#silo ep 2

[dcbnam-aep]

martha spraying everyone with the hose was some iconic shit actually

[mikuni14]

Why I think the way the final episode of The Sign was distributed is wrong, offensive and unfair to fans. And how disappointing I am with this approach, because I sincerely supported Idol Factory and Saint.

Personally, I pay for Gaga, Viki and IQIYI, plus a VPN to watch shows that are not available in my country (like Pit Babe), which, you know, I already paid for 🙄 Additionally, I pay for Netflix, I have combined subscriptions with other people for Disney, HBO, Skyshowtime, Prime, last year we paid for Apple to watch Silo and Severance (I recommend both series btw 👌). I also don't mind paying one-time for a film on the platform, which is how I recently watched Oppenheimer.

Money is not an issue (<- lol), apart from the fact that I support myself and I have to work, and I have to carefully manage my budget in order to feed myself and my cat, clothe myself, pay my bills, and my loss of job will mean obviously giving up access to all these media. I say that money is not a problem in the sense that I WILL SPEND MONEY on something I like. I will save, I will give up something else, but I will spend this money on stuff I love.

The Sign has chosen a certain distribution method for international fans. They chose YouTube and chose a set airing hour. They could have chosen to distribute only in Thailand like Cherry Magic, or they could have chosen any other platform with paid subscriptions. But they chose YouTube. And they released 11 episodes for free and at a set time. And now they CHOSE to make the last ep paid and to create a complete chaos related to the distribution of the finale, because I honestly don't know at this point whether it is paid or not, what is paid and what is not, whether it is on Saturday or Sunday or it's for a ticket or for free on channel3 and apparently they have two endings????, which is always an alarming sign for me, because it's very Game of Thrones/Marvel style shit.

Besides, people have their own lives, their obligations, their schedules. Sometimes you just can't get around certain things and you can't watch a series in the available time, no matter how much you want. Secondly, releasing a product for free in order to limit access to it in the final phase is the worst manifestation of toxic capitalism. This is preying on the desperation and devotion of fans. The third thing is the selection of viewers into those who can afford it, have the time, have the resources and those who do not. And yes, sometimes even just $15 of an unexpected expense makes a huge difference in a person's budget. It's telling some of the fans that you are VIP and can sit in the front row, and the rest of the peasants should wait outside for two weeks 😄

tl;dr personally I want and can pay for: 1) the entire series on a legal platform 2) ADDITIONAL things, like specials, fan stuff, etc. I consider paying for access to the series finale, which until now was free, immoral.

But tbh I really have no idea what's going on, I go with the flow 🤡Whenever I check The Sign tag, I read more and more new information related to the possibility of watching the finale, and it's different every day. And if it turns out that the cut version of the series will be available for free on Channel 3, and the uncut version with subs will be available tomorrow with a ticket, it will be the funniest thing ever. Because that would mean that people paid $15 to watch, I don't know what, a sex scene? 😄

Idk, guys, instead of enjoying the finale, people are wondering how to watch it at all. And if IF starts doing this, won't others follow suit? 11 episodes for free, oh you want to watch the finale, well you have to pay or wait and dodge the spoilers 😈

And one last thing for potential defenders of this system, like "what's your problem, it will be available in 2 weeks, just wait": so you accept that not ALL fans will have a chance to experience the final ep together, which is the basis of the fan community? That some fans will experience and analyze the episodes this weekend, and the rest will wait?

[spockvarietyhour]

Currently watching/rewatching

Nice to do a lil housekeeping of what I'm currently watching. Some of these shows have stalled, and a lot of them are with @kiranerys.

To further break down: Watching Solo: Mrs. Wilson: Which I've just started and is only 3 episodes long Silo: current season The Handmaid's Tale: season 5, I've got 2 episodes left Clone High: Season 2 of the reboot and it didn't get renewed The Rockford Files: I'm on the 90s TV movies and honeslty I think one more out of the 9? total and I'm done. (Beth is in the next one and I'm curious) Falling Skies: I'm giving this show another shot. season 1 didn't impress me but supposedly it'll get better? we'll see. SGU: rewatch, back half of s2. it nets me a lot of gifs hence the slower pace.

Watching with @kiranerys:

Law & Order: the og seasons, it's our comfort show right now and we've chugged thru a bunch. We've both seen chunks of it prior. And some SVUs too thrown in the mix for good measure. We've tried some eps of the current seasons and they're uh, bad. WWDITS: current season Moonflower Murders: We've got one final ep, Renae has read the books. Guy Montgomery's Guy Mont Spelling Bee: NZ edition, we've already watched the Australian one and are steadily doing season 1. SG-1 and SGA: I've already done my rewatch of those earlier and we're at s10 of SG-1 and s3 of SGA respectively Foyle's War: given their length once in a while we do one, a rewatch for Renae, first time for me. Abbott Elementary: almost halfway thru Season 3. another good wind down show. Flashforward: Rewatch for me, first time for Renae. when the mood strikes, once in ahwhile Fringe: Rewatch for both of us, tho there are some episodes I hadn't seen in s1 and 5. We were plowing thru these a bit faster but Law & Order took over Due South: Rewatch for me, first time for her, although I haven't watched it since it aired and most of the episodes have kind of faded from memory. Russian Doll: Kinda of put it on the backburner for a while but we just started it back up and will finish it.

That's not counting one-off episodes we might toss in of say Trek.

[allbeendonebefore]

I love many things about this ep of amazing race can so far but some include

1. Everyone is giving the annoying backstabbers the cold shoulder because this is the Helping Each Other show

2. Prairie teams are genuinely psyched to go to Regina :3

3. Remember that time we made teams in previous seasons search through a grain silo search through 15m of lentils and several gave up and took the penalty? Same thing except this time... OATS BE UPoN YE

[inkstainedhandswithrings]

TBB s3 ep 14

Only one more to go after this, we ready!? (no, pls help)

Yes Hunter, how IS Echo gonna get off the ship?

