#the golden brio

[knightley--phillip]

Merry Christmas from the Brio!

@captain--john @prince--thomas @greatiggspectations @ugly-anastasia

[riordanverserpdatabase]

Head Counselor: Kat Carter @cabinseventheaterchick

Apollo's Sacred Cow @cow-an0n

Andrea Rivera @the-golden-childofthesun

Andrew Silas @andrew-champion-of-heartbreak

Archer Penthia @daughterofthesunandtheatregod

Aria Pane @aria-pane

Asher Reid @a-poetic-apollo-kid

Aster Atlas @y0urlocalhalf-bl0od

Audie @lady-ariadne-of-milan

Augustine Emmerson (Free Therapist) @official-therapist-chb

Blaze Daylight @Chaotic-child-of-apollo

Brio (or BJ, or Birdie) @birdie-jay-07

Cameron Flux @thanatoss-favorite-demigod

Camilla Dawn Lewis @one-of-apollos

Cass @daughter-of-apollo7

Dawn Lovelace @dawn-lovelace

Darcy Rivers @mentally-stable-child-of-apollo

Ezra @apollosfavoriteplaylist

Gracie @another-apollo-daughter

Gracelyn Cirillo @rotten-ray-of-sunshine

Hyacinth, (Cinth) @namesake-ofhyacinthus

Irene St. James @iwillsarcasmthemonstersaway

Julie Beaufort-Stuart @lady-of-midnight-son

Kayla @apollos-favorite-child

Kieran @kieran-nolastname

Kofi @yeah-im-a-daughter-of-apollo

Kore @kore-pythia-hayashi

Lathi/Lathu @lathuuuuuuui

Lavender (Thistle) @the-gods-abandoned-us

Lexi @the-amazing-life-of-lexi

Marley Elizabeth Dunne @phrophetic-child-of-apollo

Mino @apollos-child-of-sunshine

Mireya @mireya-the-awkward-extrovert

Onyx Ray Solace @apollos-weirdest-child

Ollie and Miya @apollos-twins

Ophelia @daughterofthesun-chosethemoon

Peisha @peishathedemigod

Penelope @archery-and-musicals

Peyton @peyton-is-cool

Reese @daughter-ofthe-sunlight

Serene Zhang @arisdaughter

Snow @snow-white-sunlight

Sunshine Phoebe Sinclair @apollos-tone-deaf--child

Zahra @that-smart-apollo-kid

Zephyr Lourwood @zephyrdaughterofapollo

Graphics are provided by @animatedglittergraphics-n-more

[pynkhues]

I know you said you have a lot of GG prompts already but, if you’re feeling inspired, I’m so curious what you’d come up with for brio: 28 feeling for each other in the dark

L for the minifics being: a stolen kiss.

Our Endless Numbered Days Beth x Rio. NBC Good Girls. 6k words. M. -

For a minute, it’s hard to see the source of the blood, rivulets running down the thin lines of his abs, pooling in the hollow of his belly button. It smears red across too much of him, and Beth has to lean in a little closer until the metallic scent of blood hits her nostrils and it’s all she can smell. She curls her hair behind her ears, traces her gaze until she finds the wound that’s still weeping. A round little puncture about the size of a watch face, a newborn’s yawning mouth, a golden dollar, in the normally honeyed skin at the edge of his left hip.

Beth exhales, and she’s close enough it hits his side, if the shiver that runs through him is any indication, and she shifts back onto the couch as she looks back up at him. -

A blackout rolls over the city and Rio shows up at Beth's in need of a little care. Set post-s4.

[askwhatsforlunch]

Beignets

These beautifully golden, light and fluffy Beignets are part of a favourite dish Dad has cooked for us since we were little. And I distinctly remember Jules and I would fight for the last one! More often than not she'd win, for I'd be inclined to share and halve it, and she would just pick it up and gobble it up. Today, Dad and I made these together, and I'm really happy with the result (and since Jules has returned home, I ate the last one!)

Ingredients (makes about 3 dozens):

1 tablespoon active dry yeast

1/4 cup lukewarm water

500 grams plain flour

1/2 cup caster sugar

1 teaspoon salt

1 tablespoon Vanilla Sugar

2 tablespoons sunflower oil

1 1/4 cup water

1 litre/4 cups sunflower or vegetable oil

In a small bowl, combine yeast and water. Give a stir, cover with cling film, and let sit, 10 minutes, until foamy.

