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dramioneasks · 4 years

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HP FESTS: Dramione RomCom Fest (Part 1)

Dramione RomCom Fest 2020:

12 Years and 3 Months by pixiedustandbluebutterflies - T, one-shot - As news of their engagement takes Wizarding England by storm, elusive power couple Draco Malfoy and Hermione Granger are finally sharing their love story in this Witch Weekly interview!

50 (First) Dates with Hermione Granger by HufflepuffMommy - G, WIP - Draco Malfoy sets his heart on romancing Hermione Granger, but she has short-term memory loss; she can't remember anything that happened the day before. So every morning, Draco has to woo her again. Her friends are very protective, and Draco must convince them that he's in it for love. Plot (andsummary) taken from the movie "50 First Dates" for the Dramione RomCom fest!

About Time by WordsmithMusings - E, WIP - When Draco's Father reveals to him that the men in their family have the ability to travel back in time, he uses his newfound gift to do many things - save a life, be a better friend, reconnect with a witch, and fall in love.

All's well that ends well (to end up with you) by weestarmeggie - M, one-shot - Hermione Granger is all set to be the maid of honor at her best friends wedding. She is taken back when she finds out that the best man is none other than her ex-fiance.

Away by In_Dreams - E, WIP - Desperate for a change of pace, Hermione unknowingly commits to a home exchange with Pansy Parkinson and finds herself swept up in the chaos of New York City and into the arms of Draco Malfoy. Dramione/Hansy. Loosely inspired by The Holiday.

Bells on a Hill by HeyJude19 - T, WIP - Left by his fiancée a month before the ceremony, Draco never got his dream wedding, so agreeing to assist Granger with her own wedding planning to distract himself from his broken engagement seems like a great idea—though Draco probably shouldn't fall in love with the bride-to-be. Based very (very) loosely on The Wedding Singer.

Chasing the Future by Rdlentz8 - T, WIP - An unusual and anonymous Patronus finds a frustrated Hermione alone in the library and talks to her about being lonely. Could this be the push she's needed to change her fate? Inspired by A Cinderella Story. There are direct quotes from A Cinderella Story.

Domino Effect by KoraKwidditch - M, WIP - Resolved to live her life in Muggle London, Hermione Granger finally felt free. Free from the Ministry, free from her celebrity status and everything that entailed. But who knew that one cataclysmal incident would lead her straight into the Malfoy's den and down a series of unfortunate events? At least they think she's a Muggle.**A Dramione retelling of While You Were Sleeping**

Fairytales and Wishes by Charlie9646 - T, one-shot - All Scorpius wants is for Hermione to be a nice step mother, but somehow that sort of gets lost in translation with his accidental magic.

Flipping Through the Pages by DarkAngelOfSorrowReturns - T, WIP - Draco Malfoy had a fascination with a popular book series and its writer. His life changes when he meets her.

The Hate List by bethelson - T, WIP - While chaperoning the post graduation trip, Hermione and Draco find themselves wandering the streets of Paris in the middle of the night, fruitlessly searching for the seventh years they were supposed to be in charge of. What Hermione doesn’t know, is that those seventh years struck a bargain with Draco to keep her occupied so they could sneak out for a last hurrah before they all head back to London. So in his efforts to derail her search, he convinces her to join him in their own night of frivolity. As they paint the city red, they slowly learn to let their guards down, and find that putting the past behind them allows them to finally focus on the present. ___ My contribution to the Dramione RomCom Fest!

Hollywood & Vine by dreamsofdramione (Bugggghead), msmerlin - M, WIP - As the manager of an occult bookstore currently renting a room from an old friend and living paycheck to paycheck, Hermione wasn’t exactly living the Hollywood dream. But her life is turned upside down when a chance encounter with Tinseltown’s current heartthrob, Draco Malfoy, leaves her questioning everything she thought she knew about life and love. or the one in which Hermione unintentionally falls in love with a movie star.

Home is Where the Heart Is by lrs002 - T, one-shot - A rewrite and Draco/Hermione look at basically the last scenes of the movie Sweet Home AlabamaOr in the other words: The Wedding and the Kiss

How to Lose a Wizard in 10 Days by GracefulLioness - E, WIP - Hermione will do anything to prove to her boss at Witch Weekly that she's ready to take on more serious topics, including dating a man just to drive him away for the sake of her next column, How to Lose a Wizard in 10 Days. But pushing Draco Malfoy away proves to be a challenging task, perhaps because he's got ten days to make her fall in love with him. Inspired by How to Lose a Guy in 10 Days.

It Happened One Knight by Klawdee - T, WIP - “A spoiled heir running away from his family is helped by an old classmate, who is actually a journalist in need of a story.” Based off of the 1934 film, It Happened One Night

It's All In The Malfoy Family by TwilightToMidnight - M, one-shot - Over a decade of longing and desire comes to fruition one night. Not quite the way Hermione expected but definitely with a bang. Everyone and their dog seem to be working against her. For the 2020 Dramione RomCom Fest. Loosely based off Sabrina (1954 - with Audrey Hepburn).

Love, Actually in Dramione by Blessedindeed - G, one-shot - I absolutely love the movie "Love, Actually" and was so excited to make some art pieces from a few of the more memorable scenes! Many thanks and kudos to QuinTalon & NuclearNik for hosting and being such amazing encouragers to everyone! I cannot wait to dive into all these fun pieces!!

Love, Hermione by pandora_rose_xo - G, WIP - When Hermione leaves some personal letters lying around in a sleepy haze, Dobby comes across them, and trying to be helpful delivers them to their recipients. Who were never supposed to see them.

Metamorphosis by persephone_stone - T, WIP - Draco Malfoy is king of Hogwarts High—student body president, captain of both the water polo and basketball teams, and boyfriend of Astoria Greengrass, the hottest girl in school. That is, until said girlfriend returns from Spring Break with some unexpected news: she’s dumping him for a college boy. Now, Draco is on a mission to win her back. And who better to help him turn into a more intellectual, cultured version of himself than Hermione Granger, the smartest girl in school? As he and Hermione spend time together, will Draco learn how to be the right type of boyfriend for Astoria? Or will he instead learn that maybe Astoria is not the right type of girl for him? Written for the Dramione RomCom Fest, based on the 90’s teen romcom She’s All That.

Midnight in Paris by Aneiria - E, one-shot - ‘Granger,’ Draco replied, casting a quick wandless charm to clean his own clothes. ‘Want to watch the magic you’re casting next time? Whatever spell that was, it nearly took both of us out.’ Hermione’s face settled into a frown of confusion. ‘I thought that was you,’ she said, hesitantly. ‘I wasn’t using magic.’ They both looked away at the same time, taking in their surroundings. ‘Where are we?’ Hermione wondered out loud, as she spun on the spot and took in the sights. It was the wrong question, really.