Oh I see we’re just gonna let him wing it and do it on his own?

Like don’t get me wrong I have full faith in Echo I just don’t like how Hunter is so focused on Omega he doesn’t even try to find a way to help out Echo

He also doesn’t listen to Crosshair’s remark about the Jungle being dangerous

Love how Omega is like “oh base on high security alert? Multiple explosions? it’s my brothers!!”

I swear Rampart and is constant bitching is so tiring

HAHAHAHAHHAH THE BITCH SCREAMS LIKE A CHILD

Gaaaahh Cross talking about his first time on Tantiss

His hand tremor acting up

Poor baby I love him give him a hug

“…but Omega didn’t leave me behind when she could have. I owe her.”

Bro just say you love your baby sisters like it’s not that big a deal we already knew

The utter fucking relief I felt when Echo made it off that ship unharmed

Jesus, I am so scared that we might,,,

Okay I don’t wanna jinx it so I’m just gonna say “scared that the writers pull another Tech”

Aaaaaaand Rampart’s bitchiness got them a) attacked by a giant beast and b) discovered by imperial troops

I hate him so much

Emerie not only recognising Echo but immediately volunteering to help?

She’s growing on me tbh

Is Omega gonna free the Zillo? To get out? Like as a distraction?

Idk that seems kinda dangerous girly

wait wtf that’s it???

That was already 20mins?

I wasn’t ready for the end there I though we were gonna get more😪

Tbh, I think it felt so short because they had to fit three storylines into twenty minutes. I really wish they were allowed 40 minute episodes, then they could’ve really done a deep dive into all three moving parts of this episode. Like at this point it’s not the writers or show runners fault, it’s just that they probably didn’t get the budget to make their episodes that long, which rlly sucks but like,,, ya can’t be mad.

But! I honestly still don’t understand how ALL OF THIS is gonna get wrapped up in 1 more episode. Like how? Genuinely, how?

On the one hand, that makes me worry that the last episode is gonna be super rushed and feel unfinished or whatever but on the other hand it gives me hope that we’re gonna get another show. Because we still don’t know how Gregor, Rex and Wolffe ended up on Silos (?) alone, what happened to their rebellion, where the entirety of the batch went, what the hell Echo Base on Hoth is all about, who tf CX-2 is and Hemlock and Rampart are still alive also?? Which seems like an oversight.

AND all the clones still need to be busted out of Tantiss and relocated and why am I getting the feeling that Tantiss is just gonna blow up with everyone still there and that’s the reason why Rex gives up SHIT FUCK DAMNNIT

Anyway, point being!! This can’t end well any way you slice it. Lovely.

I will say that all in all I did like this episode!! Rampart getting panic attack after panic attack was rlly fun, we got a heart to heart between Wrecker and Crosshair (brief as it was), Echo again proofed why he is an ARC Trooper and why, after the apocalypse and the explosion of the galaxy he will still be standing, and Omega showed us once again that she is a far cry from that scared kid in season 1 and has instead turned into a sharp, competent, mini soldier (lets not talk about the fact that she’s essentially been turned into a child soldier out of pure necessity)

Anyway!! Good stuff, I am terrified of the finale!! Hope y’all enjoyed!! Thanks for reading!! See you next week when I try not to have a breakdown!!

[watcher0033]

Silo spoilers. Especially the 1st Season finale

Genuinely.

What the fuck.

Ok. So I’ve got a feeling this wouldn’t be a limited series when there were some lose threads that’s been purposely left out and more backstories to uncover.

I love them because most characters that were given focus when the camera’s not on Juliette are foils to her somehow. Not to just exist as her foils of course, which is also a delight, but it greatly emphasizes how the intensity of Juliette’s drive is getting more and more necessary to the sterile little world their all occupying in.

Speaking of.

OHMYGODS THAT ENDING.

Amazing payoff tho. Glad to have most of my deductions correct leading to that. Like the display Sheriff and Allison saw were photoshopped displays, not the sensor’s display.

Anyways, going back, when we finally got the truth of the outside legitimately thought they were a freakin experiment on the moon with all the craters. Then I registered the blinking red lights and I started oh no-ing out loud fr.

Ok. So the world’s really fucked. The surface looked like a dried out seabed or a nucleared wasteland. Would explain the toxic in the air BUT—

There’s a possibility as well that surface air aint toxic but it’s the air that was blasted on the cleaners on their way out with the faulty tape letting in slow acting poison instead.

Either way there are multiple silos around. I counted 9 there might be more. (Edit: THEYRE NUMBER 18!!! OMG) was kinda squinting at the ruined city silhouette. If surface world is pure toxic gas, I can understand the isolation and the um sanctioned births and control especially if there’s a limit to existing silos w limited resources and death among other things.

But why the convoluted conspiracies and lies?? Basic fascism or more? Both?

But I don’t think current mayor wont allow the sensor display to working much longer and we might be in the dark w Juliette’s status for a while. One thing’s for sure tho. Revolution’s afoot. I got the feeling that 18 key could control the displays so he can just decide not to show it.

Omg this explains the fucking tunnel from that Silo map on the very first ep. It must connect with other Silos!! And who’s a smart most likely with a grudge to settle with who can potentially open such a passage who’s recently kicked to the lowest levels?

Damn im so hype for season 2

[doomedandstoned]

England’s ERRONAUT Stuns with Hefty Stoner Metal Debut ‘The Space Inbetween’

~Doomed & Stoned Debuts~

By Billy Goate

We're going for cosmic with the new record by Hertfordshire, England stoner metal four-piece ERRONAUT, with roots in the Bedfordshire band Black Atlas (they had a 2016 EP and an LP in 2018 that caught the many of our attention). Before us it the outfit's much anticipated first LP, 'The Space Inbetween' (2024).

