#the evil queen shortly after Apple released her

[lindacreations]

Apple: Am I going to far?

The Evil Queen: No, no, no. You went too far about seven hours ago. Now you’re going to prison. 

#ever after high #eah #incorrect quotes #source: I think its the amazing world of gumball but I could be wrong #ever after high incorrect quotes #eah incorrect quotes #apple white #the evil queen #mira shards #apple white incorrect quotes #the evil queen shortly after Apple released her

[aion-rsa]

New British TV Series from 2020: BBC, ITV, Channel 4, Sky Dramas and More

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On top of the British series that returned in 2020 (His Dark Materials, Ghosts and Inside No. 9 to name just three), below are the many new UK TV series we welcomed in 2020.

You’ll find true crime series, contemporary thrillers and the usual hefty number of literary adaptations and period dramas. Here’s the same for all the new British comedy we enjoyed in 2020.

Obviously, with Covid-19 delays having taken at least a three-month chunk out of production on all continuing and new dramas since mid-March 2020, there were serious delays to many planned shows, but a good number of new arrivals still managed to make their way onto screens.

All Creatures Great and Small (September)

Filmed in the Yorkshire Dales in autumn 2019 is a new adaptation of the memoirs of rural vet James Herriot (real name: James Alf Wight). Airing on Channel 5 in the UK and on Masterpiece on PBS in the US, this series stars Samuel West, Anna Madeley and Dame Diana Rigg, with newcomer Nicholas Ralph playing young vet James. A six-part series plus a Christmas special has been filmed, timed to mark the 50th anniversary of the first book’s publication. Expect warm-hearted stories of animal frolics and local characters.

A Suitable Boy (July)

Literary adapter extraordinaire Andrew Davies (Les Miserables, War & Peace, Pride And Prejudice) is back on the BBC with the first screen adaptation of Vikram Seth’s 1993 novel A Suitable Boy. Making her television debut is acclaimed feature director Mira Nair (Monsoon Wedding, Queen Of Katwe). A Suitable Boy is a coming-of-age story about university student Lata (played by Tanya Maniktala), told against the backdrop of newly independent India in 1951. The official BBC press release describes it as “a vast, panoramic tale charting the fortunes of four large families and exploring India and its rich and varied culture at a crucial point in its history.” Here’s our spoiler-free review.

Adult Material (October)

This Channel 4 drama takes on the UK porn industry and the complex relationship between sex, money and power. Written by Skins and The Smoke’s Lucy Kirkwood, the four-part miniseries stars I, Daniel Blake‘s Hayley Squires (in a role previously given to Sheridan Smith, who left the project due to conflicting commitments) as Jolene, an experienced porn actor and mother of three whose on-set friendship with a young woman leads to a complex examination of her own work and home life. With warnings of adult and sexual scenes, here’s the official trailer.

Baghdad Central (February)

Based on the thriller of the same name by Elliott Colla, Baghdad Central is a six-part Channel 4 commission written by House of Saddam and The Last Kingdom‘s Stephen Butchard. Set in Iraq shortly after the 2003 fall of Saddam Hussein, it’s described as “part noir detective drama, part Le Carre and part Green Zone“. With a cast led by Waleed Zuaiter (Omar, Altered Carbon), it’s the story of a quest for justice in an almost lawless society. Bertie Carvel co-stars, with Doctor Who and Tin Star‘s Alice Troughton as the lead director. All six episodes are currently available to stream on All4.

Belgravia (March)

Written by Downton Abbey creator Julian Fellowes and based on his 2016 novel of the same name, Belgravia is a six-part period drama set in 19th century London. Expect toffs and treachery in a story about society secrets on the eve of the Battle of Waterloo. Among the fine looking cast are Tamsin Greig, Harriet Walter, Tara Fitzgerald, Philip Glenister and Alice Eve. It aired in March on Sunday nights on ITV1.

Black Narcissus (December)

This BBC commission was announced back in 2017 and we finally have some info on it. Adapted by Apple Tree Yard screenwriter Amanda Coe from Rumer Godden’s 1939 novel (which was previously adapted for cinema in 1947), three-part series Black Narcissus stars Gemma Arterton as Sister Clodagh in a Gothic tale of “sexual repression and forbidden love”. Set in the 1930s, it’s the story of a group of nuns who travel to Nepal to set up a branch of their order, and Sister Clodagh’s struggle with her attraction to a land agent, against the backdrop of the tragic history of a Nepalese princess. Diana Rigg, Jim Broadbent, Gina McKee and more join Arterton. Filming began in Nepal and the UK in October 2019, and back in January the BBC included it in the year’s ‘New for 2020‘ trailer.

Cobra (January)

New political thriller Cobra arrived on Sky One and NOW TV in January. From The Tunnel and Strike writer Ben Richards, it stars Robert Carlyle, Victoria Hamilton and David Haig as, respectively, the PM, his chief of staff and the home secretary. It’s a six-parter promising “high stakes politics and high-octane action” about a team of experts and crisis responders attempting to bring society back from the brink of collapse. A second series was ordered by Sky in February 2020.

Deadwater Fell (January)

From Humans screenwriter Daisy Coulam, this new four-part Channel 4 drama aired in January this year. Set in a remote Scottish community, it explores the aftermath of a heinous crime – a family is murdered by someone they know and trust, sending ripples through the supposedly idyllic town. David Tennant leads a cast including The Good Fight‘s Cush Jumbo and The Bay‘s Matthew McNulty. It’s an excellent, if difficult watch (read our spoiler-filled reviews here), and is currently available to stream on All4.

Des (August)

ITV has included this three-part true crime drama in its autumn 2020 schedule, so it looks like there are no delays here. Des stars David Tennant and is inspired by the real story of serial killer Dennis Nilsen, who murdered several boys and men between the years of 1978 and 1983. It’s adapted from Brian Masters’ book Killing For Company, and will be told from the perspective of three men – Nilsen, DCI Peter Jay (played by Daniel Mays), and biographer Brian Masters (played by Jason Watkins) – and explore how Nilsen was able to prey on the young and the vulnerable. See the first trailer here.

Dracula (January)

The Sherlock showrunners Steven Moffat and Mark Gatiss reunited to bring another 19th century fictional icon to life in Dracula, which aired on BBC One over New Year and Netflix. Danish actor Claes Bang played the title role alongside Dolly Wells and John Heffernan in the miniseries which comprises three ninety-minute episodes. Moffat and Gatiss promised to “reintroduce the world to Dracula, the vampire who made evil sexy.” Job done. Read our spoiler-filled reviews here.

Flesh and Blood (February)

Filming on new ITV four-part drama Flesh And Blood got underway in June 2019, with an enviable cast led by Imelda Staunton, Stephen Rea and Russell Tovey. It’s a contemporary story of three adult siblings shocked when their recently widowed mother falls for a new man, bringing into question everything they thought they knew about their parents’ 45-year marriage. Staunton plays the family’s neighbour, who harbours an unhealthy obsession with the unfolding drama… Think dark wit and the unearthing of long-buried secrets. It’s available to stream on ITV Hub here and here’s our spoiler-filled episode one review.

Gangs of London (April)

Filmmaker Gareth Evans came to everybody’s attention with 2011 Indonesian-set action flick The Raid. In April, he made his TV debut with this Sky Atlantic/HBO co-production. Gangs of London takes place in a version of modern London torn apart by international criminal organisations. You can expect assassinations, intrigue, expertly choreographed fight scenes and full-muscled action from this excellent new drama. All nine episodes are available to stream on Sky and NOW TV. Read our reviews and interviews here.

Honour (September)

Keeley Hawes’ production company is behind new two-part ITV drama Honour, which filmed in autumn 2019 and is due to air this autumn. Based on the real-life so-called “honour” killing of 20-year-old Londoner Banaz Mahmod, “murdered for falling in love with the wrong man”. It comes written by Vanity Fair‘s Gwyneth Hughes and stars Hawes as DCI Caroline Goode, who investigated Mahmod’s disappearance.

I Hate Suzie (August)

Billie Piper has co-created this original Sky Atlantic comedy-drama with playwright Lucy Prebble, who adapted the Piper-starring series Secret Diary Of A Call Girl in 2007. It’s a story about a celebrity (Piper) whose career is threatened when she’s hacked and a personal photo leaked to the public. The Crown and Lovesick’s Daniel Ings co-stars. Piper is terrific in it and it has plenty to say on fame and the nature of modern celebrity. With adult content, see the first trailer here. It starts on Sky on Sunday the 27th of August, with all episodes available on NOW TV.

I May Destroy You (June)

The latest from acclaimed writer-actor Michaela Coel, creator of Chewing Gum, is a 12-part half-hour series exploring sexual consent, trauma, recovery, friendship and much more. Formerly under the working title of January 22nd, I May Destroy You is a BBC One/HBO co-production set and filmed in London, and stars Coel in the lead role of Arabella, a celebrated young novelist who suffers a sexual assault that causes her to reassess her life. Joining Coel in the cast are Weruche Opia, Paapa Essiedu, Aml Ameen and a host of new and stage talent. It aired in June on BBC One and stunned just about everybody with its frank, poised brilliance. Watch it here on BBC iPlayer.

Industry (November)

Another Bad Wolf production, this one is on its way to BBC Two and HBO in the US. Eight-part drama Industry comes from new writers Konrad Kay and Mickey Down, and is directed by Girls’ Lena Dunham. Taking on work, money, power, greed and loyalty. It’s about a group of graduates competing for places at a top firm in the cut-throat world of international finance. How far will some people go for profit?

Isolation Stories (May)

UK channels responded quickly to the unusual demands of making television during lockdown, with BBC stalwarts Have I Got News for You and The Graham Norton Show continuing but using remote video link-ups. In May, ITV aired the first lockdown drama with anthology series Isolation Stories. The episodes are 15 minutes long and depict the experience of lockdown on a variety of characters played by Sheridan Smith, Angela Griffin, Robert Glenister, David Threlfall and Eddie Marsan. Watch them on ITV Hub here.

Life (September)

From the writer of Doctor Foster comes a new six-part hour-long drama for BBC One. Life tells four separate story strands about the residents of a large Manchester house divided into flats. The cast includes Alison Steadman and Peter Davison as a married couple rocked by a chance encounter, Adrian Lester and Rachael Stirling are a couple whose marriage is threatened by temptation, while Victoria Hamilton plays a woman whose life is disrupted by the arrival of her teenage niece. Currently filming in Manchester, “LIFE explores love, loss, birth, death, the ordinary, the extraordinary and everything in between”.