My Big Fat Muggle Wedding by BiscuitsForPotter - G, one-shot - Draco's gotten more used to having Muggles as future-in-laws, but what about his parents?

No More Waiting by anchoredto717 - T, one-shot - The end of Hogwarts, an impending Mastery, and confirmation that Hermione is well and truly over Ronald Weasley: three factors that push Draco into a place he never imagined. Is he really going to Harry Potter’s house party? A one shot heavily inspired by the 90s teen classic, Can’t Hardly Wait.

Off the Rails by RoseHarperMaxwell - E, WIP - For the Dramione RomCom Fest 💚 My adaptation of the movie Trainwreck (Amy Schumer/Bill Hader), featuring Draco in Amy's role. “Pans.” Draco’s head falls back petulantly. “I can't interview Granger, especially not about how she's healing Potter. Neither of them are going to want to talk to me. Make Creevey do it.” “No, you'll do it. And don't sulk at me, Draco.” Pansy shuts him down immediately, not that he expected to talk her out of it. She gives assignments, not suggestions. “Old Quidditch rivalries. Gryffindor Princess confiding in the Prince of Slytherin, with a side of The Boy Who Lived. You’re the only one for it.” She drops her pen on her notepad with finality. “She’s also fit as hell now. I’d even fuck her, so our readers will be drooling over her. This is easy, Draco. Don’t fuck it up.”

One Thing We've Got by IrisCalasse - M, WIP - Over a decade after the Second Wizarding War, Draco Malfoy is a broke socialite straddling the Muggle and magical worlds. One day a new neighbour moves in his residential complex. What has happened to Hermione Granger to make her hide from Ronald Weasley? If Cormac McLaggen is gay, why is he hanging around Granger so much? And why does her cat seem to know way too much about everything? Based on the plot of Breakfast at Tiffany's, but set in 2012 London with a magical twist. Updates every 16th of the month.

Pin down your heart by hiyas - G, one-shot - Hermione Granger contemplates a door when Destiny comes knocking.

Playing Cupid by tygermine - T, one-shot - Set It Up AU.

Pretty Witch by TakingFlight48 - E, WIP - When confronted with the opportunity to take on an alter ego - Hermione Granger, Potion's Mistress and the Wizarding World's Golden Girl became Vivian Roberts - London's weekend escort. For three years she lived in this duality until Draco Malfoy, lost in Soho and driving a precious DB6, wound up uncovering her secret. This is the tale of Hermione Granger and Draco Malfoy finding a balance between work and love through the guise of fake dating, unacknowledged feelings, and Hermione not wanting to let go of a part of herself that is no longer serving her.

Promises, Promises by Musyc - T, one-shot - Lawyer and social work advocate Hermione Granger is one signature away from fulfilling her dream to have a house-elf education program. All she needs is to seal the deal, and Draco Malfoy has promised the full support of Malfoy and Son Developments. But the owner of the property is balking, there's a new buyer in the mix, and a promise isn't a contract.

The Proposal by FaeOrabel - M, WIP - When Head of Creatures Division of the DMLE, Hermione Granger, is pushed into a corner regarding a new marriage law she doesn't want to comply with, she gets the brilliant idea to stage an engagement with her long time, loyal assistant, Draco Malfoy. Draco goes along with the charade on the condition she gets him promoted to a new position. A deal set, they prepare to fool not only the Minister of Magic, but Hermione's best friend, and Draco's entire family. What could go wrong? Just the threat of Azkaban should they fail.

PS I love you by emotionalsupporthufflepuff - M, WIP - After a tragic accident, Hermione must reintroduce Draco to a life they've built far away from home. She recieves unexpected help in a series of letter written by Draco himself before the accident...

Regrets Only by nztina - T, WIP - Draco and Hermione are the best of friends - until Hermione goes off to teach at Hogwarts and Draco realises that he doesn’t just miss her. Upon her return to London, he intends to reveal his feelings, but she has a surprise of her own, one that will definitely put a damper on Draco’s plans. Draco. Hermione. And...Hermione’s fiancé?

Restless in Ripon by QuinTalon - T, WIP - Scorpius Malfoy wants his father to be happy again and as his grandfather often told him, a Malfoy always gets what he wants. A nosy radio host, well-meaning friends, and fate will help bring two lonely souls together. Well, that and one tenacious eight-year-old.

Rushing Back by floorcoaster - M, WIP - Draco Malfoy is thirty, surviving, and very much not thriving. He's near the utter end of himself when he experiences the worst of all possible bad days--a double betrayal that rocks him to his core. Unmoored, untethered, he winds up in a strange place, where he begins an adventure through time that will change the course of his life. A time travel fic with a twist on the movie "13 Going on 30."

Say Anything by MidnightValkyrie - G, 9 Chapters - To know Draco Malfoy is to love him. Hermione Granger is about to know Draco Malfoy. Written and created for the Dramione RomCom Fest, based on Say Anything.

She's the Snake by monsterleadmehome - E, WIP - In a universe where Voldemort never came back, Harry lives with Sirius, and Dumbledore isn't dying, the worst thing the Golden Trio has to contend with is their grades and Quidditch matches... oh, and the recent magical attacks on Muggles and Muggle-borns. Harry is sure Malfoy had something to do with it, and though Hermione doesn't agree, her sarcastic offer somehow turns into her latest nightmare: to go undercover as a boy in the Slytherin dorms and find out what's really going on. And maybe throw a Quidditch game or two. But there's one thing she hasn't prepared for: falling in love with the boy she's supposed to be spying on.

Signed and Sealed by niffizzle - M, WIP - She owns a children's bookstore. He runs a corporation buying significant shares of small businesses. Never in their lives have Hermione Granger and Draco Malfoy gotten along — or so they think.

Timing is Everything by anne_ammons - M, 7 Chapters - Draco Malfoy is your average bachelor living an average bachelor's life, until he crosses paths with his former classmate, Hermione Granger. Strike that - when has Draco Malfoy ever been average? A retelling of the 1994 movie, Four Weddings and a Funeral, Dramione-style.

A Trip to Kouloura Beach by rennaissance_woman - one-shot - A day at the beach, what could happen?

