I WANNA JOIN A BAND SO BAD AAAAAAAAAAAAAAAAAAAAAA
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Dream's discord podcast. Basically him answering questions for 2.5 hours. This will sort of be in order but I fucked up my notes so it might not be in order completely. (From 13th May 2021)
For reference the photos at the end are: A prototype of fidget spinner merch as loads of people asked, a reference photo of his favourite merch and a photo he sent of his hair to prove he wasn't a brunette.
•He said his teeth are mostly straight but he's thought about getting Invisalign. He's never had braces. He has a tiny gap in the left side of his mouth and his canines are longer and sharper (vampire arc). He's never had teeth surgery so has his wisdom teeth still.
•He thinks pineapple on pizza is good.
•He likes seafood like lobster and crab. He had crab made in an air fryer last night. He like peas. He thinks quesadillas are good and likes most food.
•He hates Coffee and most drinks
•The Dream Shorts team is Ken who is his personal reminder (Ken's main job is to spam him with texts so he doesn't forget things as he's got a habit of reading texts and not replying) and also comes up with a list of sets for Dream shorts. The builder is a friend and munchymc builder "his talent gets wasted on Dream's shorts but we pay him so"
•His editors are currently Dizzy, Firesale and Mjcr. Willz doesn't edit for him anymore
•The mask animation isn't done but Mask should be released May 21st. He wants to release them together as "the whole song is a double meaning and the whole nuance will be lost without the animation" but no matter if the animation is done the song is getting released on the 21st.
•He and Sapnap eat together often.
•He and Sapnap prefer medium rare Steak
•He wants a home gym it's something he's willing to splurge on. They currently have a weight rack but they haven't even set it up.
•"Eat the rich? Shut up shut up" - Dream
•Talked about money basically saying "Most people don't understand how money works I don't have millions in my bank account it's in assets like merch, land and warehousing for that stuff" (He's not in his landlord arc)
•He's been debating Pride Merch because of Rainbow Capitalism. He doesn't want it too be seen as a money maker and if he does most proceeds would go to charity. He's currently super busy merch wise with Sapnap joining and George in the middle of joining. He did say "Only if the LGBTQ+ community in this community wants it" He thinks he's going to at least change the merch website to a pride one. Sapnap wants to make pride merch including a rainbow flame on his.
•He wants to create a charity that's centered around helping LGBTQ+ one day because he thinks that there's a lack of them. He mentioned that creating a charity was expensive and took a lot and was a complicated process including a board of directors but he wants to do it someday.
•He wanted to buy a bunch of houses in Florida which was a service to house mostly LGBTQ+ youth and people stuck in abusive households for free to get them out of bad home environments. But he didn't because he didn't want people thinking he was profiting of of abuse victims and LGBTQ+ community.
•He said he's terrible with time management and replying to people which is why Ken helps him (and also helps George and Sapnap). He mentioned how Sam messaged multiple times and Dream just forgot to answer but felt bad "I feel like people think I hate them..... Cause I'd be mad if people did that to me"
•He tries to reply to a few texts a day (community number). He also can't do birthday messages everyday because you can only reply at certain times so it's not abusing the system so if you get one it's special. He said he does try but it's got a weird time gap.
•Him and the manhunt winner are trying to come up with a good time to film
•He wants to stream this MCC on twitch and says his team is good.
•He talks about why he's not partnered with Twitch. Basically Twitch has a lock rate (in which you make money) and you legally can't stream on YouTube. So legally if Tommy wanted to stream on YouTube he couldn't. Someone then mentioned how Bad is a twitch partner but still streams on YouTube "Bad streams on YouTube but he has for a while and I don't think that he cares" - Dream
•He likes to reply to every donation he gets on stream and feels bad when he doesn't so he'll turn them off when he streams and wants a platform deal where he can be payed to stream (not twitch). If he gets a streaming partnership he will stream a couple of times a week. He looked in to Facebook but they don't have an alias system meaning you can see everyone's actual Facebook account and personal info, he doesn't like seeing real names on Facebook so it would require a lot of altering if he was to stream there so he's thinking it's probably going to be YouTube.
•He was asked about if his demographic was what he expected and he said he went in with no expectations, he didn't even know what stans were, wasn't really on social media so he wasn't aware of the fan culture. "You guys are a handful sometimes but it's worth it"
•He also mentioned how he and the DreamSMP changed the twitch audience demographic. It used to be male dominated in both streamers and audience and now it's almost split which is unheard on.
•He has 5 fidget spinners in his house. Two in his bedroom. Two in his office. One in the living room.
•He likes his Minecraft skin as he thinks the arm is cook and you never see the rest of his skin really. He says it's unique and different and "me". Dream: You can't even tell half the skins apart on MC.
•He's not lost the motivation to stream. Most of the times if he wants to stream he gets George or Sapnap to do it and he just turns up. It's more beneficial to them as they have donos and subs on. (Don't we fucking know it "can you say hi to")
•He has listened to Lovejoy. Says the ep was great and they're very talented and awesome. Doesn't know what his favourite song is but probably would pick One Day because the chorus slaps.
•RIP to acoustic Roadtrip. He said instead of acoustic Roadtrip we get Mask so no losses today for Dream stans.
•"With Roadtrip I went to Parker and I said Hey I have a story I want to tell through music. I have no experience with that can you help me" He said sure. He crafted the music and melodies and how things are formed where it's catchy. I have less comfort singing that. I love the song and it's my song, it's very representative of me and I'm sure I could sing it but it's a song I'd be kinds of scared to sing live, with Mask I basically did everything. I sat there the entire time and maybe an hour out if the 100 I wasn't in the call. Dream came up with the lyrics and main melody for Mask (First one he's ever come up with) "That was just notes in my fucking voice memos"
•The clip we heard of Mask was a prechorus not the actual chorus. He thinks he'd be more comfortable to do a mask acoustic and it's more melodic than Roadtrip. The chorus also has a lot of instruments similar to Roadtrip. Mask starts of slow and guitar with minimal reverb and is more raw.
• He doesn't want music to be his main thing. It's something fun to do and he's passionate about it as it's a way to express emotions. He wants to release mask then go from there. He wants to release at least one more song but has nothing on his mind currently. His two ideas were Roadtrip and Mask.
•He wouldn't quit his job to become a pizza delivery man.
•His favourite features on himself are eyes or freckles and he also confirmed that he does have eyebrows.
•He was told that Parkour warrior would be bought back some time in the near future and he got excited for it. "Even if I don't win, which I will, it'll be fun"
•Went on about his MCC team but I'm not going to put that in as we should be getting them today. He did say he wasn't on Pink but he did sound confused. (For reference he's always in Pink as it's the last team announced and keeps the hype up by announcing the biggest streamer last)
•Said he and his mum had the Mr Beast burger. He recommends because he likes the avacado. He mentioned how Mr Beast uses "Ghost Kitchens" which is basically where he gives restaurants permission to cook his food so it's restaurant quality food.
•His favourite piece of merch is the circle smile. (The pool photo on Instagram). He said the quality was bad (he worked with a different company and didn't have his own company) and it was elasticy feeling and he's planning on re-releasing it again but with good quality.
•He's started to send merch out in custom packaging. So his bags have the smile and will mostly be green. Sapnap's has the flame and is either black or white. He's also trying to make it so every order has the sticker packs for both him and Sapnap.
•He loves the coins as it's cheaper than a hoodie but still celebrates the milestones and will last a long time. He mentioned how the old coins are getting removed off the site and how if you have any of the coins your special because only a few thousand get made. He's kept around 100 of each coin that he wants to give away in person.
•He wanted to have a cool store where you could access computers that give you access to the DreamSMP in spectator mode. But it's too costly and would require too much time and isn't safe fight now. He doesn't think it'd be worth it financially.
•Most of the hoodie are black instead of multiple colours because of limited supply and covid. Getting the colours are harder because if the pandemic which hopefully won't be an issue soon.