Little Birds (August)

An original six-part UK drama coming to Sky Atlantic, Little Birds is creatively adapted from Anais Nin’s collection of erotic short stories of the same name. Set in Tangier in 1955, filming took place in Andalusia and Manchester, with Juno Temple playing the lead role of Lucy Savage, a young women trapped by society who yearns for an unconventional life. It’s an erotic, political exploration of sexuality against the backdrop of colonial rebellion, and all episodes are currently available to stream on NOW TV. Read our spoiler-free review of all six episodes.

Read more

TV

The Best TV Shows of 2020

By Alec Bojalad and 9 others

TV

The Best TV Episodes of 2020

By Alec Bojalad and 8 others

Miss Scarlet And The Duke (March)

This six-part co-production written by Trollied’s Rachel New and starring Peaky Blinders’ Kate Phillips aired on Alibi here in the UK. It’s a one-hour series set in the 19th century about London’s first female gumshoe, Eliza Scarlet (Phillips), a woman who takes over her dead father’s detective agency, aided by Stuart Martin’s ‘Duke’. One for fans of Aussie period detective series Miss Fisher’s Murder Mysteries, perhaps?

Noughts + Crosses (March)

Malorie Blackman’s hugely successful series of Young Adult novels have been adapted by Being Human’s Toby Whithouse for BBC One. The six-part series is set in a world where racial divisions are turned on their head, and two young people from different backgrounds battle through separation caused by power, politics and prejudice. All episodes are available to stream now on BBC iPlayer. Read our episode one review here.

Normal People (April)

Filming took place last summer in Dublin, Sligo and Italy for Normal People, adapted by Sally Rooney from her 2018 publishing hit of the same name. It’s a 12-part drama for BBC Three and US streaming service Hulu, starring new(ish)comers Daisy Edgar Jones and Paul Mescal. Directing is Room‘s Lenny Abrahamson and Hettie McDonald, telling an intimate story about a relationship between two young people – Marianne and Connell – stretching through their university years at Trinity College, Dublin. Available now on BBC Three and Hulu, read our spoiler-free review and more.

Penance (March)

Three-part hour-long drama Penance aired on Channel 5 this March. It’s an original scripted drama for the channel, and stars Neil Morrissey, Julie Graham and Nico Mirallegro in a psychological thriller about grief, manipulation and morally murky relationships. The story revolves around the Douglas family, reeling from the death of their son, and a young man they encounter at bereavement counselling with whom they become entangled.

Quiz (March)

Adapted from James Graham’s acclaimed stageplay of the same name, Quiz is the story of the Who Wants To Be A Millionaire? 2001 cheating scandal in which Major Ingram and accomplices were accused of cheating their way to the show’s top prize. Human chameleon Michael Sheen (Frost/Nixon, The Damned United) pictured above, plays quiz host Chris Tarrant, with Ripper Street‘s Matthew Macfadyen playing the accused Major in the three-part ITV/AMC drama. On directing duties is Stephen Frears, who recently directed excellent comedy drama State Of The Union and Russell T. Davies’ A Very English Scandal. Read our reviews here.

Roadkill (October)

Veep‘s Hugh Laurie is going back to politics. Acclaimed screenwriter David Hare (The Hours, The Reader) is behind a new four-part political thriller for BBC One. Roadkill is the story of Peter Laurence (Laurie), a conservative minister with his eyes on the top job who attempts to out-manoeuvre the personal secrets threatening to wreck his public standing. Peaky Blinders‘ Helen McCrory is set to play prime minister Dawn Ellison, with Westworld‘s Sidse Babbett Knudsen also appearing. Filming began in London in November 2019 and we’re expecting it to arrive later this year.

The Salisbury Poisonings (June)

An episode in recent UK history – the 2018 Novichok poisonings – is translated to the screen in three-part factual drama The Salisbury Poisonings, which filmed in 2019 in the Wiltshire cathedral city. The BBC Two drama focused on the impact of the chemical attack on ordinary people and public services in the city, and boasted a terrific cast including Anne-Marie Duff, Rafe Spall, Mark Addy, Johnny Harris and MyAnna Buring. It was co-written by BBC Panorama‘s Adam Patterson and Declan Lawn. Read our review here.

Sitting In Limbo (June)

A new feature-length film tackling the shameful political Windrush immigration scandal aired on BBC One in June. Sitting In Limbo is inspired by the true story of Anthony Bryan’s struggle to be accepted as a British citizen, despite having lived in the UK since emigrating to Britain as a child in 1965 with his mother. Written by Bryan’s novelist brother Stephen S. Thompson (Toy Soldiers, No More Heroes), it’s a deeply personal and powerful ninety minute drama about the devastating human toll of the foreign office’s ‘hostile environment’ tactic. Casualty‘s Patrick Robinson and Save Me‘s Nadine Marshall star. 

Small Axe (November)

An anthology of six hour-long stories set in 1960s – 1980s London is on its way to the BBC and Amazon Prime Video from Steve McQueen, the director of Twelve Years A Slave, Hunger and Shame. Small Axe started filming in June 2019 and boasts a terrific cast including Black Panther and Black Mirror‘s Letitia Wright, and The Force Awakens and Attack The Block‘s John Boyega, with Malachi Kirby and Rochenda Sandall. The first of the anthology’s five stories, all of which are set in London’s West Indian community, will be told across two episodes. See a teaser for the first, ‘Mangrove’, here. The title is inspired by the Jamaican proverb about marginal protest challenging dominant voices, “If you are the big tree, we are the small axe”. The first three episodes are due to open the New York Film Festival on the 25th of September 2020, though it’s currently unknown how the ongoing pandemic will affect the event.

Talking Heads (June)

Nothing to do with the NYC post-punk band of the same name, this remake of Alan Bennett’s acclaimed Talking Heads monologue series featured an all-new cast and two new monologues by Bennett. Originally broadcast in 1988 and 1998 and featuring a host of acting talent including Julie Walters, Maggie Smith and Patricia Routledge, the new Talking Heads starred Jodie Comer, Maxine Peake, Martin Freeman, Lesley Manville, Kristen Scott Thomas, Sarah Lancashire and more. The episodes are available to stream on BBC iPlayer in the UK, and were filmed using the standing EastEnders sets.

The Windermere Children (February)

This one-off feature length BBC Two drama delved into a little-explored part of English history – the child survivors and presumed orphans of the Holocaust who were granted the right to come and live in the UK following World War II. The Windermere Children tells the story of one coachful of young refugees brought to Lake Windermere to be rehabilitated through nature. Romola Garai, Tim McInnerny and Iain Glenn star in a screenplay from The Eichmann Show‘s Simon Block and directed by Any Human Heart‘s Michael Samuels.

The End (February)

This ten-episode series aired on Sky Atlantic and NOW TV. The End is created and written by Samantha Strauss and stars Harriet Walter and Frances O’Connor in the story of three generations of the same family dealing with the thorny issue of dying with dignity. O’Connor plays a palliative care specialist opposed to euthanasia, while Walter plays her mother Edie, who feels strongly that she has a right to die. Complicated family dynamics meet complex moral issues. See the trailer here.

The English Game (March)

Netflix bagged itself a Julian Fellowes-written drama earlier this year, this one about the birth of football. Set in Northern England in the 1850s, The English Game tracks the development of the beautiful game with the help of a cast including Line Of Duty’s Craig Parkinson, The Virtues’ Niamh Walsh, Kingsman’s Edward Holcroft and Game of Thrones’ Charlotte Hope. It arrived on Netflix UK in March and reviews were… not kind.

The Luminaries (June)

Eleanor Catton’s novel The Luminaries won the Man Booker prize in 2013, and this June, arrived on BBC One. The six-part drama, available to stream on BBC iPlayer, boasts a strong cast, with Penny Dreadful‘s Eva Green and Eve Hewson taking lead roles in the 19th century New Zealand-set tale of adventure and mystery during the 1860s Gold Rush. Read our spoiler-free review here.

The Pale Horse (February)

The brilliant Sarah Phelps (And Then There Were None, The ABC Murders, Witness For The Prosecution, Ordeal By Innocence) is back with another Agatha Christie adaptation for BBC One. This time it’s 1961 novel The Pale Horse being adapted for the screen, a story where superstition and witchcraft meet rationalism and murder. In the cast for the two-part mystery thriller are Rufus Sewell (The Man In The High Castle), Kaya Scodelario (Skins, Pirates Of The Caribbean), Bertie Carvel (Doctor Foster, Jonathan Strange & Mr Norrell), Sean Pertwee (Gotham) and more.  Read our spoiler-filled episode reviews and more.

The Nest (March)

Line Of Duty‘s Martin Compston joins Sophie Rundle in new five-part BBC One thriller The Nest. Filmed in Glasgow and written by Three Girls‘ Nicole Taylor, it’s the story of a wealthy couple struggling to have a baby who enter into a surrogacy agreement with an 18-year-old girl (Mirren Mack) that spirals into unexpected territory. The series arrived in March, and here’s our episode one review.

The Singapore Grip (August)

A bit of class here coming to ITV with an adaptation of JG Farrell’s World War II novel The Singapore Grip. Playwright Christopher Hampton, whose previous screenplays include Atonement and Dangerous Liaisons, has adapted the story for a six-part series set against the backdrop of 1940s Japan. It stars Luke Treadaway and Elizabeth Tan, with David Morrissey, Charles Dance and Colm Meaney. The series is due to air in Australia this July, and will arrive in the UK in autumn.

The Sister (October)

Neil Cross, the creator of Luther and Hard Sun, has a new drama on the way to ITV. The Sister, formerly titled Because The Night, is a four-part murder story “which exposes the quiet terror of a man trying to escape his past,” and comes inspired by Cross’ 2009 novel Burial. The psychological thriller is about Nathan, whose world is rocked when a face from the past suddenly appears on his doorstep. Russell Tovey and Bertie Carvel star. It’s due to arrive on ITV this autumn.

The Stranger (January)

Announced in January 2019 and arriving on Netflix a year later, The Stranger is a Harlan Coben thriller made for UK television. Nicola Shindler’s British production company RED (The Five, Safe) have once again turned a Coben novel into a twisting, turning UK series. This one’s about Adam Price (played by Richard Armitage), a man with a seemingly perfect life until a stranger appears to tell him a devastating secret. Things quickly become dark and tangled for Price and everybody around him. Read our spoiler-free series review here.

