Part 1, Part 1.5, & Part 2 of my rewrite of the Batman Arkham games are posted. The first three parts have covered adjustments I made to the main story of Asylum, City, Origins, & Knight. Here's the first part of how I would improve the set of DLC packs for Arkham Knight that's set after the main story:
1.) A Matter Of Family #1: Ascension of Azrael (Azrael DLC Pack)

• The first DLC pack canon to the good ending of "Heir to the Cowl" focuses on Azrael hunting the remaining members of the Order of St. Dumas throughout a variety of areas in Gotham City to redeem himself after Batman mentored him. Azrael's conflict is holding onto his newfound morals when the Order escalates with their attempts at cleaning different areas of corruption without caring about the damage they cause to those around them.
• Azrael is able to persuade members to deflect, along the way. The main villain would be "Father Valley" who's the father of Jean-Paul Valley and is the leader of the Order of St. Dumas while the secondary villain is Prometheus, who's using the Order to his own ends to carry out his brutal crusade against crime and law enforcement with help from Father Valley.

2.) A Matter Of Family #2: Harrowing Hearts (Harley Quinn DLC Pack)

• The DLC picks up sometime after the main story and shows Harley Quinn in Bludhaven Prison, who's conflicted about her life choices, but she's sneaked out of prison by supposed prison guards, who are revealed to be Jokerz gang members. Harley's confused, at first, but she learns about the fake prison guards being a part of a growing movement honoring Joker's name to find freedom in all of the chaos that ensued during the countless times Gotham City's suffered.
• Harley's intrigued but uneasy about this since she feels conflicted about the choices she's made and a piece of her still missing Joker. She's introduced to the growing Jokerz followers, who she's impressed at since they have style but knows they wouldn't hold a candle to Mr. J, despite what they intend to do.
• The 2nd-in-command is introduced as Curtis Base, who convincingly impersonates Joker with his costume and make-up. Curtis Base and the starting members of the Jokerz go over the plan of how they heard about weapons and a nuclear bomb being auctioned in the black market for their plan to steal them.
• It leads to the first playable section of the DLC being Harley leading the Jokerz and Curtis Base to the auction and fighting through the guards to infiltrate it so they can take the bomb for themselves. Afterward, the weapons and bomb are brought back to the Jokerz hideout and their plan is to retrofit the bomb with laughing gas to unleash it onto the city, which Harley's unsure about approving of since despite how she had fun with taking down the mobsters, she isn't sure about going that far.
• Batman's able to track the Jokerz to their hideout and they escape with the weapons and bomb while Harley's left behind. Harley's taken into custody and Batman makes an offer where he'll allow Mayor Jim Gordon to lower Harley's sentence if he helps find the Jokerz gang and where they have the bomb if she promises to not double cross, which Harley reluctantly agrees to. The DLC has Harley and Batman work together to crack down the operations of the Jokerz gang, one block at a time, while Harley's split personalities have her feel conflicted about either going back to her old ways to help the Jokerz, go back to her former self, or find a balance between her personalities.
• Curtis Base, who's a Joker impersonator, is the main villain of this DLC. His Joker impressions can have Harley conflicted about her feelings over her past life and time with Joker before his death before she chooses to break through her "love" for Joker to reform and redeem herself, in the end, to earn a lighter prison sentence while forgiving Batman. Batman gains newfound respect for Harley since she chose to reform, but warns her about needing to live with her crimes and learn from them.

3.) A Matter Of Family #3: GCPD Lockdown (Nightwing)

• The DLC starts with the player infiltrating a criminal base as Nightwing while using stealth and his acrobatic skills to avoid being spotted to hear in on the conversation between the criminals about them divided on if they should take the money they gained and get out of Gotham City or stay to get more money and trust the protection given to them by Penguin. The thugs store money and weapons in vans to prepare to leave, but Nightwing drops down and after he takes them down, he interrogates one of them for the whereabouts of Penguin.
• Batman's absence is implied to be because he and Mayor Gordon are helping Barbara's paralysis outside of the city and it's why he entrusted Dick Grayson to handle the situation with The Penguin and his goons. Dick and Alfred communicate throughout the mission as you have to find and infiltrate outposts that his henchmen guard while messaging Penguin to taunt him and rile him up to trick him into giving any potential information on his plan and location.
• Nightwing learns the reason why The Penguin broke out of prison is because he wants to regain his territories since they're under threat of being taken from him by a new player in town who executed his men. Nightwing then manages to find the Penguin and arrest him with help from the GCPD, but they'll need to keep an eye out for the new player Penguin mentioned.

4.) A Matter Of Family #4: A Flip Of A Coin (Tim Drake)

• The DLC takes place during Dick and Barbara's honeymoon with Tim Drake accompanying them as a friend. Tim gets leads on Two-Face being in charge of operations that are near where Dick and Barbara's honeymoon is, so he suits up to investigate. Throughout the mission of this DLC, the new maps introduced are new areas outside of Gotham City where Two-Face operates. The DLC set during the honeymoon for Dick and Barbara can make natural comedic banter between Tim, Dick, and Barbara instead of him being compared to Bruce.
• Two-Face's breakout from prison happened at the same time Penguin escaped during the events of Nightwing's DLC. Unlike Penguin, however, he isn't interested in starting another gang war but wants to build his own criminal empire outside of Gotham City to avoid Batman. The sections of this DLC are mostly the same but with conversations between Tim and Dick with Barbara on what Tim intends to do in the future if he wants to step out of the mantle of Robin, which he isn't sure about yet. Afterward, Robin heads to the 2nd map where Two-Face resides in his Caribbean Inspired base of operations and he curses Batman for finding him, but isn't afraid when learning it's Robin.
• The fight throughout Two-Face's base stays the same, but when Tim confronts him, Two-Face mocks him for how he's washed up, hears Nightwing and Batgirl aren't here to save him, and will fix him having to deal with two Robins with the past one and Tim as the new one, but when he's about to shoot Tim, he claims he's about to make Robin's ugly suit Red and the player has a moment to press a button to dodge his shot at Tim and take Two-Face down after managing to get past him.
• After Tim Drake defeats Two-Face, he interrogates him to learn what made him choose to leave Gotham City and he answers by saying there isn't enough room for him anymore, especially since a new player came into town and took his operations from him before he knocks him out and leaves the police to arrest him.
• In the ending, Tim Drake suggests new costume design ideas to Dick and Barbara while even suggesting the new name "Red Robin", which they find to be a bit corny but will consider it and they'll think of other potential new names as the DLC ends with a teaser for Red Hood's arrival.

5.) A Matter Of Family #5: The Brave and The Bold (Batgirl and Jason Todd)

• The DLC begins with establishing Batman, Batgirl, and Dick Grayson's dynamic when stopping a crime in progress. The player can switch between the three in the first mission as you take down the criminals. Afterward, Dick Grayson announces he's leaving the Robin Mantle and is moving to Bludhaven with his reasons being it's time for him to form his own identity. Bruce is conflicted about this, but to respect Barbara's wishes for Dick, he respects his decision.
• During a night out, Batman meets a boy trying to steal the Batmobile’s tires when it is parked in an alley unknowingly, who's introduced as Jason Todd. He's quick to apologize for trying to steal Batman's tires and fanboys over Batman, a little, and after some time of them getting to know each other, he decides to take Jason in to train him.
• The player is tasked to train as Jason Todd in the Batcave and gets to see how Jason's training made him earn the Robin mantle. Jason then gets to go on missions with Batman and Batgirl, which consist of taking down familiar villains, stopping drug operations, and him becoming more brash and overconfident as he wants to prove himself to Batman. The new major task for Jason and Barbara is to stop Joker and Harley Quinn when they cause chaos in Gotham City while Batman is temporarily absent, due to personal matters.
• Jason Todd and Batgirl work together to infiltrate criminal operations from Joker's gang with the player able to switch between them. They make progress in finding leads for where the two are but occasionally conflict with each other. Jason and Barbara get false leads on the location of kidnapped victims of Joker when trying to find them, so the mission goes south when they can't save them in time.
• Jason Todd learns the false lead was given by a corrupt GCPD officer on Joker's payroll, who he finds and brutally interrogates for information on why he worked with him and where Joker and Harley are located. He learns the horrifying truth about Joker killing children as he sewed the body parts together to give them back to their parents in "one piece". Jason is disgusted and enraged by this and Batgirl finds where the bodies are with Commissioner Gordon's help. He makes the bold but risky choice to go after them himself.
• The subplot explores Joker and Harley's abusive dynamic that mirrors Jason and Barbara's dynamic as they enact their chaos around the city, but Harley's pieces of moral consciousness are explored a bit when her split personalities conflict with each other. Batgirl has to work with the GCPD to find Jason as he hunts for Joker and Harley while the sections where you play Jason show his growing rage when he fights against the waves of Joker's henchmen sent to kill him while tracking him.
• It leads to Jason Todd being captured and tortured by Joker. Harley watches but is unsure about if she should be amused when he watches and it gives her the sad truth she doesn't want to admit, which is Joker admiring Batman over her. Harley takes care of Jason, a bit, but he's angry towards her for assisting Joker with his crimes, especially the recent deaths of children. Harley has no prior knowledge of it and briefly confronts Joker about it since she doesn't kill kids, but Joker beats her for speaking out against him and goes to torture Jason himself.
• Batman returns from his temporary absence and works with Batgirl and Commissioner Gordon to find Jason. He gets a lead on Joker when Harley secretly turns herself in, unknown to Joker, to give Jason's location. Batman and Batgirl fight through Joker's remaining goons, who taunt them for how they won't make it. The two and Commissioner Gordon try to reach Jason's location in time as he's being tortured by Joker for a few months and Batman has to face obstacles when trying to make it to where he is.
• Unfortunately, Batman's too late when the location where Jason Todd is explodes. He's killed in the explosion before he can be reached, and the last thing he says to Batman as he's in his arms is "I'm Sorry". Batman, grief-stricken and enraged, tells Batgirl to stay behind to search for Joker. The player gets to play an enraged Batman as he finds Joker and beats him to a pulp. He almost kills him until Commissioner Gordon arrives to stop Batman from doing it and Alfred gets Bruce to come back to his senses.
• The DLC ends on a bittersweet ending with Jason Todd's funeral taking place. Afterward, Batman thinks it's best if Barbara takes a break from being Batgirl for a while since she should focus on her life and not suffer the same fate Jason did. The game cuts back to the present day where Bruce looms over Jason's grave as he reminiscences on Jason's training as Robin and apologizes for not being able to save him and wishes he was here now, but despite how he failed him in life, he won't fail him in death. Dick, Barbara, and Tim console Bruce, but a figure watches them from afar, who's implied to be Red Hood, as the DLC ends.

Credit for these ideas is to Game Den. Let me know if each improves the DLC's storylines.

This story happened 3 years ago, but what happened still bothers me.
My brother's girlfriend at the time invited me to come to the capitol city of our state to attend an annual fair to celebrate her 24th birthday, and I accepted the invitation. I was super excited, and I sewed a dress from scratch for myself, as well as a costume for my brother.
Around the same time that the invitation was sent, two of our aunts messaged me and said they had planned an ash spreading memorial for our late grandma, grandpa, and great grandma. They told me what day they already planned the memorial and where it would be, and it just so happened that it was the same weekend and general area that the fair was being held. I mentioned to them that my brother and I would be in the area, and that we did have plans, but at the very least I would try to be there since it was happening while I was already in town. (For context, our grandma and great grandma raised us from infancy to our late childhood years). I was under the impression that my aunts were also communicating these details to my brother to see if he wanted to come. It wouldn't be an issue if he didn't want to, and I told my aunts that he was planning to go to the fair with his girlfriend. Both of my aunts said they understood and that they wish he would come, and they said there would be no hard feelings if he chose not to. I had a few discussions about the memorial with my brother, and he overall seemed onboard and okay with the situation. I told him very directly that it was unlikely I would be able to go to the fair with them, but I would appreciate it if they still came and got me so I could attend. Like I said, I assumed my aunts had been corresponding with him about the details. I told him if he didn't want to come get me, I would have figured something out, but he said he would still pick me up.
Fast forward to the weekend of the fair and the memorial, and my brother and his girlfriend came to my city to pick me up. I took some time off of work, and I was super excited for this mini vacation. I was excited to spend time with my brother who I never see, and to get to know his girlfriend better. My brother told me they brought another friend with them about an hour before they got to town, which I wasn't expecting. Regardless, I cooked dinner for all three of them (which I made special to meet the girlfriend's dietary needs) and offered them a place to sleep either in my apartment or at the hotel I work at. After dinner, my brother took me aside and said he was angry at me for planning the memorial behind his back and for "conspiring against him" (his words). I told him that I mentioned to our aunts we would be in the area, but they had already chosen the dates and gotten plane tickets before they even talked to me. We dropped it, and later on they claimed that my apartment was too hot for them and all three of them opted to sleep in my brother's truck. We departed the next morning, and my brother was acting super pissy and passive with me because my dog had gotten loose on the way to the truck (we were dropping her off at my friend's house) and because I had a few more things I needed to pack before we left. We didn't have a specific time to be anywhere, he just wanted to get on the road.
The girlfriend's family had rented and Airbnb for everyone to stay at, and when we got to our destination, my brother, his girlfriend, and her friend were all tired. I didn't want to crowd them, so I reached out to one of my best friends from high school who lived in the area and made plans with her that evening. We went out, got dinner, and also attended the fair briefly (because I didn't expect I would be able to go the next day because of the memorial). At this point, my brother had said he intended to go to the fair and not the memorial the next day.
When I returned to the Airbnb that evening, the girlfriend's entire family was there, and I was happy to meet everyone. We played card games, I played swords with the little kids in the backyard, had conversations with the parents, and overall, just tried to be a good guest. There were several bedrooms in the Airbnb, but because there were so many people, I ended up taking the study which had a foldable couch that was really uncomfortable, and there was a double door that was almost entirely made of glass, so I didn't have any privacy to change in there. I was grateful to be there, and I understood that space was limited. That evening, everyone of age was drinking. The girlfriend had stayed up until about 5am drinking with her friend, knowing that her family was leaving for the fair at 7am.
The next morning, I woke up with the family and enjoyed breakfast with them (while my brother slept, and his girlfriend slept in the other room with her friend). They all departed for the fair without the birthday girl, because she was still asleep and hungover with her friend. I suppose at some point in the evening my brother changed his mind about the memorial, because he told me later the plan was that he would come to the memorial with me (our aunt would pick us up), and he would leave his car at the Airbnb for his girlfriend to take herself to the festival when she was ready. He was hoping the memorial would be short and sweet and that our family wouldn't want to spend time together, and he would be able to attend the festival at the end. Again, both of my aunts and myself would not have harbored ill feelings if he had chosen to go to the festival instead, but this was his decision.
It was a beautiful memorial, and we got to see members of our family that we hadn't seen in years. Our estranged mother was there, as well as most of our cousins. Our aunt had gotten catering for the event. We spread our grandparents' ashes on a beautiful mountainside. It was very emotional, in both good and bad ways. I think our grandparents would have been so proud that we were all together again, celebrating their life and their love. In a way I wish that moment lasted forever, but all good things come to an end.
Near the end of the service my brother realized something. He had forgotten to leave the car keys with his girlfriend! The fair was almost over, her family had taken their vehicle without her, and her and her friend were "stranded" at the Airbnb! Has this bitch never heard of Uber? She was blowing up his phone, and when my brother realized what he did the whole mood shifted. He told me what happened, and after that he seemed quiet and angry for the entire rest of the trip.
When the service was over, our aunts took us back to the Airbnb, apologizing that it took so long (even though they had nothing to apologize for). We said goodbye and went inside, and my brother went upstairs to where his girlfriend was. I felt bad that my brother and his girlfriend missed the fair, so I tried to make it up in whatever little ways I could in the moment. I apologized to both of them for what happened, to which they said nothing. I gave them space and went into the kitchen and saw that the fridge was void of any alcohol from the night prior. I asked my brother if he would be willing to drive me to the liquor store so that I could restock the fridge for everyone as some sort of apology, and he looked at me like I was insane and said no. I shrugged it off and said that was fine. I'm a woman of my own means after all. He and his girlfriend left to get dinner together after that, and I stayed at the Airbnb completely alone for several hours. I cried a few times, because I felt bad about what happened, but I was also feeling extremely alone after such an emotional day, and I was also feeling like I was being treated like shit over something I had no control over. I ended up ordering delivery and restocked the fridge, and when my brother came back and saw we had beer, he was surprised that I was able to do something I said I would without his help... like in a bad way. When his girlfriend's family returned home, I apologized to them as well and offered to reimburse all of the tickets they had bought for us since we couldn't use them. They told me not to worry about it and that they understood.
We all departed the next morning, but the car ride felt like pure ice. Everyone was ignoring me if I said anything, and my brother took the opportunity when we were alone in the car to tell me that I had a bad dog (contextually, my friend had text me saying my dog chewed something up. At this time my dog was 3 months old). When we got back to my city and my brother dropped me off, I saw a good friend/neighbor of mine standing outside his door. My brother was walking with me, and I asked him if he would like to meet my friend (I had a huge crush on him too, so I wanted to introduce them), and my brother told me that he had absolutely no interest in meeting any of my friends. I said goodbye to him and went home. I didn't hear from my brother for a few days, and what he said when he reached out shocked me.
A few days later, my brother sent me a text saying we needed to talk and to call him. I told him I was a bit busy in the moment, but if it was urgent he could text me. He said it had to be a call, so when I had a few moments, I called him. He immediately started digging into me, saying that everyone was pissed at me for ruining their vacation (insinuating it wasn't my vacation too), and that I got to do everything that I wanted and didn't care about how it affected everyone else. He told me that I was ruining his chances of marrying this girl, because her family is judgmental, and they were talking shit about me behind my back. That being said, I spent more time with his girlfriend's family than she OR my brother did, and I never actually saw them interact with each other outside of a single game of Uno. He told me that I was egotistical and selfish, and compared me to our abusive father. He told me that I need to grow up, stop acting like a child, and break the chain of egotism in our family. I snapped! I told him he was jealous, and I thought his girlfriend was feeding him lines, that nothing I had done affected how his vacation went. It wasn't my fault that he forgot the keys, it wasn't my fault his girlfriend got so drunk the night before that she didn't leave with her family. I told him that her family did like me, and that if they actually were talking about me behind my back after all the time that we spent together then I don't want them to be a part of my family. I told him that it was disgusting that he was trying to taint the memory of our late grandparents with this stupid fight, and that I was disappointed that he was prioritizing his selfishness over our family. Then I hung up.
A few days alter we did call again and apologized to each other for the fight, but not the events. He and this girl have since broken up, but I think he still holds this against me. It makes me so angry! I know anger can cloud logic, so Reddit please tell me... AITA?

