myself and in the world,” ZouZou shares. “I come from a diverse multicultural and multireligious background – my father was Muslim and Egyptian, and my mother was Belgian and Catholic. I was ‘different,’ and I hid some of my background from people, thinking I wouldn't be accepted. Digging my roots is being proud of who I am, letting it come before me even at times, being proud of where I come from, and asking the listener to do the same. “Dig Your Roots also refers to loving what grounds you: the people, the lifestyles, the places you live, where you grew up. It’s being willing to dig up your roots and re-plant if where you are no longer keeps you free – metaphorically, of course. Inherently, I want this to be the message of the record: if you're down, get up.” As a spiritual descendent of iconic women in rock such as Patti Smith and Joan Jett, ZouZou’s Philadelphia-based band also embodies elements of kindred spirits of the ’90s and beyond - like PJ Harvey and The Kills, with more than a sprinkling of ’60s Garage Rock and Soul. Their primal sonic attack spreads a message of perseverance through trials of love, loss and letting go. Bassist Travis Smith continues to be a crucial root of the Soraia tree, co-writing five of the album’s new songs with ZouZou, including “Superman Is Gone” and “Wild Woman.” “Travis delved into places on this album that we didn't go to on the last record,” she reveals. “That's scary. But he did it, which ultimately made me do it, too. It's like, ‘Hold my hand, we're going into this dark cave, and who knows what's going to happen…” Roots also finds drummer Brianna Sig with her first Soraia co-write, the enchanting “Don’t Have You.” “Her melody for the choruses reminded me of how The Sirens would lure sailors in Greek mythology,” ZouZou relates. “It was haunting and beautiful – and if Soraia isn't both of those things, then I don't know what we're doing here.” The band faced an unexpected challenge when guitarist Mike Reisman, who co-wrote four Dig tracks, including 2019 single “Evergreen,” left the group. “Mike can’t tour for longer periods of time anymore,” says ZouZou. “It hurt. He still works with us and we still connect. But you grow closer with who remains, and grow yourself.” Going forward, Nick Seditious is handling guitar duties. Further nourishing their roots is the continued support of Wicked Cool’s Stevie Van Zandt. The label head has been an advocate ever since naming their breakout track “Love Like Voodoo” the Coolest Song in the World on his syndicated radio show and SiriusXM channel Little Steven’s Underground Garage in 2013. In January 2020, Dig Your Roots' opening cut “Dangerous” becomes the tenth Coolest Song they’ve earned. Van Zandt has even become a creative collaborator, penning “Why” for Dead Reckoning and co-writing two Roots tunes: 2019 Coolest Song “Still I Rise” and forthcoming single “Darkness (Is My Only Candle).” “I trust him more than anyone in knowing what I'm trying to say and who I am,” says ZouZou. Complementing them in the studio once again is producer/engineer Geoff Sanoff, whose credits include notable work with Bruce Springsteen, Fountains Of Wayne and Dashboard Confessional. “He’s a member of the band when we’re in there,” ZouZou acknowledges. Soraia has come a long way since their punked-up cover of The Kinks’ “(I’m Not) Like Everybody Else” hit #1 on Rock radio in South America in 2015. Their independently released debut album In The Valley Of Love And Guns from 2013 features five songs co-written with Jon Bon Jovi. “I'm all about playing a fun song and throwing myself around, that's Rock ’n’ Roll at its heart,” ZouZou remarks. “But I'm also about telling the stories of resurrection and life and hope and darkness.” And now, the songs of 'Dig Your Roots' in ZouZou’s own words… 1. Dangerous I was listening to a ton of Jet and The Vines at one point, and just loved the recklessness – especially in the screams on those songs – and the pure Rock eruption of it all. It's less than three minutes and explodes the entire time. “Dangerous” was born from that specific decision to write a song with those kinds of explosive dynamics and lyrics – and as always – easy and passionate conversations about the things we love. 2. Wild Woman I had been listening to this female preacher talking about being “born inside the wild” and not knowing where you were – but that strong women thrived in the wild. I fell in love with that idea of birthing yourself – which is one way to put it – over and over when you enter into situations you're uncomfortable in, or have never been in. An added bonus is the notion of being a “wild woman” in that way was a different take on the idea I think social consciousness has on being a “wild woman.” Empowering instead of denigrating. Travis had written this swampy, mysterious riff, so we took that and made it the forefront of the song, and took the subject matter – pieced them together – and VOILA! WILD WOMAAAAAAN!!! 