The Tail Of The Curious Mouse (December)

When children’s author Roald Dahl was just six years old, so the story goes, he persuaded his mother to drive him to the Lake District so he could meet his hero, writer-illustrator Beatrix Potter, the creator of Peter Rabbit, Jemima Puddleduck and many more beloved children’s characters. The welcome he received, however, was less than warm. This one-off drama (Roald and Beatrix: The Tail Of The Curious Mouse) stars Dawn French as Potter and is made by the production team behind Sherlock and Dracula. Expect it to arrive this Christmas.

Trigonometry (March)

All eight episodes of this new contemporary drama are available to stream now on BBC iPlayer. Trigonometry comes written by playwright Duncan Macmillan and actor-screenwriter Effie Woods, and provokes some fascinating questions about modern love. It’s the story of Gemma and Kieran, a couple who decide to ease the financial burden of their London flat by taking in a lodger who soon becomes entwined in their relationship. Is life as a ‘throuple’ sustainable? Could it be the way forward?

Us (September)

A four-part adaptation of David Nicholls’ novel Us is on its way to BBC One. Tom Hollander and Saskia Reeves star as Douglas and Connie, a couple whose marriage is on the verge of falling apart when the family take a long-planned holiday touring European cities. London, Amsterdam, Venice, Paris and Barcelona will provide the backdrops to this humorous, poignant relationship drama from the novelist behind One Day, Starter For Ten and Sky Atlantic’s recent adaptation of the Patrick Melrose novels. The Killing‘s Sofie Grabol and Agents Of SHIELD‘s Iain de Caestecker also star. 

White House Farm (January)

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This six-part ITV true crime drama tells the tragic story of 1985’s White House Farm murders, the Essex killings of multiple members of the Caffell and Bamber families. Based on research, interviews and published accounts, it’s written by The Slap and Requiem’s Kris Mrksa, and directed by Little Boy Blue and Hatton Garden’s Paul Whittington. Freddie Fox plays the role of Jeremy Bamber, who is currently serving a sentence for the murders, with Stephen Graham, Alexa Davies, Mark Addy, Alfie Allen and more among the cast. Read our spoiler-filled episode reviews here.

The post New British TV Series from 2020: BBC, ITV, Channel 4, Sky Dramas and More appeared first on Den of Geek.

from Den of Geek https://ift.tt/2TWXy0B

#aion-rsa #Den of Geek

[ayearofpike]

Witch World/Red Queen

Witch World

Simon Pulse, 2012 521 pages, 24 chapters + epilogue ISBN 978-1-4424-3028-0 LOC: PZ7.P626 Wi 2012 OCLC: 924501501 Released November 13, 2012 (per B&N)

(HELL YES I DID take this picture in Vegas. Way back in November, underscoring just how behind this entry is.)

Red Queen

Simon Pulse, 2014 ISBN 978-1-4424-3029-7 LOC: PZ7.P626 Rd 2014 OCLC: 1030042441 Released August 19, 2014 (per B&N)

First I have to address the immediate question: It’s the exact same book. Like, down to pagination. (Yes, I read them both. We’ve already established I’m kind of a freak.) I don’t know why it has two different sets of catalog information. I don’t know why they changed the title, but I will hazard a guess that Witch World is a shitty title and it took slow or lacking sales for S&S to convince Pike/Pike to convince S&S to change it. I don’t know why they then picked a title that would be coming out shortly from another publisher, one that would go on to create a much more robust universe and move enough units to muddy any kind of search query. I don’t even really know why I bought them both. I don’t know a lot of things, and I’m not quite masochist enough to find out.

What I do know? This book is more of the same old shit. Like, OK, most people aren’t going to read all 95 of Christopher Pike’s books right on top of each other, so the connections and relationships might slide. But if you do, you start to see that this dude actually has no new or original ideas after ... let’s generously call it 1996. The beautiful girl in the California town in the middle of nowhere who goes on a weekend party outing with her friends, but then meets a dude with mysterious powers and ends up in a fatal situation, only to realize that she’s survived death and now has strength and vision beyond her prior ability or even imagination? A vision that taps her into an alternate parallel universe, where she’s had a child who has the potential to be the most powerful human ever, only evil forces know about this child’s genetics and want to use her for their own selfish and horrific ends? This is The Grave, gang. Well, mostly The Grave, with some Sita and Alosha and, yes, even Spooksville sprinkled in for flavor. But the point is, we’ve seen all of it already.

Pike has previously said that he felt rushed toward the end of his previous S&S days, and that he didn’t put everything he had into the stories he wrote because of being pulled in multiple directions. That’s fair, and it makes sense that he’d want to come back to something he felt wasn’t as good as it could be, something that didn’t get enough care and attention, and make it better. So it’s a little frustrating that this is what we get. Don’t get me wrong, it’s got a lot of potential, but then again, so did The Grave. I can’t help but feel like Pike is still just trying to figure out what has sold, what has been attractive to people who read his books and others like them, and is retreading so much old ground that it’s starting to become flat and uninteresting. (Which might be part of my reticence to finish this project.)

One thing that’s new and notable about WW/RQ: it marks the placement of Pike’s first YA F-bomb. He’s been using “damn,” “hell,” and “bitch” since the beginning, and starting with EoI (eliding maybe one or two in Whisper of Death) he began liberally (not literally, mind) dropping “shit.” But “fuck” has been sacred, hallowed ground, off limits in any but his adult novels, never mind that this is pretty much what all of his characters want to do all the time. So imagine my profound shock when I picked this book up right around its release date* and encountered the word “unfuckable” on page 18. A sign of the times, yes, and of what was becoming permissible in YA, but to someone who had grown up with Pike and expected a certain voice and stance, this felt kind of wrong and out of place. Much like my opinion of Pike in the 21st century in general.

*This was another random club store find in a rural town in southern New Mexico. I don’t know why the store where I mostly bought diapers was getting Pike in hardback on or near release when nobody else even knew these books were available, and can’t imagine I’ll ever find out.

OK, summary time. Jessie Ralle has just graduated from high school and her entire senior class is going to Las Vegas to celebrate. Said entire class is like 200 people — so not only does Pike still not get what a small town is, but he demonstrates increasing disconnect from how young people actually act. Vegas is a two-hour drive from Apple Valley, California (where Jessie’s mom relocated them after her Hollywood doctor dad bailed on them for a hot young nurse, and also where none of this takes place). I barely even wanted to drive across town to my senior party, to say nothing of paying for a hotel and a fancy dinner with a massive group that I barely know. And that was before the Internet and streaming media allowed us to prune and curate what (and who) we interact with so ruthlessly. Like, if this was a class of 40, I’d be on board, but 200?

But apparently it’s a close-knit 200 people, even though we only ever meet like six of ‘em. Jessie’s riding in a car with four others: her best friend since childhood, the uptight salutatorian, the class nerd who of course has always had a crush on Jessie, and Jimmy. Jessie has loved Jimmy from afar since the beginning of high school, and from up  close for a couple of months this past winter, but he dumped her to go back to his previous girlfriend, who graduated early and hasn’t been seen around town since. That doesn’t mean Jessie is over him — far from it, actually — so this car ride is either going to work out in her favor or be super awkward and uncomfortable.

They get a three-bedroom suite at the MGM Grand for $150 over a weekend somehow. It is all I can do to suspend my disbelief. Like, I’ve been to Vegas (obviously; see top image). Pike obviously has too; his description of spatial mechanics is (mostly) on point, which is what makes this price thing so jarring. I’ve been responsible for booking hotel rooms there off and on for the last 20 years. And the one time we ever got a suite, it was almost twice that PER NIGHT and still only had one bedroom. (We split it six ways, and we all HAD jobs.) And this was in the beat-ass old Luxor in September 2006. Ain’t no way these fucking CHILDREN managed a SUITE in a PREMIER CENTER STRIP HOTEL SIX YEARS LATER FOR LESS. And Jessie has the gall to fucking COMPLAIN ABOUT THE COST.

I MUST STOP YELLING. I am so a dad, right?

But anyway, Jimmy doesn’t have a room — he wasn’t even sure he was coming on this trip. Jessie’s best friend offers for him to stay with them, which Uptight Salutatorian bitches about, but like, chill the fuck out, there’s a couch, right? He and Jessie have to talk about whether this is OK, and it turns out he left her because his ex was pregnant, but the baby died just after he was born. And Jessie isn’t OK. They’d been together long enough that this smacks of either an excuse or a manipulation, and she doesn’t like either option. She kicks him out and cries a lot, and then the gang all goes to dinner at the Bellagio, which is where this starts to get financially realistic when half the class balks at the cost of the meal and fucking bails. Yet the restaurant serves the rest, even giving these (again) CHILDREN bottles of wine, which messes Jessie up enough to kiss Nerd Crush. In front of Uptight Salutatorian, who (it turns out) likes HIM. So everyone gets pissed off at each other and takes off, and then Jessie and Best Friend go see O (the Cirque show inside the Bellagio). 

It’s page 35, by the way. Almost 500 to go yet. At least from here the story gets more focused and straightforward.

After the show, they want to gamble. CHILDREN. But they have fake IDs, so they head down to the Tropicana, an older hotel with lower minimums on blackjack, where they bump into a dude who seems strangely familiar to Jessie, even though she’s sure she never met him before. This dude is in town for a medical conference ... Jessie will later learn about his genome-scanning technology and what it implies for people like her, but she’s gonna have to figure it out first. He has an uncanny ability to win, and people start asking him for advice, but he denies them all. Except Jessie. They quickly pile up hundreds of thousands of dollars, which is where she’s hosed because they’ll never let her cash out that much with a fake ID. So the dude gives her his room key (not at this old-ass dirtball hotel, at the Mandalay Bay across the street) and says he’ll get her money and bring it up in a minute, and she should order some dessert from room service while she’s waiting.

No, they don’t fuck. They almost do, but then Jessie remembers Jimmy and realizes she’s still hung up on him, even though he wronged her and left her hanging. But she learns that the dude will cop to some unnatural method of knowing what’s coming next in the deck, which is why he managed to bet properly at the right times. He doesn’t show her, but he does teach her how to play twenty-two. Not twenty-one, which is blackjack: in twenty-two, aces are only worth one, but red queens are eleven. And if you get a natural twenty-two (queen of hearts and queen of diamonds), you win instantly, PLUS your opponent HAS to try to win their bet back in full on the next hand. The dude doesn’t state why these are the strict rules, but he does imply that a portion of the winnings goes to some mysterious party that doesn’t come clear yet.