The Truth About Kneazles and Crups by samkablam7 - T, WIP - When Draco Malfoy started hosting his wizarding radio show The Truth About Kneazles and Crups, he had no idea that it would bring Hermione Granger back into his life. He also didn't know that they would both be interested in each other. The only problem? She thinks that the radio host she's interested in is his best friend and Pro-Quidditch-player-wannabe, Blaise Zabini.

Untitled Marital Crisis Comedy by Darlingheart - G, one-shot - Draco is rich, handsome, and most importantly, excellent with the ladies. Harry Potter is not. Which is where Draco comes in. With Draco’s help Harry will learn there’s more to life than being a one-woman man. But what happens when Draco meets someone who changes his mind? And what does Hermione Granger have to do with it...

A Woman of Some Dignity by mcal - G, one-shot - That seemed to get his attention. “What are you—of course I respect you, you daft witch!”

“Your actions today show the opposite!” I answered. “And now if you’ll excuse me, I’m a woman of some dignity and I’d like to shower in peace. You’ll kindly wait half an hour before Apparating back to my flat.” Hermione's not one for diaries, but it's been a week to say the least. It all started off with a confusing meeting with Draco Malfoy in her office, and... well, Hermione thought maybe recording her thoughts on the events would help her process. She isn't wrong.

You lost and lonely, You just like heaven by Wake_The_Dragon - T, WIP - Dramione Romcom Fest. Hermione Granger had needed something new and a change of scenery was a good start. What she hadn't counted on was renting a flat with an annoying (if handsome) ghost, who claims he isn't dead. Somehow, helping out a ghost and falling in love were two things she hadn't bargained for.

You Wish by Talonwillow (Ehollis303) - T, WIP - What makes a bad case of "Black Cat Flu" more tolerable? Young Perseus is learning that hearing about dueling, torture, revenge, giants, dementors, chases, true love, and miracles from his Grandfather Scorpius certainly makes things easier- If the man would finish the story that is. A story about love, where not even death can keep the beautiful feisty stable-girl and her sometimes irritating one true love apart. Together they must battle the evil Lord Voldemort through an adventure crossing the magical and fairy tale realm.

#Fests/Exchanges/Challenges #dramione #Dramione RomCom Fest #humour #fluff #based on other book or movie plot

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cowtale-utau · 4 years

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Sans/Ace INTJ vs ENTP

Welp this is not the full breakdown I’m working on but. This is contributing to that? I was asked about my type choice (which I super don’t mind! I love a good debate) and this will help in breaking down that part of the full work up. It’s super friggin long. I’d apologize, but I wouldn’t really mean it. Anyway, here we go.

First lets look at the functional stacks

INTJ / NiFeTiSe (NiTe) vs ENTP / NeTiFeSi (NeTi)

Ni – Internal intuition vs Ne – Extroverted intuition

Sans is suspiciously intuitive. There was no argument that Intuitive was going to be part of his typing. How the intuition functions and is used is where we have some point of potential debate. This comes down in many ways to how Jung viewed extroversion vs introversion. Extroverts are characterized as expansive and expressive, with short attention spans and rapidly shifting focus. They also tend to have relationships characterized by breath as opposed to depth. That is, many, more “shallow” relationships, rather than fewer, “deeper” connections. Conversely introverts are more focused and narrow, spending more time and energy on fewer things they give more value. Ne tends to have a wider range of hobbies and skills, while never focusing enough to master any, while Ni tends to develop mastery in fewer, selected areas. Ne also tends to want to bounce topics and visit many areas of conversation, while Ni wants to focus in on a singular topic to explore as deeply as possible. Ne wants to have many options while Ni wants to zero in on one singular answer.

Honestly, you can see traces of both Ne and Ni in Sans personality. He has a broad range of skills, and a pretty large number of arguably shallow “friendships”. He also keeps a very small number of deeper, more developed relationships, and there is evidence of him having a few areas he has a much deeper knowledge of.

Getting into the real differences is easier when you pair Ni/Ne with their respective sidekicks. Thus we have NiSe and NeSi. If we go by type theory Ni uses information Se has subconsciously gathered to find patterns and themes in their environment. They cast a wide sensory net to take clues from all possible inputs, visual, auditory, etc. They then use this data to compile a narrow underlying pattern. Conversely NeSi, draws on repeated snapshots of experiences to compile an established pattern to put forth a range of possible “what ifs”.

A simplification of what separates Ni from Ne can be put as such; Ni is insight, Ne is ingenuity. Both E and I express intuition in their focus on the metaphysical and theoretical. NJ's can be seen as less creative while NP's are less able to come up with convergent ideas. ENPs see several potentials in everything, they struggle to trace back to a single causality. ENPs often take a “spray and pray” method, and are surprised should they hit upon the correct answer. They won't likely trust this as the true answer until they've tested and exhausted all possibilities.

INTJ and ENTP functions are perfect flips of one another and are often mis-typed.

INTJ: Dominant: Introverted Intuition Auxilliary: Extraverted Thinking Tertiary: Introverted Feeling Inferior: Extraverted Sensing ENTP: Dominant: Extraverted Intuition Auxiliary: Introverted Thinking Tertiary: Extraverted Feeling Inferior: Introverted Sensing

Personally I'm inclined to lean towards Ni for Sans, but both are viable options. In fact both are so viable, that this breakdown wasn't particularly helpful. But it was interesting, and fun so I'm not mad I did it. So lets try this from a different angle. This time I'm going to ignore “stacks” and look at the purely E vs I, T vs P, etc break downs, and include my personal opinions on them, and how I got to the choice I did for Sans.

Introversion vs Extroversion

E – Energy is outward, towards people and things. Gains energy by being with people, batteries drain when alone. Need stimulation and are expressive. Like variety, action, and achievement. Communicate openly without censure. Allow conversation without conclusion. Take words at face value.

I – Energy focused inwards, towards ideas and concepts. Recharge with “me time”, drained by crowds and company. Tend to be reserved, and can seem subtle or “impenetrable”. Think before they act, often taking time to make a decision.

When I first typed Sans I had to ask, is he an introvert, or just depressed. I think it cannot be argued whether or not Sans suffers from depression. The indicators are there. It is a widely accepted view. However, I do not believe this excludes him from being an introvert. I see Sans as a social introvert. He likes people in general, enjoys crowds, from a comfortable distance. He keeps most relationships at arms length, and needs time alone to recoup. Sans is a very guarded and reserved individual, who can play at being an open book. He deflects with jokes and entertainment, but how many can say they are genuinely close to Sans. Even Papyrus is kept at a certain distance despite Sans clear love for his brother. I think Sans is kinda the poster child for the misconception that introverts are isolationists that hate people. They (cough we cough) aren't. They just need time to themselves to reorient, and re-energize. And that doesn't necessarily mean complete isolation either. This can often be achieved in the company of those held especially dear, or by simply withdrawing, even around company. This can be seen in Sans choosing to be at Grillby's but choosing a somewhat “closed” location. Yes he's towards the center of the room, but he's at the corner of the bar. He directly faces only Grillby. Or a common fanon example, Sans shutting down and allowing himself to be lugged around by Papyrus. He stays physically present, and is likely taking in the going ons, but has disengaged on a personal/social level.