"Way Down Below" comes charging out with big bellowing drums from Sam Gates, followed by a swaggering stoner metal riff with tons of reverberating fuzz from the guitars. Mikey Ward's singing has a modern metal sheen as he croons:

I dream of a perfect day I’m alone and so far from view The sea breeze it carries me Miles and miles away from you

Bassist Simon Wilson grabs the bounce at 2:35, then a sassy metallic solo from guitarist Peter Hunt with hints of blues, Mikey Ward joining the rhythm on second guitar. The pace slows down to a dirge as the song ends and it's a very satisfying slow headbanging moment, an instrumental contemplation of last words spoken: "You make this a perfect hell, I need to go back to the start."

"Lost Cause" is a clear standout of the album, as the band's first single it has classic radio appeal (though much longer at 7 minutes in length). Again the band aims for long, sweeping riffs with bossy drumming that's anything but boring tap-tap-tap joined by beefy bass sound. The singing is strong and melodic, with a powerful, soaring chorus.

The intro to "Per Contra" really got my attention, I really like the contrasting choices between strummed and crunchy electric moments on the guitars. The verve of this one is undeniable, it's a badass riff for damned sure. One of my favorites, especially for the trippy distorted slow psychedelic direction it goes in mid-section. The bass provides a deep resonating heartbeat for the journey. I like the band's use of noise, too, as the track comes to a head.

"1202" was the album's single. The chorus on this is effectively orchestrated and will be welcome by fans of Chevelle especially. Part of this is the authenticity of the lyrics, which hint that we're not free, but could be...should be. The constricted, tightly knit group-think of the modern world and its interlocking infrastructure keeps us hemmed in, and seems to deny us our essential humanity, siloed into isolated realities. Or perhaps it's about a personal relationship that does much the same.

These red flags are a warning Don’t believe all that you read These red flags are a warning Time to leave this place and be free

"Underneath the Sun" has a massive dominating doom sound with intimidating Black Sabbathesque motifs. The low-end is massive and deserves full speakers to really be appreciated. It contrasts effectively with Mikey Ward's searching vocals.

"Dark Horizon" is another one of my favorites, and has a larger than life feel, as if we're on a scouting mission in a slow trance searching for habitable worlds deep in the black, forbidding void of space. "It's slipping away, to the darkness I'm awake." The words seem to be speaking of a state of mind, of a man giving way to inner demons dragging him down.

Picture in my mind Can make it all feel right But I can’t find a way Toward darkness I can try

If you've been taking the album as it presents itself and just letting the record do its thing, you'll be well into the band's vibe by the closing pair of tracks "Beyond Sleep" (presented in two parts). "Somebody sing me to sleep," is the cry and it's the perfect way to end this record. The second half seems to answer the plea to soothe a soul "awake until dawn" with a beautiful heavy psych guitar passage and an interstellar progressive-psychedelic portal into an 8-minute alternate universe, entirely instrumental.

Look for Erronaut's The Space Inbetween when it is released this Friday, August 30th, on London Doom Collective (pre-order here). Definitely one of the year's best. Stick it on a playlist with Devil to Pay, Lamassu, Apostle of Solitude.

Give ear...

The Space Inbetween by Erronaut

SOME BUZZ

Originally formed in 2015 as Black Atlas, the Hertfordshire-based quartet – born anew as Erronaut – are thrilled to announce the official worldwide release of their debut album, The Space Inbetween, this summer on London Doom Collective.

Consisting of vocalist/guitarist, Mikey Ward; fellow guitar slinger, Peter Hunt, bassist Simon Wilson, and drummer Sam Gates (whose arrival sparked this new iteration of the band) Erronaut’s singular sound has continued to evolve at every turn. Drawing inspiration from the iconic 70s rock of Black Sabbath and Pink Floyd, the 90s grunge of Soundgarden, and stoner metal of modern torchbearers Lowrider and Fu Manchu, the band seek to conquer new frontiers.

"When we sat down to start writing, we made a concerted effort to push and explore ourselves as artists and collaborators," explains vocalist Mikey Ward. "With the amount of work we've done to create it, we’re really proud of how this album has turned out, and we feel this is a real representation of what we are trying to achieve, both in the studio and as a live act on stage."

Employing heavy atmospheric rock to power lyrical subjects that focus on love, loss, and existential introspection, the dynamic foursome has well and truly delivered The Space Inbetween. Hook-laden guitars conjure soaring post-metal vistas and showcase a huge progression in their song writing. From the volatile cosmic sludge of ‘Way Down Below’ to the down-tuned, distorted environs of new single ‘Lost Cause’, the band crafts immersive sonic landscapes that transport listeners to distant realms.

More than just a studio project, Erronaut is also a force to be reckoned with live. Known for their electrifying stage energy, their formidable reputation precedes them having performed at gigs and festivals across the UK as well as appearing at Bloodstock 2021.

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[married-2-the-music]

K-pop Discography Deep Dives: WJSN

A Disclaimer: I was planning, when I first started Tumblr, to be a lurker, but then I began an office job and needed something to listen to to keep myself occupied. And then, I started going through entire K-pop groups’ repertoires, album by album, and jotting down my thoughts. And then, I stumbled into K-pop tumblr and decided, you know what, there’s at least four people on this hell site who would read in depth rants about these discographies and at least five who wouldn’t read it and then get mad because it’s kind of our job as K-pop fans. My lukewarm takes should be taken with an entire silo of salt and the knowledge that this is completely for fun and occupying my very bored, very neurodivergent brain. All this to say, for the love of god, I’m a sleep-deprived student and I don’t have time for internet hate, so don’t kill me. With that being said, enjoy!

Here are my credentials: unusually, for a girl group, I have very few. I’ve listened to WJSN before, and I know a decent amount of title tracks and a couple b-sides. I would say I know them best from my half-watch of Queendom 2 (I’m a fan of Loona and Gfriend, so I was more focused on them), which WJSN did win. I was impressed with them there, and I decided that I wanted to learn more about them.