Hi. in the previous thread was discussed that it needs to be prewashed, definitely. So, after prewashing it with 40 degrees, how much extra % of cm should i add while sewing? because in the future it will still shrink a few more % i think, or?
should i prewash in future on 50 degrees to make sure it shrinks as much as possible? i’m afraid 50 degrees completely messed up the fabric. is 50 safe?
https://www.reddit.com/HistoricalCostuming/s/qltYyYqCmx
edit
one more question: my reseller sells prewashed fabric. Before wash it was 140cm. After wash it is 133cm. That’s 5% shrinkage. How much extra % should I plan now? Or should i prewash it myself a second time?
edit
Oh god one more question!!! If I wash it at 50 or 60 degree, could that remove the coloring of the linen??? really afraid of that

I will continue to update this post as reviews come in.
Rotten Tomatoes: Certified Fresh
Critics Consensus: Retroactively enriching Fury Road with greater emotional heft if not quite matching it in propulsive throttle, Furiosa is another glorious swerve in mastermind George Miller's breathless race towards cinematic Valhalla.

	Score	Number of Reviews	Average Rating
All Critics	85%	81	8.00/10
Top Critics	74%	31	8.30/10

Metacritic: 82 (33 Reviews)
Sample Reviews:
It all adds up to is a movie that can be darkly bedazzling, and that will be embraced and defended in a dozen passionate ways -- but it’s one that, to me, falls very short of being a “Mad Max” home run. - Owen Gleiberman, Variety
Anya Taylor-Joy is a fierce presence in the title role and Chris Hemsworth is clearly having fun as a gonzo Wasteland warlord, but the mythmaking lacks muscle, just as the action mostly lacks the visual poetry of its predecessor. - David Rooney, Hollywood Reporter
Miller is such a wildly inventive filmmaker that it’s been easy to forget that he keeps making movies about the end of life as we know it... It’s only with “Furiosa” that I now understand he’s also one kick-ass prophet of doom. - Manohla Dargis, New York Times
“Furiosa,” to its distinction and detriment, ends up being too self-regarding, too downbeat. - Joshua Rothkopf, Los Angeles Times
“The question is,” Dementus asks, “do you have what it takes to make it epic?” Miller answers that question with a resounding yes. 4/5 - Bill Goodykoontz, Arizona Republic
It gets overwhelming at times, but it’s in service of a cinematic vision that continues to fascinate all these years and changes later. 3/4 - Peter Howell, Toronto Star
Taylor-Joy and Hemsworth are a great pairing and Taylor-Joy is an overwhelmingly convincing action heroine. She sells this sequel. 4/5 - Peter Bradshaw, Guardian
This is a film made with purposeful savagery, and with considerable wit and lyricism, too. It has the concentrated intensity of 2015’s Fury Road, to which it is a prequel, and yet it unfolds across a far broader canvas. 5/5 - Geoffrey Macnab, Guardian
A thundering beginning and a searing sense of place fail to compensate for the wearisome repetition and empty theatrics that slowly swamp this much-awaited blockbuster. 2/5 - Kevin Maher, Times (UK)
It might not reach the heights of its predecessor, but Furiosa is a furious ride with three utterly watchable leads. Taylor-Joy has done Charlize Theron proud as this fabulous vengeful heroine. 4/5 - Jo-Ann Titmarsh, London Evening Standard
The film may handle differently to its predecessor, but it’s clearly been tuned by the same engineers. After the pared-down drag racer, here comes the juggernaut. 5/5 - Robbie Collin, Daily Telegraph (UK)
All the bits and pieces are there to continue this landmark series but the outcome result fails to leave an impression. It lacks oomph. 3/5 - Stephen Romei, The Australian
It gets so busy with all the revving, and the roaring, and the non-stop decimation of faceless computer-generated creatures, that you feel completely uninvolved. And unmoved. I couldn’t wait for it to get over. - Shubhra Gupta, The Indian Express
You soon reach the point where you're sick of sand, sick of explosions, sick of off-puttingly sadistic violence, and sick of thunderous drums bashing away on the soundtrack, and yet the film keeps piling on more and more and more of them. 3/5 - Nicholas Barber, BBC.com
Despite its many, many action sequences, and a symphonic cacophony of motorbikes vrooming in the sand, the movie... evolves into a slog that’s working hard to persuade us we’re having a good time, though it may not be actually giving us one. - Stephanie Zacharek, TIME Magazine
Furiosa runs on a high-octane philosophical perspective that finds hope in a hopeless place. Also, a lot of cars go fast and shit blows up. It’s a win-win. - David Fear, Rolling Stone
Furiosa is a fine prelude to that mighty arc. Its initial rattling gradually gives way to the robust and satisfying purr of Miller, despite everything, making it work. - Richard Lawson, Vanity Fair
Action sequences charge forward and build and build, casually leaving all manner of bodies in their wake. - Bilge Ebiri, New York Magazine/Vulture
The chassis may look familiar but there is a very different engine driving Furiosa from that of Fury Road: it’s a rich, sprawling epic that only strengthens and deepens the Max-mythology. It shall ride eternal! 5/5 - John Nugent, Empire Magazine
While it’s absolutely a blast at the cinema, the dizzying heights that Miller drove us back in 2015 aren’t quite matched a second time around. 4/5 - Hannah Strong, Little White Lies
The transition from the young Furiosa (played beautifully by Alyla Browne) to the mature adult (Taylor-Joy) is seamless, and connects well with the version we’ve seen before, in the form of Theron. 4/5 - Ed Gibbs, Time Out
It harkens back to the more sprawling nature of the original Mad Max films, but it’s also a spiritual work that grapples with how humanity reacts to grief and loss... all while delivering on the visual spectacle you could hope for from Miller. - Esther Zuckerman, The Daily Beast
Furiosa: A Mad Max Saga doesn’t feel like an overture for the vehicular carnage of Fury Road so much as it retroactively makes Fury Road feel like a coda for the epic tale Miller tells here. A- - David Ehrlich, indieWire
This is Furiosa’s story, a legend made in two parts. It is Miller’s opus, honoring love and hope in its least likely setting. A- - Tara Bennett, AV Club
Furiosa is a jaw-dropping achievement. It’s a hyper-realistic vision of the apocalypse, a Greek myth made into an outsized blockbuster spectacle. - Hoai-Tran Bui, Inverse
The film attests to George Miller’s enduring aptitude for utilizing the ridiculous to achieve the sublime. 3.5/4 - Keith Uhlich, Slant Magazine
High on exhaust and the limitless capabilities of cinema, this no-brakes franchise keeps careening onward as if it could run forever. - Charles Bramesco, Decider
Furiosa is such a thrilling ride, packed with set pieces that are a masterclass in staging action, that it’s a little sad when the plot veers towards the events of the previous movie — because we know that’s where the ride ends. A - Liz Shannon Miller, Consequence
It’s hard to top perfection; it’s the reason why there’s no Citizen Kane, Too or Still Singin’ in the Rain. - Alonso Duralde, The Film Verdict
A big, entertaining popcorn movie, told with a sense of adventure and play.... “Furiosa” aims to blow you away. And it does. To Valhalla and beyond. 4/4 - Robert Daniels, RogerEbert.com
Furiosa is utterly astounding in its technical precision, its cinematography and the performances of Taylor Joy and Hemsworth. - Kristen Lopez, Kristomania (Substack)
SYNOPSIS:
As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.
CAST:

• Anya Taylor-Joy as Imperator Furiosa
• Chris Hemsworth as Doctor Dementus
• Tom Burke as Praetorian Jack
• Alyla Browne as Young Furiosa

DIRECTED BY: George Miller
PRODUCED BY: Doug Mitchell, George Miller
WRITTEN BY: George Miller, Nico Lathouris
EXECUTIVE PRODUCERS: Dean Hood
DIRECTOR OF PHOTOGRAPHY: Simon Duggan
PRODUCTION DESIGNER: Colin Gibson
EDITED BY: Eliot Knapman, Margaret Sixel
MUSIC BY: Tom Holkenborg
COSTUME DESIGNER: Jenny Beavan
CASTING BY: Nikki Barrett
RUNTIME: 148 Minutes
RELEASE DATE: May 24, 2024

Edit: If you are going to comment on the length of this post, please don't. This is not a simple snark but rather an actual critical think piece about feminism and Taylor Swift.

Introduction

Pertaining to Taylor Swift, "Female Rage" has deviated from its intended meaning after Swift debuted a new performance of The Tortured Poets Department during the Eras Tour. Now, according to Swift's use of the phrase, female rage is interpreted as public backlash against Swift's dating choices rather than as a response to the broader injustices against women and women's rights. This post examines Taylor Swift's flawed feminism, philanthropy, branding, and the controversial trademark petition for the phrase "Female Rage: The Musical". Swift's background as an entertainer, indeterminate politics, and alignment with capitalism over feminism pervades her legacy, again threatening her public tolerance as not just an individual but as a brand.

Once Upon a Female Rage...

If you were cognizant in the early 2010's, you've heard countless jabs at Taylor Swift in the media. Magazines, radio, or online. Music critics did not take her seriously as a songwriter; parents put a woman on an unrealistic pedestal as the ideal role model for their children; she dated too much and used men as lyrical fodder. No matter the story, it inevitably spread, conjoined with everyone's respective opinions, and you'd be left to wonder, "Why does everyone hate this girl so much?"
Taylor's target demographic has always been young or adolescent girls, more so when Swift herself was one. She made music that spoke to the awkward misfit, cultivating a para-social relationship with fans on MySpace, then later twitter, Instagram, and YouTube, where Taylor posted relatable vlogs showcasing the life of a homegrown American girl. Taylor had a delayed public "growing up" and, compared to her female pop contemporaries, Swift never "gratuitously sexualized her image and seems pathologically averse to controversy" (and, apparently, never even had a sip of alcohol until she turned 21). She was more than happy to spin this narrative to allude to an inherent moral superiority above other women in the industry (Better Than Revenge, heard of it?), engaging in the very slut-shaming that she herself endured (the Madonna and Whore archetypes). The victim complex arose with the need to prove Taylor as a different type of pop girl. Based upon her holy and clean image, Swift had been dubbed "a feminist's nightmare", and that "[To Swift] other girls are obstacles; undeserving enemies who steal Taylor’s soulmates with their bewitching good looks and sexual availability." Feminism and Tennessee-Christian country values don't exactly mix, it seems.
Years later, Swift befriended Lena Dunham and thus experienced white feminism osmosis, where Dunham taught Swift that real feminists defend rapists, makes insensitive jokes about rape and abortion, and prioritize all-white casts. Swift then declared herself a feminist in 2014, saying,

"Becoming friends with Lena – without her preaching to me, but just seeing why she believes what she believes, why she says what she says, why she stands for what she stands for – has made me realize that I’ve been taking a feminist stance without actually saying so."

I suppose the male-centric songwriting subject that permeates Swift's discography contained covert feminism and that we just didn't see that. Perhaps, the "Bad Blood" song and music video were written only in jest and not about poor Katy Perry, for Swift, as a feminist, would "never make it a girl fight" or tear other women down (though all Katy did was date your terrible ex-boyfriend and allegedly steal three backup dancers from your tour). In 2013, Swift said, in response to Tina Fey and Amy Poehler's joke towards her serial dating, "There is a special place in hell for women who don't help other women."
There was that time in 2015 Taylor said that Nicki Minaj was "invited to any stage [she is] on" (as if Taylor expects to have access to every stage, award, and platform that Nicki might not otherwise have as a black female artist...yikes!) in response to Nicki's criticism of the white + thin VMA nominations. Later, Nicki responded with confusion, as Swift continued, "It’s unlike you to pit women against each other. Maybe one of the men took your slot..". Of course, this 'beef' was 'squashed' when Nicki performed with Taylor at the VMAs, with Nicki quite literally only having 38 seconds of stage time without Taylor. Maybe all that parading around with a legion of famous white women - similar to the way Taylor might've done with her numerous 1989-era handbags - was in fact a stance against gender inequality, and that this display of "girl power" should be enough to constitute Swift as a feminist icon.
Even while Swift says that Dunham informed her feminist outlook, she dances around the exact contents of those beliefs: "what she believes, what she says, what she stands for" is not exactly insightful towards what beliefs Swift might have inherited. Taylor never broaches women's rights topics such femicide, FGM, forced pregnancy & marriage, sex trafficking, women in slavery, women's financial and political oppression, women's educational rights, women's health, or women's autonomy, so we can assume she only gives a fuck about "girls supporting girls" (whatever that fucking means).
Despite some questionable (and sometimes vindictive) behavior, Taylor as a young woman did not deserve every media lashing that she received. We cannot deny that most headlines and criticisms perpetuated a misogynistic rhetoric which has plagued Swift for a majority of her career. Acknowledging events such as the development of her ED, her sexual assault trial, "Famous" lyric and MV depiction of Taylor, and the explicit Twitter deepfakes, for example, as both disgusting and unfortunate things that happened to a young woman in Hollywood does not negate the fact that Taylor is mostly a performative feminist.