Intuiting vs Sensing

S – Focus on immediate thought and sensory input. Trust conscious, limiting to facts and solid data. Pay attention to immediate, material, practical and “real”. Work on a clear schedule and use logic to work in a direct sequence. Practical, realistic, grounded, direct.

N – Process data on a deep, subconscious level, trusting “gut feelings”. Spot patterns and take broad high level “big picture” views. Enjoy ideas and theories, are willing to work with factual evidence on a “instinct”. Change and adapt plans as information changes.

While I suppose an argument could be made for either I'm inclined to pin Sans as an N. Especially if one dismisses the “Sans remembers resets” theory. One cannot deny he uses facial cues and behaviors to make “gut” predictions about the player character/Frisk. Sans does not strike me as one to stick to any schedule not externally enforced by others (Papyrus). He doesn't need solid proof to make an accurate assessment, and trusts his own instincts. Somewhat unrelated to current discussion but one could argue a case for Sans having some almost... Arrogance in this regard. He is so confident in his assessment that he calls you on it, despite having no solid, in hand, proof of any of his accusations. This is a man who trusts his own mind.

Thinking vs Feeling

T – Thing logically and with reason. Desire fairness and objectivity. Black/White mentality. Seek truth and clear use of the rules. Sometimes forget or dismiss the “person” variable. Prefer truth over tact. Analyze pros and cons, and when a decision is made, consider it done.

F – Make decisions based on the feelings and considerations of others. The 'person' element is the first and primary considered. Value harmony, and try to be tactful even at the cost of some truth. Some times overlook the “hard” facts and can come off idealistic.

Here's another area where both typings agree. Sans is very much to me a T. Despite his apparent “easy to get along with” nature he can clearly lack tact (as seen in his 'you'd be dead where you stand' line). It's clear he is capable of dismissing the “people” component as seen in a neutral run. Even if you are to kill his brother there is little reaction beyond a few (or single, I'm slightly tipsy and my memory sucks) lines about his upset. This could theoretically be blamed on the nihilism/depression we see present, but could also be tied into his objective way of thinking (and if one considers that he's at least distantly aware that the outcome isn't permanent than this way further leans into T type. He knows it isn't the end, and so can accept that even if his brother is dead now, he won't be later, allowing him to remove emotion from the equation). If his magic coloring is tied into the presented soul traits the desire for fairness and objectivity is clearly seen in his secondary (?) Justice trait. I also believe Sans very much has a Black/White view of morality/the world. You can see this in the neutral run. While he may not attack you in anything less than No Mercy/Genocide, he definitely calls you out. Even just reaching LV of 2 is enough for Sans to express disgust in both you and your actions. This suggests he has absolutely no leniency in his views.

Judging vs Perceiving

J – Decisive and controlled. Are rigid and take charge of their environments, making choices early. Specific in what they ask, and expect others to do as told. Seek order and closure. Like to have time for preparation. Enjoy being experts.

P – Feel limited by structure. Feel more in control when options are left open. Thrive with the unexpected and are open to change. Tend to be loose and casual. Work in bursts. Are tolerant of people differences and will adapt to fit a situation.

And here's the other where the two potential types vary. And I can see a case for either. Its when all the parts are taken in together that I lean towards J over P. (although if we went with the percentages system I could see him as being fairly close, and sometimes slipping one way or the other over the line. I've know a couple of people personally who do so every now and then. A close friend of mine regularly tests at 51/49 in their J/P alternating between INFJ and INFP) I think when balancing Sans' N and T it comes together more comfortably in J. His rigid morality suggests a lack of tolerance and adaptability. Once he starts something, he sees it through to completion. His desire for the cycle of resets to be stopped can be seen as a need for closure, but I think we can dismiss it as extenuating circumstances. Anyone would want it to stop after a fashion, even if they are only distantly aware of the occurrence. I think Sans straddles the J/P line leaning slightly more into J. He needs order and routine, but is stiffed by too rigid of a structure. I think for me this ultimately came down to me viewing Sans (or perhaps Ace in this case) as an ultimately science leaning mind. He needs answers. He needs clear, clean answers, and not getting them is distressing. While he may like to keep his options open in some areas of his life, overall he prefers to know what he's getting into, and how he's going to handle it. He's a free personality, that dislikes an unpredictable world. He wants to know where the end is, and have several methods of getting there. Not knowing the answers is scary, and Sans/Ace hates being scared.

So there's that. I don't know if any of it made any sense, but there you have it. How I typed Sans and why. Bare in mind, that this is also a half fanon typing. This is at least in part, based on occurrences after the events of canon Undertale, and how Sans/Ace behaved then. (you’ll see more of that in his full workup) As well as being based on some headcanons, though I tried to be fairly sparing with them. I also find myself frustrated as to the lack of information on Sans behavior/personality prior to the events of the game. What was Sans like, before the resets, before the depression. I would love to see what Sans had been like when he was younger. Alas, this is unlikely to ever happen. But anywho, this got way long, and if you manage to actually get through the whole thing I would love to hear your opinions. How do you type Sans, and why? Is there some glaring in game clue I missed? I'm totally open to friendly discussion on the topic, if you want. I included a couple links that give a pretty good rundown of the different functions and how they come together.

https://www.typeinmind.com/nite

https://www.typeinmind.com/neti

#Undertale #Sans #Cowtale #Ace #mbti #personality analysis #character study #long post

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pass-the-bechdel · 5 years

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Marvel Cinematic Universe: The Avengers (2012)

Does it pass the Bechdel Test?

No.

How many female characters (with names and lines) are there?

Three (23.07% of cast).

How many male characters (with names and lines) are there?

Ten.

Positive Content Rating:

Three.

General Episode Quality:

It’s solid. Unpopular opinion? I don’t think it’s half as good as people made it out to be, back when it first hit cinemas and everyone was swooning. It’s solid, but that’s the best I’ve got for it.

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

...

Female characters:

Maria Hill.

Natasha Romanov.

Pepper Potts.

Male characters:

Nick Fury.