•He wants to do a short meetup tour with Sapnap and George with a few locations in the US (and if others nearby want to join like Quackity or Karl they can). He also wants to visit Australia, UK, Canada, Mexico and Philippines and do something like that there but definitely at least visit with George and Sapnap.
•He's never been to the Philippines but his mum has. He wants to set up a place in the Philippines where he can ship merch in bulk and it would help to reduce shipping. However it would probably be big milestone merch.
•He's not got the vaccine yet but will get it when he needs to. He doesn't leave the house so he doesn't see the point.
•He's the ideas man. George's footcam video was Dream's idea. The T-shirt video was Dream's idea. Most if not all of the Dream Team's videos are Dream's ideas.
•Said he's got a similar/the same hair colour as Froy (Dream buddy at this point the only difference between you and Froy is that one of you is dating Richard Madden /lh)
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OKAY I KNOW I DID THE LIKE RANKING MY FAVORITE SONGS FROM THE NEW EP THING BUT IF I'M BEING HONEST THEY ARE ALL MY FAVORITE LIKE
'Oh Yeah, You Gonna cry?' THAT IS THE COLOR GOLD AND IT KINDA REMINDS ME OF LIKE FUUUU WALKING ON A PAVEMENT TO A CONCERT, FEELING JUST SO HYPE. AS FOR TASTE IT'S LIKE SPARKLING WATER
'Model Buses' IS LIKE THE COLOR BROWN BUT ALSO KINDA YELLOWISH BUT NOT IN AN UGLY WAY. IT FEELS LIKE A DRIVE DOWN A HIGHWAY DURING A ROADTRIP WITH YOUR PARENTS AND THEN LIKE THEY START GETTING POLITICAL IN THE FRONT SEAT BUT YOU PUT IN YOUR HEADPHONES AND TUNE THEM OUT. KINDA REMINDS ME OF ROOT BEER
'Concrete' OH BOY OH BOY THIS RIGHT HERE IS FUCKING ORANGE AND YOU CAN'T TELL ME OTHERWISE BECAUSE THIS IS MY OPINION. LIKE??? THIS SEEMS LIKE WHEN YOU'RE AT AN ICE CREAM SHOP YOU'VE NEVER BEEN TO BEFORE AND THERE ARE ALL THESE NEW FLAVORS BUT THERE'S THIS COUPLE IN THE CORNER OF THE STORE THAT YOU CAN JUST TELL NO MATTER HOW LOVEY DOVEY THEY ARE THEY JUST LIKE, HAVE THIS THING THAT YOU CAN TELL THEY JUST HAD A FIGHT AND IT WAS A REALLY BAD FIGHT. KINDA REMINDS ME OF LIKE A PEANUT BUTTER MILKSHAKE.
'Perfume' IF I HAD TO PICK A FAVORITE IN A LIFE OR DEATH SITUATION IT WOULD BE THIS ONE. THIS IS LIKE A LIGHT YELLOW BUT AS TIME GOES ON IT JUST MELTS INTO LIQUID GOLD LIKE :chefs kiss: KIND OF LIQUID GOLD. THIS SONG REMINDS ME OF LIKE THAT ONE TIME I WAS WALKING THROUGH OCEAN AT THE BEACH AT NIGHT WITH MY SHOES IN MY HANDS AND MY PANT LEGS ROLLED UP TO MY CALFS AND THE WATER WAS FREEZING CAUSE IT WAS WINTER BUT I STILL WANTED TO SWIM KIND OF TEMPERATURE. THIS SONG HAS 'LADY GREY' WRITTEN ALL OVER IT
'You'll Understand When You're Older' IS LIKE??? A BOP??? THIS IS LIKE BLUE WITH A GREYISH UNDERTONE. THIS IS LIKE WHEN YOUR LEAVING SCHOOL THE DAY AFTER YOU'VE GOTTEN YOUR LICENSE AND YOU AND YOUR FRIENDS ARE GONNA DO A DRIVE AROUND TOWN AND YOU'VE GOT YOUR STEREO TURNED UP FULL BLAST AND IT'S LIKE A MEMORY YOU JUST KNOW IS GONNA STAY WITH YOU FOREVER EVEN IF YOU ALL DRIFT APART. THIS IS THE TASTE OF LIKE, GOOD ASS APPLE JUICE LIKE THE BEST APPLE JUICE YOU'VE EVER HAD IN YOUR LIFE KIND OF GOOD ASS APPLE JUICE
'The Fall' WHERE DO I EVEN START. IT'S LIKE A DARKISH REDISH BROWN BUT LIKE IT STARTED OUT AS A LIGHT BROWN THEN THE RED STARTED SEEPING IN THE THEN IT GOT DARKER. THIS REMINDS ME OF FIGHT A FIGHT THAT'S STRANGELY CALM?? LIKE MAYBE YOUR FIRST FIGHT OR SOME SHIT BUT LIKE EVERYONE HAS THAT SERIOUS FACE AND JUST CALM FUCKIN THING GOING ON BUT NOT THE GOOD KIND OF CALM LIKE 'THIS ISN'T GONNA END WELL' CALM. FUCKER TASTES TANGY, KINDA ZESTY.
'It's All Futile! It's All Pointless!' THIS IS LIKE PINKISH BUT LIKE A REALLY NICE SHADE OF PINK. THIS FEELS LIKE WHEN YOU'RE DRIVING HOME FROM A CONCERT AND LIKE THERE'S NO MORE SCREAMING AND IT'S JUST YOU AND FRIENDS, AND YOU'VE GOT THEIR ALBUM PLAYING AND SOME OF YOU GUYS ARE SINGING, SOME ARE SLEEPING, AND OTHERS ARE CRACKING JOKES LIME JUST A VIBE (THEY WERE SO RIGHT TO PUT CATJAM ON IT). IT WAS LIKE A COLA, CAN'T PUT THE EXACT TYPE OR BRAND BUT LIKE I KNOW THAT IT 'TASTED' LIKE COLA TO ME.
I HAVE NO IDEA WHY THIS HAPPENED BUT IT DOES HAPPEN SOMETIMES WITH ME HAVING SOME OTHER SENSES GOING OFF WHILE LISTENING TO SOMETHING AND IT HEARD LOVEJOY AND WENT "oh ye this that good shitz fam *slurp* this that good shitz" SO I THOUGHT TO DOCUMENT IT
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REVIEWING THE CHARTS: 15/05/2021 (Coldplay, J. Cole, Trippie Redd & Playboi Carti)
I’m awful at predicting this chart, I really am, but most of that is probably down to how I only make vague predictions at the end of each episode without even considering most releases that’ll actually chart. Let’s just say I didn’t expect nine new arrivals this week. At the top, however, little has changed as the absolutely huge “Body” by Russ Millions and Tion Wayne with a remix featuring whoever the hell is spending its second week at #1. The rest of the chart, however, gets a bit more interesting. Welcome back to REVIEWING THE CHARTS.
Rundown
The biggest story to effect the chart this week is of course 2021’s BRIT Awards happening this Tuesday, which I’m sure boosted a lot of songs during the mid-week. I also actually covered the awards show on that day if you’re curious, with some of my observations, predictions and opinions. We can very clear see – or hear, for that matter – the impact of the BRIT Awards in this week’s chart, as it did cause a lot of gains and new arrivals that shook up the chart right in the middle of the tracking week. Firstly, we do have some drop-outs from the UK Top 75, which is what I cover, only one of them, “Paradise” by MEDUZA and Dermot Kennedy, being all that important given it was a top five hit but we do have a handful that lasted five or more weeks or peaked in the top 40, like “Medicine” by James Arthur flopping embarrassingly, “Addicted” by Jorja Smith dropping out to prepare for the rebound next week given her album release and “Solid” by Young Stoner Life, Young Thug and Gunna featuring Drake.