So Jessie goes back to the hotel, where Jimmy is sitting on the floor outside. He’s been sexiled from the nerd’s room, because it turns out he was OK going after Uptight Salutatorian (who I guess isn’t so uptight after all). And he’s crying and he’s apologetic, and this coupled with Jessie’s realization in Mystery Gambler’s room is all it takes for her to accept him back. They have breakfast with everyone the next day (room service, more invisible money spent) and then Jessie and Jimmy drive out to Lake Mead to splash and swim and sex. But what’s weird is that it reminds them both of the first time ... which neither of them remembers the same way. Even more awkward is the ex showing up with a warning: “They never take just one, Jessie. They always take both.” (102)

This doesn’t make any sense, right? Well, Mystery Gambler has planted a seed that things might get confusing pretty quick, and invited Jessie to talk to him about it. So she hops in a cab back to his hotel, except the cab takes her out to a creepy industrial area instead. When it finally stops at a stop sign, she bolts, only she doesn’t know where she is now. Luckily, a beautiful woman in a red Porsche pulls up at that exact moment and offers to give her a ride. Which ... aren’t you even the slightest bit concerned that a strange car brought you out here and now another strange car has just pulled up right when you needed it? Obviously not, which is what leads to her getting tased and waking up in a meat freezer, where the safety ax is of course missing. She wrestles with the door and some meat-hanging apparatus for a while, but can’t get it open and ends up spraining her ankle in the process. And even though it’s dangerous to sit, to slow down, to stop moving in this freezer, Jessie can’t help herself.

She wakes up in a hospital. Only this room doesn’t look or feel like a typical hospital room. Plus, she can’t move. She can’t even blink. She’s briefly relieved when two doctors come in, but that goes away when she realizes they’re here to perform the autopsy. The senior doctor gets called out, which is all the other guy needs to start satiating his necrophilia all over Jessie’s corpse. He’s pretty shocked when Jessie suddenly sits bolt upright and curses him out — enough that he has himself a nice little heart attack right there in the morgue. The other doctor comes back, and she seems to know what happened, and is also weirdly thrilled by the guy’s obvious pain? But she leaves without taking any action, and Jessie sees this as her chance to get out of Dodge.

The hospital is downtown, which is a long way from the MGM Grand but at least it’s an obvious straight shot on Las Vegas Boulevard. Only Jessie doesn’t recognize some of these north-end casinos. She goes inside one to get her bearings and is quickly accosted by three punks, who she casually injures like it’s no thing. What’s even stranger is how quickly they back off and the degree of respect they suddenly accord her. And even stranger than that is that the blackjack tables don’t say “blackjack.”

You guessed it. People in Las Vegas are playing red queen.

So now she has to talk to Mystery Gambler more than ever. She walks all the way to the Mandalay Bay, because fuck a taxi anymore, right? Only it’s called the Mandy, and his room on the top floor is now one floor lower than it used to be. But as it turns out, he does have some answers. He first tells Jessie the truth of why he's in Vegas: his whole medical conference story is just a front. There is some basis in reality, in that his group has identified certain genes that, when awakened, enable essentially superpowers. His genetic sensor identified that Jessie has seven of these genes — but he already knew that. He seems to know a creepy amount for some rando she just met. And also, he keeps calling her Jessica, and she realizes she's using a longer version of his name too, reflexively, even though he never called himself that in their interactions.

This, plus the hotels and the casino game and the fact that, y'know, she woke up on a fucking MORGUE TABLE a few hours ago help Jessie to realize the truth of her situation. With a little guided meditation, which helps her to remember things that never actually happened to her, she learns that there are two simultaneous dimensions happening on Earth, we live two lives in parallel, and the extra genes (when activated) allow people to experience both. These people, historically, are who we think of as witches, so for lack of a better term this second dimension is colloquially called witch world. Like, super lazy writing, right? I guess Pike blew his load inventing names for shit in Alosha and couldn't be arsed to consider that maybe twelve thousand years of connected humans might have named something themselves. (Yeah, I said twelve thousand years. Back at it again with the same timeline.)

But one of those things Jessie remembered is having a baby. This is where her father (remember, the dude who bailed on Jessie and her mom) suddenly shows up. We learn that he left (in the “real” world, not in witch world where he’s still present in her life) because he realized the importance of Jessie and her fate, and hoped that his absence would protect both her and the baby to come. (He has the "seeing-the-future" gene, I guess?) According to Dad, this baby is potentially the most important person in the history of both worlds, because she's the only one to have ever been born with all ten extra genes. It's also a weird connection, because this is the only occasion that anybody knows of where a child has been born to different parents in the two worlds. (The kid is an entirely different person because of that, so that's weird too.) But, just like the boyfriend's ex-girlfriend warned, "they" have taken both. 

"They" turn out to be a cadre of witches who want to use their powers to elevate themselves rather than ... well, it's never really made super clear what the "good" witches do. Like ... hang out and be immortal? Oh yeah, I didn't mention that once you're awakened you can't die of natural causes. I guess the dad says that sometimes they'll interfere when shit is really going sideways, but for the most part they want regular humans to regulate their own affairs. It's the Telar again! Only, no, wait, they call themselves the "Tar" in this book so it's obviously totally different. And yeah, both babies have been taken; they let the boyfriend think his son died in infancy so that he'd eventually be a lever to manipulate Jessie when he realized he had two living children. But it sounds like the daughter is already causing trouble for her kidnappers, without even being aware of her ten genes, which ... 

I don't know, it doesn't make any sense now that I'm writing about it. Like, I'm cool with the parallel dimensions, I'm on board with dying to become awakened, I'm down with extra powers and whatever. I'm even mostly OK with this story reusing so many assets from all these past books. But like ... how does the baby have some (even unconscious) control of her locked genetic powers when her counterpart in the real world is not only still alive, but had a different MOTHER and is therefore a totally different PERSON? The first chapter of the sequel (all I’ve read of it so far) doesn’t make it look promising that we’re ever gonna find out, so just keep suspending the shit out of that disbelief, I guess.

But anyway, now that Jessie’s connected, she’s hell-bent on rescuing her baby. Which I think she would have done even if she were still separated, but whatever. And I know, easy to think that not actually having a memory of the baby might make it difficult, but these memories are slowly bubbling up and emerging, especially strong ones like parenthood and family. She’s been warned against contacting Jimmy (or “James,” I guess) in witch world, but she doesn’t hesitate to tell him all the crazy shit that’s happened to her in the real world.

(This is another reason I have a problem with the lazy naming conventions on display. To witches, “witch world” is the most real. Each day takes place first there in their perceptions, followed by the same day in the “real world.” We’ll also see how events in witch world have a stronger effect on events in the real world; namely, if you die in witch world you pretty much always die in the real but the inverse is not true. So, once again, why wouldn’t witches have come up with some more appropriate naming patterns at least, given how old the oldest is? Just more lazy crap we gotta swallow.)

So anyway, Jimmy doesn’t believe her; he thinks someone drugged Jessie with a hallucinogenic and now she’s having altered state memories. So she gets out of the car they’re driving to the desert and picks it up to prove her new strength. Why are they driving in the desert? For some reason, Jessie is drawn to the power associated with the nuclear tests that the government ran in the barren nowhere that is most of Nevada. There’s gotta be a reason, after all, that the centers of witch power are here. So they bust into the deserted testing ground, only to discover it’s not that deserted — there’s a kid out there apparently living by himself. He takes to Jimmy immediately and agrees to come back to the city with them, where they’re going to talk more to Jessie’s dad.

The kid can’t speak, but he can write — with a prehensile tail that he has heretofore hidden by wrapping it around his waist. He tells them about the other freaks that live out in the nuked test cities, as well as the mean man who brings him food. The rationale isn’t clear, and the kid isn’t talking ... well ... you know what I mean. But this is where Jimmy finds out his son is still alive and being used as bait. And dude fucking TAKES it: as soon as his ex calls and wants to discuss what she might know about the children, not only does he refuse to step back and let the powerful people handle the rescue, but he actually wants to go through the death process in order to awaken his awareness of both sides.. They don’t let him do that, because apparently our good guys are not allowed to actively connect more witches, except when they are. So all they can do is talk to the ex and learn that she doesn’t care who she sells out to as long as it saves her son, which ... fair. But Jimmy isn’t willing to go that far, and they head back to her dad’s house to regroup, where they realize they’re being watched.

Or they were, I guess. There’s a car with two obvious spies in it, but they’re dead, and the killer is hanging out nearby. This dude is, we learn, second-in-command of the Tar leadership, a five-thousand-year-old Celt who wants to take a more proactive approach in encouraging good and deterring evil in both humans and witches, mostly with his sword. He’s a Highlander, is what I’m trying to say. He takes Jessie out to a sacred spring in the mountains, where they swim naked together, as you do when you first meet an ancient Celtic swordsman, right? But there’s some cliff writing out here, written by the ancient people in a script the Highlander knows, having been taught it by the man who turned him so many years ago. It describes a woman who will have such power that she controls the destiny of the world, and it’s essentially Jessie’s daughter. So like ... tell me something I don’t know, right? What’s more new and unusual is the Highlander’s description of red queen, how it was taught to him and spread throughout ancient Rome, and how a certain percentage of all winnings, no matter who takes it, has to ultimately return to his benefactor, who we’ll call the Alchemist because that’s what Pike calls him.

We’re going to have to wait on more description, because the Highlander takes Jessie home and we skip-cut forward to the next night in witch world, where she’s meeting the leadership council and discussing their intents to rescue the baby. Mystery Gambler is there too; he's going to act as Jessie's liaison to the bad guys, having served as a double agent since the Civil War. This scene seems like it might be superfluous, except that you mostly only retain the memories from the dimension in which you die, and so the council knows that Jessie needs some backstory.  (Don't we all.) The main thing we get out of this is that they've kind of figured out that WANTING to activate their witch genes has a high correlation with witches going bad at all, especially when they try to engineer the birth of high-number witches. So Jessie's contact with Jimmy was carefully arranged so as to appear NOT engineered, because even though the future sight told them that these two were compatible and would fall in love and make a power baby, any appearance of forcing it could make things all fucked up.

So Jessie's entire life is a sham, manipulated by sources of power she was never supposed to see, one of those being her own goddamn father.

What next? Well, on to the other purpose of this meeting: prep for said meeting with the bad guys. The council expects that they're going to offer Jessie her baby back, as long as both of them live under bad-guy control, and they want her to string them along while they figure out what to do. Great fuckin' plan, guys. You've been trying to make a power baby for how many thousand years, and you didn't have a contingency plan if it got kidnapped?