Get Your Fucking Ass Up and Be a Philanthropist, It Seems Like Nobody Wants to Be a Philanthropist These Days

In 2013, Taylor Swift cut the ribbon at the grand opening of the Taylor Swift Education Center at the Country Music Hall of Fame in Nashville, Tennessee. The donation amount - $4 million - was the largest individual artist gift ever donated to the Country Music Hall of Fame, which is, of course, mentioned on Swift's website. The two-story facility features three classrooms, an instrument room, and an interactive children's exhibit gallery. Swift also performed at "All for the Hall" charity shows and has donated numerous artifacts from her career (such as notable guitars, tour costumes, etc) to the museum.
This was over 11 years ago, and it is still the only notable philanthropic contribution Taylor Swift has made.
For a woman of her net worth and stature, and a woman who recognizes the difficulties for women in film and music, you would think that Taylor Swift might establish a scholarship program for women to study the arts or something. Perhaps Swift might even consider becoming a member of organizations that support female artists, or one that supports LGBTQ+ causes (since she is now proudly an ally), yet she remains superficial with her graces. Broader philanthropy, such as donating relief aid to Palestinian women or women impacted by violence and discrimination will probably never receive any financial support from Miss Swift because then she'd be using her money towards philanthropies involving anyone but white entertainers.
She even says herself in Miss Americana, "My entire moral code as a kid and now is a need to be thought of as 'good'." Well, she's certainly thought of as good, though her actions say otherwise. She's more than happy to do a vaguely altruistic song and dance for a clip-worthy interview quote and mass appeasement, then fuck off to one of her mansions on a 20 minute private jet flight, rather than actually contribute to anything pertaining to the causes she has endorsed. Yet, far too many people continue to give a woman such as her their money, time, and energy, and she hoards these resources to herself.

I Like Some of the Taylor's Songs, But What the Fuck Does She Know About Feminism?

Swift continued with her self-proclaimed feminist campaign, positioning herself as a political activist and LGBTQ+ ally in the Miss Americana documentary. The primary focus of the documentary consists of the sexual assault trial, Andrea Swift's cancer diagnosis, Taylor's ED and body dysmorphia, media scrutiny, and, largely, finally speaking up about her politics publicly, mostly her opposition to the 2018 Tennessee Republican senate candidate, Marsha Blackburn, and Blackburn's beliefs. Swift says, following a scene discussing her experience during the trial,

"I just couldn't really stop thinking about it. And I just thought to myself, next time there is any opportunity to change anything, you had better know what you stand for and what you want to say."

We must ask ourselves, though: when has Swift ever spoken up to change anything? Okay, pulling her entire catalogue from Spotify because they didn't pay their artists enough and similarly pulling her catalogue from Apple Music are changes that she leveraged due to her revenue potential and power, but they are not pertinent to the average woman's rights. Moreover, these are issues that directly impacted Taylor's income, which was enough reason for her to protest in the first place. Swift has sold the most units for a female artist in first week sales, is the first female artist with 100k monthly Spotify listeners, is the first female artist to win the Album of the Year Grammy 4 times, and is the first female artist to do X, Y, and Z, all while being inoffensive and family-friendly to boot. The actual Taylor Swift seems unwilling to compromise the brand of Taylor Swift by contributing in meaningful ways to feminist causes, especially if it is for women outside of America and Hollywood.
The reason political anthems such as "The Man" and "Only the Young" of the Lover era feel disingenuous and corporate is because, well, it is. Taylor has taken every opportunity to advance her career or public image at the expense of other women. What is truly genuine to Taylor's outlook on other women is vying for male attention, taking down female competition, and vocalizing feminist injustices only if they directly impact her and her money. Some will argue that it's satisfactory for a woman with such a huge platform to even TALK about feminism, but that just isn't enough. It's even less impressive when you candidly look at the scope of her feminist lens: "If I was the man, then I'd be THE MAN", or "I really resent the ‘Be careful, buddy, she’s going to write a song about you’ angle, because it trivialises what I do", and, of course, "We all got crowns". Feminism, but only when it happens to me. It gets worse when you look at Taylor's track record of copying other famous women and removing other female artists as potential threats to her pop prowess.
It's good for PR to align yourself with certain blanket feminist and political beliefs, therefore good for branding, therefore good for ticketing and merchandise sales, therefore good for business. And Taylor Swift is a business.
She's not a feminist. Taylor Swift is a capitalist.

I Can't Pay Those Sweatshop Workers a Livable Wage or Benefits! How Else Would I Make My Billions?

Recently, Taylor's team filed to trademark the phrase "Female Rage: The Musical" after Taylor said during Paris N1 of the Eras Tour,

"So you were the first ones to see The Tortured Poets at the Eras Tour...or as I like to call it, 'Female Rage: The Musical'."

This trademark petition was filed last week on Saturday, and news comes about just as numerous unofficial fan-made merch designs have cropped up with this phrase plastered on Fruit of the Loom basics. I'm of the opinion Swift's team motioned for a trademark so that they can send out cease & desists to all those that make knockoff merch, which disrupts potential sales for Bravado, UMG's choice merchandising company; however, since it was filed earlier, perhaps Swift has bigger plans with the bizarre use of the gendered phrase. One Swiftie referred to the phrase "female rage" as "a funny Eras Tour joke". Could it be a possible fourth version of the Eras Tour Movie? Whatever the reason, the motion to capitalize off of such a concept is disgusting, but not unsurprising, for a woman that profits on her vain feminism.
Swift, through her company, TAS Rights Managements, has also trademarked over 200 phrases, including "1989", where she owns the property rights to this calendar year on keychains, phone cases, sunglasses, stationary, bags, beverage ware, clothing, entertainment services, your subconscious, and, of course, Christmas ornaments.
The vapid consumerism in Swiftie culture is, frankly, disgusting. Bravado's sustainability statement is non-existent, the quality control is abysmal, and the materials they use are horrible. The materials, such as acrylic and polyester, are made from petrochemicals. This means they are non-renewable, shed microplastics, and are quite toxic in production. The manufacturing process to make all of those lazy-rushed Eras Tour logo graphic tees is a huge blow to environmental well-being. Apparently, though, Swifties don't give a fuck. They sell out products in seconds and either have to face the manufactured scarcity or buy from a scalper that resells for 200% of the already ridiculous retail price. This doesn't include the environmental impact of vinyl records, CD, and cassette production, of which Taylor produces many variants that sell unsustainable amounts.
If we're talking about women's rights violations, why is no one acknowledging the women that work in the inhumane sweatshop conditions that have to pump out fugly t-shirts and hats? The millions of plastic microfiber dander they are inhaling, or the toxic dyes that touch their bare skin? Are they being compensated fairly for their skilled labour and are they in safe working environments? Do these women have minimal bargaining power, and do they have authority over their worker's rights? Is Taylor Swift female raging at their injustices? Does Taylor Swift ever feels bad that her wealth was built on the backs of women of color, disadvantaged by the demands of the global economy and garment industry? Do you think she ever says a little white feminist prayer for them before she goes to sleep at night?
What's even crazier is not that Taylor herself doesn't care, it's that Swifties don't care. There CANNOT BE ethical billionaires. You only make a billion dollars if you are exploiting other human beings for capital gain. Based on public perception of the possible "Female Rage: The Musical" trademark, it seems like Swifties are already asking for merch with this phrase. "If Taylor made it, I'd buy it." Oh, cool. So not only do you champion Miss Swift's avarice and billionaire status, but you also are unashamed to admit to your blind consumption of her music and merchandise, no matter where they might originate in production or sincerity. Just as Swift takes and takes and takes, Swifties' consumerism of Taylor Swift cannot be quelled.
The tortured artist's most vulnerable and sincere poetry...available now in 21 different versions!

I Am Tortured Poet, Hear Me Whinge

Look - even if Taylor's intention is to characterize TTPD as more "tortured" and "angry", the main thread of the album is "I was ghosted by my decade-long situationship with a controversial indie boy and my fucking stupid fans wrote a 'Speak Up Now' open letter prompting me to drop him" anger, which is adequately expressed in the lyrics and performances. The extent of Taylor's "female rage" on TTPD is on tracks such as "Who's Afraid of Little Old Me?", which contends with relentless media scrutiny; "But Daddy I Love Him", where Swift firmly states she'll date whoever she likes no matter how "Sarahs and Hannahs" may react; and "The Albatross", a track mythologizing her reputation and the consequences of dating her. Of course, these coincide with deep psychological wounds that formed during Swift's early years in the media, and so, from her feminist perspective, these subjects tackle the misogyny and double standards that she faced.
Yet Taylor Swift still has no grounds to be claiming that TTPD best exemplifies female rage and therefore she, in the context of this album, is female rage incarnate. As the daughter of a stock broker and mutual fund marketing executive, Taylor was born into wealth and allowed privileges like trips and subsequent relocation to Nashville all so that she might get a record deal. Her father even invested at least $120,000 into the then-fledgling label, Big Machine Records, which ensured Taylor's place with Borchetta after leaving her dead-end development deal with Sony. The fact that her parents were able to buy her a fucking brand new guitar for Christmas and pay for music lessons says so much about the financial security and safety of her childhood.
Money is privilege and protection, and despite Swift's experiences with misogyny and loser boyfriends, she does not know what female rage is.
Her rage is derived from her frustrations with her obsessive fans pulling the moral superiority card on Taylor in response to her rebound with Matty Healy. That's literally it. She's just pissed that the monster she created is no longer obediant, it's become a feral, sovereign entity that depletes the world of its natural resources and thinks it is more intelligent than it actually is because it's mommy has started to talk to it with big words. Apparently, 'illicit', 'elegy', 'nonchalant', and 'precocious' are considerably big words for the oafish monster, and I find it strange that this level of literacy is present in a group of fans that allegedly have GPAs of 3.5 or higher, but I digress.
Taylor Swift has never been one paycheck away from destitution. Taylor Swift has never experienced racial discrimination. She may have instances of gender discrimination, but she possesses the ideal white, blonde American beauty standard and therefore reaps the benefits of being a conventionally attractive woman. Taylor Swift has sufficient social capital. Taylor Swift is a billionaire woman prolonging her victimhood though she, as a woman, has mostly had control over her image and music (unlike her contemporaries). Taylor Swift is NOT entitled to be championed for her "female rage", nor should she be. Taylor Swift has never even been the struggling artist, for fuck's sake. I don't give a fuck if she's trying to fill the empty lunch tables of her past. Taylor Swift purporting herself, her unpolished album, and her lukewarm feminism as a musical bleeding with female rage is asinine.

Sigh Try and Come For My Job, Poors

Out there in the world right now is a 23-year-old woman, a recent college grad, who works as a barista. She has to wake up and get ready to go into a minimum wage job because she cannot get a job in her field. She doesn't have healthcare benefits or sick time, so she has to go into work no matter how she's feeling. All day long she is berated by vicious customers and creepy men, and, exhausted from being on her feet, she knows she has to go home to her shitty roommate that never does the dishes and her roommate's shitty dog. To comfort herself, she considers getting a treat, but thinks against it when she remembers that matcha lattes cost $15 and they taste like milky dirt. She knows that she needs to buy groceries this week, and so the woman resolves to go home, but notices that her gas tank is low. She goes to put gas in the car, but the pump stops at $27.86 because that's all that she has in her checking account. The woman, bereft and reeling, sinks into the driver's seat. "Well," she thinks, her head in her hands, "at least I don't have Taylor Swift's job. I just couldn't imagine."
Fame is somewhat of a choice. If at any moment Taylor feels that she is misunderstood, misconstrued, or overwhelmed by public opinion, she can LEAVE the public eye - Lord knows she has the retirement fund and residuals to do so. In "I Can Do It With a Broken Heart", the TTPD song about meeting the demands of your career-zenith mega-tour while in the relationship trenches, Taylor ends the song by rambling,

"You know you're good when you can even do it with a broken heart...you know you're good...and I'm good, cause I'm miserable, and no one even knows!...try and come for my job."

Yeah, obviously we wouldn't know, you recently passed the billionaire threshold and are the most famous and in-demand performer in the world right now. Taylor Swift makes an estimated $10 to $13 million dollars A NIGHT on the Eras Tour. Furthermore, the Eras Tour movie grossed $261.6 million globally, (which, as the producer, Taylor takes home 57% of the ticket sales) not counting the streaming revenue from Amazon Prime Video and the estimated $75 million deal that Disney paid to have it on Disney+. We're not even considering the income from cheap plastic popcorn buckets and drink cups plastered with colored squares in her Era-specific likeness.
It's funny. Taylor Swift often said that being famous wasn't hard, that she "isn't complaining". I'm sure it is difficult to always have to present in a good mood, else you'll end up misrepresented in the media, and I'm sure it's invasive to virtually have no privacy or semblance of anonymity. Still, Taylor Swift shows up each night of tour and performs. For a majority of her career, she has penned her sad songs while on the road. Most of "Red", her breakup album, was written in the thick of the Speak Now World tour. Now, some Swifties say they almost "feel bad" for attending the Eras Tour with Swift's revelations in this song, that they have had a 'dimmed experience' upon hearing Taylor's misery whilst performing. Despite the fact that Taylor said that "this was the happiest she's ever been" at Gilette Stadium in May, the lyrics "boohoo, woe is me, smile for the cameras and make the fans happy!!!" are jarring for Eras attendees.
While Taylor Swift was making double-digit millions a night in Rio de Janeiro, Brazil and feeling miserable, Ana Clara Benevides Machado passed away due to heat exposure. The concert promoters, Time For Fun, are now the subject of a criminal investigation due to their lack of adequate hydration and safety. Taylor Swift cancelled the Sunday show that was to follow and offered VIP tent tickets to Benevides Marchado's family, which was a kind gesture, but perhaps incongruous to the incident of which they were offered as consolation. Everyone grieves differently, of course, but I'm not sure attending the very show at the very same venue that my daughter or sister passed away in two days prior, where the singer CONTINUED the show despite her death, would be healthy for closure.
There was no female rage at the show as Swift never saw Benevides Machado pass out. There was no female rage towards the disregard for fans as humans while Swift elected to proceed with her Brazil tour dates despite the country being in historic heatwaves (at risk of overheatting herself). If Taylor Swift was so shaken by touring with a broken heart or a fan's passing, she wouldn't have added an additional North American leg of Eras just two months after the Matty breakup. She's brokenhearted but willing to mend the cracks with your money and move onward with her worldwide female rage induced pillaging.
No matter what happens, even if you die at a Taylor Swift concert, Taylor collects a big fat check and flies away. She doesn't know you as anything other than a conversion rate or earning potential despite what her nearly 20-year long parasocial relationship with fans might otherwise indicate. She knows that, while some Swifties are without disposable income, they feel obligated to spend on a "48 Hours Only!" exclusive vinyl variant instead of necessities because they are so entrenched in Taylor Swift's intoxicating celebrity, they'll prioritize materialistic fandom before their needs. This is good enough for her because this means she can expand her real estate portfolio and finance her cat's lavish lifestyles. They're worth an estimated $100 million dollars. Her three cats could pool their net worth and solve world hunger.
While you and I might be denied bereavement leave and barely surviving the current political and economic climate, Taylor Swift has to, instead of gets to, perform for stadiums at full attendance for three nights in a row across the globe. You and I might be replaced by AI at our longtime jobs, but Taylor Swift is threatened with losing more and more money each time you listen to a "Stolen Version" of her songs. If we don't buy every variant of all of her albums, then who is going to pay for the fucking cats?
It is tone deaf to spend as she spends and lives as she lives in this economy, but this is her reality. She was able to donate $100,000 to all of her tour truck drivers, and that's wonderful, but it leads me to wonder about the ethos of the 2020s where one woman can hoard such life-changing amounts of money. Remember in 2014 when she gave a fan $90 ($120 in today's money) to get Chipotle because she had no fucking clue how much it cost? This is a 34-year-old woman who is increasingly out of touch with the reality for working class people and women in general. Normal everyday adults must wake up and go to their thankless jobs, and yet Taylor Swift, despite all her riches, incessantly references the lows of her life and career as a public figure and entertainer to farm sympathy and drive sales. And still, the corporate women have latched onto "I cry a lot, but I am so productive! It's an art!" as their cubicle battle cry.
Do you think that, from up in her private jet, Taylor Swift gazes at the world through her poetic, tortured eyes, and thinks, "All the little people, in their cars, walking, going about their lives...all those girls that don't support girls...do they know that I've made an album about female rage?"