Phil Coulson.

Erik Selvig.

Clint Barton.

Loki.

Bruce Banner.

Steve Rogers.

Tony Stark.

JARVIS.

Thor.

OTHER NOTES:

‘free from freedom’ is such a wanky piece of writing, man. It’s absolute nonsense, but it sounds vaguely profound if you don’t think about it at all. I thought about it. It’s idiotic.

The very first thing we see of Black Widow in this movie is her being hit in the face, wearing a slinky little dress, tied to a chair being interrogated by a bunch of men. We’re supposed to indulge this excuse for hurting and objectifying a woman and then write it off as ‘empowering’ because she beats the Hell outta the dudes a couple of minutes later. That’s not a game I’m interested in playing. This is garbage.

The classical music over the beginnings of the Stuttgart attack is great.

All those German folks so confused by this Loki dude speaking English at them. What a tool.

I’m not sure I’ve ever heard ‘not today’ used as an effective badass declaration. It’s ALWAYS cheesy. Make it stop.

“There’s only one God, ma’am, and I’m pretty sure he doesn’t dress like that.” I don’t really like this line for Steve; he just doesn’t seem like the kind of guy who would play the ‘one true God’ card, and there was nothing in his origin story which implied that he’s particularly attached to religion at all; plus, he already read the brief on Thor, he knows this is literally the old Norse deity, there’s no question of whether or not they’re dealing with a God here. To argue the point (because he’s not MY God!) is meaningless in context, and feels like a weak attempt to correlate (Christian) faith with being ‘old-fashioned’, like OF COURSE Steve would defend the idea of the ‘one true God’, he’s from the past, not a cool enlightened atheist/agnostic modern man like the rest of us, right?

Thor and Loki are using such archaic phrasing, when Tony makes his ‘Shakespeare in the Park’ joke, it’s...more an observation than a quip. The Asgardians were not half as stuffy in Thor. It makes it seem like someone didn’t bother to see that movie first before writing their version of the characters.

Thor has to fight with the others when he shows up. He’s just gotta.

Gotta give a nod to Mark Ruffalo’s work here; I feel like I can see the clear comparison between his version of the character and Edward Norton’s in The Incredible Hulk, but at the same time there’s no sense of this being a Norton’s-Banner impression. Ruffalo is doing a sweet job of making the character his own without totally overhauling the template Norton laid down, and I dig it.

Oh, here we are. Loki calls Black Widow a ‘mewling quim’, which is just a fancy way of calling her a whiny cunt. Your gendered slur is still a gendered slur, movie.

I know they’re playing the idea that the sceptre is causing the antagonism between the characters, but fuck, it’s tedious. It just feels like they’re all contrived petty versions of themselves, being shitty because it’s ~dramatic~ for them to not get along.

I didn’t see this movie until months after it was released, and people were raving about how crushed they were by the major character death in the film but they were doing a pretty good job of not spoiling it; good enough that for a moment, I really thought I’d get to enjoy the surprise/horror for myself. You know who spoiled it for me? In a tweet, no less? It was the 44th President of the United States. Thanks, Obama.

This guy is the MVP of this film:

You can chalk “Son, just don’t,” up on the list of Things Steve Rogers Would Not Say. Just because he’s technically in his nineties doesn’t mean he isn’t still in his twenties in his mind: I don’t buy that he’d go for a blithely patriarchal term like ‘son’, it seems like another poorly-considered attempt to make him sound old-fashioned. Juxtapose that with ‘just don’t’, which is very modern vernacular. It might seem clever to combine the two as a meta-expression of Steve belonging to two different times now, but in practical application it just sounds out-of-character, and there’s nothing clever about that.

I know I said after the last movie that I love it when someone gets hit and flies off-screen in an exaggerated fashion, but Hulk punching Thor off-screen after they finish working together to take down the big beastie is an exception, because there’s no reason for Hulk to decide to hit Thor in the first place, it’s just a gag for the sake of a gag. I can’t believe they messed up such a simple pleasure.

I will forgive it, in return for Hulk smashing Loki all over the place. That was funny.

Back when this movie came out, before I saw it, I had people tell me - straight-faced, totally sincere - that it was one of the best movies they had ever seen. The internet was on fire with Avengers love. The film was rated in the IMDb Top 20. Admittedly, that all sets a pretty impossible standard for a movie to meet, and being at least a little disappointed in the result is probably a given. I was not particularly invested either way (I didn’t fall down the Marvel rabbit hole until later), so I didn’t allow myself to go in to my first viewing with such lofty expectations to be crushed, just the general assumption that this was gonna be good, it had to be good, at minimum. And it was that; it’s a good film. It’s entertaining. The plot makes basic essential sense. It’s easy to follow. There are some nice visuals, and most of the special effects are relatively clean, which can be a significant difficulty for big-budget extravaganzas that sometimes/often try to get way too much spectacle bang for their buck, so, a nice win. All in all, The Avengers is not a bad film. Sure is a bland one, though.

I know, I know, getting all these big-name characters from previous films together in one movie was a serious task and it’s hard to write a well-balanced script for so many leads, blah blah. Let’s put that whole equivocation to bed right now, because I honestly don’t think that balancing the big-name cast was the problem. All of the characters had something to do, no one felt like a random extra, I could quibble about certain places where I really wish things had been plumped up a bit (pretty much everywhere - the film is extremely low on meaningful character beats), but ultimately the characters are fairly evenly presented. What makes this movie bland to me is 1) the way that the personalities of the characters deviate from that established in their previous films, and 2) the simplicity of the story they inhabit.

We’ll cover the Avengers themselves first: the good news is, Tony Stark is still Tony Stark. His personality is intact. Bruce Banner is, as noted, not exactly the Bruce Banner we met back in The Incredible Hulk, but that’s both a given and a good thing - the casting change is an improvement. Hawkeye was barely in the MCU previously, so we don’t really have enough to compare him against in order to make a judgment. Black Widow, however, is a bit of a mess; Joss Whedon’s special brand of misogyny is on display from moment one, as noted above (he LOVES writing women being brutalised because ‘how would we know/believe that they’re strong if we don’t get to see them overcoming mistreatment?’ - he tends not to feel the need to ‘prove’ his male characters’ strengths in this way), and Natasha’s personal story for the movie continues in a distinctly gendered vein: as is common for female characters being written by shitty dudes, her arc revolves predominantly around a man (Hawkeye), and she is ‘emotionally compromised’ by her attachment to him. She also zones out in the middle of an action scene and winds up in a corner shaking and traumatised (very out-of-character for a super spysassin), and particular emphasis is placed on all the bad things she’s done in the past and how she should feel bad about it, though no one does more than shrug their shoulders about Clint or Fury or any of the other SHIELD agents who are acknowledged as having dark and dirty pasts. Why is Natasha the one who is singled out to have her morality judged while her ‘arc’ focuses on her inconvenient emotional engagement? You know why. There’s no reason why this particular tack had to be taken in bringing her backstory into the film, and as a result of it we spend little time with Black Widow displaying the kind of cool professionalism and self-assurance she had in Iron Man 2. The inclusion of that vulnerability and backstory doesn’t make her feel more rounded or complicated because it is deconstructing the power and mastery of the character; rather than building upon the foundation set in her previous film visit, we’re questioning the stability of that foundation and seeing if we can get a few pieces of the structure to rattle loose.