3. Evergreen Mike played this riff that became the verses and said he heard this drumbeat like “Howlin’ For You” by The Black Keys for it. I had been watching the movie Black Snake Moan and heard this line that the main female character “had the devil in her.” That conjured up this old South feeling for me, so I wanted to put that in and give it that vibe. The story is told with a sometimes playful and teasing attitude, and sometimes aggressive and frustrated tone. It really felt freeing and gave the speaker the power back she didn't feel she had in the first place. 4. Foxfire Travis had this intriguing idea of “foxfire” for a title line. I didn't know what it meant, so he told me all about it. It’s this phosphorescent light emitted by certain fungi on decaying timber. It’s beautiful when it glows, but it isn’t real, it’s a momentary thing. And when people would see it in the woods, many got lost being guided by it. We thought it would be interesting to write a song about depression from the standpoint of “foxfire” – or these glimmering thoughts that lead you astray and only give the illusion that everything's alright. The struggle to believe in any one thought, to characterize the confusion of that type of struggle from the speaker's point of view. 5. Darkness (Is My Only Candle) Again, a song written almost together in a room. There's a line of a Rumi poem, “Darkness is your candle.” At the time, there had been the Charlottesville riots, and lots of violence that seemed horrifically reminiscent of the racial injustices of the ’60s. I remember thinking “Where are we?” and being really upset about all the hatred and racial slurs. This song came as a result of anger, pain, sadness, worry, and ultimately the idea we can't be separate anymore or stay quiet. It took a few sessions to write because Travis and I were both so impassioned about making sure we told the truth and stayed with the times as we saw them. 6. Nothing Compares 2 U I had always felt so strongly about the Sinéad O’Connor version of this song. But despite being a big Prince fan, I had never heard his version. When I did, and heard the first line lyric change – “It’s been seven hours and thirteen days” – I knew immediately this was the one. Those numbers alone and the darker, more soulful approach he took to the lyric and melody spoke to me in a different way than the more popular version by Sinéad. In the studio, Geoff Sanoff really wanted to bring this Mott The Hoople vibe to it like “All The Young Dudes” – which added a lot more to our style of approaching it. 7. Superman Is Gone Another Travis and I song, this one was specifically about the idea of being high and feeling like “Superman” when you did that first line of anything. I'm a recovering person, so it was important to me that I also tell the story of the anger I had at my father over being absent when I was going through that. I have already forgiven him and me about that, but I wanted to tell the story honestly. And there's a part of me that still questions where were a lot of different people in my life when I was busy getting high. That idea that you wonder where people were and what they were doing when you were hardcore in this addiction – with no feeling attached to it – just a human curiosity. 8. Way That You Want It It's really just about this guy who is frustrated by a girl he digs but can't have. It's based lyrically off the same idea as “I Hate Myself For Loving You” by Joan Jett & The Blackhearts, but from the viewpoint of another character – where I'm singing as the storyteller/observer instead of the person it's all happening to. 9. Still I Rise Based on a Maya Angelou poem. I live my life in no particular time, almost in a time vacuum. And no matter what, you get up. Mike and I had originally written the song, and called it “I Am (Rise).” But Steven Van Zandt got a hold of it and loved the story of the song, so we rewrote the lyrics, and he rewrote the music to it, to really tell the story of people getting up after falling. I had taken a few lines from actual conversations or experiences I had. Then, Steven and I tried to pay homage as much as possible to the original poem. We rewrote it together in an afternoon – one of the best experiences I've had with him. 10. Don’t Have You This was officially the last song written for the album. Brianna sent me two separate song ideas that ended up becoming “Don't Have You.” This was also the last song recorded for the album, and Geoff knew right away the approach to the piano. It became something really beautiful, and I wanted to keep it simple and stripped in the front end, so the lyric could pull in the listener. This was about my own heartbreak, and that little feeling of hope and possibility still inherent in the relationship is really powerful in the middle of the song. It was Geoff's idea to speak that part instead of sing it, and I was thrilled with how it came out. 11. Euphoria “Euphoria” was written by myself and Travis. I loved the bluesy and spacious riff he came up with. I felt it left a space for some sort of testimony – so I told the story of all these experiences smashed together. Though each line seems to stand alone in some parts, they weave a truthful story of this woman coming back from the dead. I love the lyric in this one. Brianna had this great idea to end it in a church-y way, since it's mainly about wanting this high experience in life. And what a great way to end the record! Read the full article

