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kiss-my-freckle · 4 years

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The Stag & The Wendigo

"What particular body you currently occupy is trivial." - Hannibal

Hannibal is the wendigo (man-stag). The stag is a representation of Will's "devil" within (just as “The Dragon” is the devil within Francis). Viewed as a separate being due to Will’s internal struggle. I refuse to call it a ravenstag because the reference is absurd. This is my theory on the stag & the wendigo. Feel free to let me know if I missed any.

“So you set his mind on fire.”

(1x1: Apéritif) It waits by his side as Will showers.

(1x2: Amuse-Bouche) It disappears down the hall as Alana’s footsteps are waking Will. It was never in the room with Abigail because it’s too dangerous to be, as shown in 1x3.

(1x3: Potage) Will dreams he slits Abigail's throat just as Hobbs did. It watches, but disappears when Will wakes. The difference shows in the stag and the way Will wakes. Sudden beeping of an alarm clock, scaring the stag into the woods. Slowly waking Will, stag takes his time walking down the hall.

(1x5: Coquilles) It walks behind Will when he sleepwalks down the road. It nudges him to keep going. Perfect place to put this line of dialogue: “You drew a man with a freak on his back.” Will is drawn to the stag statue in Hannibal's office. “My brain is playing tricks on me?” He touches it.

(1x6: Entrée) It walks through the door of his classroom because Will is half-awake. This is shown in Jack's dialogue before the cut: “I know when I’m awake.” Will doesn’t know when he is. “I'm not even sure if I'm awake now." Alana’s voice wakes Will, and the stag disappears.

(1x7: Sorbet) Will sees it entering the hotel bathroom as he reenacts the crime scene. The devil within a man likes to kill, but he has to remain a separate being until Will accepts what he is.

(1x8: Fromage) Hannibal kills Tobias with the stag statue because he fears Will is dead: “I was worried you were dead.” The stag left on the floor represents Will’s death, thus... the death of his devil within. This pushes forward to the stag in 2x13, dying on the floor next to Will and Abigail.

(1x11: Rôti) It pushes him to Gideon’s car because Will knows he isn’t gone, and he plans to take him at gunpoint.

(1x12: Relevés) Georgia’s murder helps him connect Hannibal’s kills back through to the murder of Cassie Boyle. The stag impales her, then Georgia becomes the stag. “See? See?”

Preparing for the wendigo to appear as two separate beings.

(1x13: Savoureux) In dream: Will takes a rifle shot at the stag and chases it into the woods. The wendigo appears, kneeling at the tree to look at the blood he left behind. Will wakes as he comes face-to-face with the wendigo.

(1x13: Savoureux) "Like a thread through pearls." The wendigo is shown throughout, starting with the dream sequence. It lurks behind the one way mirror, it stands behind Hannibal as he and Will replay the events, then Hannibal takes its shape at the Hobbs’ residence.

(2x1: Kaiseki) It walks by the stream as Will imagines himself fly fishing. The wendigo comes out of the water when Will tells Chilton, "I want to talk to Dr. Lecter." He's in the water because Will plans to catch him like a fish. He sees a stag hoof outside of his cell because he hears Hannibal's shoes tapping across the floor. Similarly to Hannibal taking the stand in 2x3. Focus is placed on his shoes as he's walking into the courtroom. Hearing the animal, seeing the man. He sees the wendigo when Alana tries to help him recover his memories.

(2x2: Sakizuke) Will sees the wendigo peering through the top of the silo because he knows Hannibal killed the mural killer.

(2x3: Hassun) As I said of the stag hoof in 2x1, they placed focus on Hannibal's shoes as he entered the courtroom. Hearing the animal, then seeing the man. The wendigo in a person suit. Will comes to a realization in his dream. His cell door opens. When he walks out, he sees the stag at the end of the hall. It wants Will to follow him, so he does. When he reaches the end of the hall, Hannibal calls out to him. Will turns to see him as a man instead of the wendigo. He’s standing by Will’s cell. Hannibal extends his hand, motioning for him to return. Through his dream, Will basically realizes Hannibal isn't the stag. He wouldn’t direct him down the hall only to direct him back to his cell, and he can't be in two places at once. If Hannibal isn’t the stag, this only leaves one possibility in Will’s mind. IMO, one of the most important stag scenes. He now knows what it represents. Will’s knowing gives us the stag scene in 2x5. I should also make mention to the scene prior because it’s the reason Jack gets left behind in the series finale.