Conclusion/TLDR

Thank you for reading. I would love to hear your critical insights towards this entire ordeal: TTPD, the trademark, the implications of it all.
TLDR: Taylor Swift is a bad feminist and is delusional to think that the TTPD eras set exemplifies female rage at women's injustice.

I feel like the techs don't always get the love they deserve and many people view them as the lesser nominations but I'm actually usually the most excited for these nominations more than anything else. I'm gonna toss the shorts in here as well. I'm mostly sticking to nominations but if you wanna toss in a win, go ahead.
For the more recent ones, I think All the Stars by Kendrick Lamar and SZA is probably one of the strongest nominations in Original Song so far this century. I'm a dyed in the wool Lady Gaga fan but I've never been huge on Shallow nor A Star is Born for many reasons. I'm of the opinion that getting Lady Gaga in your movie to basically just play the girlfriend is kind of a waste. If anything I think she gets less to do that in previous versions. The song itself is fine but I've never been one for slower songs or ballads. Hell if you're gonna give an Oscar to a slow building emotional Lady Gaga song, she should've won for Til It Happens to You from The Hunting Ground. We also would've been spared Diane Warren bulldozing her way into this category every year. That aside, All the Stars is probably one of the better songs from that movie and soundtrack. It encapsulates the themes of the film in a way that feels direct and not just like some song they slapped onto the credits. The songs in the sequel are much stronger and are incorporated into the film better, but I would've preferred to see All the Stars win.
To go further back, I've always loved the costumes from Dreamgirls and it was my choice to win. That being said, this is probably the strongest line-up we've had in this category in a long ass time. I can't think of any film except maybe The Queen that didn't have some costumes that wowed me. I might've replaced The Queen with Pan's Labyrinth but outside of that, this was a pretty stacked category. For me though, Dreamgirls was the obvious winner here. There's a delicate balance when doing a musical set in the past because you don't want it to just read as a period piece but you also want the costumes to aide in the theatricality as well. There are musical films that do this very well (Chicago, Hairspray, Mary Poppins) and ones that do not (Les Miserables being the big one). Dreamgirls was such a slick production overall and the costumes not only pulled from their inspiration but told a story with them. I could tell which Dream was mean to wear which costume.
To go even further back, everything for A Star is Born with Judy Garland was a top tier nomination especially below the line. It's probably the best studio system musical that era produced and it's a shame it won zilch. How do you not even nominate the cinematography? I mean c'mon! But if we're talking about actual BTL nominations, it's gotta be that art direction nom now known as production design. I often point to this film as an example of older musicals that aren't just light fluff and I think it really did spur something because we did get kinda gritty and more complex musicals for a while there. The production design aides in this because while the musical numbers are bright and vibrant, there's an inherent darkness and slight otherworldly quality that fills me with a sense of dread. As much fun as we're having, you know it's not gonna last for long. The rest of the film is also exquisitely decorated and designed. It's the kind of film that feels like a period piece even though it's not meant to be. It so perfectly encapsulates the mood of the era and that underlying anxiety that was a strong undercurrent in the 1950's. Sure things are fine now, but for how long? The costumes, the song and the score are top notch too. It's easily one of the best films of the 1950's, if not the 1900's. Fight me.
What's yours?

Hello all! I’d love to start making felted clothes/costumes and such for wooden peg dolls for my son to play with. But I’m not sure how to go about it as I’ve…never actually felted before 😂😅 When I start, can I just felt right on the wood, or should I use a mat first and then sew it onto the doll? Thank you! 😁

Imo it’s such ambitious sequel because Halloween 5 tries to be a story about a cursed princess who overcomes her curse and tries to free her uncle of his. Allow me to try and explain why I believe that
In the original cut of the film before it was re-shot. Michael is awakened on a slab by a dark magician, or warlock, if you will. Dr. Death as he’s been dubbed by fans
Why that scene works where the re-shot one in the theatrical version doesn’t, is because Michael’s mask has elongated, almost classically attractive features. It’s not a coincidence. It’s also not a coincidence that he looks somewhat attractive and has classically handsome features without the mask. As if…he’s a prince…a cursed prince being awoken once more. That fits with the ideas, a hermit holding Michael hostage just doesn’t.
Like, pay attention to the Halloween costumes the characters are wearing: The Devil, Werwolf, Little Red Riding Hood, Jamie is a princess, Billy is a pirate, etc. Classical fairytale staples. These are deliberate choices. The film was shot in 1989. The costumes could’ve been Reagan, a Ghostbuster, a Star Wars character; but they weren’t. If it was a weird one off then you could argue it’s merely a coincidence, but where there’s smoke…there’s fire. And all of these motifs are little campfires.
When Loomis confronts Michael in the woods with the fog rolling and Michael partially concealed by trees, tell me that shot isn’t framed and set up like something out of a fantasy movie.
There’s a pov shot of Michael watching Jamie from across the street. The shot is of Jamie in the “castle” turret combing her hair(rapunzel), the castle is guarded by police(knights) until they’re called away. Jamie and her cop/knight attempt to rappel down the castle turret on a rope(rapunzel again), the castle has a booby trap(courtesy of Dr. Loomis), Jamie lays in a coffin like sleeping beauty while Michael stands over her, Jaime the princess tries to reach her uncle and manages to draw out a rare moment of vulnerability and regret before the evil reclaims him; and then the film ends with Michael in a dungeon.
And finally notice how there’s fire on some of the bars of the dungeon…as if they’re torches.
Now…does it succeed in this vision? Ehhh.
But it tried something unique for the franchise.
Now let’s be clear do I think Girard set out to make an exploitation film that is also at its core a fairytale?
Who’s to say?
I think it’s possible that he saw that the building they were using as the Myers house looked sort of like a castle and perhaps he thought something along the lines of “Hmmm maybe I could make do with what I have and take advantage of this and put a unique spin on the movie, while I’m at it.”
I’ve heard the Dr. Death scene was re-shot because the producers thought that Girard was making some bizzare choices and they wanted it to feel like a proper follow up to Halloween 4.

Imo it’s such ambitious sequel because Halloween 5 tries to be a story about a cursed princess who overcomes her curse and tries to free her uncle of his. Allow me to try and explain why I believe that
In the original cut of the film before it was re-shot. Michael is awakened on a slab by a dark magician, or warlock, if you will. Dr. Death as he’s been dubbed by fans
Why that scene works where the re-shot one in the theatrical version doesn’t, is because Michael’s mask has elongated, almost classically attractive features. It’s not a coincidence. It’s also not a coincidence that he looks somewhat attractive and has classically handsome features without the mask. As if…he’s a prince…a cursed prince being awoken once more. That fits with the ideas, a hermit holding Michael hostage just doesn’t.
Like, pay attention to the Halloween costumes the characters are wearing: The Devil, Werwolf, Little Red Riding Hood, Jamie is a princess, Billy is a pirate, etc. Classical fairytale staples. These are deliberate choices. The film was shot in 1989. The costumes could’ve been Reagan, a Ghostbuster, a Star Wars character; but they weren’t.
When Loomis confronts Michael in the woods with the fog rolling and Michael partially concealed by trees, tell me that shot isn’t framed and set up like something out of a fantasy movie.
There’s a pov shot of Michael watching Jamie from across the street. The shot is of Jamie in the “castle” turret combing her hair(rapunzel), the castle is guarded by police(knights) until they’re called away. Jamie and her cop/knight attempt to rappel down the castle turret on a rope(rapunzel again), the castle has a booby trap(courtesy of Dr. Loomis), Jamie lays in a coffin like sleeping beauty while Michael stands over her, Jaime the princess tries to reach her uncle and manages to draw out a rare moment of vulnerability and regret before the evil reclaims him; and then the film ends with Michael in a dungeon.
And finally notice how there’s fire on some of the bars of the dungeon…as if they’re torches.
Now…does it succeed in this vision? Ehhh.
But it tried something unique for the franchise.
Now let’s be clear do I think Girard set out to make an exploitation film that is also at its core a fairytale?
Who’s to say?
I think it’s possible that he saw that the building they were using as the Myers house looked sort of like a castle and perhaps he thought something along the lines of “Hmmm maybe I could make do with what I have and take advantage of this and put a unique spin on the movie, while I’m at it.”
I’ve heard the Dr. Death scene was re-shot because the producers thought that Girard was making some bizzare choices and they wanted it to feel like a proper follow up to Halloween 4.

Rumours and speculation wants the first teaser trailer for Agatha to be released at Disney Upfront in 3 days where Disney will showcase new promotional footage for the rest of the 2024 theatrical and Disney+ slate.
This is the continuation of a series of posts I'm doing to prepare people for upcoming releases by listing everything that we know about them. Check the previous posts out if you missed them (Captain America: Brave New World, Thunderbolts), Daredevil: Born Again.
As always, all leaks are taken from the Source Accuracy Database, and only reliable sources are chosen to make these compilations.

Official Information

9-Episode (~40-minute each) Series Releasing This Fall

Synopsis

Agatha Harkness finally breaks out of the spell Wanda Maximoff had trapped her in and is ready to go back to her murderous ways, only to realise she is powerless. The only way forward is for her to embark on a journey to get her powers back with the help of an unlikely friend or two.

Crew

• Head Writer: Jac Schaeffer^{(WandaVision, VisionQuest, Early Drafts of Black Widow and Captain Marvel})
• Directed by: Jac Schaeffer, Gandja Monteiro^(Wednesday,) Rachel Goldberg^{(Resident Evil, American Gods, Gen V})
• Cinematography by: Caleb Heymann^{(Fear Street Trilogy, Stranger Things 4})
• Composer: Christophe Beck^{(Ant-Man Trilogy, WandaVision, Hawkeye})
• Production Design by: John Collins^{(Art Director on WandaVision})
• Edited by: TBA
• Costume Designer: Daniel Selon^{(Assistant Costume Designer on WandaVision, Dr. Strange in the Multiverse of Madness, Thor: Love and Thunder, Blue Beetle})
• Executive Producers: Kevin Feige, Louis D'Esposito, Mary Livanos^{(Captain Marvel, WandaVision, The Marvels},) Jac Schaeffer, Brad Winderbaum^{(Head of Marvel Studios TV, Animation and Streaming})

Cast

• Kathryn Hahn as Agatha Harkness

RETURNING FROM WANDAVISION:

• Emma Caulfield as Sarah Procto"Dottie Jones"
• Debra Jo Rupp as Sharon Davis/"Mrs. Hart"
• David A. Payton as John Collins/"Herb"
• David Lengel as Harold Procto"Phil Jones"
• Asif Ali as Abilash Tandom/"Norm"
• Amos Glick as "Dennis the mailman"
• Brian Brightman as Sheriff Miller
• Kate Forbes as Evanora Harkness

NEW CHARACTERS:

• Joe Locke as Billy Maximoff
• Aubrey Plaza as Rio Vidal
• Ali Ahn as Alice Wu
• Sasheer Zamata as Jennifer Kale
• Patti LuPone as Lilia Calderu
• Miles Gutierrez-Riley as TBA
• Maria Dizzia as TBA
• Okwui Okpokwasili as Cicada
• Bethany Curry as Crow
• Athena Perample as Fox
• Marina Mazepa as Snake
• Britta Grant as Rat
• Chau Naumova as Coyote
• Alicia Vela-Bailey as Owl

Leaked Information

While the show underwent several subtitle changes from "House of Harkness" to "Coven of Chaos" to "Darkhold Diaries" , Disney revealed a couple of months ago that the show was simply titled "Agatha" all along (wink wink) and all these subtitles (including the subtitle "Agnes of Westview" previously teased by Joe Locke and Aubrey Plaza on Instagram) were actually episode titles all along, and this was just a marketing tactic to keep the series relevant.
According to leaks, this seems to be the final episode order:

• Ep 1: Agnes of Westview
• Ep 2: Coven of Chaos
• Ep 3: The Witches Road
• Ep 4: The Green Witch
• Ep 5: House of Harkness
• Ep 6: TBA
• Ep 7: Three of Swords
• Ep 8: TBA
• Ep 9: Darkhold Diaries

The first episode of the series features Agatha still trapped under Wanda's spell and living in Westview as Agnes. We briefly see all the recurring WandaVision cast returning including Debra Jo Rupp as Sharon Davis/Mrs. Hart, Emma Caulfild as Sarah ProctoDottie Jones, David Lengel as Harold ProctoPhil Jones, Ali Asif as Abilash Tandon/Norm, David Payton as John Collins/Herb, Amos Glick as Dennis the mailman and Brian Brightman as Sheriff Miller.
While these are all confirmed to be part of the cast, we also know through leaks that Evan Peters will also return for a short role as Ralph Bohner. And no, his role is not getting retconned.
So, back to the first episode, we follow "Detective Agnes" trying to solve a murder in Westview, with the help of Aubrey Plaza's character who appears as a mysterious FBI Agent. At first, the victim is a Jane Doe, but as we get closer to the end of the episode, we realise the dead body is actually that of Wanda Maximoff. While Elizabeth Olsen doesn't physically appear in the series and the victim's face is always covered with a morgue blanket while on screen, we do see a toe tag on the body reading W. Maximoff.
Of course, none of this is real. There has been no murder in Westview and Agatha is not a detective. It's all just a fake reality/scenario that is playing in Agatha's head, but we learn that the "FBI Agent" is in fact real and throughout the whole episode, she has been trying to nudge Agatha and help her break out of the "Agnes" spell that Wanda put her on.
Once Agatha does break free of the spell and returns to her real self, she wakes up in her home in front of Plaza's character who we learn tis actually Rio Vidal, aka the Green Witch, aka Agatha's ex-wife (Agatha is bi), an original MCU character.
Through flashbacks, we learn that Agatha and Rio were married back in the 1600s, before Agatha had got her hands on the Darkhold, and they even had a son, Nicholas Scratch. But, once Agatha found the book of the damned and became obsessed with it, she slowly started losing herself to it and getting corrupted by its evil power, resulting in her sacrificing young Nicholas, her own son, to Mephisto (Mephisto is referenced by name, but does NOT show up)
Once Rio found out about this, she and Agatha broke up and Rio has been trying to get revenge on Agatha ever since. It was shortly after this, that Agatha's mom and her coven of witches put Agatha on trial for her use of black magic, but Agatha killed them all and travelled the world, stealing other witches' powers.
As we can understand of course, Rio will be a villain in the series, who appears crazy and obsessive at first, but is justifiably very hurt and angry and feels great contempt and hatred for Agatha, so it's unclear why she was helping her break out of Wanda's spell in the beginning.
The Green Witch (a title equivalent to the Scarlet Witch) is supposed to be one of the oldest and most powerful witches in the MCU, even more powerful than the Scarlet Witch. She uses the powers of Earth and nature and we'll actually see more "witches of color" in the series with special abilities, but Rio is not the only villain in the series.
There are 7 other witches seeking revenge from Agatha, and those are the daughters of the 7 witches from Agatha's mom's coven who Agatha sucked the life out of during her trial.
The coven of the daughters is called the "Salem Seven" and they are led by Okwi Okpokwasili's Vertigo. Each member of the Salem Seven can transform into animals. Vertigo can turn into a Cicada, Bethany Curry's character into a Crow, Athena Perample's character into a Fox, Marina Mazepa's character into a Snake, Britta Grant's character into a Rat, Chau Naumova's character into a Coyote and Alicia Vela-Bailey's character into an Owl.
Back to Agatha now, once she is freed from Wanda's spell, she realises that she has no powers anymore, and thus she needs to get them back.
So, her plan is to visit the Witches' Road, a magical pocket dimension, which can only be entered if you're part of a witch coven composed of at least 6 members and only if said coven sings a special song called "The Ballad of the Witches' Road" (which contains the lyrics "Down, down, down the road - down the Witches' Road"). Only the Scarlet Witch and the Green Witch can enter the dimension on their own.
This dimension has immense magical power and can grant travellers their wishes, so Agatha plans to wish to get her powers back. Thus, Agatha decides to go out and recruit her own coven in order to venture into the Witches Road.
Episode 2 is all about the coven recruitment, hence the episode's title, "Coven of Chaos".
Joining Agatha's coven are