[vinylbay777]

Week In Review: New Songs / Music Videos You Need to Check Out (November 10-16, 2019)

A lot of new music is released over the course of any given week and this one was no exception. We saw many top artists, as well as smaller bands, drop new songs and music videos over the last seven days, including Billie Eilish, Taylor Swift, Celine Dion, Mike Posner, Super Whatevr and more.

Vinyl Bay 777, Long Island’s music outlet, loves new music. That’s why we’ve once again scoured the internet for the week’s best new songs and music videos. Here are eight (and a few more) that we think are worth a second listen this weekend.

1.       Naughty Boy & Mike Posner, “Live Before I Die”: It’s not so much the song that’s so captivating (though it is an easy, uplifting listen), but the video for it. Earlier this year, Mike Posner walked across the entire United States. The video shows his journey from the Atlantic, through the mid-west where he was bitten by a rattlesnake, all the way to the Pacific. It’s very uplifting if you want to know his story. (video)

2.       Celine Dion, “Courage”: Celine Dion’s latest single “Courage,” from the recently released album of the same name, is filled with power and pain. You can feel her vulnerability as she speaks to her late husband through the song and pleads with her higher power to help her find the courage to cope. The song’s confessional tone is amplified by the minor key piano and strings surrounding her voice.  (video)

3.       Weezer, “Lost In The Woods”: Weezer’s contribution to the ‘Frozen 2’ soundtrack, “Lost In The Woods” has that old school, “emo” rock feel that seems to be missing from a lot of the band’s recent work. (video)

4.       Cory Wells, “Cement”: “Cement” is a slow, emotional ballad about making a relationship work through the hard times. Wells’ vocals and lyrics are blunt and vulnerable against the song’s acoustic melody. It’s a sound very reminiscent of Dashboard Confessional’s early 2000s “emo,” but he makes it his own and does it in such a beautiful, melodic way. (video)

5.       Super Whatevr, “Yours Truly”: “Yours Truly” is a genuinely joyful pop-punk song. The beat keeps your toe tapping and the speak-sung vocal delivery is as upbeat as the words themselves. It’s the kind of song that makes you want to get up and dance like the people in the video. (video)

6.       Little Big, “Go Bananas”: “Go Bananas” is so weird that its meme-worthy. The electronic track is all over the place but stands out sonically, giving off heavy “Barbie Girl” and “Pineapple Pen” vibes. (video)

7.       The Reaganomics, “Grown Ass Man”: Some of the best punk comes from bands just letting it all go on the most mundane of things (Black Flag’s “TV Party” comes to mind). “Grown Ass Man” is that kind of song. The band sings about the pains of being an adult and aging in an engaging, fast & loud manor that’s equal parts serious and playful. (video)

8.       Taylor Swift, “Beautiful Ghosts”: “Beautiful Ghosts,” the collaboration between Taylor Swift and Andrew Lloyd Webber from the upcoming ‘Cats’ movie, is emotional without being too over the top. Its lyrics are vivid in a way where you can see the scene in your mind as the song is being sung. (video)

Further Listening / Viewing:

·         …And You Will Know Us By The Trail Of Dead, “Don’t Look Down”: (video)

·         Train & Skylar Grey, “Mai Tais”: (video)

·         Modest Mouse, “Ice Cream Party”: (video)

·         Marshmello x Yungblud x blackbear, “Tongue Tied”: (video)

·         Billie Eilish, “Everything I Wanted”: (video)

·         Peter Bjorn and John, “Reason To Be Reasonable”: (video)

This week saw a lot of great new rock and pop songs and music videos hit the internet. With the weekend here, now is the perfect time to take a look back and listen to some of the best. Check out some of our favorites above and let us know what new songs you’ve been digging this week in the comments below.

                                                             ---

Discover music new and old at Vinyl Bay 777. As Long Island’s top new independent record shop, we have thousands of titles to choose from in a wide variety of genres. Browse our selection of new and used vinyl records, CDs, cassettes, music DVDs, memorabilia and more in store at our Plainview location or online at vinylbay777.com. Whether you’re looking for something new to you or to rediscover the classics, we have you covered. And with more titles being added to our selection all the time, you never know what you might find at Vinyl Bay 777.