(2x5: Mukōzuke) Will sees the wendigo lurking behind Beverly’s body, cut into sections and placed on slides because he knows Hannibal killed her. Will becomes the stag after sending his admirer to kill Hannibal. Will’s realization in 2x3... the stag is his devil within.

(2x6: Futamono) Will's antlers grow through the roof of his cage and expand. “He's playing a game and he's not scared, not anymore. That's what's making him dangerous." Indeed. He’s building his rack, preparing to impale on a serious level.

(2x9: Shiizakana) This episode makes it a little more obvious. "Must I denounce myself as a monster while you still refuse to see the one growing inside you?" Will dreams of using it to kill Hannibal who appears as the wendigo prior to his decapitation. The devil within a man likes to kill, it’s less personal/intimate for Will, and the "good" part of himself remains clean. This scene also acts as an introduction to Randall Tier, a young man who sees himself as an animal. During his crime scene replay, Will sends the stag to kill the couple, then he himself transforms into what I'd call a semi-wendigo.

(2x10: Naka-choko) Because Will knows Hannibal sent Randall to kill him, his mind turns the bear into a stag, then the stag into Hannibal and the wendigo. When Hannibal puts on his kill suit and heads to Freddie's room, a stag picture is shown hanging above her bed. Foreshadowing. "Are you thinking about getting into bed with Freddie Lounds?" Freddie is at Will's house, the picture represents Will "getting into bed" with Freddie because he has no choice. He's baiting the wendigo. Before I get into the sex scene, pointing out something I noticed while watching 1x13 wendigo scenes: "Wind him up and watch him go. And apparently, Dr. Lecter, this is how I go." There's a certain sound sequence that plays in those scenes when the wendigo winds Will up to watch him go. It winds him up in his dream, after he vomits Abigail’s ear, in the interrogation room, and as he pulls a gun on Hannibal at Hobbs’ house. It also winds him up during their sex scene in this episode. Will is sexually driven by Hannibal. He’s winding him up and watching him go.

(2x11: Kō No Mono) The opening scene appears to be a dream, but I'm not sure if it's a dream or just a representation. Either way, the wendigo follows a stag. It watches as the stag dies and Will emerges from its belly as a semi-stag. It's basically meant to come off as a rebirth, similarly to Peter’s storyline with the horses at the stable. I believe this scene appears at the open because it follows the final scene in the previous episode. In that scene, I believe Will was eating actual human flesh, as it shows his face becoming Hannibal’s before they cut to black. The wendigo appears as Shiva in Hannibal’s office. “Did you know?” Will's belief that Hannibal is the reason Margot turned to him to get pregnant, so he sees Hannibal as the destroyer of Abigail and the creator of his Verger heir.

(2x13: Mizumono) "I build forts." Will returns home after meeting with Jack and Hannibal. The side-by-side doesn't show who he's truly siding with, only how he feels. “Good" Will wants to be loyal to Jack, the devil within wants to be loyal to Hannibal. He's friends with both. When he reaches his porch, he sees Hobbs waiting for him. This scene reveals who he's siding with. "See? See?" Will finally sees what he was meant to after shooting Hobbs ten times. He has two options. This episode offers the first: Kill the devil within. He and Hobbs are shown in a tree house. He takes aim at the stag on the ground and fires. Once Will saw himself in Abigail's position (wanted for the murder of Randall Tier), he decided to switch sides and disappear with Hannibal, but arrived at his house too late. At the end of the episode, the stag is shown on the floor right beside him and Abigail because it’s his devil within. They’re dying together. He betrayed the wendigo, and he can’t kill the devil within without killing himself. It’s part of who he is whether he likes it or not.

(3x2: Primavera) Picking up where they left off in season two. The stag's blood floods Hannibal's kitchen. In his hospital bed, Will hallucinates being stabbed in the gut from the inside out by one of the wendigo's antlers because Hannibal cut into him. Association. Hannibal saw Antony Dimmond as the man he was before Will's betrayal twisted him up. “I'm here to help you untwist to our mutual benefit.” Antony wanted to untwist him as Hannibal wanted to untwist Will. “It's a savage pleasure, and we are born to it. A pleasure we can share." He basically says the same thing when they take off to face The Dragon. "You'd be much more comfortable if you relaxed with yourself." Typically, Will sees Hannibal as the wendigo, but roles reverse with Antony. The eating of the heart. Antony treated Hannibal as Hannibal treated Will. The stag is skinned of his person suit, his broken heart left for WiIl to eat. I made mention to this on one of my rewatch posts. Vide Cor Meum (See My Heart). The soundtrack at the end of 1x13 as Hannibal walks into the mental hospital to see Will. It’s based on Dante’s first sonnet.