In the bowl of an electric stand mixer, with the hook attachment fitted, combine flour, sugar, salt and Vanilla Sugar. Beat on medium speed until combined.

Add sunflower oil and half of the water in the middle of the dry ingredients, and start beating again, on medium speed, until a soft dough starts coming together.

Add yeast mixture and, gradually increasing speed to high, gradually pour in remaining water (you may not need all of it, or may need more), until you have a smooth and slack batter, a bit thinner than a brio dough. Scrape the sides with a spatula to make sure it's all well-combined.

Cover bowl with cling film, and place in a warm, draught-free place. Allow dough to rise, at least a couple of hours, until doubled in size.

Heat sunflower oil in a large pot.

Pour water in a small bowl.

Wet your (clean) hand in the water, and scoop about a tablespoonful of the risen batter, on the side of the bowl with it.

Carefully drop it in the hot oil. If it rises up quickly, drop a few more tablespoonfuls of the batter, so you have about 6 to 8, depending on the size of your pot (they need a bit of room to expand).

Flip them on each side with a wooden spoon, until golden brown all over. If they colour too quickly, reduce heat to medium. Using a slotted spoon, transfer to a shallow plate lined with paper towels and repeat until all Beignets are fried, keeping those which are ready warm. 

Eat Beignets hot, as they are as a snack, or sprinkled with sugar or Cinnamon Sugar. Or enjoy them as they're meant to, as a side to a fragrant and spicy Bean Sauce!

[juuuuunaaaaaooooo]

Rules: List the first line of your last 10 (posted) fics and see if there's a pattern!

Thanks for tagging me @entwinedloop <3333

1 - Remember You

Beth was naturally curious, but ever since she'd met Rio, the most mysterious and cryptic man she'd ever known, her curiosity had increased tenfold, at least about him.

2 - Time Is Running Out

"One, two, three, four, five, six, seven, eight." Beth lifted Rio's head, pinched his nose, leaned forward and put her open mouth over his. She blew to breathe air into him. When she saw no result, she stood up and started CPR again. "One, two, three, four, five, six, seven, eight."

3 - My independence would be liberation for me

Rio was just putting his black T-shirt back on when Beth came out of the bathroom, her damp, wavy hair hanging over her shoulders. She was wearing a royal blue kimono bathrobe, partially adorned with small pink and red flowers.

4 - I Dream Of Her Again (I Also Dream)

Hands, small golden-skinned hands, held a large hen's butt, half-filled with water. The child holding the container took a few steps forward and placed it on a gray and white marble counter.

5 - Love is more important than reputation

Namra was used to thinking fast, she had been educated and trained to do so, from a very young age. Her mother's goal was that she should be the best in class or even in extracurricular activities.

6 - The Bosses of Detroit

Beth was giving herself a makeover in front of the small rectangular mirror on the wall between the dining room and the living room.

7 - Beanie Or Not Beanie

1-

The first time, Beth didn't notice anything. After all, they were outside, and it was a cold winter. That hadn't stopped them from fucking in a dark alley, against a frozen brick wall. Rio's head buried in her neck, his cap tickling her skin, as she clung to him like a buoy, while he hammered away at her, like a jackhammer.

8 - A Bad For A Good

Beth held out a paper bag that contained her older child, Kenny's, breakfast. "I love you." She ruffled his hair and did the same with her other three children.

9 - Teach-A, Teach-A, Teach Me

"Are you going to kill me?"

10 - Rio and the Boland kids

As Elizabeth finished preparing the meal, Rio set the table and when he finished, he placed a kiss on her temple and walked up the stairs to join Kenny in his room. The door was open, and the 14 year old was quietly doing his homework.

Pattern : Hm... 99% of the time I start my fic by a description or a reflection about my pov character. and for brio one, I think they are 99%^^ in Beth Pov (third pov)

Everyone was already tag so...anyone who want to do it!!! It was fun!!!!

[patritxi]

Tagged by @eruherdiriel . Thank you so much! 🤗💕

shuffle your favorite playlist and post the first ten songs that come up.