[jesusvasser]

WORLD PREMIERE: BMW Concept Z4

Having debuted in 2009, the current E89-generation BMW Z4 is the Bavarian brand’s oldest car on sale by a long shot. To say it’s starting to show its age would be an understatement. While it’s still actually a good looking car on the outside, absolutely everything else about it is getting old. The cabin, while different and still interesting, just feels so dated. The power, performance, handling and response all feel old and not in the good, classic-BMW way. The BMW Z4 is in desperate need of replacement. Thankfully, a replacement is coming.

At this year’s Concours d’Elegance at Pebble Beach, BMW will be showing off its plans for the Z4’s future. While we won’t actually see the new Z4 at Pebble, the BMW Concept Z4 will debut, giving us a glimpse of the direction for the upcoming roadster replacement. And it looks good.

“The BMW Concept Z4 in an all-out driving machine,” said Adrian van Hooydonk, Senior Vice President BMW Group Design. “Stripping the car back to the bare essentials allows the driver to experience all the ingredients of motoring pleasure with supreme directness. This is total freedom on four wheels.”

In these Concept Z4 photos, you can see that BMW is focused on driving more than tech, features or luxury. This does seem like a more driver-focused machine than many other concepts to come from the Bavarians in recent memory. It gets all of the typical BMW roadster design cues, aggressive lines and a simple, driver-oriented cabin. All of which make it the classic BMW roadster, just with a more modern twist. “The BMW Concept Z4 expresses the new BMW design language from all perspectives and in all details. From the dynamic looking front to the striking flanks to the clean-cut tail end: a few lines and the subtle interplay between surfaces are enough to generate a sense of power and emotion,” adds van Hooydonk.

The classic elements are there. A short rear deck, long hood, compact size and short overhangs. It’s all there to remind you that this is an old-school sports car. But its aggressive flanks, massive air intakes and nostrils show that this is a modern, real-deal sports car. This isn’t a roadster for grannies. The new Z4 means business. Just look at the guy kicking sand, he’s no joke.

BMW’s also going back to some of its roots with the new Concept Z4. According to the Bavarians, a lot of this concept’s design was inspired by older cars, such as the original Mille Miglia-winning roadster, the BMW 328. I personally love the double-bubble style roofline, which looks like a proper racing roadster and really gives it character. We know those two humps won’t make it to the production car, as we’ve seen spy photos of that car and they aren’t there but they still look great. Maybe if Zagato makes another Z4, they’ll return.

Out back, the extremely thin horizontal taillights accentuate how wide and low this car is. Yet, the classic BMW “L-shape” is still present, just simpler than ever. The look really good, as they flank the built-in decklid spoiler. The massive vertical air intakes are reminiscent of the 8 Series Concept that recently debuted, which shows that BMW does have a specific design language moving forward. The exhaust pipes look better on this Concept Z4 than on the 8 Series Concept as well. They’re simple and horizontal but look perfectly sporty.

Inside, the classic sports car with a modern twist theme carries on. The three-spoke steering wheel is simple and elegant, yet futuristic and modern. I do like how the horizontal spokes are floating and don’t touch the horn. It looks sort of like a McLaren steering wheel, actually, which is a compliment. The instrument binnacle is completely digital, and similar to that of the 8 Series Concept as well, but is simple with just two digital dials. Looking down at the center console and you’ll see a lot of familiar BMW Concept traits. The starter button is not next to the shifter. The shift lever is new and not the same oddly-shaped level we’re used to today. And the iDrive controller is there as well.

Aside from those massive red paddle shifters add some flamboyance but this is a simple cockpit, overall. While this is a very concept-y cabin, it does have a lot of modern BMW elements that could make it to production. Just look at the triangular shapes on the dash and the way the iDrive screen meets the dashboard, it’s reminiscent of the new BMW X3 we’ve recently seen. Also, much like the current Z4 and old-school BMWs, the center stack and iDrive system seem angled toward the driver, proving that this is a driver-oriented cabin.

We don’t know how much of this design will make it to the final production car, though BMW insists that there are a lot of elements on this Concept Z4 that will make it to production. We’re hoping a lot of it does, as this is a very pretty car, indeed. It brings back the old-school roadster styling that we love from classic BMWs like the Z3 and Z4, yet adds a modern twist and BMW’s current design language. I think it’s safe to say that if the upcoming Z4 looks anything like this BMW Concept Z4, we’re in for a real treat.