• Patti LuPone's Lilia Calderu, a 450-year-old Sicilian witch whose power is divination and whose trial is tarot. She runs a psychic shop and Tarot cards will actually have a bigger role in the series, indicated by the crew gifts being Tarot cards and one of the episodes named after a Tarot card (the Three of Swords). The Three of Swords card actually represents the show's themes.
• Sasheer Zamatta as Jennifer Kale, who runs a skincare shop in the series called Kale Kare. She is being sued by some customers who got burns using her products. In the comics, Jenifer has a very rich history which is very connected to various corners of the Marvel Universe. More specifically, she is part of the Cult of Zhared-Na, run by her grandfather Joshua Kale. Zhared-Na was an Atlantean Witch who prophesized Atlantis' sinking and was exiled for it. The Cult of Zhared-Na was based on the Florida Everglades where Man-Thing lived in the comics and thus he happened to save Jenifer's life one day and the 2 became really close friends. Later, Jenifer joined the Midnight Sons. It's unclear if they will follow any of this lore in the MCU, but Jennifer's introduction on its own is exciting, because of the possibilities she brings along.
• Ali Ahn as Alice Wu, a witch who's working as a security guard at Hot Topic in Westview Mall. These 3 witches, Lilia, Jennifer and Alice will be the other "witches of color", each with their own distinctively coloured powers and special lore similar to that of the Scarlet Witch and the Green Witch.
• Debra Jo Rupp's Sharon Davis who also hops on the Coven bandwagon, despite not being a witch herself. She plays a more comic relief and "anchor" type of role in the rest of the series. She's basically playing the role of the audience, reacting to all the weird, magical things happening around her as a normal, everyday person, and asking questions, creating opportunities for exposition dumps. She dies in Episode 7
• And finally, Joe Locke's William Kaplan, aka Billy Maximoff, the second protagonist along with Agatha. So what's the story here, how is Billy Maximoff alive and how did he turn into a 16-year-old William Kaplan? Well, it is revealed in a flashback that Billy and Tommy were actually real children with their own, very real souls; and when Wanda destroyed the Hex, those souls were left aimlessly wandering around Westview.

Thankfully for Billy, his wondering soul happened to "witness" a fatal car crash were 13-year-old William Kaplan lost his life. William was not from Westview, but from Eastview, and he just happend to be near Westview when the Hex fell. Billy's soul, in an instinctive attempt to survive, and utilizing Billy's magical abilities, managed to enter William's body just as his soul was exiting, and took over his body, bringing it back to life.
Billy suffers from a small amnesia as a result, as his memories and William's memories basically become intertwined and weaved together. Now, 3 years later (Fall 2026 in the MCU timeline, aka around the same time as SI and The Marvels), Billy/William is 16, living happily with his supportive parents, Jeff and Rebecca Kaplan (played by Paul Adelstein and Maria Dizzia) and having a loving and caring relationship with his boyfriend, Eddie, played by Miles Guiterrez-Riley.
All 3 of them only appear in 2 episodes and have limited screen-time, but it's emphasised how supportive and loving they are, because Billy does not care enough about Wanda to leave his new family behind and save his real mom, even after she learns the truth about his lineage.
However, when the coven reaches the Witches' Road, Billy plans to use his wish to bring his brother, Tommy, back to life, since Tommy cannot possess another body due to his lack of magical powers. Tommy doesn't appear in the series, but it is teased at the end that he is out there somewhere and Billy and Agatha set out to find him (the 2 protagonists end up developing a mentomentee relationship), reportedly setting up a Wiccan show which was in development last year at Marvel Studios. It's unclear if the show is still happening or if this plot of Billy and Agatha finding Tommy has been integrated in VisionQuest and/or Young Avengers.
Billy is described as a teenager with a dark sense of a humour and a fanboy at times. He carries a pocket spell-book with him at all times. He is the most important and necessary part of the coven since he is a "compass" that will lead them to the Witches' Road.
However, it's not Agatha who seeks out Billy, but Billy who seeks out her. The official statement the government gave about the Hex incident was that it was an Avengers training exercise, but some Redditors don't buy this cover-up, some of whom are Westview citizens who experienced the Hex and want to get the truth out. When Billy reads these Reddit theories, it nudges his memory about who he really is and he goes after Agatha to find out more about his identity.
He sneaks into her house in the first episode, when Agnes has just broken free of her spell and he witnesses Agatha and Rio fighting, hiding in Agatha's room's closet.
When Billy first meets Agatha and eventually asks her whether his mother is alive, Agatha doesn't give a definite answer, and when Billy confronts her for a straight answer, she says "If you want a straight answer, ask a straight witch".
Later in the series, we learn that Wanda is indeed alive and is trapped at the end of the Witches Road, setting up a Children's Crusade storyline for the upcoming Young Avengers project.
Billy also does get his blue energy crown at the end of the show (similar to Wanda's energy crown), but not his classic blue suit.
For anyone worried about representation, the show will touch both Billy's (or William's to be exact) Jewish heritage and will explore both Agatha's and Billy's sexuality.
"Agatha" has been described as NOT a super-hero show, but a dark, supernatural, horror, adventure comedy.
While the majority of the show will take place in the Witches' Road, we will also revisit Wundagore Mountain.
Finally, talking about the Witches' Road, Marvel filmed a Witches Road Special Presentation concurrently with the show, written by the showrunner Jac Schaeffer and directed by Gandja Monteiro, that would have been released on Halloween, right after Agatha. The special contains a completely different coven of witches and it is a prequel set thousands of years in the past, showing the origins of the Witches Road dimension.
Now, the special has been integrated in the series, as one of the episodes (likely episode 3 considering its title).
What do you guys think about the series? I am personally very excited to dive into the Witchy side of the MCU, revisit Westview, get to know Agatha and Billy better and see the set-ups for Children's Crusade and the return of Wanda. The story also sounds intriguing with Agatha's past coming back to haunt her.

• Plan your trip to Sardinia in June: Experience pleasant weather and warm sea temperatures for an enjoyable vacation.
• Enjoy swimming in the sea: The water in June is warm enough for swimming, making it a perfect time to indulge in water activities.
• Explore the best beaches: Visit the top beaches in Sardinia during early summer for stunning views and relaxation.
• Engage in outdoor activities and events: Take part in various outdoor fun and events that Sardinia offers during June.
• Indulge in Sardinian cuisine: Taste the delicious local dishes and immerse yourself in the culinary delights of Sardinia.
• Follow sustainable travel practices: When visiting Sardinia, consider sustainable travel advice to minimize your environmental impact.

Why June in Sardinia

Weather Overview

June is an ideal time to visit Sardinia due to its pleasant weather. The average temperature ranges from 72°F to 82°F, offering a perfect blend of warmth and comfort for outdoor activities.
The island experiences long sunny days in June, providing ample opportunities for exploring the stunning beaches and picturesque landscapes. The weather is generally dry, with minimal rainfall, ensuring a delightful vacation experience.
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Warm Water for Swimming
In June, the waters around Sardinia start to warm up, making it an excellent month for swimming and water activities. The sea temperature hovers around 70°F to 75°F, ideal for those looking to enjoy a refreshing dip or indulge in water sports.
The crystal-clear waters surrounding the island beckon visitors to immerse themselves in its beauty and tranquility. Whether you prefer relaxing on the beach or diving into the azure waters, June offers the perfect conditions for aquatic adventures.

Festivals and Events

June in Sardinia is not just about the weather; it also marks the beginning of various cultural festivals and events. Visitors can immerse themselves in the local traditions by attending festivities such as Sagra di Sant'Efisio or Cavalcata Sarda.
These celebrations showcase the rich heritage of the island through vibrant parades, traditional costumes, music, and delicious local cuisine. Exploring these cultural events provides a unique insight into Sardinia's history and customs, adding depth to your travel experience.

Outdoor Activities

With pleasant temperatures and sunny skies, June is perfect for engaging in a variety of outdoor activities on Sardinia. From hiking along scenic trails to cycling through charming villages, there are endless opportunities to explore the island's natural beauty.
Visitors can also embark on boat tours to discover hidden coves and pristine beaches or try their hand at windsurfing and sailing in the clear waters. Whether you're an adventure enthusiast or seeking relaxation amidst nature, June offers something for everyone on this enchanting Mediterranean island.

June Weather Insights

Weather Patterns

June in Sardinia brings warmer temperatures compared to the earlier spring months. The weather tends to be sunny with minimal rainfall, making it ideal for outdoor activities.
The average temperature in June ranges from 23°C to 27°C, providing a pleasant climate for tourists. The island experiences longer daylight hours, allowing visitors to make the most of their time exploring the stunning beaches and historical sites.

Water Temperature

During June, the sea around Sardinia starts to warm up, reaching temperatures between 21°C to 24°C. This makes it suitable for swimming and enjoying water sports along the picturesque coastline.
The crystal-clear waters of Sardinia offer a refreshing escape from the summer heat. Tourists can indulge in snorkeling or simply relax on the beaches while soaking up the Mediterranean sun.

Ideal Swimming Conditions

With water temperatures hovering around 24°C, June provides optimal conditions for swimming in Sardinia. The warm waters are inviting and comfortable, attracting beach enthusiasts and water lovers alike.
Tourists can take advantage of the pleasant weather and sea temperatures to engage in various aquatic activities such as diving, paddleboarding, or simply taking a leisurely swim in the turquoise waters.

Sea Temperature for Swimming

Swimming Season

June marks the beginning of the swimming season in Sardinia, with the average sea temperature gradually rising to a comfortable level for swimmers. The water along the coast starts to warm up, making it ideal for those looking to enjoy a refreshing swim.

Sea Conditions

During June, the sea conditions in Sardinia are generally favorable for swimming. The water temperatures begin to increase, providing a pleasant experience for swimmers seeking to take a dip in the crystal-clear waters. The coast enjoys warm temperatures, inviting visitors to indulge in aquatic activities.

Swimming Experience

In June, swimmers can expect cooler waters compared to peak summer months but still enjoy relatively high temperatures that make swimming enjoyable. The average high sea temperature during this month allows for a comfortable and relaxing swimming experience, perfect for unwinding by the beach.

Best Beaches in Early Summer

Warm Waters for Swimming

Sardinia experiences warm temperatures in June, making it an excellent time to visit for beach enthusiasts. The crystal-clear waters around the island offer ideal conditions for swimming, with temperatures ranging from 72°F to 77°F.
The island's beaches, known for their pristine beauty, attract summer crowds seeking relaxation and water activities. Tourists can enjoy the stunning beaches of Sardinia without the peak season rush, making June a perfect time to bask in the sun and dip into the warm Mediterranean Sea.

Beach Activities and Attractions

In June, visitors to Sardinia can indulge in various beach activities besides swimming. From sunbathing on the soft sands to exploring underwater marine life through snorkeling, the island offers a plethora of options for beach lovers.
The warm waters provide an inviting environment for water sports like paddleboarding and kayaking. Tourists can also take boat tours along the coastline to discover hidden coves and secluded beaches that showcase Sardinia's natural beauty.

Enjoying Tranquility and Serenity

June in Sardinia presents an opportunity to experience the island's beaches in a more serene setting. With fewer tourists compared to the peak summer months, visitors can relish the tranquility of secluded spots along the coastline.
Exploring lesser-known beaches allows travelers to connect with nature and appreciate the unspoiled landscapes that define Sardinia's charm. Away from the bustling crowds, one can unwind under the Mediterranean sun and immerse themselves in the peaceful ambiance of these hidden gems.

Outdoor Fun and Events

Water Activities

Swimming in Sardinia during June is a delightful experience as the water temperatures range from 72°F to 77°F. The warm waters are perfect for aquatic adventures like snorkeling and diving.
Sardinia's crystal-clear waters offer an ideal setting for various water activities, including kayaking, paddleboarding, and sailing. These activities allow outdoor enthusiasts to immerse themselves in the island's natural wonders.

Land Adventures

For those seeking land-based adventures, Sardinia boasts diverse terrain that caters to different interests. From biking through picturesque landscapes to exploring the island's rugged terrain on foot, there is something for everyone.
Exploring Sardinia's inland areas provides a unique opportunity to witness the island's rich cultural heritage. Visitors can join guided tours or venture out on their own to discover hidden gems off the beaten path.

Safety Precautions

When engaging in outdoor activities in Sardinia, it is essential to take necessary safety precautions. Remember to apply sunscreen regularly, especially during peak hours when the sun's rays are strongest.
Being aware of ocean currents is crucial, particularly for those participating in aquatic adventures. It is advisable to follow safety guidelines and heed any warning posts along the coastline.

Sardinian June Cuisine

Local Delicacies

Sardinia in June offers a delightful array of local delicacies that reflect the island's rich culinary heritage. Indulge in dishes like Culurgiones, a type of filled pasta, or Porceddu, roasted suckling pig.
Immerse yourself in the vibrant flavors of Sardinian cuisine by trying Pane Carasau, a traditional crispy flatbread enjoyed with various toppings. Experience the freshness of seafood with dishes like Bottarga, dried fish roe often grated over pasta for a unique taste.

Traditional Festivals

June in Sardinia is not just about great weather; it also marks the celebration of traditional festivals that highlight the island's cultural richness. Participate in events like Sant'Efisio, a colorful procession honoring the patron saint of Cagliari.
Explore the Girotonno festival in Carloforte, dedicated to celebrating tuna fishing traditions. Witness locals showcasing their skills in preparing and cooking tuna-based dishes while enjoying live music and entertainment.

Vineyard Visits

Embark on a journey through Sardinia's picturesque vineyards during June to discover the island's thriving wine culture. Visit renowned wineries such as Sella & Mosca to sample exquisite varieties like Cannonau and Vermentino.
Savor the unique terroir-driven wines of Sardinia while learning about the winemaking process from passionate experts. Enjoy wine tastings amidst stunning landscapes, enhancing your overall culinary experience on the island.

Stay and Travel Tips

Accommodation Options

Travelers visiting Sardinia in June have a plethora of accommodation options ranging from luxurious beach resorts to cozy bed and breakfasts. It's advisable to book in advance due to the peak tourist season.
Exploring the island's diverse landscapes is best done by renting a car, allowing visitors the freedom to go off the beaten path and discover hidden gems. Alternatively, public transportation is available for those who prefer not to drive.

Weather and Packing Essentials

June in Sardinia offers delightful weather with average temperatures ranging from 20-28°C (68-82°F). The island experiences long sunny days, perfect for visitors looking to soak up the Mediterranean sun.
When packing for your trip, essentials include lightweight clothing, comfortable footwear for exploring, sunscreen, sunglasses, and a hat. Don't forget your swimwear as the crystal-clear waters of Sardinia beckon travelers for a refreshing dip.

Beach Etiquette and Safety Tips

Sardinia boasts stunning beaches with pristine turquoise waters that tempt visitors year-round. To make the most of your beach experience, remember to respect local customs by keeping noise levels down and disposing of trash properly.
For those planning on swimming in the sea, it's essential to be mindful of safety precautions. Always swim in designated areas with lifeguards present and be cautious of strong currents.

Nightlife and Festivities

Nightlife

Sardinia's nightlife scene is vibrant, with numerous bars, clubs, and beach parties that cater to a diverse crowd. You can enjoy live music, DJ sets, and traditional dance performances.
The island comes alive after sunset, offering a mix of laid-back beach bars and energetic nightclubs. The atmosphere is lively and welcoming, perfect for socializing and experiencing the local culture.