A big part of the trouble for Thor is that he gets saddled with that poxy Ye Olde Cliche dialogue, and there are few things worse for achieving character consistency than changing the way that they talk: no matter how hard the actor tries to play the character the same, they can’t compensate for the fact that the very structure of their sentences has been remodeled. They can improvise rephrasing the lines and/or argue the point if they want, but it’s hard to challenge every line, and if the director (who, oh look, is also the writer) insists you follow the script verbatim, there’s not a lot you can do with that. Poor Captain America suffers the same fate with the overt attempts to make him sound ‘old-fashioned’ by having him utter words and phrases that he never used in his origin movie. What’s worse is, this stilted dialogue is pretty much the sum total of the film’s acknowledgment of the fact that, oh yeah, Steve just recently woke up from the ice to find that seventy years has passed and nearly everyone and everything he used to know is gone. He has an exchange with Fury in his first scene, about ‘getting back in the world’, but there’s zero follow-up on how he’s handling it, what difficulties there might be, or even just how Steve is feeling about all of this on a basic emotional level. And yes, I am aware that there’s a deleted montage of Steve going about his day being isolated and out-of-touch, and it’s a travesty that they cut it because that’s essential character content, but it’s also a total bare minimum which has zero follow-up. Steve Rogers spends the whole film just being...there, speaking lines that don’t suit him or reflect the personality we just saw in The First Avenger, and not even in an understandable character-development ‘throwing myself into my work to hide from the pain’ kind of way. He’s kinda blandly self-righteous and all-business no-pleasure in exactly the way he was NOT in his origin movie; my impression is that Whedon doesn’t care for the character and wrote him off as the traditional patriotic cliche one might have expected him to be instead of the nuanced character that he actually is. As with Thor and Loki, it feels as if Whedon didn’t bother to watch the previous movies first in order to get a sense of the established characters.

Speaking of Loki: if there’s one character who really, REALLY suffered a personality change in this script, it’s him. None of what made Loki the highlight of Thor is in evidence here; where that character was a cunning plotter full to overflowing with complex and contradictory feelings for his family and driven to action by that same emotional cascade, this Loki...wants to rule the Earth. Because. He’s, like, crazy, the other characters all say so, even Thor - the only one who actually knows Loki and is fit to assess his mental state - says that his ‘mind is far astray’ (what Thor thinks of that, whether he’s surprised or concerned, whether he feels like he understands why this has happened to Loki or not, is unclear, because, I dunno, Thor having feelings is as inconvenient to the story as Steve having feelings - as Loki snarls derisively about ‘sentiment’, we must remember that being emotionally compromised is dumb and only for women? Hmm). Loki is just a placeholder villain in this film, driven to action by nothing in particular, it’s just a business arrangement with a mysterious third party that coincidentally happens to involve Earth. Loki prattles and hollers a lot about how ruling is his right and people want to be ruled and blah despot blah, and it’s both supremely uninspired, and not true to the character we met in Thor at all - the Loki we know was not obsessed with ruling, his motivations were all about his family standing and the things he was denied within those relationships and their implications. I remember fandom, back when this movie came out, scrambling with various headcanons about Loki losing his mind in the void or being brainwashed, ad nauseum, because no one really seemed to feel like they were watching a logical progression of the same character at all.

Now, one of the main ways that the lack of character consistency contributes to narrative blandness is that it disrupts narrative immersion - we’re re-negotiating the way that we engage with the characters, and that distracts from engaging with the story itself. At worst, we may even find ourselves cynical about every decision that a character makes (whether it’s in-character or not), because we’re too aware of the man behind the curtain to buy the act. There are definite shades of that in this film, but the worst of it comes from the whole team-antagonism schtick that is vaguely blamed on ‘Loki’s manipulations’ and the sceptre. The thing is, this all requires the characters to behave out-of-character, and since they mostly already are out-of-character due to bad writing, the exacerbation of that by creating artificial conflict feels like more bad writing, not actual plot. Having the characters initially get along poorly before triumphantly uniting to win the day is such an overused device, it’s easy to construe the conflict as arbitrary, and as it turns out...it is. Loki/the sceptre causing the Avengers to argue doesn’t actually impact the narrative in any meaningful way, since they don’t start a fight or fracture over it, it doesn’t slow down Tony’s efforts to learn what Fury is really up to, nor does it prevent Steve from investigating the same thing in person. Them conflicting with Fury and questioning their decision to work with SHIELD, etc, is a normal thing to have an argument about, no magic-mind-stick required; the only mileage the movie really gets out of the forced-conflict ploy is that Steve and Tony keep pissing on each other, which is extremely OOC for nice-guy Steve and WOULD throw up a big red flag for mental manipulations if the movie weren’t already misrepresenting him as an insufferable stick in the mud anyway, and even for Tony it feels off - he’s generally a jerk as a rule, but he doesn’t pick unprovoked fights - but again, when the movie is already so left-of-centre on so many characters everyone feels off, so it’s easy to assume the characters are just falling victim to contrived drama, and not something in the actual story. As noted, it doesn’t end up mattering where the conflict comes from anyway; the bad news is, it takes until the halfway point of the Goddamn movie before the characters get their prescribed ‘rough patch’ out of the way. The fact that they were just being really annoying for no real reason and without narrative consequence kinda steps on the idea of it being ‘triumphant’ when they all come together at the end to fight Loki, because there was zero reason for the audience to ever legitimately doubt that it would happen, not even in a begrudging-putting-this-genuine-disagreement-aside-so-that-we-can-save-the-world kind of way. It’s just dead air with no weight behind it, and with characters reduced to such cliche versions of themselves that it’s hard to muster the will to care.