WJSN was formed in late 2015 as a Korean-Chinese collaborative between Starship Entertainment and Yuehua Entertainment. The members are divided into four units, one for each letter. First is Wonder, with Cheng Xiao, Bona, and Dayoung. Second is Joy, with Xuanyi, Eunseo, and Yeoreum. Third is Sweet, with Seola, Exy, and Soobin. And fourth is Natural, with Meiqi, Luda, and Dawon. After these units were formed, a 13th member, Yeonjung, was added as well. After being on hiatus since 2018, the three Chinese members, Xuanyi, Cheng Xiao, and Meiqi officially left the group in early 2023. Sorry, that was a lot of names, so deep breaths and let’s do this.

They officially debuted in 2016 with MoMoMo, which is one of the most bubblegum-y bubblegum songs I’ve seen in a while. It’s basically a k-pop stereotype at this point: lots of aegyo, completely coordinated school girl clothes, short skirts, childish love, and very poppy beats. I associate WJSN with more ethereal pop, so this was a (somewhat unwelcome) surprise for me. As often happens to me in k-pop, while I did appreciate its comic book style animation and humor, the excessive aegyo made me uncomfortable (see my review of TXT’s Cat and Dog or LOONA’s Hi High). This isn’t the song’s fault; it’s exactly what it’s supposed to be, but it does mean I won’t be listening to it again.

I’m unsure if Catch Me is also a single or just an opportunity for a dance practice, but it embraces the other side of k-pop stereotypes: a sort-of anti-drop, girl-crush, uncomfortably-sexualized…thing? that tries a bit too hard to be cool. WJSN’s talent elevates it, but even they can only do so much with a song that doesn’t have any character.

The 1st EP, Would You Like?, starts with an intro, Space Cowgirl, that I actually liked more than MoMoMo, and I wish more of its self-assured, smooth synths carried into the song. I liked parts of some of the songs, like the twinkling piano and extended bridge in Tick Tock, but most of them sounded very similar to other songs I’ve heard, and so didn’t stick out to me all that much. I could name at least five exactly like Take My Breath.

Secret begins the sound that I know from WJSN, still drawing on the poppiness, cutesiness, and high vocals of MoMoMo, but pairing it with more toned-on synths, more pointed voices, and more poised dancing, a combination that would become their staple in the next few years. It’s quite interesting to see it here feeling a little less polished. I totally get why they gained the nickname “Cosmic Girls” now, with all the space inspiration here, and while the song itself is nothing groundbreaking, I really liked that lead-in to the last chorus.

The Secret, the EP, has a couple songs I liked. BeBe leans a bit too far into aegyo for me personally, but I enjoy its boundless energy and catchiness. Also, that harmonizing in the last chorus? Sign me up. I also enjoyed the frizzy electronic background of Robot, which reminded me a bit of an f(x) song, although it felt more restrained than one of theirs.

I Wish has a slightly more funk-inspired opening than Secret, and while it still has the roots of aegyo, I’d say it follows the pattern of their songs slowly getting more mature. Still got the schoolgirl outfits, though. The chorus and its “tell me why” is pretty catchy, I will say, and I appreciated a lot of the MV’s visuals in the social media posts, floating lanterns, and emojis.

From. WJSN’s Say Yes caught my attention with its finger-snapping background and slightly Latin-pop-esque warm acoustic guitar. I thought it provided a good contrast to their very electronic synth-heavy music, and made me appreciate their vocals a lot more, especially Yeonjung and Dayoung. The “juseyo, juseyo” is stuck in my head now, and I’m not mad about it. It makes a great addition to my sleep playlist.

Kiss Me’s intro had me intrigued right off the bat, with its fun surf guitar background, and its continuing through the song made this one stand out. I also liked the harsher hand-clapping percussion mixed with the pop, and that the chorus felt like a much more natural progression of the verses and pre-chorus. Still not a fan of the rapping, which comes out of nowhere, but overall this was a great summer track and it got stuck in my head.

Happy is a return to the bubbly, kind-of sporty concept of MoMoMo that was so popular in mid-3rd gen (Red Velvet’s Happiness, TWICE’s Cheer Up, or Fromis_9’s FUN, for example), and I’d be lying if I said I was as happy to see it as the song wants me to be. I definitely liked the humor and the ultra-saturation of the music video, and ended up laughing a good few times. But overall, I’m not a fan of this concept or this type of song, and this song does nothing to change my mind. Also, I feel like the chorus, though it’s pretty good, doesn’t fit in with the rest of the song. I think it’s the sudden tempo change.

Happy Moment is a full album, so there’s a lot to talk about. I liked the bubbly distortion in Miracle, (honestly I wonder why it wasn’t a single, because it really feels like one), the vocalizing in Mr. BadBoy’s choruses, the minimalistic background of Babyface’s verses, the roller skating rush of Geeminy, and especially the lovely musical catharsis of Closer To You (damn, Yeonjung, what a note to end on!). Again, though, what I really liked were parts and besides Closer To You, I didn’t like any song enough to consider it a hidden gem. I know that Happy leans very much into aegyo, but the names of a lot of these songs felt a bit too babyish even for that, and I don’t think that the album needed to be so long, because so many of its tracks felt like filler. I would rather have a five or six track, great-all-the-way-through EP like, say Sunmi’s Warning or SEVENTEEN’s Haeng-Geurae, than a half-as-good album twice that long.

Dreams Come True, I’m happy to say, builds on the good that both Kiss Me and I Wish started, working in more interesting percussion and more ethereal synths. Funnily enough, it goes so far into understated that I didn’t realize the chorus had started until it was almost over, and while it’s got a good base, I think that it needs a stronger, more obvious hook to turn into a classic. I did really like that delicate bridge, though.

Dream Your Dream, the EP, starts strong with Love O’Clock, which doesn’t bother with a drawn out build-up, instead rushing forward right from the first moment. I liked the harmonizing, the strong drumbeat, and the catchiness. I also enjoyed Renaissance’s swirling and soaring vocals (another b-side that could’ve been a single) and Thawing, despite its odder sound effects, charmed me with its earnestness.