But so Jessie and Mystery Gambler go to the next meeting, and this is starting to sound like work. As it turns out, the leader of the bad guys is (plot twist that surprises nobody!) the coroner who was unfazed when Jessie sat up in the morgue. She's making this deal because the baby is difficult, and they think that if she has her mother that they'll be able to control her and her powers. They let Jessie hold her, which activates even more of those mom connections, but when they go to take her away the baby cries and creates almost a physical wall, which the big strong guard man has to fight with all his might to overcome. President Coroner has no qualms with the possibility that she might have to kill both baby and mom if they don't cooperate. In fact, she invites Jessie to die right here and now, by forcing her to fight for her life against Mystery Gambler. For Jessie, this is proving her worth and her importance in being allowed into the bad-guy circle. For Mystery Gambler, it's a step up to a higher ranking of leadership. For President Coroner, it's TV. So they have a monster sword fight ... well, Mystery Gambler has a sword; Jessie has a bamboo stick that proves its power when she somehow shoots fire out the end and totally incinerates the dude. Which is cool by the bad guys, because they already knew MG was a double agent and wanted him dead anyway. And then there's another kid ... this one with a tail ... only instead of a blunt prehensile end, this one has a stinger like a scorpion's. Guess whose kid THIS is.

Back in the real world, Jessie and Jimmy go see her dad, who confirms that there was a mysterious fire on the top floor of the Mandalay Bay the night before, with one fatality. Which ... does this even come close to matching the timeline? How could it have already happened if the day hasn't happened yet? But whatever — the important thing is that the council wants Jessie to accept the bad guys' offer and go live with the baby. The tail-boy is still here, though Jessie's dad says he's riddled with malignant tumors and can't possibly live too much longer. But they realize that if he can tap into those cross-dimensional memories, the way Jessie and Jimmy were doing when they argued about fucking all the way back ... two days ago, then maybe they can use him to triangulate the area where witch-tail-boy lives, presumably with President Coroner. He leads them to a gated community at the base of a mountain, which they figure is good intel to take back to the council even if they're not ready to investigate yet.

Jessie does want to try to find the area where she got dumped and zapped the day she was killed, for ... you know, reasons. She hears cries of pain coming out of the sewer in the general area she thinks it was, and in investigating she runs into the big mean guard from the bad guy meeting. He thinks it's been a waste of time trying to get her on their side and is just about to kill her when the Highlander shows up and unceremoniously lops off his head. He has some more info about what might be going on down here, and it has to do with his dearest and oldest love: that’s right, President Coroner. 

They met in ancient Rome, around the turn of the calendar, but every effort they made to procreate ended in tragedy. One son was killed in battle fighting the Huns, one daughter (and her children) died of the plague, and a final son (who, let it be known, they named HERME) disappeared during the US Revolutionary War. All this loss made the poor woman so bitter and angry that she naturally began striving for control, including supporting Hitler (like, literally helping him) during WWII. The Highlander thinks there's another dimension to her having gone there, though: somehow she can feed off the pain of misery and death, and is addicted to it. Also, it gives her another power of being able to confound people, which the Highlander experienced when trying to reason with her around the time of the Hiroshima nuclear explosion and again when the power baby was kidnapped. Is it helping anybody that he's holding out on the council with this info? 

So he takes Jessie back to the hotel, where she owes her best friend an explanation — only she already knows. Turns out that this dude she's been hooking up with in Vegas is a witch too, and has explained to her the ins and outs and difficulties of what's going on with Jessie, up to a point. Turns out this dude is ALSO a double agent, here supposedly on assignment from the bad guys but just about ready to turn face, at least partly because he's found himself in love with the friend. After two days. His primary power is the ability to change his appearance at will, which Jessie learns in a jarring fashion upon waking up in witch world and finding a tall hunky dude in her suite in place of this pudgy nerd. She has that gene too, he says, and helps her start down the path of disguising herself. She quickly gets good at it and then realizes: couldn't I use this power to sneak into that gated community and steal back my baby?

Obviously it's not going to be so easy as walking into the joint and walking back out with The Special, even disguised as President Coroner as she is. First of all, she doesn't even know for sure that the baby is here now, and she does know that the actual boss is in town, not here. (Lucky thing, right, when she goes through the guard shack in full makeup.) So instead she goes to Jimmy's ex-girlfriend's place. Don't ask me how she knows that THIS is an option, or that the girl is indeed even home, or that she is living there at all. There's not even really a reason to believe that she can help, or that she even KNOWS anything about the baby. But Jessie's concerned about the competition, and fairly confident that her target doesn't have the strength gene and will therefore be easy enough to overpower. It proves true in terms of tying the girl up and throwing her in the trunk of her car, but Jessie isn't counting on being lied to. The ex kicks through the backseat and forces Jessie off the road, where they have an epic Matrix battle that culminates in Jessie punching a hole in the gas tank and exploding the thing with an emergency flare. She feels a surge of pleasure while the ex-girlfriend dies, which is ... creepy? Shows some link to President Coroner? What else does it mean?

It at least means that Jessie should be prepared when she goes to talk to President Coroner tonight. She buys a handgun at a pawn shop, then meets Jimmy James in front of the Tropicana, where the big ugly bodyguard picks them up in a limo. James takes a little while to get in the car, and he doesn't sit right next to Jessie for some reason. The car takes them back to the gated community, to the biggest house, where President Coroner is waiting. Negotiations don't really go as well as could be hoped, since the boss already knows that she's not the one who kidnapped the ex in the trunk of a car. But while they're working out their threats and measuring their dicks, who should walk in but the Highlander. He's finally talked the Tar council into using brain powers to murder his dearest love, and as one person has to be present to make it work, guess who volunteered. Only the big mean bodyguard is holding the baby, and he'll rip her in half if they make a move against his boss. This is a good time for the best friend's boyfriend, the shapeshifting teacher, to appear out of thin air, grab the gun out of Jessie's waistband, and cap the bodyguard in the head. Yeah, he was sitting between them for the whole car ride, like there's not enough seats in a limo for him to stretch out somewhere else. Cockblocker.

But here's the weirdest part: President Coroner recognizes him. That's right, bitches — Herme lives! He has seen the evil his mother is doing and has finally come out of hiding to try to help put a stop to it. And James helped him because he knows what's going on in both worlds. He's experienced it, actually: after Jessie fell asleep, he killed himself (with Herme's help) so he could be fully present and help in witch world. I have more timeline problems and concerns, obviously, starting with the question of how Jimmy could possibly be here today if he hasn't yet killed himself, but that's not where the characters are right now. Right now they're concerned with stopping this ultimate evil who doesn't seem to care about murder. So Herme and his Highlander dad point blue brain lasers at President Coroner, who generates a red bubble to stop them, because everything we have to know about good and evil energy colors we learned from Star Wars.

And now Jessie finds herself inside the red bubble. She's been the most susceptible of those exposed to PC, after all, and so she might be convertible to the pain-suckers. She relives all of the memories that our dear villain has of her children dying and of how the pain could be turned into a pleasurable sensation, and it's just hypnotic enough and convincing enough that, as Jessie finds herself back in her own body, she can be persuaded to take her gun back from Herme and shoot the Highlander. He doesn't die, but he's weakened enough that President Coroner can steal his sword and stab him in the heart.

So now what? Well, it's a good thing Jimmy's here to save everybody! What would we do without a white dude who's barely aware of his powers? But he knows that together, with Jessie and the baby, they have a strength that is impossible to overcome. So they manage to paralyze our villain, but now her scorpion son shows up and wants to murder too. Only — plot twist! — he murders his mom! Turns out that when Jimmy killed himself, he also killed tail-boy in the real world, and now HE'S got good-guy memories. This is really telling about President Coroner's parenting skills that all of her living children not only think that she has to die, but show up to help DO IT.

But now all is good and we can move forward as a family, right? Totally! At least until Jessie wakes up in the real world and finds Jimmy lying beside her, still and cold and dead.

This would have been a good place to stop, right? Of course he doesn't. Two days later, Jessie and her best friend are home from Jimmy's funeral, talking about what's going on and all the implications, when suddenly there's a sound at the door — the mail box. (Does anybody still have one of these shits in 2012? Most rural neighborhoods are going to the community box.) Jessie collects the mail, among which is a red envelope containing a letter from the Alchemist (remember that dude) anticipating a future meeting and sending best wishes from ... President Coroner.

And that is the end of Witch World! Or Red Queen, whichever one you picked up. Like, are we starting to understand how Pike has so little grasp of world-building that he has ALREADY killed his main antagonist AND the potential monkey wrench in Jessie's future relationships? Doesn't he realize none of us are going to get invested in a world where you don't stay dead after you die? I mean, except zombies. But since that's not what we're talking about, I can't possibly imagine where Black Knight is going to take us. I mean, I can, because I've read the back copy, and it doesn't look remotely related. Maybe that's one more reason I've been stalling on this entry: to keep me away from the annoying-looking next one.

[theonceoverthinker]

OUAT Rewatch: 1X01 - Pilot

Who says you can’t go home?

The “Pilot” of Once Upon a Time is almost divine in how adored it is. I write this intro just as I prepare to press play on it, and I feel an undeniable tension in my heart. Is there anything that can be said about this episode that hasn’t been said a hundred times before? Am I able to say hello again so soon after saying goodbye?

Only one way to find out. *Presses play*

This gets a little long, so I’m going to be a good Tumblarian and stick my thoughts below the cut! Hope you give them a read!

-Press Release There’s no actual press release for the “Pilot,” but let’s be real, we know the deal. Emma Swan, a bail bondsperson has one hell of a 28th birthday when the son she gave up for adoption 10 years ago - Henry Mills - comes to her doorstep. A trip back to Henry’s hometown introduces Emma to an assortment of townspeople and an even more uncanny story of heroes and fairy tales. Meanwhile, in the past, we see Snow White and Prince Charming cope and fight for their love and family as the Evil Queen threatens them with a curse most vile.