AND SO, we have a movie which, as previously noted, is awfully damn simplistic. That’s not a terrible thing, in and of itself - it’s all about what you do with an idea, and I would posit that a more complicated plot wouldn’t be a great idea here since there are so many primary moving parts in the form of characters to justify. But, the aforementioned griping about the skewy characterisation makes this film a bad candidate for character-over-plot, and if the shenanigans are falling flat, that’s when simplistic plotting becomes a problem. It goes like this: Loki shows up and steals the magic cube (action ensues). The avengers assemble to catch Loki (action ensues). The characters argue on a helicarrier until Loki’s goons show up to wreck shit (action ensues). Loki escapes and goes to New York to use the magic cube to portal an alien army to Earth. Action ensues until the portal is closed and Loki is defeated. The end. I’m not complaining about the action - it’s a standard facet of the genre, and most of it is entertaining enough (though the unnecessary Thor/Iron Man fight I coulda done without, and the battle of New York runs a bit long) - but the plot itself is pretty point-A-to-B-to-C without much in the way of surprises, and like I said, that’s fine so long as you’re delivering in another arena, i.e. STRONG CHARACTER NARRATIVES. And character is sooo far from being this film’s strong suit. The result? Is not very compelling.

It tends to wind up that, by the time I get to the end of explaining why I think a thing didn’t work (and this is...the abridged version), it maybe seems ridiculous that I’m also saying ‘this thing isn’t that bad’. The truth is, there’s nothing that I think this movie does impressively well, and there are a lot of pretty major things that I think were poorly handled. BUT, I still meant what I said: it’s entertaining. It makes at least basic sense, and flows easily enough. And while I have serious issues with a lot of the characterisation and feel that - though balanced(ish) in handling - the plot failed to take real advantage of any of the character resources at its disposal (except maybe Tony), the actors still brought the goods to the table, and those whom I enjoyed in their previous films (I mean you, Chris Evans) didn’t disappoint, even though the material they were handling did. It’s a solid film, it’s good fun, I don’t regret watching it, and while I am irritated by various aspects, I don’t feel the need to keep ranting about them. And hey; Mark Ruffalo is really very wonderful. They’ve got that going for them.

#The Avengers #MCU #Marvel Cinematic Universe #Bechdel Test #female representation #Avengers

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themusicenthusiast · 6 years

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Sunday, September 23rd, 2018 – Clutch Shares Tales From ‘Book of Bad Decisions’ and Then Some During a Fiery Performance at Dallas’ Gas Monkey Live

Photos by Jordan Buford Photography The fact that Clutch has managed to remain such an indomitable force in the music world doesn’t seem to be talked about often enough. At least not as much as the band probably deserves. During a career that has spanned well over a couple of decades they’ve managed to avoid any of the drama that often befalls other groups, the original core lineup having remained intact. Their early records were clearly products of the ‘90s era of music, the brash traits that defined Clutch’s early years never being lost completely even as they ultimately refined their sound, those heavy tendencies transitioning into more of an alt-rock/hard rock sound. One that is distinctly their own. The point is that Clutch has managed to evolve and grow with the ever-changing industry. One could even say that the outfit has constantly been at the forefront of it, helping to shape modern rock ‘n’ roll; and they have consistently remained relevant to it. That’s no truer than now. They are still a staple on the festival circuit, and their last few albums have scored some respectable positions on the charts, including the two-week old Book of Bad Decisions (out on Weathermaker Music), which debuted at the number sixteenth spot. An impressive feat to say the least, especially when considering their company on the Billboard 200 is largely pop artists. Neil Fallon, Tim Sult, Dan Maines and Jean-Paul Gaster weren’t wasting any time in taking to the road to support their twelfth studio album, having embarked on the Book of Bad Decisions Tour within the past week. Texas was one of the first states they were visiting; and on this particular Sunday night they were returning to Gas Monkey Live in Dallas to treat their North Texas fans to some of the new stuff they had created.

One thing is certain, the significant of Clutch’s music doesn’t escape their loyal supporters, droves of which had turned out to Gas Monkey Live to witness the spectacle that was transpiring on this Sunday night. It was a relatively diverse crowd, comprised largely of the longtime fans one would expect to see, though there were also quite a few kids, ranging from teenagers to legitimate kids whose parents had brought them out to experience a band that had been important to them. And said kids were giddy about it. Clutch has assembled an eclectic lineup of acts to support them on this tour, though extremely talented ones, Tyler Bryant & The Shakedown getting the night off to an electrifying start, while Sevendust brought the intensity during their brief, heavy set. By the time both were through, to say spectators were pumped up for Clutch performance would be a massive understatement. It was 9:51 when Fallon, Sult, Maines and Gaster strolled out onto the stage, and the manner in which they did made them all the more appealing. There was no grand or theatrical entrance. Instead, the four of them just casually assumed their spots, looking more like a bunch of average guys preparing to go to work rather than rock stars. Which only strengthened that rock star quality.

“Welcome to the party!” Fallon declared as he paced about the stage and surveyed the hundreds and hundreds of screaming fans, properly greeting everyone before they unleashed their adrenaline pumping assault on them. Nearly half of their 81-minute long set was comprised of cuts from Book of Bad Decisions, the lead track from the record, “Gimme the Keys”, setting everything in motion. The casual demeanor they had exhibited during those initial moments quickly gave way to chaotic actions as the wall of sound they proceeded to crank out collided with the concertgoers’ ears. That number provided a sensational start to Clutch’s performance. Live listeners were able to fully appreciate the nuances of the powerhouse track, such as the way the percussion and bass coalesced around Fallon’s voice, particularly as he belted out, “Gimme the keys!”. It made him sound even more authoritative; his booming voice portraying that more as a command than a request, while the eye contact and intense stares he gave made it feel as if he was speaking directly to every soul in the room.

They didn’t require any time to warm up, flooring it from the get-go and already appearing in excellent form; their hold over the spectators being absolute. You had to be there to fully appreciate it, but it was incredible. The floor shook slightly due to the sonorous drums and blaring guitar and bass; the spirited performance making it impossible to look away. Rock ‘n’ roll at its finest. “Vision Quest” allowed them to hit with a one-two punch, the frantic pace it keeps further energizing everyone. Sult’s mastery of the guitar was apparent on it, his methodical and intricate manner of playing – the tones he painstakingly crafted – shining through at various moments.