Speaking of Drake, he also provides the singular returning entry as “Wants and Needs” featuring Lil Baby is proving to be the actual hit from that three-pack from March, coming back to #65. Scaling down the chart, we also have some notable losses, songs that dropped at least five spots on this week’s chart. Those that fell include “Your Power” by Billie Eilish dropping harshly to #15 off of the debut, as well as “Your Love (9PM)” by ATB, Topic and A7S at #18, “Confetti” by Little Mix to #21 off of the return (with Saweetie, the artist quite literally solely the reason it’s had this second wind, still bizarrely left without a credit by the UK Singles Chart), “My Head & My Heart” by Ava Max at #27, “Titanium” by Dave at #31, “Wellerman” by Nathan Evans and remixed by 220 KID and Billen Ted (yes, THEY’RE credited) at #36, “Patience” by KSI featuring YUNGBLUD and Polo G at #42, “Heartbreak Anniversary” by Giveon at #44, “We’re Good” by Dua Lipa at #47, “Way Too Long” by Nathan Dawe, Anne-Marie and MoStack at #49, “Head & Heart” by Joel Corry and MNEK at #51, “Beautiful Mistakes” by Maroon 5 and Megan Thee Stallion at #55, “Don’t Play” by Anne-Marie, KSI and Digital Farm Animals at #56, “Calling My Phone” by Lil Tjay and 6LACK at #59, “Commitment Issues” by Central Cee at #67, “You” by Regard, Troye Sivan and Tate McRae at #69, “Get Out My Head” by Shane Codd at #70, “Hold On” by Justin Bieber getting ACR’d at #71, “Streets” by Doja Cat at #73 and finally, “6 for 6” by Central Cee at #75.
Filling up the room for those losses, however, are the gains, always a tad more interesting, as the songs that rose at least five spots on this week’s chart – or make their first appearance in the top 40, 20 or 10 – are usually having the BRITs to thank to some capacity. The climbers include “Summer 91 (Looking Back)” giving Noizu his first top 40 hit at #31 (and I’ll admit, the song is growing on me), Griff also getting her first with “Black Hole” at #35 thanks to her win and performance at the BRITs, “WITHOUT YOU” by The Kid LAROI rebounding to #13 thanks to that once-again uncredited remix with Miley Cyrus and finally, entering the top 10 for the first time is “Anywhere Away from Here” by Rag’n’Bone Man and P!nk at #9, getting the boost from a perfect trifecta of gains: Rag’n’Bone Man released his album on Friday then on Tuesday had the closing performance of this song at the BRIT Awards with additional vocals from the Lewisham and Greenwich NHS choir, who are also now appearing on a new release of the song the day after, prompting a whole lot of sales, of which I assume and hope are going to charity. It’s Rag’n’Bone Man’s third top 10 hit, P!nk’s 21st(!) and interestingly enough, the NHS choir’s second top 10 hit as they had the Christmas #1 back in 2015. With all of that out of the way, I suppose it’s time to get to our varied array of new arrivals.
NEW ARRIVALS
#74 – “Dick” – Starboi3 featuring Doja Cat
Produced by Nius and SoFLY
This week is kind of a weird week if that wasn’t immediately obvious as our new arrivals are kind of all over the place, starting with... well, I think I could say less about the song than the title does. Starboi3 is this SoundCloud rapper from New Jersey who made a song with Doja back in 2019 – I assume she was more accessible for features back then –and it didn’t blow up at all, really, giving Starboi3 some additional traction but not until 2020, in which Doja Cat got her #1 hit and TikTok picked up this explicit single as a new sound. Sadly – or thankfully – the song was never released officially onto streaming until very recently, meaning, surely, the hype’s over by now? The answer to that is no, as it’s climbing up charts in both the UK and the Bubbling Under in the US... so there’s got to be something good about this song, right? Well, no. Not at all. Of course, that is subjective, but I do question your sanity if you’re honestly enjoying this unlikeable nobody shout “Dick!” over a basic, no-melody trap instrumental with heavy 808s not too dissimilar to drill, before going into a beyond basic chorus and verse about, well, you can guess, with rhymes sounding either like an awful freestyle or a kid with a rhyming dictionary. “She not with him tonight, she not with Jim tonight”? Of course, that’s in the post-chorus because if there’s one thing this song needs, it’s a freaking post-chorus. I also don’t think Starboi3 realises that making her scream for her parents is quite the opposite of sexy – or even raunchy and mindless, as it’s actually just creepy and terrifying. Speaking of terrifying, Doja Cat is here and not even she can add a less basic flow with a verse that just ends up going in one ear and out the other, even if I do like the seductive backing vocals that at least try to make this not a slow, joyless slog. However, I do NOT like the Pickle Rick reference. To be fair, this was 2019, but also to be fair, never reference that again, I am begging you. This is a disaster on all fronts and probably one of the worst tracks I’ve had to review in this series. Good start!
#64 – “Freaks” – Surf Curse
Produced by Surf Curse
This new song is actually even older, being released initially as a deep cut from this Nevada duo’s 2013 album. As you’ll probably tell, this is charting off of people streaming after hearing the song on TikTok and, I mean, at least the song’s actually good this time, careening off of a clearly surf-inspired clean riff surrounded by some basic drumming and a good bassline. It’s not great as it does feel increasingly basic as I said, almost like one of those local bands that don’t get much national attention or traction but do play some gigs and get some love at those places, to the point where it’s kind of big if they play shows outside of their region... which makes sense because that is exactly what they are. This is just some band from Reno but here it is charting on the UK Singles Chart and while it’s here, I should say whilst there’s not much here to discuss given how minimal it is, Nick Rattigan’s vocals are fittingly desperate for the theme of social alienation and particularly rejection as it’s pretty obvious he’s aiming venom at himself for a bad break-up, although given the sound and tone of the song, probably his first, with that double meaning of the mantra in the outro, “I won’t wake up this time”, potentially being a crushing line for someone in similar circumstances. That’s not me, exactly, so this doesn’t hit, but I’m glad that Machine Gun Kelly song from last week got replaced with some actually decent alternative rock on the chart. I hope this does well.
#60 – “One Day” – Lovejoy
Produced by Cameron Nesbitt
“One Day” is the biggest track from new English rock band Lovejoy’s debut EP, Are You Alright?, and whilst I was planning on not mentioning the fact that the band is fronted by Minecraft YouTuber Wilbur Soot, that is the only reason it’s charting – and he’s charted with “Your New Boyfriend” a couple months back, a song that I actually kind of liked. It’s also immediately obvious in the writing that this comes from an Internet personality, with some not-so-well-woven detail and increasingly gratuitous self-awareness that eventually cycles back and ends up as seeming like they have none at all... okay, like most indie bands but that’s beside the point. This happens to be Wilbur’s least favourite song on the release – one that I haven’t listened to because even if I’m not too old for mindless pop music, Minecraft YouTuber alt-rock may be where I draw the line – and I can completely understand the distaste for this given that it starts with the line, “Why’d you have to kill my cat?” I also have some qualms with the song sonically as it may be the most derivative rock single I’ve heard on this series, given how obviously it rips from indie rock bands of the 2000s, with an oddly clean mix that doesn’t exactly fit the obvious stream-of-consciousness lyrics and Wilbur’s erratic delivery. Also, there’s a whole lot of trumpet on this song, which I guess is a surprise, but that doesn’t make up for a drummer who can clearly play very well but has to chaotically play over a song with practically no groove. I do like that second chorus in how it builds up to a somewhat anti-climactic guitar solo but as a full song I do not really get the appeal of this that I don’t get out of other post-punk revival bands from decades back who are still pumping out music. This isn’t bad – I swear, don’t dox me – but I just want something more compelling from this. I will always be glad regardless of the quality that we have more rock on the chart, though, even if this’ll be gone by next week.