-General Thoughts For a series that needs to weave a central theme around at least two separate plots, simplicity can be one’s best friend, and the “Pilot” is the epitome of that. The plots in and of themselves are simple - a war against a tyrant with a major threat in the flashback and a woman who has never had a family now dealing with one being thrown her way. However, it feels so much bigger, and that’s because hanging around our mains are characters and settings that you just know are going to grow in addition to our mains and transform these simple realms into something greater, something epic. Surrounding Snow and Charming during their discussion in the war room are a set of dwarfs, a fairy, and a cricket, and those same characters show up in our world and at the very least, Archie and Graham hold a promise of a larger role if for no other reason than their professions. We are being promised a more epic story without ever taking away time from the main story, and that’s simply incredible. I feel like there’s so much to gush about when it comes to performances, and because I don’t want this to be super long, I’m just going to highlight some of my favorite moments from each actor and actress in a single sentence. Jennifer as Emma walking towards Ryan like she was the God damned Terminator made me laugh hard and it characterized her as someone cool and confident, allowing for later scenes to paint more of her nuances by showing her vulnerabilities and desires for people in her life. Lana as Regina has a commanding presence during the wedding scene and shows off just what kind of threat she will be to all of those in her way going forward. Ginny as Snow giving up her baby and eternally coining the line “her best chance” is heartbreaking in such a profound way and allows the tragedy of their 28-year separation to subtly play out here and more overtly carry weight throughout the rest of the series. Jared as Henry’s pleas to Emma to listen to him convey a sense of innocence and vulnerability that can bring one back to the most frustrating moments of their childhood. Josh as Charming’s determination as he rides upon his steed in those opening moments allow the audience to feel every bit of intensity and immediately give his relationship with Snow - however obvious the turnout will be - some stakes. Finally, last but certainly not least, Bobby’s chilling performance as Rumple in the jail cell - from the movements of his long fingernails toe the sickly sweet way some of his lines come across - make him suo mysterious and scary as well as give Granny’s lines about him owning the town added weight. Finally, on a funnier note, I’m not gonna lie, but I always wanted an episode that would canonize the “prettier than I” line. Come on - throw Leopold in there, we get a bit more nuance into their relationship as well as see the effects on Regina of Leopold’s neglect for her needs over Snow’s and make a Regina/Snow present plot and there could’ve been something cool!

-Insights Here’s something I noticed during the wedding scene - The necklace Regina wears is the same one that Samedi brought to her in 7x12’s flashback. See “Flip My Ship” for my feelings on that, but I will point out that this gives us new insight as to when Facilier and Regina first met, although as she’s seen wearing it as the curse hits, it’s safe to say that at least one, if not both, of them could be replacements. Another thing I noticed shortly after that I just found funny was how during Regina’s speech to the Charmings, a lot of the guests weren’t cowering as much as gently averting their gazes. While watching the war scene, I couldn’t help but contrast it to the one in the finale. Snow lacks all manner of optimism in the one in the premiere, but by the finale, she’s the epitome of optimism! The wolf always seemed really weird to me, and now that I’ve seen its full schtick throughout the seasons, I gotta say, I’m not impressed. At first, it seems like the wolf was supposed to be a protector of Storybrooke, acting as an agent against Regina. But we’ve only seen it a handful of times and it’s acted like more of a MacGuffin than anything. And MacGuffins are fine, but this one was clearly supposed to mean something and it never really did, not even really in relation to what one would think would be its focal character (Graham).

-Arcs It’s hard to do a segment for arcs when a series has just begun because, well - every arc, in essence is beginning! And honestly, they’re all good, so I’m just going to write out the arcs that have been introduced here. Emma journey of belief Snow finding Charming The power struggle against Regina

-Favorite Dynamic Emma and Regina. I wanted to point this out somewhere, but the framing of their dynamic works so well. Parents who adopt children are more parents to a child than the parents who gave them up for adoption (Unless of course the birth parents died). This is something that we (should) fundamentally understand, especially in a case like this. Regina’s lines about changing diapers, enduring tantrums, and the like are true, and we - as well as Emma - sympathize and agree with that. Her position as mayor as well as the mother of a runaway boy also asks us to question our own feelings towards Regina throughout the episode. The animosity also doesn’t happen from the moment Regina and Emma meet. However, the conflict between them is not so simple. Due to both Regina’s harsh attitude and her actions in the Enchanted Forest, there’s an unease as we watch her, and while Emma’s situation in this matter is far from ideal on any level, we trust her and believe in the bond between her and Henry because while there is harshness there, there’s also an understanding. It’s such a nuanced conflict and knowing now where it has ended - in such a state where both mothers can co-parent Henry and enjoy each other’s company - allows for me to enjoy experiencing it again and appreciate the intricate steps taken making their relationship what it was.

-Writers As you all know, this was Adam and Eddy’s first episode, and it’s pretty freakin’ good! Unfortunately, until I’ve examine more of their episodes, I don’t have a lot to say here. The one thing I do want to point out is that - just like Regina in today’s episode - they are really good at making a strong entrance!

-Culture What made the “Pilot” of Once Upon a Time so popular? I didn’t watch this episode during its initial airing, but what I do know about the time it was released was that a lot of the dramas that were released tended to be gritty. There were exceptions like ABC’s Desperate Housewives, but it was a turn for the edgy in media. And then a show like OUaT came out, one that not only promised hope, but actually allowed for a payoff in the first episode, no matter how small it was in terms of plot. The score especially sells it. While there’s a tone of sadness to it, it’s overarching theme is hope, and that come off so clearly as it plays when the time on the clock changes.

-Rating How can I give it anything other than a Golden Apple? For those that didn’t read my intro, that’s essentially 10/10 with an * for it being truly something else. This episode is marvelous from top to bottom and its barely existent weaknesses are naught but nitpicks. Not only that, I feel like it left me with so much. I just wrote two and a half pages about this episode and I still feel like I’ve done a disservice to it. I didn’t talk about how just relatable and charming and magical everyone is. I touched upon performances, but there’s still so much to be said about everyone. How is it that Robert Carlyle wasn’t even on screen for five minutes and still left one of the biggest impacts of anyone, even some of those more featured than he was? I still have loads to say about Henry and Emma’s dynamic (I was tempted to cheat and put them up there too). I could talk into eternity about the parallels and the setups and the goofy moments in the background. I could speak to how even in episode 1, Storybrooke becomes more not of a place, but a character. I want to read all kinds of things into the line “There’s not a lot of things I’m great at in life.” This episode is so great that it makes me feel guilty for not glorifying it enough, and that’s what makes it worthy of a Golden Apple.

-Flip My Ship Shadow Queen - HE HAD HER PILOT NECKLACE!!!! OMG! MY SHADOW QUEEN SHIPPER HEART IS JUMPING FOR JOY! Snowing - Snowing’s connection throughout this episode was just awe inspiring. You feel the connection between them in every word they spoke and every exchange of expressions they held. It’s demonstrated the most clearly when Snow asks Charming to go and see Rumple. Just the way that she says “him,” and with a look, you just see how he gets it. At the same time, they’re not without conflict and distinctions between the two of them. They have disagreements and act on their own, but are still unmistakably meant for each other. There are many relationships on the show that attempt realism, and even Snowing itself in Storybrooke will encounter that, but moments like these paint Snowing as fantastical and paint a picture of romance here that becomes iconic. Swan Queen - I love me some FoeTP’s and their’s was one hell of a start! The ambiguity of Regina’s intentions and motives as well as sprinkles of selfishness and coldness with and on Emma’s part make their chemistry truly delightful! I reflected on what I liked about them above in my “Dynamics” section, but everything there works fully down here too.

()()()()()()()()()()()()()()()()()()()()()

And that about covers my thoughts on the premiere! I promise you that future posts won’t be nearly as long (Fingers crossed. This took quite a few hours to put together). Hope you liked them and thanks once more to the fine folks at @watchingfairytales for putting this rewatch together! Season Tally (10/220) Writer Tally for Season 1: A&E (10/70)

#watching fairytales #ouat 1x01 #ouat #ouat rewatch #jenna watches ouat #ships mentioned #snowing #swan queen #shadow queen

[evcrafter]

King David Nolan

Status: semi-active

Face-claim: Josh Dallas

Main verse: canon; season three

Biography:

In the Enchanted Forest, David was originally a poor shepherd whose twin brother James was given to King George as an heir in a deal with Rumplestiltskin. From an internal story chronology, we first encounter him when he meets Anna of Arendelle, whom he tells he is a friend of Kristof, and we find him being terrorized by the evil Little Bo Peep.

When James, his twin brother, is killed in battle, David takes his brother’s name in exchange for the prosperity of his mother’s farm. King Midas declares David fit to marry his daughter Abigail and unite the kingdoms. However, David wants to marry for love, but George vows to kill his mother if he declines. He falls in love with Snow White, who nicknames him Charming, later inviting her to run away. After continuous interceptions by George, the Evil Queen Regina captures him to convince Snow to willingly eat an apple containing a sleeping curse. He later awakens her, and the pair marry, before Regina announces that she will cast a curse to destroy their happiness. Rumplestiltskin informs them that their child will break the curse in 28 years. Emma is born before the curse takes hold, and Charming places her in a magical wardrobe to protect her from the curse, before being wounded by the Queen’s knights.

In Storybrooke, as a result of his wounds, he first appears as a John Doe, who has gone unidentified for years. He awakens after Mary Margaret (Snow White) reads him their story. He reunites with his wife Kathryn (Princess Abigail), and is identified as David Nolan. David suffers from amnesia and cannot remember his fake life with Kathryn. He falls in love with Mary Margaret and begins an affair with her, ending his marriage to Kathryn, who is soon reported as being murdered, a plan arranged between Regina Mills and Mr. Gold. David becomes a suspect in her disappearance, until evidence against Mary Margaret is found. Kathryn is found alive, though David’s relationship with Mary Margaret becomes strained, as he did not believe her innocence. He decides to move to Boston, though the curse is broken shortly after, and he reunites with Snow and Emma. David agrees to send a wraith released into Storybrooke through a portal, though Emma and Mary Margaret are dragged with it. David looks after Henry while Emma and Mary Margaret are absent. After failing attempts of transportation, David falls under a sleeping curse to communicate with Mary Margaret. He is awoken by true love’s kiss when the two return. When Henry is kidnapped to Neverland, David travels with his family and friends to rescue him from Peter Pan.

In Neverland, David is poisoned by Dreamshade, though Hook partially cures him and the group successfully return to Storybrooke where Mr. Gold fully heals him. After Pan enacts the original curse once more, David is returned to his original world with the remaining inhabitants, while Emma and Henry escape to New York City.