Festivities

Exploring Sardinia in June means immersing yourself in a variety of festivities that celebrate the island's rich traditions and history. From religious processions to colorful folk festivals, there's always something exciting happening.
During this time, you can witness traditional dances, taste authentic Sardinian cuisine at food fairs, and marvel at stunning fireworks displays lighting up the night sky. The locals' passion for their heritage shines through these events.

Beach Parties

June in Sardinia also marks the beginning of the peak season for beach parties along the picturesque coastal areas. These gatherings combine music, dancing, and bonfires against the backdrop of breathtaking sunsets.
Joining a beach party allows you to mingle with fellow travelers and locals while enjoying refreshing drinks under the starlit sky. The warm evening breeze adds to the magical ambiance of these gatherings.

Cultural Events

For history enthusiasts, Sardinia offers a plethora of cultural events in June that delve into the island's ancient ruins and historical sites. Guided tours to archaeological sites provide insight into Sardinia's fascinating past.
Visiting these sites during special events often includes theatrical performances or reenactments that bring history to life. It's an immersive way to connect with the island's rich heritage and appreciate its significance.

Sustainable Travel Advice

Best Time to Visit Sardinia

June is considered one of the ideal months to visit Sardinia due to the pleasant weather and warm waters. The island experiences long sunny days, making it perfect for outdoor activities and exploration.

Weather Conditions in June

During June, Sardinia enjoys warm temperatures ranging from 72°F to 82°F (22°C to 28°C). The island experiences minimal rainfall during this month, ensuring clear skies and ample sunshine for travelers to enjoy various outdoor adventures.

Warm Water Temperatures

In June, the waters surrounding Sardinia start to warm up, with temperatures averaging around 72°F (22°C) along the coastline. This makes it an excellent time for swimming and water activities as the sea becomes invitingly warm.

Sustainable Travel Practices

When visiting Sardinia in June, consider adopting sustainable travel practices to minimize your environmental impact. Opt for eco-friendly accommodations, support local businesses, and reduce plastic waste by using reusable items. By respecting the local environment and culture, you contribute to the preservation of Sardinia's natural beauty for future generations.

Frequently Asked Questions

Is June a good time to visit Sardinia?

June is an excellent time to visit Sardinia due to pleasant weather, warm sea temperatures for swimming, and various outdoor activities and events available during this period.

What is the weather like in Sardinia in June?

In June, Sardinia enjoys warm and sunny weather with average temperatures ranging from 70°F to 85°F (21°C to 29°C), making it ideal for exploring the island and relaxing on the beaches.

How warm is the water in Sardinia in June?

The sea temperature in Sardinia during June typically ranges from 70°F to 75°F (21°C to 24°C), providing comfortable conditions for swimming and enjoying water activities.

Are there beaches suitable for swimming in early summer in Sardinia?

Sardinia offers numerous beautiful beaches with crystal-clear waters that are perfect for swimming in early summer. Some top choices include Spiaggia del Principe, Cala Goloritzé, and La Pelosa Beach.

What are some outdoor activities and events available in Sardinia in June?

During June, visitors can enjoy outdoor adventures like hiking, sailing, snorkeling, and attending local festivals such as the Sant'Efisio Parade and the Cavalcata Sarda horse race. The island offers a vibrant mix of cultural and recreational experiences.

I recently bought a sound glove for my Mando costume. Because of how thick my gloves are, I can't effectively hit the triggers, so I figured out a way to rig it on the left side of my thigh. I want to sew a pouch inside my jumpsuit, but I have ZERO sewing experience, and I don't have the first clue on where to look for someone that sews.
Have any of you had to source a seamstress/seamster - if so, any suggestions would be great. Thanks in advance!

First post here out of… probably many to come.
Taking a sewing class and going into finals right now. I’m working on a waistcoat that calls for a welt pocket and, politely, the process of making the welt pocket makes me want to scream. And acknowledge that I need to be less stubborn and ADHD and start actually practicing new sewing techniques before I go ahead and do them on garments.
The book I followed (there’s often no wifi or cell service in our costume lab) called for me to corner the seam allowance around the welt… and then never called for me to DO anything about the seam allowance. So now I have a slash in my fabric, a pocket, and the BEGINNINGS of a welt… but still with a bunch of seam allowance sticking out of it, that has a VERY visible wrong side when you open the pocket.
Sure, no one in public will see if I sort of haphazardly slip stitch everything onto the wrong side and STILL there’s a bit of wrong side peeking from the middle of that inside rectangle… but I will know, and so will my professor, and he knows I have a tendency to bullshit my way through sewing ideas I don’t completely understand so he judge me. LOL
I can’t post pictures at the moment, but I AM curious about where and how I’m actually supposed to finish the welt in the real process… but more importantly, I am a very slow stitcher and NEED to move on. All that being said…
Is there a creative strategy for covering this mistake so it doesn’t drive me crazy? My professor won’t mind, as part of their grading is accounting for problem solving skills. Thanks so much all.

For some background information, I(15 non-binary) am a cosplayer, a competitive one at that. So I enter contests and win money from cosplays I craft by hand. Now my sister (11 female) wants to follow in my steps right now and its so sweet how she wants to be like me. There is a local cosplay convention that has a 17 and under cosplay contest with a $250 prize. My sister saw how I won last year and wants to try and win this year. However, I am already entering which isn't what I am mad about. She can enter the same contest as long as she meets all of the guide lines for the contest. The issue is, the convention is 1 week away. I have to study for finals and regents exams for june so I only have the weekend to finish my cosplay which is mostly done. My sister on the other hand, she picked a really complex character to do. Its from a video game and its a species called an Avali. To put it simply, its basically a bird mixed with a japanese styled wolf. Now the issue is that this is really difficult even for professionals with intricate hand-sewn markings and fabric feathers. She has NEVER made a cosplay before and just learned to use a sewing machine. And she insists on no painting on it, only hand sewn fabric details. To make it worse, she has nothing done for it besides a 3d-printed head base we bought online. I have been bugging her for 2 months to start it, now she and my parents are blaming me for saying I won't help her and just want the money for myself. Which is not my issue, I just literally don't have time! And having a half done cosplay shouldn't be the result of my sisters poor planning. I even took 2 hours to send her tutorials on things I don't know how to make for costumes. Now my sister is saying I am being petty for not wanting to help her win the money. So, am I the bad apple?(Please be honest I really need some help on what to do here)

Baz Luhrmann and Sanjay Leela Bhansali are both renowned filmmakers known for their distinctive, visually extravagant styles , as a diehard fan of the both of them I can't believe how long it took me to realise they share so many similarities. Here are some that I've noticed:

1. Visual Aesthetics : Both directors are celebrated for their lush, opulent visual style. They often use elaborate sets, vibrant colors, and meticulous costumes to create visually stunning scenes that are rich in detail and texture.
   
2. Emphasis on Romance and Drama : Their films frequently center around grand romantic narratives and intense emotional dramas. Both directors excel in portraying complex relationships and passionate love stories that are often set against the backdrop of larger societal issues.
   
3. Musical Elements : Music plays a crucial role in the films of both Luhrmann and Bhansali. They incorporate song and dance sequences that are integral to the narrative, enhancing both the emotional and aesthetic appeal of their films. Luhrmann’s films like "Moulin Rouge!" and Bhansali’s films like "Devdas" are known for their musical sequences.
   
4. Theatrical Influences : Their backgrounds in theater profoundly influence their cinematic techniques. Both have a penchant for theatricality in their films, with a strong focus on dramatic staging and performance.
   
5. Narrative Style : Both directors favor narrative grandeur and often adapt well-known stories, either from literature or history, infusing them with their unique style and interpretation.
   

I would love your opinions and thoughts on both of these cinematic mavericks. Also I may be a bit biased in saying that SLB is miles ahead of Baz in terms visual storytelling I do apologise for that. (Funny anecdote: I applied to study film direction after watching Devdas countless times, that's the kind of impact that film had on me).