#57 – “It’s a sin” – Years & Years and Elton John
Produced by Stuart Price and the Pet Shop Boys
One of my favourite performance from the BRIT Awards this year was Olly Alexander of Years & Years sharing the stage with the iconic Elton John to cover Pet Shop Boys’ “It’s a Sin” which had renewed interest from last year as it was the namesake for a hit TV series about HIV/AIDS, for which this fittingly played a role and has kind of been recontextualised as a gay anthem, which makes complete sense if you look at its lyrics about the Church telling Neil Tennant “how to be”. It’s also one of the Pet Shop Boys’ most camp and theatrical songs, so giving it to Years & Years and Elton John to cover for the BRIT Awards make all too much sense. No, they’re not able to live up to the theatricality of the original, especially if Alexander’s vocals are going to be this clearly manipulated at points, but with Elton John’s piano laying a perfect foundation for the rising intensity of the track, we do get a sense of that original melodrama, with the synth-work and house groove coming in before Elton John’s voice, sounding smokier and wiser with age, and in my opinion, more compelling as a vocalist, especially if they’re both going to sell this song with the most convicted of deliveries. I don’t think a cover could ever live up to that original iconic track but if anyone’s going to get close, it’s Elton John. Expect this to rise next week.
#50 – “Never Left” – Lil Tecca
Produced by ThankYouWill, Taz Taylor and Cxdy
I’ll always be annoyed that Lil Tecca blew up as a rapper instead of a producer, as I don’t think this guy has any likeability or charisma about his flow, cadence or delivery, and that’s only after you get over how dry and whiny his voice can get. However, he can make some great and incredibly infectious beats for other rappers, including a song I see becoming a hit soon in SoFaygo’s “Knock Knock”, which I will bet on at least making the Billboard Hot 100 if not the UK Singles Chart. It’s unbelievably catchy. With that said, Tecca is here in the form of some SoundCloud raps over a boring synth pluck and vaguely tropical Internet Money trap beat, sounding and flowing way too much like Gunna for his own benefit, or Gunna’s benefit, if we’re honest, as this shows how easily he can be replaced. I usually don’t write off this type of rap and will absolutely defend it, but this song isn’t even catchy or unique. I mean, I don’t like “Ransom” either but at least it was kind of fun and I still know the lines in the chorus a couple years later. I’ll forget all about this by next week if it doesn’t stick around. At least he shouts out Chief Keef. God, I hope he charts sometime, that’d be funny.
#45 – “All I Know So Far” – P!nk
Produced by Greg Kurstin
So, P!nk is back but not with a studio album, rather an upcoming live album in which the two new, original songs are about or featuring her daughter. This is the second single from said album and is probably coasting off her appearance at the BRITs in terms of a relatively high chart debut. I’ve never been that big a fan of P!nk but she has her classics, none of which are in the past 15 years but that’s beside the point. This single in particular is an acoustic ballad dedicated to her daughter in which P!nk provides a rapid intensity alongside pretty great-sounding acoustic guitars, pounding drums and strings that sells the content about empowering yourself, with some nice lyrical detail about always being yourself, basically, which would come off as cliché and preachy if it weren’t for some oddly specific lyrics in those verses and the chorus that basically just tell her daughter that despite the fact the world will constantly try to crack down on her and everything she does much like life does to anyone but especially women, she should stand up for herself and what she believes in. However, none of that cuts deep when she’s being raised by a millionaire, huh? There’s little Hell to be put through when you’re born with a silver spoon, huh, Willow? Regardless, this isn’t a bad pop song and its content isn’t as misguided as it is just sang by the wrong singer, although I’d find it hard to get a singer with as much rasp and wisdom in the mainstream to sell this as convincingly as P!nk does – vocally, not lyrically. This is a couple steps above that last single, “Cover Me in Sunshine” at least, which was just insidious. Next.
#32 – “Miss the Rage” – Trippie Redd featuring Playboi Carti
Produced by Loesoe
Okay, so all of our last three new arrivals are in the top 40 and we start with... o-okay, well, it’s 2021, anything can and will chart and I should know this by now, but it’s still surprising to see a song by these two guys debut so high, especially since Whole Lotta Red produced absolutely no charting hits in the UK outside of “@ MEH”, which doesn’t really count. This is Trippie’s highest-charting song ever in the UK that isn’t fronted by KSI, so I guess streaming must have been that good – also, the charts are still weak. For what it’s worth, I do like both Trippie and Carti to their respective extents, and I am aware that this is only as big as it was because of the hype from the leak, which also featured Mario Judah, and that in itself was a big song but it took years for Carti’s feature to be cleared by the label, as is infamously true for much of Carti’s work and even his last official collaboration with Trippie that was actually deleted after release. I’m still hoping on an official release for his verse on Yung Lean’s “Yayo”, but whilst we have this instead, I might as well talk about it and... Well, let me explain to you what I see as the appeal of these two rappers. That appeal is, mostly, that they don’t rap even though they both very much can. Trippie yells, moans, growls, screams and spends most of his work singing in his typical raspy, venomous voice, whilst Playboi Cart spits and coughs his way through substance-less ad-libs to the point where any actual wordplay or lyrical detail gets you excited for that brief moment. In this song, Trippie and Carti don’t eschew the typical role of a rapper and both just... rap normally, which would not be a complaint if they weren’t so bland in that role, which is the whole point of their unique, phlegm-filled deliveries in the first place. As a result, this song just ends up feeling empty, even if this awfully-mixed, bass-boosted beat with some lovely distorted video-game synths and hardly audible trap skitters does go incredibly hard. Don’t get me wrong: this is still catchy and Trippie flows very well over a beat that sounds made for him and Carti. Hell, Carti has grown on me so much recently that my fondness for this might just be me eating anything he releases up. With that said, he’s the worst part of the song as his baby-voice style emphasises how lacking this song is in just anything. I do like the wordplay at the tail-end of the verse as, yes, that happens, perhaps not as iconic as some of his other oddly profound or clever lines on his last record but at least it’s something. At least this is some interesting American trap, unlike...
#25 – “i n t e r l u d e” – J. Cole
Produced by J. Cole, Tommy Parker and T-Minus
The pandemic has affected the music industry to the point where big-name rappers release album interludes as lead singles. Said album has songs shorter than this interlude, with most of its dull filler feeling like additional interludes, quite unbefitting for such a big and hyped-up album from Cole which frankly is just another boring addition to an already consistently dull catalogue. I’m just not interested in what Cole has to say because he’s never been likeable and I feel like there’s better rappers that bridge the gap between old and new like how Cole sees himself as doing, the “MIDDLE CHILD”, perhaps, like, you know, Drake? If we want to go for a more direct comparison from lesser-known rappers, the direct comparison I use for this new record is Aminé’s latest, also made up of a variation of trap bangers featuring massive, charting names versus introspective, conscious lyrics, yet Aminé is an interesting character with quotable lyrics that aren’t embarrassing, knows how to write an actual hook and whilst he also brings on both classic and modern features, he’s never out-done by them, creating an actual bridge rather than just some guy who thinks he can write his own role in the industry and culture without his own music backing his case. Unfortunately for me, it works – every freaking time – largely because of his continually loyal fanbase but also a general public interest in the guy that I do not understand, especially when more than a decade into his career, he’s still pushing out mediocre projects. He cuts his album’s length by a ton and still ends up with a bloated record. I barely need to talk about the track itself, right? Even if it has as much structure and effort put into it as his normal songs do, it’s labelled quite literally as an interlude. Sigh, well, in this interlude, Jermaine raps over a drowned-out soul sample and admittedly, sticks to the topic of reminiscing on where he came from, the violence in Fayetteville, a similar violence of which was what killed Nipsey Hussle, who he compares amongst Pimp C and Jesus as they all died at 33. Cole himself is 36 so I guess for once he doesn’t think he’s Jesus. It took him a while to realise.