Save Me, Save You was the first WJSN song I heard, and is probably the one that best sums up their style. It starts soft, almost not there in the first verse, then tiptoes its way through the pre-chorus, and with a couple drum beats, that magical chorus takes over and suddenly you’re floating. As mentioned, their songs are often a bit too bubbly or understated for me, but I can acknowledge when a song does its style well, and this one absolutely does. I didn’t even mind the rap! I like the setting of the magic school and the incredibly fast shifting in the eyes between the bridge and the last chorus, but I wish it drew itself out more, to make the best use of that excellent vocalizing.

From WJ Please?, the EP, I really had a good time nodding my head to You, You, You, especially during its bridge and last chorus and I added it to my roller skating playlist. I also enjoyed the hints of flamenco and layered strings in the background of I-Yah, a surprisingly lovely sound for the title. It really reminded me of I Knew It by Sonamoo, one of my favorite Latin-pop inspired K-pop tracks. Masquerade also has a great use of strings, this time combined with a gentle piano, and Hurry Up uses a brightly jazzy beat to add some contrast. These four together absolutely make this my favorite EP so far, which is pretty funny, as all these songs are better than the title.

La La Love’s Carnival setting is interesting, and is the decision to have a pre-chorus that leans into sing-talk. The choice mostly works and doesn’t interrupt the good flow that the song has, and I like the high vocalizing that twinkles around the chorus. On the whole, the song is pretty enjoyable and gentle, but, like I usually do, I wish it had more of a hook that would make it stick in my head. Completely different from the last EP, I didn’t have a hidden gem for this one, though I thought 12 O’Clock was nice.

With how much I liked their last summer comeback, I was excited for Boogie Up. The song is pretty upbeat and on the whole, reminds me of a much more bubbly version of Red Flavor by Red Velvet. It’s catchy, but it has a bit too empty of a chorus for me, and doesn’t innovate on a pretty tried-and-true pop formula enough to stand out. I do like the fun instrumental and the bridge, though. Their bridges are almost always pretty great.

From the EP For The Summer, I honestly really liked the song For The Summer with its bright and flouncy energy (though as I often do, I thought the rap was unnecessary), and the horns were a nice touch. Let’s Dance follows in the stead of WJ Please’s great, Latin-pop inspired b-sides, though I don’t think it’s quite as unique as those.

As You Wish has a very bouncy beat from the beginning, and its excellent electronic sound draws from disco. Its pre-chorus build is great as well, and the chorus delivers, making it both one of my favorite titles so far and what I’m sure will become a fixture on my roller-skating playlists. Its last chorus is delightfully bright, but my favorite part is absolutely that outro, which brings together the vocals and the instrumentals perfectly and should’ve been so much longer. From the EP, also titled As You Wish, I liked the vocal showcase and twinkling piano in Lights Up, and the drumline beat of Don’t Touch.

Butterfly is another song I already knew by WJSN, and its bubbly energy works surprisingly well for me. I think this is the first of their title tracks that has a deeper meaning than an average love song, and I’m very happy to see it. There’s never enough songs about freedom and being yourself, in my opinion. The last chorus’ vocalizations, as often in WJSN’s singles, elevates the song greatly, and its fizzy instrumental brings everything together. The visuals of flowing white dresses and puffy clouds are a great addition too.

From Neverland, while I enjoyed the back and forth, rushing energy of Hola and the string-led instrumentation of Where You Are, my hidden gem was absolutely Pantomime. I first heard it while watching Queendom, and though I do definitely prefer the more 20’s jazz-inspired, more theatrical version from their stage there, there’s still a lot to love here. I especially enjoy how clipped and off-beat it is, setting it apart from WJSN other’s b-sides.

Unnatural is a bit of a darker counterpart to Butterfly, also about not quite fitting into normalcy (hence the title). I really liked the rap in this one, and how well it fit into the tempo. Also, the way the pre-chorus pulls back and then rushes forward is great. I like the more minimalistic instrumentals and how they let the vocals flow and speak for themselves. Overall, I think it’s one of their strongest outings. From Unnatural, the EP, I really liked the mix between WJSN’s high voices and the self-assured tone and beat in Last Dance, though I wish the instrumental was more distinctive.

Last Sequence is, at time of writing, WJSN’s most recent comeback, from a year ago. It also falls into the more minimalistic electro-pop synth style of their last few singles, which of course I’m in favor of. I do feel like the chorus needed more of a lead-in than it has, but besides that, I do really like this one. As always, its bridge is great and so is the lead-in to the last chorus (the yeongwohni, yeongwohni, yeongwohni is stuck in my head now). I didn’t have a hidden gem for this comeback, as it’s only a 3-song single.

I’m glad I did this! Like I said, I didn’t know much about WJSN before this review. But, I’ve learned that they were an important part in making what I now consider a very classic 3rd generation K-pop sound, and their music became the blueprint for many groups afterward. I’ve watched some interviews and had some good laughs, and even seen a couple compilations of their best performances on Queendom. I definitely liked their later music more than their earlier, though, and after hearing their work, I’m sad that they don’t come back nearly as often as they used to.

My Top 5 songs are Butterfly, Last Sequence, Kiss Me, I-Yah, and Hurry Up, with Pantomime as an honorable mention . WJSN gets an 8.25 out of 10 from me. I think that on the whole, their songs are pretty good and there were very few I actively disliked. The biggest issue I face is that I listen to and analyze So. Much. K-pop. (probably thousands of songs by now) and because of that, only the groups that do something unique or innovative, have incredible voices, self-produce, or consistently discuss important subjects in their work really stick with me. WJSN is very talented, but while they have a niche, they don’t really add anything new to what’s been done time and time again.

Next time, I have a very special soloist review coming up, that’s going to come out on December 18th (a day late). If you know your k-pop and my blog, you can probably guess what it is. It’ll be a bit different from a usual review, but I felt like it was time. Tschüss!

[myezblog]

I feel like i am watching another drama when i read comments here.

Dangerous Romance has been a dissapointment, mostly for the director.