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[robertkstone]

WORLD PREMIERE: BMW Concept Z4

Having debuted in 2009, the current E89-generation BMW Z4 is the Bavarian brand’s oldest car on sale by a long shot. To say it’s starting to show its age would be an understatement. While it’s still actually a good looking car on the outside, absolutely everything else about it is getting old. The cabin, while different and still interesting, just feels so dated. The power, performance, handling and response all feel old and not in the good, classic-BMW way. The BMW Z4 is in desperate need of replacement. Thankfully, a replacement is coming.

At this year’s Concours d’Elegance at Pebble Beach, BMW will be showing off its plans for the Z4’s future. While we won’t actually see the new Z4 at Pebble, the BMW Concept Z4 will debut, giving us a glimpse of the direction for the upcoming roadster replacement. And it looks good.

“The BMW Concept Z4 in an all-out driving machine,” said Adrian van Hooydonk, Senior Vice President BMW Group Design. “Stripping the car back to the bare essentials allows the driver to experience all the ingredients of motoring pleasure with supreme directness. This is total freedom on four wheels.”

In these Concept Z4 photos, you can see that BMW is focused on driving more than tech, features or luxury. This does seem like a more driver-focused machine than many other concepts to come from the Bavarians in recent memory. It gets all of the typical BMW roadster design cues, aggressive lines and a simple, driver-oriented cabin. All of which make it the classic BMW roadster, just with a more modern twist. “The BMW Concept Z4 expresses the new BMW design language from all perspectives and in all details. From the dynamic looking front to the striking flanks to the clean-cut tail end: a few lines and the subtle interplay between surfaces are enough to generate a sense of power and emotion,” adds van Hooydonk.

The classic elements are there. A short rear deck, long hood, compact size and short overhangs. It’s all there to remind you that this is an old-school sports car. But its aggressive flanks, massive air intakes and nostrils show that this is a modern, real-deal sports car. This isn’t a roadster for grannies. The new Z4 means business. Just look at the guy kicking sand, he’s no joke.

BMW’s also going back to some of its roots with the new Concept Z4. According to the Bavarians, a lot of this concept’s design was inspired by older cars, such as the original Mille Miglia-winning roadster, the BMW 328. I personally love the double-bubble style roofline, which looks like a proper racing roadster and really gives it character. We know those two humps won’t make it to the production car, as we’ve seen spy photos of that car and they aren’t there but they still look great. Maybe if Zagato makes another Z4, they’ll return.

Out back, the extremely thin horizontal taillights accentuate how wide and low this car is. Yet, the classic BMW “L-shape” is still present, just simpler than ever. The look really good, as they flank the built-in decklid spoiler. The massive vertical air intakes are reminiscent of the 8 Series Concept that recently debuted, which shows that BMW does have a specific design language moving forward. The exhaust pipes look better on this Concept Z4 than on the 8 Series Concept as well. They’re simple and horizontal but look perfectly sporty.

Inside, the classic sports car with a modern twist theme carries on. The three-spoke steering wheel is simple and elegant, yet futuristic and modern. I do like how the horizontal spokes are floating and don’t touch the horn. It looks sort of like a McLaren steering wheel, actually, which is a compliment. The instrument binnacle is completely digital, and similar to that of the 8 Series Concept as well, but is simple with just two digital dials. Looking down at the center console and you’ll see a lot of familiar BMW Concept traits. The starter button is not next to the shifter. The shift lever is new and not the same oddly-shaped level we’re used to today. And the iDrive controller is there as well.

Aside from those massive red paddle shifters add some flamboyance but this is a simple cockpit, overall. While this is a very concept-y cabin, it does have a lot of modern BMW elements that could make it to production. Just look at the triangular shapes on the dash and the way the iDrive screen meets the dashboard, it’s reminiscent of the new BMW X3 we’ve recently seen. Also, much like the current Z4 and old-school BMWs, the center stack and iDrive system seem angled toward the driver, proving that this is a driver-oriented cabin.

We don’t know how much of this design will make it to the final production car, though BMW insists that there are a lot of elements on this Concept Z4 that will make it to production. We’re hoping a lot of it does, as this is a very pretty car, indeed. It brings back the old-school roadster styling that we love from classic BMWs like the Z3 and Z4, yet adds a modern twist and BMW’s current design language. I think it’s safe to say that if the upcoming Z4 looks anything like this BMW Concept Z4, we’re in for a real treat.