#12 – “Higher Power” – Coldplay
Produced by Max Martin, Oscar Holter and Bill Rahko
I assumed this would debut at #3 until the BRIT Awards performance gave it a boost to debut at the top but I guess everyone else had the same opinion of that awful opening performance as I did, because here it is at #12. Well, that doesn’t matter, right? Coldplay’s last album similarly underperformed... but at least that time, they had a genuinely ambitious album for once in their careers with some genuine experimentation and themes I did not expect to come out of Coldplay. It was a better album but not an accessible one, with its only pop single being a bittersweet anti-war anthem which trivialises bombing in the Middle East to onomatopoeia. It’s a great song but it wasn’t going anywhere, so it’s no surprise that their next lead single is a soulless synth-pop track produced by Max Martin. Admittedly, the synth tone in the intro is kind of unique in all its nasal 80s nostalgia, but, man, I thought we moved past just rehashing for a hit, Coldplay. This is pretty obviously just a crap attempt at being “Blinding Lights” which trades in its machine-gun loco-motive drum pattern for one that is a lot more stiff, and its iconic, memorable lyrics for a forgettable set of love-struck laziness. Oh, yeah, and Chris Martin is far from the Weeknd both in the studio and live at the BRIT Awards – seriously, dude sounded half-alive. This isn’t offensive, just a bore that is clearly a desperate label move ready for when they can tour again, and if their last record proved anything it was that Coldplay seemed like they were finally above that.
Conclusion
Well, that’s our week – again, a questionable one at best and kind of a bad one at worst. Either way, this is a strange array of songs and I do like how the UK Singles Chart subverts everything you’d expect of it so often that chaos becomes the trend, even if not all of it is any good. I guess Best of the Week goes to “Freaks” by Surf Curse, with an Honourable Mention to Elton John’s cover of “It’s a sin” with Years & Years. Surprisingly enough, J. Cole actually doesn’t get Worst of the Week as the album gets a lot worse than that interlude, so he gets a Dishonourable Mention alongside Starboi3’s “Dick” being crowned Worst of the Week, and honestly probably Worst of the Year so far, not that I’m keeping track of that. Here’s this week’s top 10:
What’s coming next week? More J. Cole, Olivia Rodrigo’s newest single and probably – and hopefully – some album tracks from Jorja Smith and Nicki Minaj. For now, though, thanks for reading. It’s a big week next week, and I’ll see you then!
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May 21: The 100 2x11 Coup De Grace
It’s late, my computer’s more tired than I am (and hardcore hates me and very well may decide to eat this entire post who even knows), and this is probably a bad idea but I’m gonna do it anyway.
Or at least start.
Another episode, or partial episode, of The 100.
This opening torture sequence makes me so uncomfortable. Which like I get is the point but tbh I’m just not into ‘look how unflinching we are at the realities of Bad Stuff.’ Especially when my tired computer is skipping and the sequence becomes, like...trippy. Trippier.
This is probably a super bad idea because my computer literally cannot handle video lol. I am going to restart it.
It’s actually kind of nuts that Monty’s been missing for 2 days and Harper even longer and Jasper and Maya are like ‘this is weird and upsetting but I guess we’ll find them somewhere!!’ Well, Maya more than Jasper. Mount Weather isn’t THAT big.
“You have to look like nothing’s wrong. Like everything’s okay” is so sad. I think it’s situations like that that make S2 my favorite, just b/c I’m a sucker for scenarios of enclosed tension. Like, forget war and blah blah blah, I want this, like... secretive, spying, being spied upon, uncertainty. That’s the real horror in a satisfying way.
Gosh his haircut is awful though.
When does Clarke learn to ride a horse?
I have literally no idea what’s happening bc I rewatch these eps so infrequently.
Clarke just got “yes ma’amed.” I find that semi-hilarious, not because she’s 18 but because you knew Grounders used words like “ma’am.”
I love Clarke’s single-mindedness. “We can’t stop for water. We can’t stop for anything. We’re on a mission. And Bellamy might have called!” AWWNH!Clarke is so OOC lol but she has a different background okay?
I’m not really in the mood to trust Abby about anything. Does she... actually make good decisions? I feel like you’d have to track her through all of the seasons but I am inclined to say...perhaps......not.
So the Mountain Men tried to assassinate Clarke and Lexa. Completely forgot about that.
The introduction of Echo. I just... I just have no opinions on her, I guess. Literally my only opinion is that she should have been the Ice Queen and, not being the Ice Queen, she’s just not interesting to me. I will say, she couldn’t have been in Mount Weather long if she knew who the Sky People are, as they’ve only been on the ground about a month. But also...why does she hate them? They were only fighting with Trikru, and Azgeda territory isn’t even, like, in the vicinity.
I love Dante but he has some major balls looking Jasper in the face and saying he doesn’t know where his friends are. I mean, he doesn’t, because Cage stole them, but how do you just MISPLACE people in a 600,000 square foot bunker? Where COULD they go?
I’m sure I’ve said this before but as someone who went to a high school with a uniform I find it HIGHLY unrealistic that all these teenage boys tuck in their shirts and keep them tucked in all the time without exceptions.
Jasper being protective of Monty <3<3<3.
So it was MW that told them there were no Ark survivors. Did I know that? Did I forget that? Not that it matters as my Clarke/Maya fic is done lol.
Dante is the most Hilarious and Wonderful of all of the attempted father figures on this show I said what I said--they’re all terrible but at least he bring the Weird Father Figure energy to 11. I’ll lie to you but it’s to protect you, call you son (always weird), super good at self-defense--ah-ha! sword at at your neck!
“This is not a toy.” If the sword is in MW it’s probably Important and Famous.
IMO and I completely stand by this assessment, it’s harder for Jasper to be brave than it is for other people, and he was really brave, and it worked, and I’m proud of him.
I realize this is also a problem with the literal world but we actually do know that torture isn’t effective so Indra being all upset that she’s not allowed to torture Emerson is just so....exhausting to me. Like Clarke isn’t suggesting not torturing him bc she loves the high ground and must walk it at all times. She’s suggesting not torturing him bc the last time she tortured someone, she got 0 good information. And even though neither of them know it, it was the shit information garnered from torture that led Finn to TonDC! Also if they had let Emerson die, the Grounder would have also still died--it’s not that they chose to use resources on one and not the other. They had two different types of wounds. I mean I guess if they’d brought them in faster without patching up Emerson in the field? That’s probably what she meant. However the Grounder Death Cult and their complete willingness to declare their fight over at the merest papercut makes me again less sympathetic to this point of view.
I’d literally already forgotten that someone tried to assassinate Clarke like an hour earlier. Abby doesn’t need to be concerned about that, lol, Clarke’s used to it!
Okay first I did have a longstanding headcanon that Echo had a crush on Bellamy going way back--I mean that’s practically canon, yeah?--but now I’m super convinced because in their second scene together, he sacrifices himself for her using information she gave him (that MW takes the loud/strong looking ones), even though she greeted him by spitting in his face, and actually, that was very heroic and selfless of him. I’d fall in love too.
Second, I thought she had no tattoos because she’s a spy or w/e but I CLEARLY see tattoos on her legs. And they are not white either.
I don’t think I ever realized that Maya found Bellamy because she was in the infirmary/harvest chamber looking for Harper and Monty. I do not have a good memory for each scene leading into the next. AND she think she’s found them when she sees how fast the random patient’s treatment is working, because that has to be a Sky Person and she would never guess Bellamy.
They really do just talk about their little torture machine casually all the time. “I need to go over the treatment schedule so I know how many cages to clear.”
Hey so like how did Maya get in if she’s not cleared for this facility?
What a wonderful time to remember yet again that if Bellamy knows who Maya is from her reference to Jasper, Clarke, who saw Maya and Jasper flirt like ONE TIME, must have told him about them, which is cute and funny all at once.