There is no build up to emotional scenes and they fell flat despite good acting - was it ep 10 hotel scene, ep 11 hug scene, ep 10 breakup scenes

Perth is a scene stealer... and his silo scenes are great... but overall drama still feels completely disjointed

Director has 2 very good actors and yet he fails to bring out any chemistry...and you can see in every scene, it is not lack of acting...but clearly something to do with how scenes are structured and directed. Maybe a movie maker can comment how these scenes can be enhanced technically or emotionally... craft is missing

At this point, i am also wondering if Perth and Chimon are good partners - Never Let me Down was a letdown, DR is a letdown... and it is weird because i enjoy them in their individual scenes, but when they are together...it looks like both are in a different drama genre

still have to say, that Perth needs right project. Too much screen charisma here!.. he is among select few who are amazing on their own on the screen. it is more than just good acting.

**************

[rebeccalouisaferguson]

"It Doesn't Come as a Shock" 

Ferguson spoke with Collider's Editor-in-Chief Steve Weintraub in advance of the finale, and offered her reaction to how Juliette must have been feeling when she realized the truth. It seems clear that the air may well truly be toxic outside, so she will be praying the tape securing her suit is working as it should.

"I mean, obviously it doesn't come as a shock," said Ferguson. "I knew it was coming. It was more, how are they going to set it up and how we were going to shoot it, and how do you sell everything that's happening? You know, the lie within the lie, what she sees, the fact that we were walking on one spot. They put a camera in my helmet, and I was kind of walking on a treadmill kind of thing. But, it's so grand, it's so huge." She went on to say:

"The fact that these people have been locked up and underground for 200 years, not knowing what an option is, and to act that, the vast ongoing view of the sky, of the horizon, there's so much in that. You know, a lot of people say, “How does she react to what she sees?” I don't think she understands what she sees. At this point, it's so overwhelming, and the stress of wondering if the tape is going to hold, I think that's enough."

Ferguson continued, "It's also, what is the truth? You know, you look at our world, and you sometimes think things that we see...I don't want to compare it in that sense. I want to believe that I'm much more astute in what's happening in the world than what they are, sadly enough, with the whispers and the spies in the walls. But I sometimes think, what's gonna happen in 50 years in the future, and we look at ourselves now and think, “How were we so dumb? Why did we believe that?” What are we believing now as a reality, you know? I'm fully a believer in questioning everything."

How Much is Left in the Tank? 

Silo is based on and adapted from the post-apocalyptic science-fiction series by Hugh Howey. The series commenced its journey in 2011 with the introduction of the short story "Wool," which eventually found its place in a novel bearing the same title, alongside four subsequent novellas. In addition to "Wool," the series encompasses "Shift," "Dust," three standalone short stories, and even a captivating graphic novel adaptation of the original narrative.

Ferguson confirmed that she knows everything that would happen in the series, having done her due diligence and read all of the required material. Not only that, when Weintraub asked about working with showrunner Graham Yost, Ferguson praised him for ensuring all 10 scripts for the season were done ahead of shooting, allowing for a smooth process, something she was keen on as an executive producer.

"I have read Dust, Shift and Wool. I've read all three books if that answers your question, and I shall not say anything else. I have all 10 scripts for the second season. We had the same when we started shooting Season 1. That's how Graham (Yost) works. That's what we have now for Season 2. You lock them in, you work with them. Yeah, all 10. And also, I believe as an EP I think I wanted to have the control over the character prior to signing on to things."

Ferguson went on to say, "To be honest, watching Graham work with his team—I mean, people put that EP hat on my head, and obviously I enjoy it, but it means nothing compared to the role of just studying Graham when he comes to set. He's a fantastic showrunner and also a team leader the way that he runs the writers’ room. It's magic what they do and how they convert this book into the TV show, the way that we can adapt it because it's so big. It's so huge, and he's managed to create this fantastic storyline that pulled me through. I mean, he's phenomenal. He's the most incredible mentor I've ever had in producing."

But that begs one last question—we've seen people panic and use up all their oxygen very quickly upon leaving the silo, so just exactly how much air is left in Juliette's tank on her back? Ferguson teased the answer to that question with: "Enough to take us to Season 2, maybe." Good thing Silo has already been renewed for another season.

[johnnyspells]

9 people you would like to get to know better

thank you @brionbroadway for the tag 🥰

1) 3 ships: collerty, zelink and chorange. chorange is chuck taylor/orange cassidy aka two wrestlers and I wish that wasn't their names but there we go jggkgk

2) first ever ship: i think it was 10/master from doctor who

3) last song: bom bom - sam and the womp

4) last movie: mrs doubtfire

5) currently reading: wool by hugh howey (silo the TV series was just so fucking good)

6) currently watching: I watch aew every week but honestly I'm just going through the dropout catalogue and watching random eps of stuff I haven't watched yet. also trying to finish dungeons and drag queens!

7) currently consuming: hot lemon and ginger tea with honey and a whole bunch of tissues as I've unfortunately got the lurgy 🤧

8) currently craving: I too also need it to be 18.30 GMT so the new dropout trailer is released! but I also am craving chocolate because when am I not craving chocolate

tagging: @5ftboy @hauntedfalcon @heyitsphoenixx @chaosgenasi @glitterinlowgravity @twinklestarss @dandylorian @counterspelling @blueearphones but no pressure!!