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[eddiejpoplar]

WORLD PREMIERE: BMW Concept Z4

Having debuted in 2009, the current E89-generation BMW Z4 is the Bavarian brand’s oldest car on sale by a long shot. To say it’s starting to show its age would be an understatement. While it’s still actually a good looking car on the outside, absolutely everything else about it is getting old. The cabin, while different and still interesting, just feels so dated. The power, performance, handling and response all feel old and not in the good, classic-BMW way. The BMW Z4 is in desperate need of replacement. Thankfully, a replacement is coming.

At this year’s Concours d’Elegance at Pebble Beach, BMW will be showing off its plans for the Z4’s future. While we won’t actually see the new Z4 at Pebble, the BMW Concept Z4 will debut, giving us a glimpse of the direction for the upcoming roadster replacement. And it looks good.

“The BMW Concept Z4 in an all-out driving machine,” said Adrian van Hooydonk, Senior Vice President BMW Group Design. “Stripping the car back to the bare essentials allows the driver to experience all the ingredients of motoring pleasure with supreme directness. This is total freedom on four wheels.”

In these Concept Z4 photos, you can see that BMW is focused on driving more than tech, features or luxury. This does seem like a more driver-focused machine than many other concepts to come from the Bavarians in recent memory. It gets all of the typical BMW roadster design cues, aggressive lines and a simple, driver-oriented cabin. All of which make it the classic BMW roadster, just with a more modern twist. “The BMW Concept Z4 expresses the new BMW design language from all perspectives and in all details. From the dynamic looking front to the striking flanks to the clean-cut tail end: a few lines and the subtle interplay between surfaces are enough to generate a sense of power and emotion,” adds van Hooydonk.

The classic elements are there. A short rear deck, long hood, compact size and short overhangs. It’s all there to remind you that this is an old-school sports car. But its aggressive flanks, massive air intakes and nostrils show that this is a modern, real-deal sports car. This isn’t a roadster for grannies. The new Z4 means business. Just look at the guy kicking sand, he’s no joke.

BMW’s also going back to some of its roots with the new Concept Z4. According to the Bavarians, a lot of this concept’s design was inspired by older cars, such as the original Mille Miglia-winning roadster, the BMW 328. I personally love the double-bubble style roofline, which looks like a proper racing roadster and really gives it character. We know those two humps won’t make it to the production car, as we’ve seen spy photos of that car and they aren’t there but they still look great. Maybe if Zagato makes another Z4, they’ll return.

Out back, the extremely thin horizontal taillights accentuate how wide and low this car is. Yet, the classic BMW “L-shape” is still present, just simpler than ever. The look really good, as they flank the built-in decklid spoiler. The massive vertical air intakes are reminiscent of the 8 Series Concept that recently debuted, which shows that BMW does have a specific design language moving forward. The exhaust pipes look better on this Concept Z4 than on the 8 Series Concept as well. They’re simple and horizontal but look perfectly sporty.

Inside, the classic sports car with a modern twist theme carries on. The three-spoke steering wheel is simple and elegant, yet futuristic and modern. I do like how the horizontal spokes are floating and don’t touch the horn. It looks sort of like a McLaren steering wheel, actually, which is a compliment. The instrument binnacle is completely digital, and similar to that of the 8 Series Concept as well, but is simple with just two digital dials. Looking down at the center console and you’ll see a lot of familiar BMW Concept traits. The starter button is not next to the shifter. The shift lever is new and not the same oddly-shaped level we’re used to today. And the iDrive controller is there as well.

Aside from those massive red paddle shifters add some flamboyance but this is a simple cockpit, overall. While this is a very concept-y cabin, it does have a lot of modern BMW elements that could make it to production. Just look at the triangular shapes on the dash and the way the iDrive screen meets the dashboard, it’s reminiscent of the new BMW X3 we’ve recently seen. Also, much like the current Z4 and old-school BMWs, the center stack and iDrive system seem angled toward the driver, proving that this is a driver-oriented cabin.

We don’t know how much of this design will make it to the final production car, though BMW insists that there are a lot of elements on this Concept Z4 that will make it to production. We’re hoping a lot of it does, as this is a very pretty car, indeed. It brings back the old-school roadster styling that we love from classic BMWs like the Z3 and Z4, yet adds a modern twist and BMW’s current design language. I think it’s safe to say that if the upcoming Z4 looks anything like this BMW Concept Z4, we’re in for a real treat.

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