Maya: “I wanted to see what was so special about him, but... he’s dead.” Bellamy: Ah yes! I’m dead! * immediately closes his eyes * Why am I laughing so hard at this?
Good thing they take dead bodies down slowly instead of just thunking them on their heads.
Maya, Bellamy, and Echo v. Lovejoy is a pretty satisfying fight. Also, what did Clarke just say about Emerson talking b/c they saved his life? Echo helps Bellamy because he saved her life. Sometimes you get more flies with honey.
I tend to forget that Bellamy literally strangled this guy with his bare hands. Like it was self-defense to some degree, in that this had to be a fight to the death, but it was also just pure fucking rage. Like he said, he (like Clarke for a while) wants to kill everyone in the Mountain.
And then he thanks Echo and asks Maya if she’s all right. A True Catch. Tbh I could see something forming out of Echo and Bellamy here, but not after some of the later twists and turns in the later narrative.
Honesty, I’ve always loved Maya but... let’s just appreciate her, shall we? That was horrific, seeing someone she knew killed in front of her--and helping, because she knew he was on the wrong side, even though that was the same side she’d been on her whole life. Is she completely in the moment, or is she already seeing that there’s no way out for her here? That the people they’ve brought into the Mountain are really going to destroy it?
Bellamy coming out in Lovejoy’s clothes looks like a kid trying on new clothes at the mall before the new school year. Except he’s just dumped a body down a trash chute.
Like “I’ll come back for you, I promise”--I can see a basis for a ship in that. So far it is 100% built on how Echo would have to be dumb not to fall in love with Bellamy but still.
This Maya and Bellamy scene is amazing. I love every aspect of it.
Lemme just...watch that Jonty hug on repeat.
Honestly they even ended the scene with them walking out the door together even though there’s no way anyone could have moved Harper that fast and there’s also no indication of who moved her or how. Guess she’s...not that important...?? LOL??
Kane has only two modes: fairly ineffectual bastard or utterly ineffectual neo-hippie. “You’re not grasping the situation! We’re nice! Be nice to us!” I probably shouldn’t mock him bc he is me lol, I also would not know what else to say to Emerson other than ‘please????’ but still. Common sense and peace and love would be great but those aren’t shared values I guess.
And then he goes 180 to ‘let’s torture him then?’
What you should be doing is good cop bad cop. Or like, wearing him down with repeated questioning? I heard that’s an effective interrogation technique, although here Emerson has a certain advantage of time and that his interrogators are way more easily annoyed than he is easily worn down or confused.
Anyway I remember now. Clarke ultimately solves this problem with that ultimate BDE moment, sending him with a message and 6 hours of oxygen. She really is just the Smartest.
At least Kane acknowledges that the Chancellorship is a completely random title since Abby literally just kinda stole it? Like Jaha is the rightful Chancellor and Kane is the second-most-rightful Chancellor and she’s just sorta...there? But it also doesn’t matter because as established, Clarke is the one actually in charge.
This Bellamy and Maya elevator scene is also the kind of tension that I like. Is Bellamy...legitimately considering shooting him? In the elevator? That would end badly lol. He has this idea to just start randomly offing people in public/enclosed places, while Lexa is all like ‘we can’t save TonDC bc it would blow Bellamy’s cover!’ like the irony.
I wonder if the MW classes are like...to some end, like, mandatory schooling that must be completed, or if they’re just like for funsies? I think the second, partially because it’s an “Expressionist class” which doesn’t seem like the Three Rs and partially because this dude doesn’t seem upset that Maya didn’t show, like he’s just vaguely wondering where she was.
“We’ve accomplished great things” in that tone is like the MOST American thing I have ever heard. (I can say this because I’m American.)
“We’ve been bleeding people to stay alive for generations. That’s our legacy” is true in the sense that Dante’s line in the sane is...truly in the sand. But also has it been ‘generations’? I’m not sure you understand how time works, show-as-a-whole. I mean maybe this is technically true? They probably discovered Grounders like....50 years ago? Which is sort of “generations.” But when you say it like that it makes it sound way longer.
You wanna root for Dante over Cage because he’s on the side of our heroes but in terms of like bitter logic Cage has the advantage. What they’ve already done and what Dante has managed to rationalize to himself is bad enough. They’re already Doing Bad Things, doing yet more bad things isn’t going to bother anyone. Especially when these extra bad things (1) come out to the same--torturing/killing people and (2) lead them to a permanent home on the ground.
I wonder if Dante/MW justified what they did to Grounders with stories of them being like...irradiated mutants. Like literally inhuman. So it ‘doesn’t count.’ I mean objectively they’re wrong of course but I mean in their heads. And then for Dante the line is so obvious between killing radiation casualties and killing just normal humans like themselves, whereas for Cage--who sees the Grounders more because of Cerberus, and knows they don’t look that much different, that they are also just people underneath the masks and big clothes--sees no difference between the Grounders and the Sky People, and if he’s already sullied himself by using one set, he can continue sullying himself, for a greater cause, by using the other set. It’s just a question of which story you’re telling yourself and how much you’re willing to lie.
The plotting of this season is, overall, very good. Especially in the second half.
I think Clarke’s default mode when stressed is order giving. It’s part of the control thing. She’s okay if she has everything under control, and if she knows everything, and when she has all that knowledge and control it just...spills out of her, directing people with what they need to do and where they need to go.
Whereas Raven’s in full ‘falling out of love with Clarke’ mode.
Also I think Clarke is very quick to comfort people and she is genuine in this but because she ALSO has her agenda and her strident tone and her controlled demeanor, it can look like manipulation. Or at least, if I were her friend, I would always wonder if she really cared or if she just wanted me to calm down so my emotions weren’t in the way of The Plan.
My 15 second Raven, Clarke, and Octavia scene. Lemme just rewatch this a bunch of times too.
“Jackson found genetic marker anomalies that can only come from someone born on the Ark.” Remember when people were theorizing that this was a big deal in some way? The Arkers were genetically modified to withstand space? I remember that being a theory. Anyway in retrospect, it’s just a Plot Device. Possibly a Pseudo-Science Plot Device I would not know.
Never mind. “We were genetically engineered. They weren’t.” So it is in fact canon, just meaningless canon. HOW IS THIS SOME RANDOM THROWAWAY LINE?
Clarke’s feral moments are the best.
It’s cute how Abby continues to think Clarke isn’t in charge.
Having Bell run into Lovejoy’s son is cheap but effective. I still remember that scene and I can really feel the full effect on him through Bob’s acting and the music. I also always remember that line “What did you expect you’d find here?” Because the answer is obviously ‘monsters.’ They had their simple narrative too: about how MW were the bad guys and thus they could destroy them all and it would be vengeful and feel good. But it’s more complicated than that: everyone in the Mountain is complicit in terrors. But many of them passively so. Bellamy was ready to kill all of them, and so was Clarke, but he changes his mind based on this encounter, tells her about it over the radio, and makes HER change her mind and in fact change her entire plan, by the time she explains it in 2x15.
And it’s sad for Maya too because Bellamy is being aided by her but she is still a Mountain Person. It’s easy to say ‘she’s an exception, she’s Jasper’s friend, she’s our friend.’ But she’s done everything he hates the Mountain for. If the whole Mountain is evil, she’s evil. And to the extent you can’t be both pro-MW and pro-Sky People, she’s put in this impossible position of choosing sides, or trying to switch sides abruptly. Bellamy sees that, and it’s like yet one more additional layer to his guilt over what he did, because he sees a new angle to how it affected Maya, without whom he’d be dead.
Jonty the leader couple. And Jasper’s face when Monty says “We’re not safe here.”
S2 is my favorite bc of plotting like this episode: just as the 47 are about to leave, Cage stages his coup. Just as Bellamy is about to see his friends, the doors lock and they’re trapped. The moment when Jasper sees Bellamy--with absolutely no reason to believe this could even be possible. In trying to plan fics that use S2 I tend to get confused about the plot bc it goes back and forth and circles around a lot, but in actually watching it, it’s quite effective, and I think part of the circling confusion is just bc there are so many moving parts, people need to be in the right places at the right times, meet and separate at the right moments, so it can read awkwardly in summary. But they did a good job ultimately, I think.