(3x3: Secondo) Antlers behind Will as he sits by the fire. Chiyoh is cooking dinner for her prisoner. Again, perfect place to put this dialogue: “You drew a man with a freak on his back.”

(3x5: Contorno) Will hallucinates Chiyoh dead in a thicket of antlers. She pushes him off the train. The stag nudges Will awake, then walks down the tracks. His devil within basically telling him to move his ass.

(3x7: Digestivo) How Will sees the wendigo as Hannibal saws into his head. The way he sees the wendigo and Jack, their faces deformed as they are... it appears somewhat similar to the way he saw Hannibal’s face when he was suffering from encephalitis.

(3x6: Dolce) The dinner sene. Hannibal as the wendigo. Will on one antler, Hannibal on the other. "They are identically different, Hannibal and Will."

(3x8: The Great Red Dragon) Behind Chilton in the office as he talks with Alana. Foreshadowing. Because Will’s opinion counts. “Hard to believe an inmate's opinion will count for anything in the professional community." Yes, it’s going to sting.

The same position as the “pet” photograph in 3x12. I believe “This is the child of a nightmare” is a quote from Chilton’s book on Hannibal. I think Will realized it was a book of lies, and knew Chilton was planning to cash in again by writing a book of lies on The Dragon.

(3x9: …And the Woman Clothed with the Sun) Hannibal's wendigo reflection in a mirror shard. They don’t show Will’s reflection. I believe they were left with a choice to make. Keep them as they are, or switch the stag to a lion and the wendigo to a tiger.

Will’s second option: Become stronger than the stag. “I’m stronger than The Dragon now.”

#Hannibal

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alexturnerobsession · 6 years

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ICON’S MAGAZINE TRANSLATED

“What the hell is this?”, says a fascinated Alex as we enter the Bethnal Green Town Hall Hotel in London, an old building where the interview is having place. “I don’t know, I think people get married here”, answers the press girl. Alex starts running in the room, where the plenary sessions of the former city council used to be carried out back when the building was constructed. He sits in the chair in which they guess the mayor used to sit down. “What do you want, a fine or a wedding?”, jokes Turner who can’t be still. He starts to run between the seats, until he stops at the place assigned to the spokesmen. "One hundred pounds! Man, there’s one hundred pounds in here!”. He picks up a couple of 50-pound notes, and I suggest him to keep them. He laughs. The moment to begin the interview has come, after all, we are not here to get married but to talk about Tranquility Base Hotel & Casino, the band’s sixth LP. His laughing ceases. It’s unfortunate that Alex is so shy and cautious when the recorder is turned on. "Would you get married here?", asks Alex before getting started. My answer is no, the place is interesting, but not romantic at all. “I agree. Motion denied.”

[Now the journalist describes the journey of the band, from its Internet expansion to the end of the AM tour.]

“When the tour finished in 2014, almost everybody in the band was about to get married, or about to have a child or another one… The end of those shows seemed to be the end of an era. We all were 28 or 29 years old and it felt like everything was going to change. During that never ending tour I thought the album was going to stay with me forever. It was the longest tour we had ever done. Now I think that we prolonged it because we knew that when it finished, it would mean the end of something bigger than a series of shows. I thought everything would change, because I felt we had less than we had in the beginning, even if the numbers said otherwise” recalls Turner about the last days the band was seen together.

Then Alex went back to The Last Shadow Puppets […]. In 2016, they headlined Primavera Sound Festival. The show was grotesque. Turner’s looks made sense in the framework of AM, but in that particular context, it appeared as a joke. Turner, that boy who as a teen was not hired by a Sheffield thrift shop because of his shyness, had lost the plot. “That is part of the past”, intervenes Turner, who talks very slowly, leaves sentences half said and might not even finish a joke if he thinks it’s not going to be funny as he was expecting. “I think that the things I wanted to say with that image and attitude are already said. Now it’s over.” Nowadays he sports long hair and a beard that has been object of controversy among his fans, who even started a Change.org petition for him to shave it.