“If you didn’t get the memo, we have a new album out…” Fallon declared afterwards, informing the audience that they would be hearing plenty more from it and promising to pull some “old ones out of the pantry” as well. Quickly delivering on that, they launching into a string of songs found on their self-titled record, much to the delight of the fans. All were gems, though “Escape from the Prison Planet” stood out as an early favorite, thanks to it highlighting a more primal Clutch. The instrumental end (which felt like something of a jam) was nothing short of epic, Gaster going all out as he hammered away at his kit with a splendid mix of passion and precision, not merely loving it but getting a euphoric rush from knocking that one out.

The music was the primary focus of the night, though shortly after that one Fallon, in tune with the crowd, took a moment to discourage any rough antics such as crowd surfing. He began by saying he didn’t want to police anyone and whatever was fine by him, though he did point out that several young kids (many of whom were proudly sporting Clutch attire) were front and center, and he didn’t want to see this become their last rock show. “Your parents are cooler than mine were…” he then quipped, enjoying the fact that some of their longtime fans were turning their love of Clutch into a family tradition. Their set list was well structured, old and new material being spread evenly throughout, so regardless of if people loved it all or were only all about the classics they were going to be appeased. In regards to the new, “Ghoul Wrangler” was perhaps the most stunning of the Book of Bad Decisions material. Stunning because like a lot of the stuff they did from the new album, it could be considered something of a deeper cut, yet they made it out to be a definitive song from it. For those who hadn’t spent much time with the new album yet it was the perfect introduction to that exhilarating number, its gripping dynamics only enhanced by the live environment. Fallon’s pronunciation of “Ghoul Wrangler” alone is fascinating; the way the song blends a sort of Southern edge to its driven hard rock style yielding something unique.

As amazing as the first half of the set had been, the second half saw Clutch kicking it into overdrive as they constantly seemed to outdo themselves. The fans relished the rare treat that was “El Jefe Speaks”, the oldest song of the night being revamped in a way that spliced together the sounds of where they were at then with what they’re creating now. It only made it more potent, Maines and Gaster guiding the song between its ominous verses and pulse pounding refrains, while the tones emanating from the guitar proved intoxicating. The throng of supporters were already well-versed with some of the weeks-old stuff, most collectively shouting the final “WEAPONIZED FUNK!” of “In Walks Barbarella” when Fallon silently directed them to assist. And as Clutch’s initial 66-minutes on stage began to wind down, the people were elated to see a cowbell and harmonica brought out on stage, knowing just what that meant. “D.C. Sound Attack!” provided a fiery end to what had been a powerhouse set -- one certainly not lacking in the rock department; the track being made all the more riveting thanks to the instrumental outro that concluded it.

After the musicians disappeared a couple of minutes passed, the ensuing fanfare done in hopes of drawing them back out, while others shouted their requests of what they still hoped to hear. There was no way Clutch could appease everyone, though Maines, Gaster, Sult and Fallon did have a few more in the chamber, including the final track from Book of Bad Decisions. “We appreciate y’all coming out,” Fallon stated before they got back to it. He was sincere in his gratitude to everyone for coming out, stressing that they didn’t take it for granted and knew that if those supporters weren’t there then there was no way they would be. A moody, even atmospheric rocker, “Lorelei” was as impressive as everything that had preceded it and highlighted just how mighty Clutch is, that in terms of quality every new track they had performed was at least on par with their most revered hits, if not even surpassing them. It made for a proper bookend of sorts, given they had begun and practically ended their show with the first and final tracks from the release.

And speaking of hits, they dusted a couple off of From Beale Street To Oblivion, resulting in one last raucous sing-along for the night. Clutch left having delivered the quintessential concert experience, making it thrilling throughout, their robust and even somewhat brash way of conducting themselves being utterly compelling. That’s what makes them such a force to be reckoned with, the fact that Fallon, Gaster, Sult and Maines do everything possible to invigorate concertgoers, the way they handle themselves being conducive of everyone else letting loose, succumbing to the music and just relishing the reprieve from everyday life that is provided. That can largely be attributed to the creative nature of their writing, everything about their material being cutting edge, sounding familiar enough to be appealing but also setting them apart from their contemporaries. However, the overwhelming charisma they wield isn’t to be overlooked either.

Fallon does bear the bulk of that responsibility, given that he is the most capable of moving about and interacting with onlookers, and he excels at it, his boisterous, at times even eccentric movements and behavior only enhancing their riveting hold. And after all of these years, they’re arguably better than ever. My first time actually catching a Clutch show came a few years ago and I was immediately struck by their raw power, something that seemed to be even more prevalent on this night. Maybe it was because the Book of Bad Decisions Tour is just getting underway, or possibly they’ve been eager to start playing these songs live and are enjoying finally being able to. Either way, they were spectacular, their energy seeming limitless, and for the duration of their time on stage they never relented. Bands of that caliber are hard to come by, ones that deliver a straight up rock ‘n’ roll show, no frills needed. Together, the four of them acted as if they had something to prove. At the very least they just further solidified their stature, their immense passion and unwavering dedication to their craft reminding all of the loyal supporters why they were so drawn to Clutch’s music in the first place and why they still hold it in such high esteem. The group even enamored fans of newer generations in the process, ensuring the legacy of Clutch will live on for some time to come.

Whether you have never seen Clutch before or catch them almost every time they come to your area, you owe it to yourself to check out one of the dates of the Book of Bad Decisions Tour. There is no telling what songs you might wind up hearing and their already impeccable form is sure to be bolstered by each additional show. The tour will roll on for another month, concluding in Philadelphia, PA with a show at Electric Factory on October 28th. Other notable stops include a visit to the Ogden Theater in Denver, CO on October 2nd; Showbox SODO in Seattle, WA on October 7th; and Los Angeles, CA’s El Rey Theater on October 12th. Additionally, they’ll be in Tulsa, OK on October 17th at Cains Ballroom and will be making a two-night stand at the Irving Plaza in New York, NY on the 26th and 27th. They’ll then bring the show to Europe in late November for a nearly month-long stint. Clutch’s complete listing of events and additional details regarding each one can be found HERE. And if you haven’t gotten it yet, do check out Book of Bad Decisions on iTUNES or GOOGLE PLAY. Set List: 1) “Gimme the Keys” 2) “Vision Quest” 3) “Texan Book of the Dead” 4) “Escape from the Prison Planet” 5) “Spacegrass” 6) “Emily Dickinson” 7) “Ghoul Wrangler” 8) “Earth Rocker” 9) “X-Ray Visions” 10) “El Jefe Speaks” 11) “How to Shake Hands” 12) “Sonic Counselor” 13) “In Walks Barbarella” 14) “The Mob Goes Wild” 15) “D.C. Sound Attack!” Encore 16) “Lorelei” 17) “Electric Worry” / “One Eye Dollar”

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