She was used to disturbing dreams. For a while after the… incident, they’d been full of clowns. Clowns with sickly green eyes, in bad boaters and garish Hawaiian shirts. This one was different, disturbing in a less placeable way.
The room is pristine white and clean. It should be full of light, but something about it is dim and dingy. Large windows line the walls, but outside there is thick smog or mist; only a few slender fingers of light can make it through. There is a seat at one of the windows. A boy sits on the seat, dressed all in white. Somehow she knows to call this boy ‘brother.’
The brother stares out at nothing in particular, unless it is merely the world beyond the walls. She decides to take a few steps closer to him, then stops dead, blood running cold. The brother turns in his seat to look dead at her. He seems almost entirely like an ordinary boy until you see his eyes. They were full of something like hate. Actually hate seems too mild a word for what is in those eyes. Hate is human. These eyes are full of a murderous intent, guided almost it seems by a higher-lower power. It transcends anything human.
In her mind’s eye she sees fat specks of blood spatter on a pitch black surface like drops of rain.
Barbara Gordon jerked half-awake in her hospital bed. Whoa. Damn sedative. She was embarrassingly aware of a puddle of drool next to her mouth and was grateful to see Dick was not around. So where was everyone? Pitch black out. What time was it? Eight? Nine?
Easy, Barb. You nodded off. Dick decided to go do something besides watch you sleep. Nothing to panic about. She was aware of her legs again. Or still, rather. Before the ‘incident’ she would have guessed that paraplegics lost all feeling in their legs. Even after making a hundred new adjustments, relearning how to pull on her pants, coming to terms with how screwed she’d be as a wheelchair-user with a second-floor apartment, even after all that, she still felt phantom pains going up and down her legs some nights.
Well. If everything went alright tonight, that might change. A doctor flown in from South Africa, a quick surgical technique that was younger than she was, and Barbara Gordon could walk again.
Damn, she was tired. Her eyes were stinging from the effort of keeping the lids open. She let them close. Not to sleep. Just a little rest… what was she dreaming about before she woke, anyway? Something about a brother wanting to kill his sister. The details were already slipping out of her mind.
She sighed comfortably. Not sleeping. Just a little rest.
***
Dick Grayson sipped from a cup of truly awful coffee (he had been warned) and grinned. Inconvenient delays aside, he’d managed to kill an enjoyable couple hours in the commissary with a pair of nurses named Pieter and Asa while Kadaver’s Mystery Theater played Thing From Another World. Dick was fairly certain, despite his best efforts, he was hitting it off with at least one of them.
“So you really grew up in a circus?”
“Yep.”
“Sorry, you just don’t seem the type.”
“To bite heads off chickens or balance a ball on my nose?”
“I mean. For example.”
“I was an acrobat. In an act with my parents and my Aunt Harry. We were the Flying Graysons.”
“No way.”
“Yeah. It was pretty normal, really. I had a teacher who traveled with us, I had chores, friends. And when we were on the road we had coffee even worse than this. Tastes like nostalgia.”
Easygoing chatter was interrupted by a noise from a nearby table, the only other one occupied. An orderly was seated there, one whose demeanor rather aptly conveyed ‘sleazeball’ without requiring too much consultation with his appearance. He was, to put it mildly, engaging a coworker standing slightly behind him, with a good deal more physicality than was strictly indicated professional ethics. The object of his affections, evidently accustomed to it, stalked off acidly while the seated orderly smirked.
Turning to his two new acquaintances, Dick raised a quizzical eyebrow.
“That’s Morty Drake,” Pieter murmured, distaste evident. “Not really the most popular guy.”
“Wouldn’t be here if we’d had even one more person apply for the job,” Asa added.
Morty Drake, still unabashed, was now singing softly to himself. “Ohhh, my love, my darling, I hunger for your pie. Oh, IIII’ll be theeere-” Abruptly, Dick made up his mind.
“Hey,” he called across the room. He was aware of Pieter and Asa looking alarmed but pressed on. “That was a bit much, don’t you think? Might want to think about apologizing.”
Drake shot him a murderous glance. “Might wanna mind your own business, dicklick.” To punctuate the suggestion, he pulled a switchblade that certainly wasn’t part of the standard uniform.
Wonder if he came up with that before or after hearing my name. Dick idly noticed a rather skillfully-done tattoo of a skeletal Musketeer on the man’s neck. He found it somehow uplifting to look for redeeming features in unpleasant people. He realized with a start that he still had ‘Maid of Honor’ tucked away in a pocket.
Dick heaved a deep, theatrical sigh. “Oh, I’d really rather not do this. But since you’re testing me. You want to take this outside?”
Drake sneered. “You’re on.”
As Pieter and Asa watched in horror, both men stood, and both sauntered languidly and insolently towards the exit door to the back alley. Dick popped the door open, then was shoved aside haughtily by Drake, who walked out first.
Dick gently shut the door behind him, let the lock click, and walked back to the table, where Pieter and Asa were staring, stupefied. He tossed Drake’s artfully-swiped security pass onto the table.
“Told him I didn’t want to do it.”
***
It took Mortimer Drake a few seconds to realize he’d been locked out, after which he immediately began seething with rage. His keycard wasn’t in its usual pocket, either, leaving him stuck with a few king-size dumpsters. A few moments’ pounding on the door met with no response, though it made him feel marginally better. That goddam skinny pretty boy fruit. Gonna kick his ass.
Mortimer Drake gritted his teeth and stomped in a random direction, trying to orient himself. Nothing looked familiar in the dark. And damn, it was cold. He fantasized about pounding the fruit’s face inside-out in the vain hope that sufficient anger could make him feel warm.
He had walked along perhaps thirty minutes when he suddenly felt a strange feeling that he was being watched. Instinctively his hand went for the switchblade in his pocket, and he stopped to look behind him. Nothing there. But the hairs on the back of his neck were still pricking. He shrugged and moved on, muttering.
It occurred to Mortimer that he wouldn’t be able to get in through the usual entrance without getting a chewing-out for losing his ID. They’d blame him for something like that, never mind the punk in the cafeteria stole it from him. But… there was a window in the hydrotherapy room that was sometimes left unlocked. He might make a discreet entrance through there.
He picked up his pace a bit, cramming down the sensation that the thing watching him was now following him.
***
Harvey Bullock drove rather faster than was advisable through the Old Gotham. Even flooded with light, the city seemed dark tonight, and the darkness seemed to be staring at him, dark like a pair of empty eyeholes. Out in the darkness was the Shape.
Gordon had been right. Bullock had been something very close to a good cop, once. Maybe he’d taken money, when it was offered. In this town, who hadn’t? But he’d known where to draw the line. He’d never roughed up anyone who didn’t have it coming and he’d never turned a blind eye to anything that would keep him up at night.
The first night Michael Myers had run amok in Gotham City, Bullock had been on duty. In point of fact, he had run the bastard over in a car. And then Myers’ insane psychiatrist had given him an unneeded tracheotomy via pen-knife. Hits had kept coming through weeks of recovery. All of a sudden he didn’t have a job anymore, and neither did Montoya. Took a shot, turned out to be the wrong target, and out on her ass. Accusations like that stuck with a cop all their lives, even ones who kept their jobs. Shoot the wrong person, and ‘extenuating circumstances’ were just two words in a dictionary.
Bullock had been lucky enough to land on his feet. But somehow he’d never left that night behind. The nightmares had started not long after he left the hospital. Even though it hadn’t been Myers that slashed his throat, in the dreams it was always that pale mask-face. Some kind of darkness had gotten into him that night, through the wound in his neck, and it had spent the last few years festering.
“I got you now, you bastard,” Bullock muttered to himself. “Evil dies tonight.”
Tonight. By his hand. No need for Gordon, no need for the Bat. This was between him and Myers. Harvey Bullock drove faster than was strictly necessary, into the darkness.
***
The hospital really was quiet for a Halloween night. Even in small towns, you could normally expect a few minor disasters on a Halloween. Evidently the lengthening string of local disasters was persuading Gothamites in the East End to stay indoors after dark. That should have been a relief to Dr. Kinsolving; with staff begging off early to go to parties, they were short-staffed by now. Instead the emptiness felt oddly disquieting. Her footsteps seemed to fill entire hallways.
She nearly jumped out of her skin when she rounded a hallway and came face to face with Dick Grayson.
“Sorry!” the young man said, almost a whisper.
Kinsolving realized with a little embarrassment that she’d yelped, and grasped for her composure. “No. I- it’s Grayson, isn’t it? You were with Barbara Gordon. Are you still here?”
Grayson looked apologetic. “Sorry,” he said, voice still low. Kinsolving guessed that the Gordon girl must have been asleep. “We were waiting on some test results and never got them. I kind of lost track of time, I was-” and there he abruptly cut himself off, blushing slightly. “Actually I’ve been trying to get ahold of someone.”
He said it perfectly patiently, but to the doctor it sounded like the kind of patience that was just impatience trying to be polite. With another touch of embarrassment she realized how long they’d been kept waiting. On a slow night, too. Old Thompkins would have been furious.
“I’m terribly sorry, I don’t know what could be taking so long. Normally I would get some kind of notice from a technician-”
“Would his name be Morty Drake, by any chance?”
“Well… yes. How did you-”
“Never mind.”
“In any case, I’ll go along to the lab and see if the results are ready.”
“I’ll come with you,” Grayson said, innocently enough but clearly brooking no argument. Something about him seemed slightly on edge.
Kinsolving didn’t feel much like arguing, in any case. She was on edge herself. A little company would not be amiss. She walked briskly and Grayson kept pace with almost insolent ease. He had an undeniable charisma about him; Kinsolving was fairly certain he’d spent the last hour or so flirting with nursing staff.
Come to think of it. Where could Drake have gotten to? The doctor pursed her lips. Some day she was going to have to file a report on that one.
“Here we are,” she said at last. “If you could just hold on out here for a moment.” Grayson nodded obligingly.
Kinsolving poked her head into the lab, entering quietly, not quite tiptoeing. It was surprisingly dark. Too dark for anyone to be working. But she could make out someone sitting in the shadows. Judging from the hairstyle:
“Drake,” she said, relieved but annoyed. “I’ve been looking everywhere for you.”
It did not occur to her, in that moment, that Drake was unusually quiet for almost anyone and especially for Drake. It was only as she got closer to him that she began to realize something was wrong. Shondra Kinsolving had been a doctor in Gotham City a long time. She, it must be said, had seen some terrible things- things done by patients, to patients, to doctors, on occasion even by doctors (she still had nightmares about what had happened with Giggling Rendell in Surgery). Nothing had quite prepared her for what had happened to Drake.
It was the smell that reached her first, but she didn’t fully process it until she felt Drake’s shoulder. It squelched. He was soaking wet. And his skin, she could see by the little remaining light, was angry, blistering red, outermost layers peeled and torn away from musculature. Drake had been boiled alive, or drowned; either way his head had been held under scalding hot water- the hydrotherapy tanks, she realized- until he died.
Kinsolving’s hand started to go over her mouth, either to stifle a scream or hold back vomit. She wasn’t sure which. But before her hand could reach her mouth, another one was there. A wet, warm hand with strength like an iron bar. She tried to scream, couldn’t. Thrashed desperately, to no avail. Out of the corner of her eye, through panic, she saw the face of the man behind her, covered in a leathery clown mask of human skin. And she saw, clamped in the other hand, a syringe inching towards her eye, thumb slowly depressing the plunger. It was close now. Closer.
And suddenly the iron grip relaxed, and she could kick free. As she did, she could hear a grunt of surprise and the flapping of pages as a book hit the Shape in the side of its head. Less than a second later the Shape’s legs came out from beneath it, and it plummeted to the floor. She felt something grip her hand, and heard Dick Grayson’s voice. “Come on. Hurry.”
By some miracle her legs began working.
They were nearly out of the room, away from Drake’s mangled body and the nightmare in the clown-skin mask. A short distance that felt like an infinity. She heard a gasp of pain from Grayson, turned around- the Shape, lunging across the floor like an animal, had pulled a scalpel from somewhere, gashed the young man’s leg. A balletic kick to the masked face sent it sprawling once more.
They made it. Out of the room. Safe. No. Not safe.
Sheer survivor instinct was numbing her senses. She could barely comprehend what Grayson was doing as he pulled something- a short metal rod?- from a pocket, and jammed it through the door’s handles.
“What was that thing?” Kinsolving said. Shrieked, really. Her voice was not under her own control.
“Mask’s different. But I’m pretty sure we just met Michael Myers. Serial killer with very messed-up ideas about Halloween pranks.” Grayson said, grimly. He was leaning slightly, sparing a leg; the scalpel must have caught him. Kinsolving half-noticed a second layer of clothing under his jeans as he groped in his pocket.
“Shit.”
“What?”
“I… When he stabbed me, I think he somehow got my knife.”
She barely paid attention to that. “Is that going to hold him?!”
Suddenly the door dented outwards. Once. Twice. Again and again. The brace in the handles bent from the strain.
“Smart money says no. Run.Not ideal conditions to be facing an unstoppable serial killer, he reflected, drawing the other one. Not that facing unstoppable serial killers is ideal itself.
Nothing for it. His thumb squeezed a button on a hidden button in the stick’s base, feeling it extend and hum. Not just a stick anymore. Now it was a stun baton. That ought to at least give Myers a headache. There wasn’t much use in getting into costume now. The opportune moment for a dramatic Nightwing entrance was officially past. So, time for another tried-and-true tactic. As the Master said, ‘if your opponent is of bad temper, seek to irritate him. Pretend to be weak, so that he may grow arrogant.’
“Heeeeey, Mikey Mikey Mikey,” Dick called out, as he moved through the halls. “Didn’t hurt your face too bad, did I? The clown look suits you, by the way.”
He rounded another corner, carefully. Focus. Like Bruce taught you. What can you sense? At the moment, it was the lingering smell of Drake’s boiled flesh. Smelled like guilt. Sorry, Drake. All things considered, you didn’t deserve that. Along with the smell, there was sound-
Dick Grayson whirled out of the way just as a knife, pink-handled and engraved with MAID OF HONOR, stabbed through the air. A nanosecond from piercing his neck, the wicked curved blade gouged straight through the wall next to him. Dick felt his neck muscles tense as he imagined what that blade would have done to him.
He got his first good look at Michael Myers.
The Boogeyman did not look like a knife-wielding lunatic in a pair of coveralls. He looked like a shadow that had come to life, undying hatred in its black, black eyes. The preserved clown-skin mask, wrapped around his head on leather straps, gave his face a nightmare grin, and those black eyes peeked out now through the holes, alive with naked hate. Looking at him.
“Hi, Mike,” Dick breathed.
The Shape, of course, said nothing. But suddenly the knife was moving again, whistling through the air. Dick leapt. As the knife swung wildly he vaulted the monster’s shoulder, running across the wall and landing behind. Pain! lancing through his wounded leg as he hit ground. Ignore.
The stun baton struck Myers once, twice, before Dick flipped backwards out of reach. Just in time; another wild swipe came less than inches from slicing open his belly.
The Shape staggered slightly, only slightly. A hit from the baton should have left even a strong man curled up on the ground in agony. The Shape seemed barely annoyed. Oh, that’s a bad sign. Dick saw the muscles tense. The Shape did his trick well, but it was his only trick- lunge and slash. The day a Flying Grayson couldn’t dodge a knife was the day to hang up the tights.
Again. Alley-oop. Toro! Ole!
This time, ducking down and around, under the knife blow. Another few strong blows with the baton, and something like a grunt of pain this time. Oh, dear. Am I wearing you down?
Again. Again. Avoid the knife, hit him where he was weak. Zap. AGAIN!
The baton had struck Myers no fewer than a dozen times when he/it finally collapsed to one knee, heavy breathing agonized behind the clownface mask. The head dipped, and finally the Shape collapsed to the ground hard enough to shake the hallway. He was beaten.
Dick Grayson sighed. Huh. Okay. Not so tough after all, then. Though for a moment there…
The clown-mask still looked disturbing plastered across Myers’ expressionless face. Dick realized with a start that his hand was reaching out to remove it, almost entirely unbidden by his conscious mind. Time for that later. Get his knife and get some cuffs on him. He undid a spare pair from his belt and reached out, slowly.
Slowly…
He wasn’t sure what alerted him first. Something must have. When Myers stopped playing possum, when he sat upright with mechanical stiffness, he did so fast enough to finally get a good slash in. If Dick hadn’t suddenly sensed it coming it could have been his throat instead of his hand.
He heard himself swear. Felt himself stumble on his wounded leg.
And suddenly the Shape was on its feet and was grabbing him by his jacket, charging forward to pound him into a wall. Dick kept one hand on each of the Shape’s, the one near his throat and the one bringing the knife down at him. The strength was amazing, muscles like steel. Myers slammed him again, twice, vengefully.
Gotta flip him around. Or trip him. Get a foot around his leg-
Somehow Myers sensed his intention. They wriggled, struggled. And before Dick knew what was happening he heard broken glass and felt something sharp brushing his face. He plummeted backwards out the window into the cold night. Falling. Like Mom. Like Dad. Need my grapple.
Only a floor or two up. A short fall. Thought never got the chance to become action. The sickening smack into the ground. The thud against the back of his head, and his vision giving way to blackness.
From the broken window, Myers looked at the ground below, and at Dick Grayson’s quiet, still body sprawled out upon it. He tilted his face, either quizzically or admiringly. This one had surprised him. Come close to defeating him. No worries now. On to the main course. He turned on his heel and stalked for Barbara Gordon’s room.
***
The room was as quiet as a grave. There was not even the sound of footsteps on tile hallway outside, nor was there any creaking as the door opened. It still breezed open, silently, and a horribly patient shadow filled the doorframe. It moved across the floor, still silent, savoring. The low light of the room was simply swallowed up by the shadow, but a small gleam of it glinted off the knife’s blade.
The shadow reached the bedside. The blade rose over the shadow’s head with a terrible slowness, and it struck, plunging deep into the bedclothes. The shadow kept stabbing, almost frantically. And suddenly it stopped. The shadow ripped the bedclothes free and found, not Barbara Gordon’s mutilated body, but a neat line of pillows tucked into the bed. If the Shape felt anything like human emotions, it was probably feeling rage, now...
And down the dark hallway, struggling to crank the handrims both quickly and quietly and keep her breathing steady at the same time, Barbara Gordon was making for the elevator.
Come on come on come on come on.
Maybe the bad dreams had awakened her to the sounds of fighting. Or maybe the fighting itself had awakened her. Either way, the second she was awake, Barbara had been aware that something was wrong. Every instinct in her being screamed at her to run. After a quick push of the nurse call button had failed to raise anyone, she felt inclined to listen to instinct.
Come on come on come on come on. Why the FUCK didn’t I grab my phone? It was still in the pocket of her jeans, back in the room. It had seemed like too much wasted time to retrieve it as she fled. Now she was cursing herself. Phones on the wall. Stop to make a quick call?
Barbara turned her head over her shoulder. Someone was behind her. Something. Some Shape. Different from what she remembered, but horrifyingly unmistakeable.
Nope. No stopping. Barbara’s arms, raked with muscle, began working the handrims even faster. And Michael Myers, with his terrible patient determination, followed.
The elevator was at the end of the hall. Myers was moving slowly, toying with her like a cat with a mouse. Somehow the space of that single hallway seemed to stretch on for an eternity. She dared another glance over her shoulder.
In the half-light she saw Myers was no longer wearing the mask she remembered from those years ago. The pale emotionless face with the ratty hair and black hole eyes was now a tattered, lined clown face, ugly red lips drawn taut in a hideous grin. She had seen a face like that before, leering at her before a hammer pulled back and a trigger was pulled-
Her breath was in her throat again. Just go. Fast as you can. Just go. Just go. Come on come on come ON.
It seemed miraculous that she reached the elevator, almost unreal. Primed for flight, Barbara’s mind barely processed the corpse of the nurse stuffed in, limbs twisted and back bent backwards. The name tag read “Asa.” Don’t think about it. For now, survive.
She leaned overthe arm of the chair, hand slamming against a button almost at random. Ground floor. Most space to run. She hit it again. Again. Again again again. The clown-faced Shape was still striding towards her. The empty eyes, the malicious grin. Close close close come on come on COME ON. He was nearly on her.
The doors slid shut with barely a second to spare, and Barbara heard a hand slam against it furiously. About an eternity later, Barbara felt the elevator descend, and her heart begin to beat normally. The immediate fight-or-flight fear ebbed away, replaced with a sick, horrified feeling for the dead nurse she was sharing an elevator with. Dick, she thought, suddenly. Have to find him. He could be- no. He’s still alive. Find him. No. Prioritize. First get help. This fight isn’t on your terms. So first get help. Easy-peasy. Nearly there, in fact. You’re on the home stretch.
***
Michael Myers, normally silent, grunted with effort behind his new mask. His fingers jammed between the sliding doors of the elevator like crowbars. His muscles strained. The interlock groaned from the effort, then deformed, and, finally, with strength that was beyond freakish, Michael Myers pulled the doors apart. There was a heavy, sick breathing as the black eyes watched the cables of the elevator. Then, with swift and terrible movement, Michael Myers raised his knife and sliced through the cables.

Baz Luhrmann and Sanjay Leela Bhansali are both renowned filmmakers known for their distinctive, visually extravagant styles , as a diehard fan of the both of them I can't believe how long it took me to realise they share so many similarities. Here are some that I've noticed:

1. Visual Aesthetics : Both directors are celebrated for their lush, opulent visual style. They often use elaborate sets, vibrant colors, and meticulous costumes to create visually stunning scenes that are rich in detail and texture.
   
2. Emphasis on Romance and Drama : Their films frequently center around grand romantic narratives and intense emotional dramas. Both directors excel in portraying complex relationships and passionate love stories that are often set against the backdrop of larger societal issues.
   
3. Musical Elements : Music plays a crucial role in the films of both Luhrmann and Bhansali. They incorporate song and dance sequences that are integral to the narrative, enhancing both the emotional and aesthetic appeal of their films. Luhrmann’s films like "Moulin Rouge!" and Bhansali’s films like "Devdas" are known for their musical sequences.
   
4. Theatrical Influences : Their backgrounds in theater (SLB staged padmavati as an opera many years ago & Baz did La bohéme) profoundly influence their cinematic techniques. Both have a penchant for theatricality in their films, with a strong focus on dramatic staging and performance.
   
5. Narrative Style : Both directors favor narrative grandeur and often adapt well-known stories, either from literature or history, infusing them with their unique style and interpretation.
   

I would love your opinions and thoughts on both of these cinematic mavericks. Also I may be a bit biased in saying that SLB is miles ahead of Baz in terms visual storytelling I do apologise for that. (Funny anecdote: I applied to study film direction after watching Devdas countless times, that's the kind of impact that film had on me).

I had originally designed these units as part of next year's subreddit April Fool's, but then I decided to go with a slightly more ambitious idea instead. I didn't want to let these go to waste though, so I figured I might as well post them anyway. Please enjoy, and don't take anything too seriously!

Starstruck - four fans aiming to learn why their beloved band faded into obscurity.

Leo/need, an up-and-coming band that suddenly disappeared from the spotlight. Every fan has their own theories as to why, yet it's only when Kaname's phone receives a mysterious song that answers begin to appear...
"I can't afford to back down here. If anyone deserves to live on, it's them!"
Fan Name: Starstruck Observer
Main Cast:

Kaname Otori

"I won't ever forget that melody..."
The daughter of Phoenix Wonderland's owner, whose bright and cheerful personality is reminiscent of her mother. One day, having heard Leo/need's vocalist Ichika Hoshino performing in the park and learning of her past, Kaname was left confused as to why she would settle for such a small stage.

Haruki Yuuma

"With a body like this... who said they had a choice?"
The son of Leo/need's keyboardist Saki, who married a boy she met during her time at the hospital. Suffering from the same health issues that plagued his parents, he believes that Leo/need disbanded for the sake of Saki's health.