Another thing about S2 generally is that even though it’s much more expansive than S1 in terms of locations and number of characters and groups of characters, ultimately almost everything revolves around one story (except for the CoL setup stuff), and 2 main locations that have meaning, with various points in between. So it is more concise and more centralized and more meaningful than later seasons, which become increasingly spread out and disjointed. Or so I try to explain to myself at 1am.
Yaaaay emotional Princess Mechanic and then Bravenlarke. I live for these moments when characters are just like...emotional together.
I don’t know if I find it realistic that Clarke would be like ‘it’s over’ so fast but nevertheless I like Raven and Bellamy picking her back up.
Clarke’s relieved face...she’s in love.
Bellamy: I’m fine. Me: He’s a liar!!! But I guess they can talk about his emotions later.
When they’re all together, they’re all better. Like immediately. Even Clarke’s “Raven’s going to help you” with a little look to her, like, this isn’t an order, and Raven nods....
I love that Bellamy took Maya’s expression to mean “It’s not a problem” when it quite obviously meant “It’s a huge problem.” But also Clarke smiled for .05 seconds so I think she knew he was a-lying. This could be a sitcom if it were a totally different show.
Weirdly, I watched part of 2x15 again for a fic I decided not to write atm and...they don’t actually use the Grounders as a Trojan Horse army. Their plan NOT to kill everyone including the kids meant basically that they used their real army as a distraction and then just took the inside-Grounders out the back way. Or that was the idea. Which in retrospect is actually kind of disappointing.
Clarke’s power walk through the hallway with her Grounder Entourage is just so....satisfying. This is the emotional payoff that got me into this show.
Clarke just literally staging a coup against her own mother, using the Grounder force that sees her as a leader, is so.... I feel like I have never appreciated it before this rewatch. I think in the past I found it kind of annoying tbh. But this time I like it a lot more. I like Clarke’s just insane levels of confidence and self-assurance. It is a good look.
First of all the parallel to the Wallaces. But more importantly, I always wanted this big story line of Delinquents Versus Arkers that never fully came as I wanted it, but this is pretty close, where she’s just used to being in charge by now, so you know what, she is. And the only thing she needs to make her desire for power real is muscle, which she has, thanks to Lexa, so she uses it. It’s also very satisfying. And should ultimately have been the groundwork for the delinquents to form a separate community but WHAT DO I KNOW?
All that said, and this isn’t contradictory, but Clarke picks like the MOST inflammatory way to go about her plan. She just does it, she gives no explanation, she stages a showdown at the gate with her own Mom the Chancellor. There is a subtler way of doing this. But I like that she didn’t do subtle because it’s IC for her. It’s IC for her age (who is more Dramatique than a teen?) and it’s IC for her place in her hero’s arc: under L’s influence, she’s becoming big-headed, leaning into the sin of pride, here in the form of “I do can do no wrong,” and by 2x16 in the form of “I can do no right, no one has ever been more wrong than I, no one has ever been more sorrowful than I, let me perform penance in the woods.”
Pride: the most annoying deadly sin.
Anyway.
And Kane, who always bows to the Alpha Female in the room, immediately enables Clarke’s Drama.
“Let our people go and we’ll let you live. It’s just that simple.”
“The Grounder army is bigger than you think and the acid fog can’t hurt them” is honestly a bluff though? Because again, they do not use or even PLAN to use the inside Grounders and they DO plan to take out the acid fog so??? I guess the point, if she was protecting Bellamy, WAS the bluff, WAS the distraction.
I think it was unnecessary to take out his O2 but I guess she’s really just showing off, which again is IC and I guess has the purpose of showing MW she means business and is Not To Be Fucked With. Still, it is important that her message make it to MW since it’s the distraction Bellamy asked for, so it seems like something of a risk to make it hard for the messenger to arrive home safely.
I do like that she gets to use that classic retort “That sounds like a you problem.”
And so.... I meant to go to sleep like 3 hours ago, and my power is flickering. Time for bed. The end, goodnight.
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The person that send the ask about JRoth refering to Echo and Madi in the past had/got made me take a sec and think because i understand refering to E in the past because i think that BE are going to break-up but why would he refer to Madi in past tense? and then i remembered aa spec that you sai regarding Madi staying in the planet and Clarke leaving with the others, i think? do you really think that would happen and can you talk more about it? 1/2
2/2 i mean i just don’t see Clarke leaving her daughter alone in another planet, altough there is always the whole flame thing, idk how that is gonna affect their relationship but i mean, would Jason really take away her daughter? that’s a new low, even for him lol
He might just have spoken about them in the past because he was speaking about what happened to Clarke and Bellamy over the time jump. That was all in the past. What happened OFF screen affected who Clarke and Bellamy were in the current timeline.
As he’s writing, or storyboarding, that means that he’s developing THEIR story based on the past. It might have been a mistake just based on his focus as he writes. None of what they say in cons is edited, you know? You can’t expect them to be perfect or precise.
My speculation about them leaving Two Suns Planet is PURE speculation and just something they COULD do based on certain themes and foreshadowing and tropes and archetypes. It doesn’t at all have to be story they go for. Just ONE story path.
But you say that taking a characters daughter away and leaving her on a planet alone with others is a new low for JR?
I think that is the EXACT SET UP OF THE 100. Abby Griffin lost her daughter, who was sent down alone onto a poisonous planet with 100 delinquents.
New low? Or, hey, what this show is about?
Oh. Is it different because Madi is so young?
Charlotte. Tris. Baby Lovejoy. Aden. Ethan.
Kids don’t escape violence, loss or death on this show. This is BUILT IN to the narrative.
Don’t confuse a plot line that you don’t like with something that doesn’t fit. Because it DOES fit. It’s pretty standard that kids on this show grow up a LOT faster than kids irl. And Madi HERSELF was left alone at the age of FIVE. So the concept that JR wouldn’t POSSIBLY leave a child alone is ABSOLUTELY FALSE. BTDT. Pay attention.
In many ways, this show is about the new generation, THE KIDS, learning to find their own power and stand up and change the world for the better. All our delinquents except for Bellamy were kids when they landed on earth. That is the NATURE of this show.
You identified with the kids, so you didn’t notice, except for occasionally, that our kids were actual kids, because you were inside their heads and instead you saw the freedom and the power and the challenges and the heroism. When we looked at the PARENTS, we saw them as characters who did stuff TO the kids, who abandoned them or abused them or sent them to earth or betrayed them or whatever it is. Maybe you didn’t notice because all the actors were playing younger than their real age, because the show WANTED you to think of them as active adult principals. But Jasper and Monty? What were they? 15? That’s only a few years older than Madi. And they had NEVER been left alone to survive by themselves. They weren’t as capable. Maybe the subtle shift of adults playing kids to kids playing kids means that the writers want you to think about what it means to grow up, to be responsible, to be an adult or a parent. Remember, their initial thought was to make the commander a child. They’ve actually gone BACK to their original concept.
NOW you’ve got YOUR kid as the parent, as the person who is the hero with the motivation and desires and goals. So you see Clarke as the active principle and Madi as the passive one. But it’s the SAME story.
Clarke raised Madi to be independent, she was driving and going off alone at 11. Hunting and gathering and facing a post apocalyptic earth alone. That’s how she raised her. Now that people are back, Clarke is clinging to Madi and trying to keep her safe when before she’d raised her to keep HERSELF safe.
We’ve already seen Clarke struggle with the same thing Abby struggled with. Learning to LET HER DAUGHTER GO TO MAKE HER OWN DECISIONS. The audience is sometimes outraged that anyone would allow Madi to make these life or death decisions intended to save Clarke, but Clarke was making life or death decisions from ep 1, and we were outraged that Abby would try to stop her and keep her a child.