1. Street Life - Roxy Music

2. The Lonesome Death of Hattie Carroll - Bob Dylan

3. Natural Ghost - Ryan Adams & The Cardinals

4. Sister Golden Hair - America

5. Symphony n°5 in C Minor: I. Allegro con brio - Ludwig van Beethoven

6. In My Time of Dying - Led Zeppelin

7. Highway Tune - Greta van Fleet

8. Don't You (forget about me) - Simple Minds

9. Instant Karma! (We all shine on) - John Lennon

10. Won't Get Fooled Again - The Who

Tagging, if you want to play, @lavenderfroggy , @jenster21 , @sweetaprilbutterfly and @cellsshapedlikestars 😉

[werewolvesandaccordions]

Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward structure and making sure the musical components are “functioning” in a logical way. Take the old form, and make something new out of it. Brahms had preferred that view to the newer Romantic school of thought favoring free-form and new forms created by the musical ideas themselves. Because of that, Brahms will always be the old scruffy severe German looking down at you from his wizened beard. Tangential, but I’ve talked with people who don’t like Brahms and they seem to come from this popular image: “Old fashioned”, dull, too theoretical, no good melodies, and (one extreme opinion) not truly “artistic”. But if we ignore the baggage of academicism and the symphony as a serious genre for developing complex musical thoughts, we should be thrown at the edge of our seats from the sound of the orchestra, and the long emotional melodies that people say aren’t there. I’ll take a moment to be more personal: I was surprised to find out that I’d made blog posts about the other three Brahms symphonies, but not this one. It was the first one that I fell in love with way back in high school. I remember listening to it and imagining knights in armor and large gothic castles. Brahms would turn in his grave. I got the idea from the bold and majestic opening movement. It begins with a statement of F-Ab-F, standing for Brahms motto “Frie aber froh”, Free but Happy. Somewhat leaning toward the 19th century trend of cyclical works, this symphony’s opening idea comes back in later movements as well. The motto of free but happy seems to radiate strongest in this opening movement. My favorite moment here is when the music quiets down a bit and teh flutes and bassoons play a an arabesque-like wavy melody over the strings fragmenting the same material, growing into a loud and stormy proclamation with chromatic lines (a very “Romantic” sound from a ‘Classicist”). The andante builds out of a chorale theme introduced in the winds. This more pastoral sound reminds us that this was a “vacation” work written while he was staying by the Rheine in Wiesbaden. The next movement, despite the unassuming title ‘poco allegretto’, has one of the more gorgeous melodies Brahms had written. It sings out of the cello and is punctuated by longing harmonies. Typical of Brahms, these harmonies are written out through counterpoint of fragments based off the contour of the melody. The last movement brings back the heaviness of the opening through a modified sonata. In the minor, it opens with a long and somewhat bouncy melody that could be like a Bach fugue subject. The music builds up energy into more drama, before shifting right into the “happy” counter melody. You could imagine this theme coming back with golden brass chorales. Instead, despite the dizzying effects done with the themes, and the noisy development that doesn’t let up in tension, the piece starts to sizzle up in agitated strings. A soft chorale brings back the opening motif, and then the symphony sighs away into a soft F major chord. Movements: Allegro con brio Andante Poco allegretto Allegro – Un poco sostenuto

mikrokosmos: Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward…

[buxberg]

Après avoir obtenu son diplôme d'études secondaires, Washington a fréquenté l'Université Fordham, où il a d'abord étudié la médecine, puis la biologie, puis s'est intéressé au journalisme et enfin au théâtre

Denzel a joué avec brio dans de nombreuses productions de la troupe étudiante, l'un de ses meilleurs rôles étant celui d'Othello dans la production de la tragédie de Shakespeare.

Le talent et le travail acharné de Washington ont été reconnus par la bourse qu'il a reçue, qui lui a permis de poursuivre ses études à l'American Theatre Conservatory de San Francisco, malgré le fait qu'il ait obtenu un diplôme en journalisme en 1977.  Cependant, n'y ayant pas étudié pendant un an, l'acteur a quitté l'école et depuis lors, le seul endroit où il a perfectionné ses talents d'acteur était la scène de théâtre et le plateau de tournage.