“A lot of attention is put into our next step, I know. We’ve always tried to be careful about where, with whom and what we did. It’s healthy, but I don’t think we do it on purpose. In times like this it’s complicated to keep secrets. We already tried with our last album and just when we got to the studio, the engineer posted a picture of us. Everyone’s so crazy now, they’re acting as if this was Columbo. I’ve seen this, I’ve seen that guy…”, explains Turner after being asked to explain how it is possible that, with a band as great as theirs, he has achieved to go completely unnoticed for everyone when the most awaited album will be released in less than a month. “I don’t know if not getting involved with social networks is something that we now do on purpose to protect the band, but maybe it helps,” points out Turner introducing the “offline” element into the equation. “I guess that wanting to expose ourselves is not into our DNA. I’ve put so much into the music that I don’t know what else I can do with that. I can’t open a Twitter account, because I think everything’s there, in the songs. I’d make a fool of myself if I began to use Twitter. Well, if I’m honest, it’s not as if I dislike social networks, but when you become that version of yourself that you’ve created in the virtual world, there’s something in there that allows people to take out the worst of themselves against you. And you can also take out the worst of yourself against them. I can’t even imagine the consequences, but I don’t want to either.”

We’ve had to listen to Tranquility Base Hotel & Casino in a dispositive that would be self-destructed in a week. We’ve been told not to ask anything too personal after Alex had a brush with a journalist from The Times some days ago. There won’t be any promotional single, but there is a new band logo. The most recent photo of Alex is one that he took with a flight attendant in the airport days before our meeting which has reactivated the debate about his beard. It’s a release like in the old days, but Turner doesn’t really appear as a world star. I tell him about the time I interviewed Beyoncé, being told not to touch her under any circumstance. I also tell him about how, in order to talk to Chris Cornell, I had to get in a completely dark hotel room and, in an act of faith, believe that the voice that I was hearing belonged to the grunge star. “Would you like some water?”, interrupts Turner when, before I can even answer, begins to pour some into the glass

Days after our encounter in the town hall, the first new picture of the combo appears (they look as if they had been dressed for a wedding right in the middle of December from 1972 in Iceland) and the titles of the album’s 11 tracks as well as details about the recording are revealed. But it’s been the first verse of the album what has caused more of an upheaval. “I just wanted to be one of The Strokes, now look at the mess you made me make”, sings in Star Treatment, a gem of a song that sets the tone for the rest of the album, one destined to confuse all those who were expecting something bombastic, expansive and hormonal. The LP contains songs with titles as fabulous as The Ultracheese, Batphone, or The World’s First Ever Monster Truck Front Flip. Imagine Richard Hawley going on tour together with comedian Andy Kaufman and performing only in hotels from Sheraton’s chain, or Scott Walker reciting in a pub after Sheffield United’s match. It is deliciously decadent, and it promises to polarise the opinions of their millions of fans. Is he nervous? And, above all, is he sure? “Well, I sort of remember feeling a bit like that with our last album. I wasn’t sure if it was the right album. Won’t we be going through the wrong path? It always happens. When I showed the first songs to my manager, people from the label and my mates, most of their reactions were ‘This is so different.’ I thought it was different too, but not that much. I was doubting if it’d be appropriate for a Monkeys’ album. Then, Jamie came home and spent two weeks with me recording. His enthusiasm about the songs confirmed that it was right. If this is what’s inside of me, this is what it has to be. I believe that we can be whatever we want to be, it’s our band. So there’s no need to worry about whether it fits or not”, explains about an album which lyrics refer to solitude continually. “Yes, a little”, concedes Turner. “There’s always been something in my life that has led me to isolation. But, even to this day, I don’t know why I’ve tried to avoid this topic creatively. The lyrics have been through a very long process of polishing. It was complicated to reach this stage. For example, that first line about The Strokes. I fought a lot against it, I wanted it but I didn’t want it. I was thinking: ‘Whatever, it’s staying, but I know I will change it in the end because there’s no way I’ll end up saying such atrocity.’ And it came to a point in which I thought: ‘If this is how I feel, why can’t I just say it? It’s better to be honest.”

EXTRA

This is how Icon #51 was made

Arctic Monkeys

Everything was supposed to be a secret. The hotel, hidden in the east side of London. The artist, in an unknown place, and the room in which the pictures were to be taken, small enough for the editor to have to stay outside during the session. When Turner got out, he said: “It’s a boy.” Everybody’s happy.