So what I’m saying here? This is a THEME we’ve seen in The 100. Madi is a bit younger, but she is also just as capable as Clarke. We have SEEN her be capable.
Would JR have Clarke lose Madi?
He had Abby lose Clarke, didn’t he? So yeah. He would. It isn’t some worse horror inflicted upon her. It is a cyclical story. The parent must release her child to her own future as her parent released her. The youth shall inherit the earth.
Actual literal line of dialogue. They PASSED THE BATON.
So, we need to pay attention to these things if we want to understand something more about the story.
so my theory about return to earth? ok
so the idea is that they will have to leave planet two suns, that they will have to DESTROY the comfortable, peaceful human society on the planet because it is, like MW, evil. I think we’ll have a parallel to MW. We already know that the eligius 4 mission was a colonization mission, intent on USING the planet for resources because the earth was used up. This is the bad kind of colony.
We’re also contrasting “doing what is good for you people” with “doing what is right,” and I’m afraid that joining Russell in a peaceful world where their people can finally live life, which would be GOOD for their people, will actually be harming the planet and either another segment of humans OR the native aliens on the planet.
So in order to do the right thing and be the good guys, they’ll have to destroy this “peace” and sacrifice and easy life for their people.
This would help Clarke and Bellamy resolve their trauma in MW, where they had to DESTROY an entire people, and never made peace with the fact that they HAD to because those people were not JUST another society, but a TOXIC one who was using other human beings as cattle and torturing them, and intending to take over the surface.
So while this made her think maybe there were no good guys, the truth is, that even though they committed genocide, it was because that society was EVIL. They WERE the good guys. Sometimes you HAVE to do harm.
So I think we’ll see this again and this time they will recognize that the choice is to let evil flourish through passive inaction and possibly benefit, or GIVE up the soft life and save a planet and a people from subjugation and STOP the cycle of violence that humanity spreads.
See, we’re working on making sure that Humanity DESERVES to survive. So being faced with a pretty, peaceful society that does not DESERVE to survive, means they have to make active choices against it.
The thought here is that they are subjugating or enslaving the aliens or alien/human hybrids or lower class humans of this planet. ECHO, being a child soldier and slave for the throne, while not feeling like she belongs to spacekru, will feel a kinship with the slaves on the planet and she will stay with them.
The other possibility is that Becca has given an ALIE AI to the new planet, so the flame is not irrelevant. Because the flame was created to STOP ALIE. So if there’s another ALIE helping to subjugate these new people, then the FLAME, aka Madi, is there to stop that. COULD someone else take the flame? Yes, because they’re all going to have to be nightbloods. But it’s possible that Madi herself feels too much responsibility and wants to stay to help the new people. but the story here would mean that Madi wouldn’t be alone, but Echo would be staying with her, as her protector. IDK.
I don’t know it’s an idea. I got it when I realized that Raven said, “Just once I wish I could take off of a planet without it being on fire,” and she did that TWICE, which means the magic number three might have that coming true. So then I imagined raven taking off of this new planet, NOT on fire, but still needing to leave because they destroyed the “peaceful” society. Like breaking the cycle means they leave it a better place, rather than the earth, which humanity has killed.
Also with the way the time is going, it took 75 years to fly to the new planet. If they go back to the earth, that’s 200 years total, which is the ORIGINAL speculation for how long The Ark would have to stay in space before Earth would be livable. That’s just too neat a coincidence for me. Makes me think that in, maybe s7, they might be back on the earth again.
All just ideas. I know it’s wacky. But I’ve had a lot of wacky ideas, like using Cryo sleep to escape praimfaya. Or the exodus after they lose Eden. Heck, I told y’all after hakeldama that this show requires Clarke and Bellamy to be TOGETHER in order to work. So I have wacky ideas that I put together when I think about various narrative elements. So here. Have some more.
Also. Because we’re all responsible for our monsters when we let them out, right? Well humanity destroyed Earth. Do they really get to just ditch it and find .a new planet to ruin? I feel like they need to go home and face the mess they made of their planet. To EARN their survival, they have to fix what they did. They have to make amends. Stopping it from happening on another planet might do that, but also, taking care of the planet they hurt.
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Welcome to my unnecessary sort-of-review of Lovejoy's second EP, Pebble Brain ! All opinions are subjective and though I do have actual, technical music training, it's not super relevant because I just like things :)
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Oh Yeah, You Gonna Cry?
The vibe really matches the cover art, if that makes any sense; it feels bright and fresh and even kind of beachy. The instrumentals are absolutely killer, Ash, Joe, and Mark (and Wilbur !) did fantastic (and continue to do so through the whole EP). The lyrics are nice because I actually understand what they're about for once (I think); and the vocals are super high-energy and sharp to match. It feels like they've already improved as a unit. (Though this song specifically is, I would argue, a little repetitive.)
Model Buses
I took notes while listening and just wrote "killer instrumental" again, but I wasn't wrong ! It feels both cohesive with the last track (as a body of work really should be) and distinct as a song of its own (which is great - a lot of artists fall into the trap of turning their albums into a sort of run-on mush). The tune feels reminiscent of both Sex Sells and Cause for Concern in places, but the lyrical themes set up the rest of the EP and remind me of some other writing Wilbur's done (about fear of the future in particular).
Concrete
OBSESSED with the lyrics on this one ("I hope the saltwater ruins your clothes" caught my eye immediately). I like the somewhat abstract structure (for lack of a better term) with the stripped-down chorus and much more punchy verses. Not super standout to me, since I can't actually recall what it sounded like after one listen, but it's a very solid song and I think it's gonna grow on me.
Perfume
I've got a special place in my heart for this once since we got to hear it early (and I looped it... a lot) but it genuinely is so catchy. A bit different than I expected - the backing is both clangy-er and less gritty than it sounded in the snippet - but I think the changes take it further away from the style of AYA and make it a better fit for PB, as well as making it the most polished track on the EP up to this point.
Shoutout to the verse, "You say your ex-boyfriend's a policeman/Well, I say you need better standards."
You'll Understand When You're Older
This song has a good mix; I feel like Wilbur lets his voice get lost in the instruments sometimes, but here his vocals remain gentle without getting overpowered. The lyrics are also super interesting, but not so complicated that I get confused (which, y'know, might just be a me-thing, but I feel like Lovejoy really loves to scramble their pronouns). RIP Soft Boy with the use of the trumpets and "and if you think that it gets better" - that little guitar riff near the end is SO GOOD and is gonna be stuck in my head for days.
The Fall
To me, this feels like the Cause for Concern of the album. Not because they're similar necessarily, but just because it strays the furthest from the central energy and pattern of the rest of the songs (with some deviations even within them, of course). The chorus surprised me (in a good way) and even though he's just kind of talking, he gets a lot of emotion through. It's almost an entire performance in and of itself, even just as audio. I feel I actually get what this one's saying too, which is nice; I really like its more direct storytelling style and the things it says in-between the actual lines.
It's All Futile! It's All Pointless!
A very different sound - both from the original and from what I thought it might end up being, but not at all in a bad way. Wilbur's higher register is amazing and it really fits the band's style over what was MIWB. The pre-chorus falls a little flat imo, but I really love everything they did with the chorus itself, from the balance to the funky little drag on "drain." The new approach really adds a sort of distance that's more than welcome; the original sounds like the downtrodden college student speaking while this feels more like a retrospective. And as such, I believe it that much more when he uses words like infestation. As though he really doesn't want to be involved in this still - truly doesn't miss her - but is so attached to everything that was there.
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I don't have a good wrap-up for this; it's a really fun EP with a lot of strides forward from their already-great last one. I'm super happy with it as a listener and I can't wait to scream these lyrics in a crowd one day :D Stream Pebble Brain and support the artists !
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