Back in the Enchanted Forest, David learns that Snow is pregnant but also discovers that Zelena, the Wicked Witch of the West wants their baby. The two enact a new curse to return to Storybrooke and make Emma stop Zelena. David insists Snow crush his heart, though she later asks Regina to split her heart in two to give to both of them. Zelena adds a forgetting potion to the curse, removing their memories of the past year. A year later, Emma returns to Storybrooke, and David and Mary Margaret reveal they are having a baby. Zelena poses as the couple’s mid-wife, stealing a symbol of David’s courage from him.  Zelena is ultimately defeated and Mary Margaret gives birth to a son, whom she names after Henry’s father and Rumplestiltkin’s son, Neal.

Verses:

From This Moment On: follows canon Once Upon A Time up to the end of season three

Road Less Traveled: any other AU threads

AUs:

Borrowed Babies: (Foster Care) foster father

I Solemnly Swear That I’m Up To No Good: (Harry Potter) Gryffindor sixth-year

There Was an Idea: (MCU)

Alternatively 1902: (Victorian)

Grow Up With the Land: (Wild West)

Forward To Victory: (World War II)

#muses #(david nolan/prince charming) how charming

[magzoso-tech]

New Post has been published on https://magzoso.com/tech/see-review-is-apple-tvs-game-of-thrones-wannabe-worth-watching/

See Review: Is Apple TV+’s Game of Thrones Wannabe Worth Watching?

Last year, as Apple was lining up programming for its new streaming service, Apple TV+, reports emerged claiming its content offerings would largely be family-friendly, eschewing blood and gory violence, profanity-laden dialogues, and adult-oriented themes that have powered most of the biggest TV dramas of all time. Essentially, Apple was going to do a Disney. But last month’s unveiling of the initial slate revealed those reports were seemingly unfounded. Set aside those shows aimed at children, the six others at launch or shortly upcoming — post-apocalyptic fantasy See, alt-history sci-fi For All Mankind, news drama The Morning Show, psychological thriller Servant, biographical comedy Dickinson, and true-crime drama Truth Be Told — are all certified “A” in India (TV-MA or TV-14 in the US).

See is possibly the most adult of them all, considering it’s clearly trying to be the new Game of Thrones. (Apple reportedly spent $15 million, about Rs. 106 crores, per episode on See, equivalent to what HBO did for Thrones’ final season, which is laughable for an unproven show with no existing fanbase.) Peaky Blinders creator Steven Knight is at the helm — that explains the graphic throat slits amongst other brutal scenes — of See, which is set centuries after a virus decimated the human population and deprived the survivors of the ability to see. Now, vision exists only as a myth and anyone who talks about it is dubbed a heretic. For the Apple series, that’s simply an excuse to force its world back to the Dark Ages, even before Game of Thrones’ equivalent setting of the Middle Ages.

But the comparisons to the hit HBO series are superficial, as with the inclusion of a possible incestual relationship between a nephew and his aunt. See has nothing to offer beyond its surface-level premise and violence — no gripping plot, no interesting characters, and no relevant messaging. It’s an empty husk of a show. The only ideas that are touched upon in the first three episodes of the total eight — that’s what critics, including us, had access to — are motherhood, family bonds, and tribe mentality, but See doesn’t know how to craft emotional scenes or build them up. (Francis Lawrence, behind three of the four Hunger Games films, is the director.) Moreover, the Apple series is dry, self-serious, and humourless, which makes it more reminiscent of Britannia than Game of Thrones.

See opens with a woman named Maghra (Hera Hilmar) giving birth to twins — a boy and a girl — in a cave, with help from a mysterious midwife called Paris (Alfre Woodard). Maghra’s husband — but not the father of her children — Baba Voss (Jason Momoa), meanwhile, is off on the frontlines with other members of his tribe, the Alkenny. He’s trying to thwart an assault by the Witchfinders led by Tamacti Jun (Christian Camargo), who has been tipped off by an Alkenny snitch called Gether Bax (Mojean Aria) that the babies’ father is Jerlamarel (Joshua Henry), a lone warrior who can see. Jun has been tasked with finding and capturing him at the behest of Queen Kane (Sylvia Hoeks), and his children become prime targets as well after they are born with sight.

With help from Jerlamarel, the Alkenny escape from the Witchfinders’ clutches and settle in a new land, where Baba Voss cuts them off from the rest of the world to protect his children, now named Kofun (Archie Madekwe) and Haniwa (Nesta Cooper). After Maghra, Baba, and Paris learn the kids can see, they decide to hide the truth from the rest of their tribe, since some of them were willing to hand the babies over to save their own skin. And that was before the Alkenny knew the children were “heretics”. For nearly two decades, the kids then grow up in isolation and secret, using their eyesight to help others and themselves. Meanwhile, Gether, who bears ill will towards Baba and Paris for having burnt his mother at the stake, keeps trying to sabotage the whole thing.

Off in lands far away, Queen Kane — leader of the Payan tribe — is battling dissenting subordinate voices and hence intentionally preaches contrasting philosophies to retain power. Publicly, she blames vision for causing the apocalypse in the first place, claiming men did evil deeds because they could see. Empty words considering the pain and destruction caused by the Witchfinders. Privately, Kane reveals she wants to find Jerlamarel so she can use him to bring more babies with sight into the world, which would help make her stronger. Her palace, which is set inside an abandoned dam that generates hydroelectricity, is one of a few remnants of the futuristic past on See, alongside a record player — the only piece of technology on-screen — owned by Kane.

The biggest problem with See is on a script level, as the writing virtually gives us no insight into its characters, who seemingly exist to move the narrative forward. Forget hinting at potential character arcs, we know barely anything about most of the protagonists and antagonists after the first three episodes. Baba Voss, Queen Kane, and Gether Bax are the most developed of the lot — and by most, we mean “very little” — while we are given next to nothing for Paris and Maghra, who can be described as simply the mother. As further proof of how little it has to say, characters repeat the same thing over and over when it comes to their primary motivation or stance on a topic. It’s almost as if See thinks its audience can’t be bothered to focus on what’s happening on screen.

Jason Momoa as Baba Voss in See Photo Credit: Apple

Beyond the lacklustre writing, See also fails to deliver on action sequences, which are usually reliant on the stupidity of villains to allow the heroes to come out as victors. They also betray a lack of scale at times, all the more surprising if Apple has really spent the reported figure of $15 million per episode on See. Game of Thrones shot its initial seasons at half of that average budget, and the HBO show still managed to look more impressive. See’s character roster is much smaller than Thrones as well, where there were so many families that it could repeatedly kill primary characters for much of its runtime without crippling the narrative. That means there are less stakes to its action too, since See can’t afford to kill off any of its core group of characters.

Additionally, See’s central conceit — a virus that killed most and blinded the rest — does turn into a bit of a joke now and then since everyone is a bit of a Daredevil on the Apple series. Relying on the scientific backing of how losing one sense rewires the brain and boosts others, See essentially grants superpowers to its characters. With everyone on the show being blind, that means everyone has more acute hearing, with different applications ranging from detecting lies, estimating the size of an incoming threat, and sensing movement beyond the horizon. (A select few others have more equipped noses that allows them to pick up on abstract things such as fear, which isn’t as helpful, naturally.) But the lack of variety lessens the appeal.

All that comes together to make up a show that has clearly nothing going for it. Strangely, Apple has already renewed See for a second season before it has even released, though a report claims that the series will see “a change at the top”, which means either of Knight or Lawrence — or both — are set to make way for someone else. Whether that will improve See is debatable though, given its current status as a disastrous, utterly forgettable attempt to be the next Game of Thrones. There’s no shortage of contenders in the space too, what with Amazon, Netflix, and HBO itself all trying to fill that void. But for Apple, the quality of its originals is paramount since it’s not going to offer anything else, unlike others. Sure, it has money to throw at TV+, but See is proof that its customers should think twice.

See premieres November 1 on Apple TV+ worldwide with three episodes, followed by one new episode every Friday.

#Uncategorized

[fcrgedstrcngth]

King David Nolan

Status: semi-active

Face-claim: Josh Dallas

Biography:

In the Enchanted Forest, David was originally a poor shepherd whose twin brother James was given to King George as an heir in a deal with Rumplestiltskin. From an internal story chronology, we first encounter him when he meets Anna of Arendelle, whom he tells he is a friend of Kristof, and we find him being terrorized by the evil Little Bo Peep.

When James, his twin brother, is killed in battle, David takes his brother's name in exchange for the prosperity of his mother's farm. King Midas declares David fit to marry his daughter Abigail and unite the kingdoms. However, David wants to marry for love, but George vows to kill his mother if he declines. He falls in love with Snow White, who nicknames him Charming, later inviting her to run away. After continuous interceptions by George, the Evil Queen Regina captures him to convince Snow to willingly eat an apple containing a sleeping curse. He later awakens her, and the pair marry, before Regina announces that she will cast a curse to destroy their happiness. Rumplestiltskin informs them that their child will break the curse in 28 years. Emma is born before the curse takes hold, and Charming places her in a magical wardrobe to protect her from the curse, before being wounded by the Queen's knights.

In Storybrooke, as a result of his wounds, he first appears as a John Doe, who has gone unidentified for years. He awakens after Mary Margaret (Snow White) reads him their story. He reunites with his wife Kathryn (Princess Abigail), and is identified as David Nolan. David suffers from amnesia and cannot remember his fake life with Kathryn. He falls in love with Mary Margaret and begins an affair with her, ending his marriage to Kathryn, who is soon reported as being murdered, a plan arranged between Regina Mills and Mr. Gold. David becomes a suspect in her disappearance, until evidence against Mary Margaret is found. Kathryn is found alive, though David's relationship with Mary Margaret becomes strained, as he did not believe her innocence. He decides to move to Boston, though the curse is broken shortly after, and he reunites with Snow and Emma. David agrees to send a wraith released into Storybrooke through a portal, though Emma and Mary Margaret are dragged with it. David looks after Henry while Emma and Mary Margaret are absent. After failing attempts of transportation, David falls under a sleeping curse to communicate with Mary Margaret. He is awoken by true love's kiss when the two return. When Henry is kidnapped to Neverland, David travels with his family and friends to rescue him from Peter Pan.

In Neverland, David is poisoned by Dreamshade, though Hook partially cures him and the group successfully return to Storybrooke where Mr. Gold fully heals him. After Pan enacts the original curse once more, David is returned to his original world with the remaining inhabitants, while Emma and Henry escape to New York City.