Le premier rôle dans un grand film fut la comédie "Copie en négatif" de Michael Schultz (1981).  Après le succ��s de "Glory" (1989), Hollywood a breveté Washington comme héros d'action positive et de drame.  On avait le sentiment qu'à l'écran, Denzel ne pouvait exister que sous deux formes : soit en bon flic, soit en combattant pour les droits de l'homme. Le travail dans le film "Hurricane" (1999) est devenu une étape importante dans la carrière de l'acteur.  Le rôle en filigrane du boxeur Rubin Carter, surnommé "Hurricane", qui a passé près de vingt ans derrière les barreaux pour meurtre, qu'il n'a pas commis, a valu à Washington un Golden Globe Award, une nomination aux Oscars et le prix du Festival international du film. à Berlin pour le rôle du "Meilleur acteur".

[lesailesdespapillons]

Mémoires d'une geisha de Rob Marshall . Adaptation fidèle et transcendante du roman éponyme de Arthur Golden. La photo, la scénographie, la musique, les costumes tout y est retranscrit avec brio ! . Le destin de la petite Chiyo dans un Japon en pleine mutation, où la modernité menace les traditions, et où les traditions tentent de dépasser la modernité d'une nouvelle société commerciale et qui tend à s'occidentaliser. . La jeune orpheline aux yeux gris perle deviendra l'une des dernières geisha, artiste complète et incarnation de la grâce et de la retenue. . Quelle finesse et quelle beauté ! #cinema #film #movie #cine #realisation #acteur #actrice #play #music #souvenirsdelectures . #Repost @nordicsamurai • • • • • • “Geisha are not courtesans, and we are not wives. We sell our skills, not our bodies. We create another secret world, a place only of beauty. The very word "geisha" means artist, and to be a geisha is to be judged as a moving work of art.” Mameha (Memoirs of a Geisha) #memoirsofageisha #sayuri #geisha #zhangziyi #michelleyeoh #arthurgolden #cinema #film #cinephile #moviequotes https://www.instagram.com/p/CihZUx_qInY/?igshid=NGJjMDIxMWI=

[dariaandjanelanefanboy]

Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward structure and making sure the musical components are “functioning” in a logical way. Take the old form, and make something new out of it. Brahms had preferred that view to the newer Romantic school of thought favoring free-form and new forms created by the musical ideas themselves. Because of that, Brahms will always be the old scruffy severe German looking down at you from his wizened beard. Tangential, but I’ve talked with people who don’t like Brahms and they seem to come from this popular image: “Old fashioned”, dull, too theoretical, no good melodies, and (one extreme opinion) not truly “artistic”. But if we ignore the baggage of academicism and the symphony as a serious genre for developing complex musical thoughts, we should be thrown at the edge of our seats from the sound of the orchestra, and the long emotional melodies that people say aren’t there. I’ll take a moment to be more personal: I was surprised to find out that I’d made blog posts about the other three Brahms symphonies, but not this one. It was the first one that I fell in love with way back in high school. I remember listening to it and imagining knights in armor and large gothic castles. Brahms would turn in his grave. I got the idea from the bold and majestic opening movement. It begins with a statement of F-Ab-F, standing for Brahms motto “Frie aber froh”, Free but Happy. Somewhat leaning toward the 19th century trend of cyclical works, this symphony’s opening idea comes back in later movements as well. The motto of free but happy seems to radiate strongest in this opening movement. My favorite moment here is when the music quiets down a bit and teh flutes and bassoons play a an arabesque-like wavy melody over the strings fragmenting the same material, growing into a loud and stormy proclamation with chromatic lines (a very “Romantic” sound from a ‘Classicist”). The andante builds out of a chorale theme introduced in the winds. This more pastoral sound reminds us that this was a “vacation” work written while he was staying by the Rheine in Wiesbaden. The next movement, despite the unassuming title ‘poco allegretto’, has one of the more gorgeous melodies Brahms had written. It sings out of the cello and is punctuated by longing harmonies. Typical of Brahms, these harmonies are written out through counterpoint of fragments based off the contour of the melody. The last movement brings back the heaviness of the opening through a modified sonata. In the minor, it opens with a long and somewhat bouncy melody that could be like a Bach fugue subject. The music builds up energy into more drama, before shifting right into the “happy” counter melody. You could imagine this theme coming back with golden brass chorales. Instead, despite the dizzying effects done with the themes, and the noisy development that doesn’t let up in tension, the piece starts to sizzle up in agitated strings. A soft chorale brings back the opening motif, and then the symphony sighs away into a soft F major chord. Movements: Allegro con brio Andante Poco allegretto Allegro – Un poco sostenuto

mikrokosmos: Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward…

[tinas-art]

Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward structure and making sure the musical components are “functioning” in a logical way. Take the old form, and make something new out of it. Brahms had preferred that view to the newer Romantic school of thought favoring free-form and new forms created by the musical ideas themselves. Because of that, Brahms will always be the old scruffy severe German looking down at you from his wizened beard. Tangential, but I’ve talked with people who don’t like Brahms and they seem to come from this popular image: “Old fashioned”, dull, too theoretical, no good melodies, and (one extreme opinion) not truly “artistic”. But if we ignore the baggage of academicism and the symphony as a serious genre for developing complex musical thoughts, we should be thrown at the edge of our seats from the sound of the orchestra, and the long emotional melodies that people say aren’t there. I’ll take a moment to be more personal: I was surprised to find out that I’d made blog posts about the other three Brahms symphonies, but not this one. It was the first one that I fell in love with way back in high school. I remember listening to it and imagining knights in armor and large gothic castles. Brahms would turn in his grave. I got the idea from the bold and majestic opening movement. It begins with a statement of F-Ab-F, standing for Brahms motto “Frie aber froh”, Free but Happy. Somewhat leaning toward the 19th century trend of cyclical works, this symphony’s opening idea comes back in later movements as well. The motto of free but happy seems to radiate strongest in this opening movement. My favorite moment here is when the music quiets down a bit and teh flutes and bassoons play a an arabesque-like wavy melody over the strings fragmenting the same material, growing into a loud and stormy proclamation with chromatic lines (a very “Romantic” sound from a ‘Classicist”). The andante builds out of a chorale theme introduced in the winds. This more pastoral sound reminds us that this was a “vacation” work written while he was staying by the Rheine in Wiesbaden. The next movement, despite the unassuming title ‘poco allegretto’, has one of the more gorgeous melodies Brahms had written. It sings out of the cello and is punctuated by longing harmonies. Typical of Brahms, these harmonies are written out through counterpoint of fragments based off the contour of the melody. The last movement brings back the heaviness of the opening through a modified sonata. In the minor, it opens with a long and somewhat bouncy melody that could be like a Bach fugue subject. The music builds up energy into more drama, before shifting right into the “happy” counter melody. You could imagine this theme coming back with golden brass chorales. Instead, despite the dizzying effects done with the themes, and the noisy development that doesn’t let up in tension, the piece starts to sizzle up in agitated strings. A soft chorale brings back the opening motif, and then the symphony sighs away into a soft F major chord. Movements: Allegro con brio Andante Poco allegretto Allegro – Un poco sostenuto

mikrokosmos: Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward…

[pynkhues]

What's a brio au concept that you wish someone would write? Also what is a trope that you wish you would see more in fics in general?

Since seeing this, that's really what I want, anon, haha.

I don't know if I have specific concepts that I want to see, but I definitely wish there were more period AUs for Beth and Rio. I think their dynamic lends so well to it, as in many ways their dynamic is most interesting, at least to me, because of the way it tangles up with gender and race and how that informs the way they both move through the world.

Dropping them into different time periods I think creates such fun opportunities to explore those themes, plus you have the added charge of breaking considered social etiquette, which is something I especially have fun with in my pirate au, haha.

But yeah, I'd love to see a Golden Age Hollywood AU, or a noir AU, or a post-WWII America AU (I toyed with one for ages with Beth as a telephone operator in a loveless marriage and Rio trying to rebuild his life after the war). There's so many stories to tell!

Trope-wise - - I pretty much like everything if it's done well, haha, but I always want more slow burn and huddling for warmth. How about you?