[tranquilitybasehotelcasino]

one of your favourite x files moments GO. OR what do you think mulder and scully's music tastes are. idk hope ur day's been good ^_^

i tend to separate “scenes i like in the x files” into a couple of categories based on why i like them, which are as follows

1. “really really really really funny” -> the nerd guy with the buzz cut in jose chung’s from outer space mistaking mulder and scully for the men in black and calling mulder a mandroid. and when he describes scully threatening him not to talk about what he’s seen except it’s shot in a way that gruesomely emphasizes the probable foot of height the guy has on her. that whole episode is fucking hilarious but especially that part

2. “viscerally disturbing enough to loop back around to being kinda hot” -> the bit at the end of apocrypha where krycek is vomiting the black alien oil onto the spaceship in the missile silo and it’s like coming out of every opening in his face. i heard somewhere that nicholas lea had to wear a mask with tubes in it so the goo could come out his eyes and shit

3. “oh this is for SURE keeping me awake tonight” -> literally all of squeeze but mostly the part where mulder and scully are investigating tooms’ fucked up gross apartment lair and they don’t notice that he’s watching them from in the walls or some shit and he steals scully’s necklace. i watched that ep for the first time while i was like residually high on anaesthesia from getting my wisdom teeth removed and i had to sleep with the lights on and my heating vent covered that night

4. “NO FUCKING WAY” -> the end of die hand die verletzt where the substitute schoolteacher is really heavily implied to actually be the real life devil and she just sort of disappears from the town and mulder and scully find a note written on the chalkboard in the biology lab that says something like “thanks for all the fun”. i love the episodes where there is 100% something honestly and truly hinky going on and they can’t do shit about it and they get SO mad

5. “🥺” -> the bit in the pilot right after mulder and scully lose nine minutes in the car and they jump out and it’s pouring outside so they’re just standing in the middle of the street yelling at each other over the rain and laughing. that’s one of my fave episodes to rewatch and that part always makes me smile

[tvrundownusa]

tvrundown USA 2024.12.20

Friday, December 20th:

(exclusive): Ilana Glazer: "Human Magic" (hulu, stand-up comedy special), Lost Treasures of the Bible (dsn+, NatGeo archaeology series, all 6 eps), UniverXO Dabiz (netflix, Chef Dabiz Muñoz reality docu-series, all 5 eps)

(movies): "Adopted" (TUBI, thriller, ~85mins), "Last Straw" (Shudder, horror, ~85mins), "Juror #2" (MAX, feature streaming premiere), "Ferry 2" (netflix, Belgian thriller, ~95mins), "The Six Triple Eight" (netflix, war drama, 2hrs+10mins), "Umjolo: Day Ones" (netflix, South African drama anthology, ~85mins), "Yo Yo Honey Singh: Famous" (netflix, Indian rap music documentary)

(streaming weekly): Before (apple+, limited series finale), SILO (apple+), The Agency (Para+), Dexter: Original Sin (Para+, next 2 eps), When the Phone Rings (netflix)

(also new): National Christmas Tree Lighting (CBS, annual event), "Holiday Touchdown: A Chiefs Love Story" (HALL, extended, 2hrs++), "Josh Groban & Friends Go Home for the Holidays" (CBS, variety special)

(hour 1): The Last Cowboy (CMT, season 5 finale), Outlander (Starz)

(hour 2): Children Ruin Everything (theCW, 60mins), The UnBelievable with Dan Aykroyd (HIST)

(hour 3): Mysteries Unearthed with Danny Trejo (HIST)

(hour 4 - latenight): The Graham Norton Show (BBCAm|AcornTV|AMC+)

[szonikuscsavarhuzo]

Silo season 2 ep 1. kijött ma

[booksbydlwhite]

Bookcast Epi 83: Who do you write for, and are they reading your books?

Welcome back to the Bookcast, my platform for sharing short fiction and updates on what I'm reading and writing.

In this episode, I provide insights into my writing progress, current reads, author branding and the challenges of marketing while maintaining brand authenticity. I shared  book and podcast recommends, and wax on about the the Friends-to-Lovers romance  trope. I'm prepping for a  work trip, so I've outlined my plans for writing amidst a busy schedule and tease plot developments in my current novel.

it’s #INDIEAPRIL! To celebrate, I have a few books on sale:

Grab the audiobooks for Dinner at Sam’s and Brunch at Ruby’s on CHIRP - sale ends in 8 days!

Grab the ebooks and audiobooks for Brunch at Ruby’s and Dinner at Sam’s at my website store for a CHOOSE YOUR OWN PRICE- min price $.99!

Listen to the show here (grab a transcript here!)

BOOK REPORT

READ - 6

The Way You Tempt Me (Pure Talent, #1) by Elle Wright

She's Not Sorry by Mary Kubica

Double Lives by Mary Monroe

Take It (On the Clock #1) by Shae Sanders

The Replacements: A Grumpy Boss Romance by Shae Sanders

Happy Hour Hoe (On the Clock #2) by Shae Sanders

READING -3

Invasion of Privacy by Imani Jay

Work Song by Danielle Allen

Some Kind of Love: Prelude by Elle Wright

PUT DOWN -0!

Recommended Listening:

Recommends: THE STACKS POD - Traci asks a question that absolutely blows my mind, to the point of not remembering what the answer was. “Who is your audience and are those the people reading your book?“ Is the best question I have ever heard in my life. The Stacks is my fave Wednesday and occasional Friday bonus epi listen… it’s pinned to the TOP of my podcast list so it always plays first. Give Traci a listen and join us in the Stacks Pack.

Ep. 314 Being Chesty with Andrew Boryga

Traci asked me why I love this question. My response- Authors (who aren't white) have the added hurdle of WANTING to write to a siloed audience but publishing wanting to be more broad and vast (read: white readers) which makes it hard to reach your target audience bc the marketing approach is different. Asking this q especially to a debut author gives us insight into whether they see what efforts their agent/publisher marketing dept are making toward their books, and is that at the expense of the people you're trying to reach? It's also about some of the conversations authors are having about book covers. Slapping those cute illustrated covers on a steamy romance or a lit fiction book works against us because cover branding is a promise to the reader. If I write a steamy romance but my cover looks like a funny romcom, am I reaching the audience that wants to read steamy romance? And if I hit romcom and get 2 star reviews for all the sex and profanity bc they didn't expect that, is it hurting me?

My second rec ties into my first and it was kismet that it played right after that episode. I listen to a long list of writing, author, publishing pods and one of my faves is the Wish I'd Known Then podcast. Authors Jami Albright and Sara Rosett interview self-published authors about how they found success as well as lessons they've learned. This week’s episode is on author branding and is worth a listen or two. I’m definitely going to run it back.