Translated by @jurametio and myself (some parts have been omitted because the journalist was explaining the beginnings of the band and other information that we all already know by now)

#arctic monkeys #interview #icon #icon's magazine #magazine #icon el país #el país #alex turner #translation #ato

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arcticmonkeysaf · 6 years

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Translation of Alex Turner’s interview in ICON magazine

Alex Turner, leader of Arctic Monkeys, the biggest rock band of the 21st century, and perhaps its last hope

"What the hell is this?"

We've just arrived at the location of our interview with Alex Turner, leader of Arctic Monkeys, who is absolutely awestruck. It's the first floor of the Bethnal Green Town Hall Hotel in London, an ancient Edwardian building with touches of art deco, converted, of course, into a hotel. In a room of the first floor, a photoshoot has just taken place.

"Well, I don't know, I think the people are getting married," says the press agent, attempting to explain some of the excitement it's provoked in Alex being in the space, without getting too carried away: we still have a job to do. Alex begins to run through the hall, the site of council meetings of the Bethnal Green since 1910, when the building was constructed. Nearly all civic government buildings in Spain are smaller, and certainly not as lovely as this place.

The writer of Fake Tales of San Francisco has already seated himself in the chair we suspect belongs to the mayor.

"What do you want? A fine or a wedding?" he jokes.

The press agent leaves, but the leader of the band formed in the era when teenagers no longer wanted to form rock bands can't keep still. He runs between the benches until he's standing in the spot meant for the speaker.

"A hundred pounds! Look here's £100!" He procures two rosy £50 notes. I suggest to him that we should keep them. He laughs. I decide not to insist. I say instead we should start the interview, after all we are here to talk about Tranquility Base Hotel & Casino, the sixth album by the band, not to get married or chat. He stops laughing. It's a shame that Alex Turner becomes such a timid person, careful and cautious, when the tape recorder starts. Before he assumes the role of frontman of the group that launched AM four years ago and made it the best selling vinyl record of the 21st century, he permits himself one last question.

"Would you get married here?" We look around - myself still thinking about those £100 - while we get cozy in two benches in the last row. I answer no, that's it's all very interesting, but not at all romantic.

"I agree. Motion denied," he decides.

Rising to fame in the middle of the last decade, Arctic Monkeys have become a phenomenon thanks to a handful of songs a friend converted into mp3 - they say that they, despite being part of the digital age, had problems even turning on a computer - which soon began to spread on the Internet. It was the raucous, intelligent, and British response to The Strokes. Seeing them on the stage in those early days, before the premiere of their debut album, Whatever People Say I Am That's What I'm Not, which would see the light of day in 2006 and would become the fastest selling debut album ever in Britain within in its first week of release, was a tremendously peculiar experience. Four kids at 3 a.m. making a spectacular noise in the Sala Razzmatazz in Barcelona, but who could barely reach the bar counter to order a drink.

More than a decade has passed and they've recorded four albums more. A brilliant sequel (Favourite Worst Nightmare), another risky, rapturous and rocking (Humbug, recorded en the California desert with Josh Homme), a delicate and underrated return to pop (Suck It and See) and a million-dollar beast, a sex-soundtrack record called AM. And then, they stopped.

"When we stopped touring in 2014, nearly everyone in the band was about to get married, or having kids, or another kid. The end of those concerts was much like the end of another chapter. We were all 28 or 29 and it felt like everything was about to change. During this neverending tour I thought that record would be with me forever. It was the longest tour we had ever done. Now I think we extended it because we knew that when it ended it would be the end of something bigger than just a series of concerts. I expected everything to change, well, I felt that even though the numbers said the opposite, in the end we had less than we started with," remembers Turner, about the final days we would see the band together in public.

Now all living in the U.S., each of the band members went on his own path. Alex returned to The Last Shadow Puppets, a band loved by Arctic Monkeys devotees. There Turner splits responsibilities with his friend Miles Kane, a guy with impeccable taste but with terrible ideas. In 2016 the pair played the mainstage at Primavera Sound, where they were the headliners. That performance was grotesque. The image of Turner, who looked like a mix between an actor in Rebeldes and a finalist in an Elvis impersonators competition, had only a semblance of Arctic Monkeys of AM. In that context he made a bit of a joke of himself. Compared to the boy who, as an adolescent, was rejected by a second-hand clothing shop in Sheffield because he was too shy, it had gotten out of hand.