[hushilda]

Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward structure and making sure the musical components are “functioning” in a logical way. Take the old form, and make something new out of it. Brahms had preferred that view to the newer Romantic school of thought favoring free-form and new forms created by the musical ideas themselves. Because of that, Brahms will always be the old scruffy severe German looking down at you from his wizened beard. Tangential, but I’ve talked with people who don’t like Brahms and they seem to come from this popular image: “Old fashioned”, dull, too theoretical, no good melodies, and (one extreme opinion) not truly “artistic”. But if we ignore the baggage of academicism and the symphony as a serious genre for developing complex musical thoughts, we should be thrown at the edge of our seats from the sound of the orchestra, and the long emotional melodies that people say aren’t there. I’ll take a moment to be more personal: I was surprised to find out that I’d made blog posts about the other three Brahms symphonies, but not this one. It was the first one that I fell in love with way back in high school. I remember listening to it and imagining knights in armor and large gothic castles. Brahms would turn in his grave. I got the idea from the bold and majestic opening movement. It begins with a statement of F-Ab-F, standing for Brahms motto “Frie aber froh”, Free but Happy. Somewhat leaning toward the 19th century trend of cyclical works, this symphony’s opening idea comes back in later movements as well. The motto of free but happy seems to radiate strongest in this opening movement. My favorite moment here is when the music quiets down a bit and teh flutes and bassoons play a an arabesque-like wavy melody over the strings fragmenting the same material, growing into a loud and stormy proclamation with chromatic lines (a very “Romantic” sound from a ‘Classicist”). The andante builds out of a chorale theme introduced in the winds. This more pastoral sound reminds us that this was a “vacation” work written while he was staying by the Rheine in Wiesbaden. The next movement, despite the unassuming title ‘poco allegretto’, has one of the more gorgeous melodies Brahms had written. It sings out of the cello and is punctuated by longing harmonies. Typical of Brahms, these harmonies are written out through counterpoint of fragments based off the contour of the melody. The last movement brings back the heaviness of the opening through a modified sonata. In the minor, it opens with a long and somewhat bouncy melody that could be like a Bach fugue subject. The music builds up energy into more drama, before shifting right into the “happy” counter melody. You could imagine this theme coming back with golden brass chorales. Instead, despite the dizzying effects done with the themes, and the noisy development that doesn’t let up in tension, the piece starts to sizzle up in agitated strings. A soft chorale brings back the opening motif, and then the symphony sighs away into a soft F major chord. Movements: Allegro con brio Andante Poco allegretto Allegro – Un poco sostenuto

mikrokosmos: Brahms – Symphony no. 3 in F Major (1884) Despite how often people say Brahms was a conservative (which is true to a point), I think a lot of people underestimate his intensity of expression. The volume, bombast, and sometimes theatrical or operatic drama, are all underscored by the more traditional minded attitude toward…

[maillotremise]

Merci Mbappe pour une belle finale

Lors de la Coupe du monde au Qatar, Mbappe a joué avec brio, réussi un triplé en finale et a finalement remporté le Golden Boot de l'événement.

Lors de la dernière nuit au Lusail Stadium, Mbappe a tout fait. Deux buts d'affilée dans la phase finale du temps réglementaire ont entraîné le match en prolongation. Un "hat-trick" en fin de prolongation a laissé le suspense jusqu'aux tirs au but. Lors de la séance de tirs au but, il a été le premier à apparaître sur le terrain portant le Maillot Foot France et a marqué le ballon régulièrement. Mbappe n'a pu que regarder l'Argentine broder une troisième étoile de vainqueur de la Coupe du monde sur son Maillot Foot Argentine après avoir contribué à la performance individuelle ultime.

La dernière personne à avoir réussi un « triplé » sur la scène de la finale de la Coupe du monde a été Hurst en 1966. Mbappe a achevé la transformation d'une supernova il y a quatre ans en une superstar aujourd'hui. L'Argentine et Messi ont gagné le match, mais Mbappe peut marcher parti la tête haute.

[knightley--phillip]

Happy Holidays from John, Tom, Phil, and Levi!

@captain--john @prince--thomas

i just wanted clem’s creation on phil’s blog officially

[prince--thomas]

Thomas Harrington III -- Halloween 2022

as a secret service agent

with Levi as the President and @knightley--phillip and @captain--john as other secret service agents