Back in the Enchanted Forest, David learns that Snow is pregnant but also discovers that Zelena, the Wicked Witch of the West wants their baby. The two enact a new curse to return to Storybrooke and make Emma stop Zelena. David insists Snow crush his heart, though she later asks Regina to split her heart in two to give to both of them. Zelena adds a forgetting potion to the curse, removing their memories of the past year. A year later, Emma returns to Storybrooke, and David and Mary Margaret reveal they are having a baby. Zelena poses as the couple's mid-wife, stealing a symbol of David's courage from him.  Zelena is ultimately defeated and Mary Margaret gives birth to a son, whom she names after Henry's father and Rumplestiltkin's son, Neal.

Verses:

From This Moment On: follows canon Once Upon A Time up to the end of season three

Road Less Travelled: any other AU threads

AUs:

Borrowed Babies: (Foster Care) foster father

I Solemnly Swear That I’m Up To No Good: (Harry Potter) Gryffindor sixth-year

There Was an Idea: (MCU)

Alternatively 1902: (Victorian)

Grow Up With the Land: (Wild West)

Forward To Victory: (World War II)

Starter Call

#(david nolan/prince charming) how charming #muses

[audiofixationnews]

#OverloadMonday: Cardi B, The Weeknd + More Deliver New Music

Here's some overload for your Monday blues. Check out what went down this past week, March 26th to April 1st.

Singles

After dropping a surprise track with XXXTentacion and a tribute joint for Biggie, Joey Bada$$ just keeps the new music coming. Now he’s released a remix of YBN Nahmir’s “Bounce Out With That.” Listen above, and check out Joey Bada$$ on IDK’s “Lil Arrogant” with Russ.

I’ll just add another highlight because… well, I just can.

Apple | TIDAL | Spotify

After she announced the release date of her debut album, scroll down, Cardi B has dropped single. “Be Careful,” serves as her third single off her album and shows a different side of Cardi. If you liked Queen Cardi singing on Ozuna’s “La Modelo,” then here you go. She balances rapping and singing over a soft beat in “Be Careful.” Listen above and stay plugged for more updates.

For weekly releases, Chris Rivers and GodBodyWati are keeping their Wednesday series afloat.

A$AP Rocky has now linked up with BlocBoy JB in his newest single, “Bad Company.”

After a week of straight new releases, A Boogie dropped his first single of his upcoming sophomore album. Check out “Nonchalant” featuring Alkaline, as well as his other new releases.

Ne-Yo drops another single from his upcoming Good Man. This past week he released “Push Back,” which features Bebe Rexha and Stefflon Don.

Future season is fast approaching as he delivers his newest joint “Absolutely Going Crazy.”

N.O.R.E. dropped some new music, a remix to his “Uno Más,” featuring Pharrell, Miguel, Wiz Khalifa and J Alvarez.

We also got new music from Thutmose, Young Buck x Twanee, Sam Smith x Logic, and Lil Durk x Ty Dolla $ign x PND.

Big Shaq recruits Busta Rhymes for a full studio version of “Mans Not Hot."

Forever M.C. returns with a new joint, “School,” featuring Lupe Fiasco, Talib Kweli, Rozewood, and Hus Kingpin.

Ty Dolla $ign recruited Gucci Mane and Quavo for his latest single, “Pineapple." What’s better than Hip Hop Beef? R&B Beef that is! Eric Bellinger takes shots - more like a whole cannon ball - at Tory Lanez in “Yikes.”

We also heard some new music from Blu and Nottz, “Yesterday,” who also have a new-ish project on the way.

Rich The Kid went after Lil Uzi Vert in “Dead Friends:” Spotify, Apple.

And while we just entered April, Wiz Khalifa is already celebrating “4.20” with a freestyle.

Visuals

SZA, baby - yass! The TDE leading lady has dropped yet another visual treatment off her debut album CTRL. Watch it above, and stay plugged for a very special CTRL feature.

While prepping for a joint release with Chris Brown (Angels & Demons), Joyner Lucas is still on his solo tip. He certainly doesn’t shy away from controversy, with his recent release of “Frozen” that head on confronts the issue of texting and driving and driving under the influence. While the video is a bit disturbing, it’s the hard truth that aids to the song’s message. Check out the visual for “Frozen,” and listen to the song via Spotify. 

“Framed” is Eminem’s next single to highlight from Revival, following suit from “River,” “Walk on Water,” and “Nowhere Fast.” With this new visual treatment, Em drops a horror-filled trailer with him escaping an asylum. There’s much more so check it out, and stay plugged for the full video.

Trae Tha Truth reverts back to Tha Truth Pt. 3 to release his latest video. Dedicated to his late friend Money Clip D, Trae watches home videos and visits his grave in the emotional visual treatment for “Can’t Get Close.” 

We got new videos from Tyler, The Creator, Shy Glizzy, Trill Sammy x Slim Jxmmi, and Thutmose.

A Tribe Called Quest have released their final music video, “The Space Program.” It features cameos from Erykah Badu, Alicia Keys, Pharrell, Vince Staples, Talib Kweli, Common, Questlove, and plenty more. Directed by Warren Fu, the visual serves as a tribute to Phife Dawg. Exclusively on Apple Music, check it out if you can.

YG can be found on new videos with Belly and Arin Ray.

With Joyride on the way, Tinashe releases her debut album’s first visual treatment for “Me So Bad,” which features Ty Dolla $ign and French Montana. 2 Chainz linked up with YG and Offset to release a new video for his “Proud” joint that stars each of their very own mothers.

We also got new visuals from Snoop Dogg x Charlie Wilson, Preme x Lil Wayne, Maxo Kream, and Phora.

Projects

Apple | Spotify | TIDAL

The Weeknd dropped a surprise EP, My Dear Melancholy. The 6-track project is reminiscent of early-Weeknd (“Gone,” “House of Balloons”) that has everybody gong crazy right now. Rumored to drop more projects in the next few weeks, check out My Dear Melancholy. Also check out two videos he’s just realized via Spotify: “Try Me” and “Call Out My Name."

Chief Keef released the fifth installment of his The Leek tape series. The 17-track project is featureless, following the fourth installment that dropped earlier this month: Apple | TIDAL | Spotify.

Birdman has released the Cash Money Before Anythang soundtrack. The 18-track album features the likes of Snoop Dogg, Jacquees, Gucci Mane, Migos, Young Thug and plenty more: Apple + Spotify.

Rich the Kid has finally dropped his debut album, The World Is Yours. The 14-track album features the likes of Kendrick Lamar, Offset, Swae Lee, Trippie Red and more. Check it out: Apple, Spotify, & TIDAL. 

Styles P recently announced an upcoming project, Nickel Bag. He took to Instagram to unveil the artwork and official tracklist. The five-track EP features Dyce Payne, Flowboy Vegas, and Whispers. Just a couple days after, Styles P drops the project and man… you just gotta hear it: Apple, DatPiff & TIDAL.

Coming Soon...

Queen Cardi has finally revealed details on her debut album. About damn time! She took to Instagram to share the cover of her upcoming Invasion of Privacy, which is set to release April 6th. It was also announced that she has signed to Quality Control’s management division, joining her Migos and Lil Yachty.

Also set to release this Friday, April 6th, is Kali Uchis (Isolation), Khary (Captain), and Flatbush Zombies (Vacation in Hell).

Blu and Nottz are back at it! The dynamic duo have a joint album on the way. The collab is a joining of their ’13 EP Gods in the Spirit and their ‘16 Titans in the Flesh. As a full-length album, it will all be remastered as well as the tracklist restructured. Gods in the Spirit, Titans in the Flesh is set to release April 13th and is available for pre-order.

Weeks after announcing her debut album, Joyride, Tinashe has now revealed more details. Coming in at 13 tracks, the album will feature the likes of Offset, Ty Dolla $ign, French Montana, Little Dragon and Future. Hear it on April 13th.

Consisting of Gucci Mane, Lil Yachty and Migos, the Glacier Boyz have a joint project on the way. Gucci Mane took to Instagram to announce the release date: “Ice Ice Baby #GlacierBoyz April 13.” Shortly after, Gucci should be releasing his solo album, The Evil Genius.

Ne-Yo’s upcoming album, Good Man, is set to release June 8th. With some singles already dropped - scroll up for one - the album will feature the likes of 2 Chainz, Stefflon Don, PARTYNEXTDOOR, Romeo Santos, Eric Bellinger, and Bebe Rexha.

Linkin Park member, Mike Shinoda, recently announced that he is gearing up for a solo debut release June 15th. Post Traumatic will consist of 16 tracks, and he shared one - “Crossing A Line.:”

“It’s a journey out of grief and darkness, not into grief and darkness. If people have been through something similar, I hope they feel less alone. If they haven’t been through this, I hope they feel grateful.”

Post Traumatic is available for pre-order/pre-save.

Check This

After becoming a Kennedy Center honoree, LL Cool J now launches a new radio station on SiriusXM that’s dedicated to classic Hip Hop. Here’s what he had to say while celebrating the show’s launch: "If you wanna be a fly on the wall in the world of classic Hip Hop, SiriusXM’s ‘Rock the Bells Radio’ is for you. It’s where fans can come and be immersed in the music, the culture, the energy and the history of classic Hip Hop. We’re gonna have great artists, legendary artists, lyricists, superstars, sex symbols. This is the place to be if you want uncut, raw, pure, classic Hip Hop, but there’s one catch, it's strictly for OGs."“Strictly for OGs” comes to no surprise, as LL has in the past talked down about this new era of Hip Hop artists. If you have SiriusXM, catch LL Cool J on channel 43.

“The Roc’s in the building”

Jay-Z sat down with David Letterman and discussed the art of rapping as well as praised Eminem and Snoop Dogg. In a preview of Letterman’s “My Next Guest Needs No Introduction” Netflix series, Hov’s interview clearly focuses more on Hip Hop but also spans other topics such as President Cheetos, Kanye West, and Jay-Z family. The episode is set to release on Netflix April 7th, but catch the preview above. 

Following his latest album, Heartbreak On a Full Moon, Chris Brown has announced that he will be heading out on a 27-city tour along with 6LACK, H.E.R., and Rich the Kid (select dates). Check out the full date list.

Afropunk Festival has announced their lineup and they pulled together an impressive list. The two-day festival will take place in Brooklyn, August 25th, and 26th. It will host the likes of Badu, Miguel, Tyler, The Creator, Jaden & Willow Smith and plenty more, You can check out the full line up above, and get your tickets over at Afropunk’s website. Get more details here.

Stay plugged

That sums up this past week in Hip Hop. Come back next week for more.

#overloadmonday #new music #new visuals #news #new projects #cardi b #tinashe #ll cool j #the weeknd #joey badass #stay plugged #writtenbysade