"That was..." His words are halting, he speaks very slowly, he leaves sentences unfinished and even stops a joke short if he finds the punchline isn't as funny as he'd thought. "I think what I wanted to say with that image and that attitude have been said. It's over."

Now Turner sports long hair and a beard which has been the object of controversy among his fans, who even launched a Change.org campaign for him to shave it.

"There's a lot of scrutiny around our next step, I know. We've always tried to be discreet with what we do, where and with whom. It's normal, but I don't think we do it on purpose. In this age, it's hard to keep secrets. With this record we tried and even just getting to the studio, the sound engineer goes and posts a picture of us. Everyone is so crazy these days, they act like they're Columbo. 'I saw this, I spotted that guy...'" explains Turner when asked how it's possible that a band as big as his, who will be the headliners at Primavera Sound and at MadCool, has managed to make sure that, even with only a month left until the record's launch, no one knows absolutely anything about it.

"I don't know if not getting involved in social media is something we do on purpose to protect the band, but it helps," says Turner, introducing the topic of being offline. "Maybe it's not in our DNA to expose ourselves. I've put so much into the music that I don't know what more I can do with that. I can't open a Twitter account because I think everything's there, in the songs. I'd make a fool of myself if I started tweeting. See, social media doesn't bother me, truthfully, but when you become the version of yourself you've created in the virtual world there's something there that allows people to do their worst against you. And you can also do your worst against them. The consequences of that I can't even imagine, but I don't want them."

We've had to listen to Tranquility Base in a version that downloads and is scheduled for automatic deletion the next week. The band have asked us not to ask anything personal, days after an encounter Alex had with a journalist from The Times. There is no single before the release, but there is a new logo for the band's image. The only photograph of Turner is the one taken by a guard in an airport days before this meeting and which has reactivated the fierce debate with respect to the Sheffielder's beard. It's a record release like the ones before, but Turner hardly seems like a global superstar. I tell him that one time I interviewed Beyoncé and they sat me at one end of a massive table and told me that I shouldn't even think about touching her, and that, on another occasion interviewing Chris Cornell, I had to go into a hotel room that was completely dark and had to confirm that the voice answering my questions was actually the grunge singer's.

"Would you like some water?" Turner interrupts, and, before I can respond, fills my glass.

During the hours after our meeting, the first new photo of the band is made public (they look as though they're dressed for a wedding in December of 1972 in Iceland) and they publish the details and tracklisting of their latest record, which was recorded in Paris, London, and Los Angeles, where the band members now reside. But what most strikes me is the first line. "I just wanted to be one of The Strokes, now look at the mess you've made me make," sings Turner on “Star Treatment”, a gem of a song that marks the tone of an album destined to confound all those who expected something bombastic, expansive, and hormonal. The LP has songs with titles as fabulous as The Ultracheese, Batphone, or The World's First Ever Monster Truck Front Flip. Imagine Richard Hawley going on tour with comedian Andy Kaufman and performing only in Sheraton hotels located in state capitals, or Scott Walker in the pub, singing after a Sheffield United match. It's deliciously decadent and promises to polarize the opinions of millions of their fans. Is [Turner] nervous? And, more importantly, is he confident?

"Let's see, I think I remember feeling a bit like that with this last record. I wasn't sure if it was the right album. Are we going down the wrong path? It always happens. When I showed the first songs to my manager, to the people from the record label and my colleagues, a lot of the reactions were 'It's very unique.' I thought it was unique, but not that much. I doubted whether it was the right record for the Monkeys. So, Jamie came to my house and stayed with me for two weeks while we recorded. His enthusiasm for the songs confirmed to me that it was the right choice. If this is what comes out of me, that's what it is. I think we can do what we want to do, it's our band. So there's no reason to worry about whether it's a hit or not," he says about a record that, from time to time, evokes loneliness.

"Yes, a little bit," concedes Turner. "There's always been something in me that has made me isolated in life. But until now, I don't know why, I've avoided touching upon that on a creative level. The words passed through a very long process of refinement. It's been complicated getting here. For example, that first line about The Strokes. I fought hard against it, I wanted it but I didn't want it. I thought, "Hell, I'll leave it, because I know I'll change it because it's impossible that I'll end up saying this nonsense." And it got to a point that I thought, "If I feel like this, why not say it? I should be honest."

#alex turner #arctic monkeys #tbhc #tbh&c #tbhc spoilers #i know it's been traslated but have another #lmao #i nearly threw my computer against a wall while typing this up so #mine

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