How to Find Your Author Brand - Wish I'd Known Then For Writers

Both episodes echo conversations that writers have been having about cover, about voice, about standing out but blending in. Both episodes are great and I highly recommend them!

WRITING UPDATE

My last reported word count was 63,523 words. Today I’m’ at 70,559 words. And I am not done. I’ll definitely have to cut some back, but I’m not worried about it yet. YET. Listen to today’s episode and stress out with me about it.

Thank you so much for joining me for today's chat! I truly enjoy having you here and welcome any comments or feedback at booksbydlwhite.com/bookcast. Don’t forget to share the podcast if you enjoyed this episode and if you listen on Apple Podcasts or Spotify, give a girl a rating! I’d really appreciate it. Do not forget that you can support this podcast with your book purchases, by spreading the good word, or by throwing some coins in the hat at bookcast.buzzsprout.com. Every little bit helps.

I'll be back on Saturday April 20th. We’ll talk about how much writing I didn’t get done (LOL), and what books I got into whilst on my trip. Please enjoy this weekend, have a superlative week and we'll chat again soon. 

Support this show with a recurring gift at bookcast.buzzsprout.com. Buy books by DL White at https://BooksbyDLWhite.com/books. Buy Merch by DLWhite at https://payhip.com/BooksbyDLWhite/collection/merch Find the Bookcast on booksbydlwhite.com/bookcast or your fave podcast app: Apple Podcasts | Spotify |Overcast | Podlink| Youtube

[jokin-izar]

 - - - LIBROS - - -

   “Criaturas luminosas”, Shelvy Van Pelt.    "Cuando yo tenía cinco años, me maté”,Howard Buten.

   “El maestro de los enigmas”, Danielle Trussoni .

   “El árbol vieneniño del gallo negro”, Stefanie vor Schulte    “El orden de las cosas”, Lydia Garés.

   “Hotel California”, Ramón Valdés Elizondo.

   “La mala costumbre”, Alana S. Portero.

   “La paciente silenciosa”, Alex Michaelides.    “La taberna de Silos”, Lorenzo G. Acebedo.

   “Las voladoras”, Mónica ojeda.    “Los misterios de la taberna Kamogawwa”, Hisashi Kashiwai.    “Muro fantasma”, Sarah Moss.   “Reliquia fantasma”, Tess Gerritsen.   “Sagrada”, Elia Barceló.  

  - - - SERIES - - -

   “Deadloch”     "Drácula"     “The Horror of Dolores Roach”

   “El Poder” 

   “From” T2

   “Fundación” T1-T2    "Good Omens 2"    "Invasión secreta"    “Las noches de Tefía” 

   "Las flores perdidas de Alice Hart"    “Last Light"

   “Poker Face"    “Shelter"    “Star Trek-Strange New Worlds"

   “The Witcher" T3    "Zorras"  

  - - - PELÍCULAS - - -

   “Aniquilación"    "Asteroid City”    "Babylon"

   “Bird Box Barcelona” 

   “El último viaje del Demeter ”

   “Extinción”    "Frostbiten"   "Indiana Jones"   "Mona Lisa y la Luna de Sangre"   "Nadie te salvará"   "Paradise"   "Scream VI"   "Sisu"   "Ventajas de viajar en tren"   "Vesper"   "Voces ocultas"

.

  ........ ....................

  - - - - - - - - - - MÚSICA - - - - - - - - - - 

Julio 2023

FALSE MEMORIES - "Hybrid Ego System"  (2023) KLANK - "Between Unholy And Divine, Vol. 2"  (2023) NIGHT DREAM - "Minotaur"  (2023) HEART LINE - "Rock 'N Roll Queen"  (2023) ELEMENT EIGHTY - "A.D."  (2023) SAUROM - "El Pájaro Fantasma"  (2023) NITA STRAUSS - "The Call of the Void"  (2023) EXILIA - "Heroes And Dust"  (2023) BUTCHER BABIES     - "Eye For An Eye..."    (2023) - "...'Til the World's Blind" 2023) HEKATOMBE - "Despertar"  (2023) THE RAVEN AGE - "Blood Omen"  (2023) VOYAGER - "Fearless in Love"  (2023) LILIAC - "Madness"  (2023) SAINT AGNES  - "Bloodsuckers"  (2023)

Agosto 2023

SCHATTENMANN - "Dia De Muertos" (2023) MIDNIGHT FRACTURE - "The Silence" [EP]  (2023) THROW  THE FIGHT - "Strangeworld"  (2023) MEGAHERZ - "In Teufels Namen"  (2023) SUZY QUATRO / KT Tunstall - "Face to Face"  (2023) TAG MY HEART - "Tag My Heart" (2023) GEORGE LYNCH - JEFF PILSON - "Heavy Hitters II"  (2023) ATREYU - "The Moment You Find Your Flam"  (2023) KYPCK - "Prestupleniya protiv chelovechestva"  (2023) ANY GIVEN SIN - "War Within"  (2023) WITHIN TEMPTATION - "Bleed Out"  (2023)

Septiembre 2023

U.D.O. - "Touchdown"  (2023) SERAINA TELLI - "Addicted To Color"  (2023) FILTER - "The Algorithm"  (2023) HURRICANE - "Reconnected" (2023) SOEN - "Memorial"  (2023) ROYAL BLOOD -  "Back To The Water Below"  (2023) ECLIPSE - "Megalomanium"  (2023) LOVEBITES - "Knockin' At Heaven's Gate - Live In Tokyo"  (2023) STITCHED UP HEART - "To The Wolves" (2023) PRIMAL FEAR - "Code Red"  (2023) OOMPH! - "Richter und Henker"  (2023) BELAKO - "Aquí sigo regando"  (2023) MAREA - "Los potros del tiempo"  (2023) 3TEETH - "EndEx"  (2023)