Mizuru Tanaka

"Without restraint, without regret - that's the only way to live."
The daughter of Leo/need's drummer, Honami. Impulsive and always willing to take a risk, she believes that her mother's indecisiveness led to her choosing to open a restaurant instead of carrying on with Leo/need.

Sayaka Kishine

"Do you truly call this passion? What a laughable joke."
Miyamasuzaka's Class 1-A Representative and a passionate fan of Leo/need's bassist, Shiho. Demanding consistent effort from those working with her, she believes Leo/need didn't survive because they couldn't keep up with Shiho's dedication and skills.

The Library SEKAI

A traditional library filled to the brim with books on music. It seems to be built from feelings of nostalgia and longing.
​

BREAK OUT! - an eclectic group stuck in their parents' shadows searching for their own kind of music.

Four teens, for all their lives, have been burdened by the fame of their parents. Can they create an identity beyond their legacy? Can they carve a whole new path for themselves?
"I want to feel it... A thrill like nothing else!"
Fan Name: BREAK OUT! Rebel
Main Cast:

Rina Kiritani

"I'm not sure what I'm looking for... but it's out there, I know it!"
One of a pair of twins adopted by legendary idols Minori and Haruka Kiritani. Without any sense of direction in life, she eagerly searches for something that can make her heart pound the same way her mother Minori claimed Haruka made hers.

Tsubomi Kiritani

"Right here, right now - I'll burn these words into your memory!"
The second of a pair of twins adopted by legendary idols Minori and Haruka Kiritani. left unamused by the constant comparisons to her mothers, tales of Vivid BAD SQUAD's legendary performances lured her into the world of rap.

Izumi Kubo

"Is it so wrong, to find beauty in the past?"
The daughter of Leo/need's Shiho, a bassist who gained renown after touring the world as a guest at STANDOUT's concerts. A fan of traditional Japanese music, she feels embarrassed and old-fashioned because of her lack of interest in rock music.

Koutarou Kamishiro

"I might not be able to help you directly but... I'll support you all the way."
A silent and solemn boy who mainly speaks through a voice synthesizer. Born to Rui and Nene Kamishiro, who became icons in their field of directing and singing respectively, he fears being judged for his voice and instead devotes himself to learning various instruments.

The Museum SEKAI

A run-down museum dedicated to legendary musicians. it seems to be built from feelings of awe and admiration.
​

Ashita no Kaze - A talented street unit built from three strangers, brought together by a girl looking for her destined partner.

In front of Better Together's baristas, Mirei makes a promise: She'll find her other half and shake the streets like they once did. Who will accompany her on her rise to the top of the concrete jungle?
"My destined partner... Yeah, I like the sound of that!"
Fan Name: Ashita no Kaze Partner
Main Cast:

Mirei Kuwahara

"Sometimes, you've just got to follow your heart."
An innocent singer who hides behind a streetwise persona, she became a regular at Better Together, a cafe and music venue run by Kohane and An Azusawa. Inspired by the duo and the incredible feats they achieved, she sets out on a mission to find someone who might work just as well with her.

Yuuki Tomari

"We all have our own unique styles. Life would be too bland otherwise."
A cosplayer who looks up to the designs of Yoake no Kyoyu, a prestigious clothing brand run by Ena Shinonome and Mizuki Akiyama. Worldly and wise, they can often be found at various performances offering to design costumes for people (Whether they want them or not).

Riku Higurashi

"Come now, what's a little light teasing between friends?"
A sly fellow who charms anyone he comes across without ever making an actual friend, he can be commonly be found bearing some sort of gift or freebie to placate people. Always ready to de-escalate a conflict, many come to him so he can mediate their arguments.

Sei Katsuragi

"It's just like something out of a fairy tale."
A bookworm obsessed with romance who can often be found at Better Together, constantly scribbling in her notebook. A fan of writing poetry, she'll often take inspiration from the lyrics sung around her and combine them into new and unique verses.

The Lighthouse SEKAI

An isolated lighthouse looking out into a foggy distance. It seems to be built from feelings of desire and anxiety.
​

Shingeki Stage - A theatrical music troupe that was born from an empty drama club and the ones attracted to it.

In a quiet corner of Kamiyama lies the last member of the drama club... until three eccentric hopefuls barge in to see it revived. Could this be some sort of nightmare? or the beginning of a beautiful dreamlike youth?
Fan Name: Shingeki Stage Extra
Main Cast:

Shiki Tenma

"Even a single smile would be enough for me."
The daughter of beloved actor Tsukasa and nationally adored idol Shizuku who came across a near-empty drama club. Excited at the opportunity to show off what she learned from her parents, she sets out to try and revitalise the club and put on an unforgettable show.

Botan Toubaru

"Want a good reaction? Then just press that Botan!"
A rambunctious tomboy aiming to rule the variety show world just like her idol Airi once did. She joins the drama club and Shiki's efforts in hopes of getting scouted, even if her reactions can come off as a little bit forced at times.

Suiren Sonozaki

"Oh my, how interesting. Let's see how this will turn out..."
A lackadaisical and lazy girl, she remains as the last member of the drama club so she can use its clubroom as a napping area. Startlingly good at remembering the crazy dreams she has, she'll often write them down for use as potential script material to keep the teachers off her back.

Karin Endou

"One day, somebody will want to remember me as much as them. I swear it."
A class clown who moonlights as ENDROLL, a graffiti artist whispered about in Vivid Street who dedicates art to recently retired musicians. However, wanting to be remembered for her work instead of her subjects, she's drawn to the drama club when Shiki requires a prop designer.

The Garden SEKAI

An endless expanse of greenery surrounding a beautifully maintained Garden. It seems to be built from feelings of hope and pride.
​

Nightcord NEXT - a mysterious music circle formed by ghosts of the past, brought to life by those who chanced upon an abandoned account.

"The only one who can decide your future is you." With that declaration in mind, Akiko finds herself lost, pondering how to become an independent and capable lady like her parents. It isn't until an unknown hacker takes over their group's Nightcord accounts and a mysterious song appears on her phone that Akiko gets an idea...
"If I could walk a mile in your shoes, could I finally stand at your side with pride?"
Fan Name: Nightcord NEXT Listener
Main Cast:

Akiko Yoisaki

"I'll do my best to live up to your expectations."
The adopted daughter of Kanade and Mafuyu Yoisaki whose alter egos K and Yui are spoken about with reverence in the underground music scene. Desperate not to make the mistakes of Mafuyu's mother, they encourage her to carve her own path, leaving her unsure on how to proceed without their guidance. Hoping that emulating her parents might provide a hint and learning of Yuzue's act, she takes on the title of lyricist Yuki.

Mio Chiba

"Everything I am - everything I want to be - resides within this song."
An amateur musician who was inspired after seeing a show performed by the BAD DOGS. However, an intense level of stage fright prevents her from even considering performing in person. Eager to compose a song that even the BAD DOGS would be proud of, she takes on the title of composer K.

Yuzue Yamamoto

"This'll be a cinch! Just have faith, okay?"
Cocky and carefree, her desire for rapid and easy fame leads her to hack into Nightcord's old accounts so she can spread her work under their name. Once she learns of Akiko's plight, she takes on the title of MV artist Amia.

Rioko Tachibana

"Let's be clear - I can't promise you anything."
One of the top students in her art classes, she can near-instantly utilise any technique presented to her. However, an unspoken event convinced her that she is only capable of plagiarism and she longs to create something she can finally call original. At Yuzue's request, she takes on the title of artist Enanan.

The Haunted SEKAI

A mysterious manor containing all sorts of secrets. It seems to be built upon feelings of uncertainty and fear.
​
Those who seek answers, those who seek purpose, and those who seek companionship. Please look forward to how their stories unfold.

🫖 Welcome back to the Asylum write-up. This is where you live now. Part 1 Part 2 Part 3
In this installment, we finally take a closer look at how Emilie Autumn's hyper-loyal fanbase gradually started losing faith in her as, among other things, it became more and more apparent that she... wasn't exactly a reliable narrator – in her semi-autobiographical book, or in general.

HOW IT STARTED: A WOMAN OF MYSTERY

Willow, weep for me Don't think I don't see This life I'm living in two But still it's something I must do I'm not unique in this Nor am I special, sweet, or kind I court a thousand smiles Yet I keep my own to hide behind (“Willow”, 2004 🎵)

I've previously referred to EA as an “expert vagueposter”, and this is relevant here.
For an artist who built her brand on a pledge of raw, rats-and-all honesty, EA has always been quite guarded about the specifics of her personal life. (Until her current partner, for instance, she always danced around calling anyone a boyfriend, even when the nature of the relationship was pretty obvious.) Her whole angle is telling “the truth”, but through whimsical fantasy. As early as the fairy-themed Enchant era, she had her own world, her own vernacular; she spoke in metaphors, in-jokes, and quirky anachronisms. Taxis were carriages, her electric keyboard was a harpsichord, she always capitalized Time and Art like Shakespeare does. On the Asylum forum, automatic word filters would change “fan” to “muffin”, “fairy” to “faerie”, “bra” to “teacup holder”, and “responsibility” to “ratsponsibility”.
She's a chatterbox who loves to share memories and funny anecdotes, but she usually keeps them short and sweet, Snapple-facts style. 📝 She's great at painting by touches in her storytelling, revealing just enough to let your imagination auto-complete the rest. 🔍 Even the most banal tidbits are very artfully told, very “on brand”, often dense with symbolism and foreshadowing – but also very abstracted.
She is especially elusive when it comes to her background and formative years. See the way she catches herself in this interview 📺📝 while describing her “favorite scar”, which is from an eel bite: “My – well, someone I knew... [gasp-laugh] had it as a pet, and...” (She was about to say “my sister”.)
In short, the way EA talks about her life is often very personal, but not all that candid – and sounds more like it's meant to provide a curated, coherent backstory for Emilie Autumn the character, rather than Emilie Autumn the person.

I'll tell the truth, all my songs Are pretty much the fucking same I'm not a fairy but I need More than this life, so I became This creature representing more to you Than just another girl... (“Swallow”, 2006 🎵)

In the beginning, this guardedness naturally contributed to the mystique. It made it all the more special when, once in a while, she would briefly drop the theatrics to share something earnest and relatively unfiltered. Like this composed, but vulnerable post from 2004 📝 about her father losing his battle to cancer, and her attempts at closure over their tense relationship. Or this 2012 anti-bullying campaign thing 📺 in which she opens up about being a target of intense physical bullying in elementary school, to a point that contributed to her being homeschooled at 9.
Fans in the early years were curious about her backstory, of course – but not too prodding or invasive, to my knowledge. I think there was an understanding that EA, like many performers, wanted to come across as human and approachable, while still cultivating an “aura” and retaining some privacy. But obviously, when she announced that she was writing a Tell-All Memoir in 2007, everyone was dying to read it. TEA TIME!

HOW IT'S GOING: A WOMAN OF... MALARKEY???

LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! LIAR! (“Liar”, 2006 🎵)

As we've learned, the original 2009 release of EA's book was highly anticipated, but somewhat tainted by a bunch of shipping delays and unfulfilled promises. From the start of her career, EA had always cultivated a close parasocial involvement with her audience; many fans had as deep an attachment to her, personally, as they did to her art. So, for instance, when EA tweeted about all the personal dedications she was lovingly writing in overdue books, only for the books to arrive many months later and unsigned with no tangible explanation, it wasn't simply frustrating: it was betrayal amongst kin!
Really, it wasn't so much about fans not getting what they paid for – it was about the lack of clear communication or genuine accountability. This is pure speculation on my part, but the poppycock that EA tweeted about signing the books strikes me as the panic-lie of someone who hadn't realized just how many heartfelt, personalized dedications she would actually have to write when she came home from tour. And then she just couldn't do it, because she was overworked, paralyzed, distracted, depressed, procrastinating, whatever. Which... you know... is unfortunate, but probably not unforgivable. Especially for a touring performer who is open and vocal about their mental health issues.
I'm confident that most fans would have been happy to tell her that her well-being meant more to them than an autograph, or something along those lines. Instead, EA's cagey and avoidant demeanor around this issue left fans very salty – and newly suspicious of their favorite artist's word.
Which was regrettable timing for EA, because they had just received their copies of her memoir.
Here's a cursory look at some key biographical points that didn't hold up to scrutiny when more and more vexed fans, over the years, started looking into them.
Content warning until end of post: family estrangement, death by fire, worsening physical health issues, mention of disordered eating / weight loss / thinspiration, and LIES! LIES! LIIIIIES!

“EMILIE AUTUMN LIDDELL (BORN SEPTEMBER 22, 1979) IS AN AMERICAN SINGER-SONGWRITER...” (Wikipedia)

Every fandom has its Holy Grail. Because a number of EA's early releases were limited pressings put out through now-defunct record labels, the EA fandom in its heyday was a collector's wonderland. 📝🦠 At the height of her popularity, the original Enchant jewelcase (the one with the puzzle-poster) could easily fetch around $500 dollars on eBay, unsigned. The handwritten lyrics of an Opheliac B-side went for $940 in 2009. Don't even ask me about the hard copies of her two poetry books: those never even popped up over the five or six years that I had various alerts set up for all EA-related listings.
But the true crown jewel of EA rarities is the untitled promo version of her (also virtually unfindable) 2001 instrumental debut On a Day... No one knows how many copies exist. The darn thing is so rare that it's not even listed on Discogs. For a while, the only picture of the elusive “Violin” promo CD that was circulated online was this one.🪞 Go ahead, click the link. Notice anything odd? That black box where one composer's birth year should be?
I'm not sure why the notorious hyper-fan who originally shared this picture on the forum in the early 2010s took it upon himself to censor it before posting. I wasn't able to pinpoint when or why people started questioning EA's age, but clearly, something had already transpired to let him know that not redacting said birth year might, uh... cause an upset. In any case: at some point, people started digging – and eventually, the unredacted version of the “Violin” tracklist (as well as public records and literal receipts from eBay auctions) would be brandished as one more piece of damning evidence that EA was indeed (gasp!) two years older than she claimed to be.
“Okay, and?” you shrug. “What's the big deal?” I'm shrugging too! What can I say? People don't like realizing they've been fooled, even about something stupid. I will note that EA's fall equinox birthday (hence her middle name “Autumn”, yes) had been somewhat significant in the fandom. Over the years, EA's birthdays had been marked by online release parties, Q&A's, community events, special merch sales... A number of fans liked donning her trademark cheek heart on September 22. It felt a bit uncanny to realize that she had been announcing a false age on those occasions. It wasn't “a big deal” so much as it was incredibly odd.
Other than being appalled that Self-Proclaimed Staunch Feminist EA would give in to the cult of youth and not cop up to her real age, many fans were just plain bewildered: who would commit so stubbornly to such an inconsequential lie? What was even the point of lying by two years only? Why did she think anyone would care that she was 28 rather than 26 when Opheliac came out? What was she possibly getting out of this...??
My completely speculative theory is that, whether it was her idea or her then-manager's, the lie originated as a marketing strategy early on in her career. The “Violin” demo was recorded in 1997, when EA was 19-going-on-20. Per the liner notes of On a Day... 📝, which came out when she was 22, the demo's purpose was to be “a sort of calling card in the classical music industry”. Evidently, that didn't work out; EA claims, in the same paragraph, to have walked out on a classical recording deal at 18 because they wouldn't give her enough creative control.
Talented and unique as she was, she was trying to break out in a notoriously elitist and innovation-resistant milieu – and unlike her, most of the 22-year-old classical violinists she was in competition with had actually graduated from their prestigious music schools. But you know what sells better than an ambitious college dropout in her early twenties? Tweaking the truth just so to market yourself as an unconventional wunderkind, barely out of her teens! Any rendition of a complex, learnèd musical piece sounds more intriguing and impressive if you think it was played by an especially young (and beautiful) person. 20 was plausible, close enough to her real age, barely a lie at all, and such a nice, round number for a debut album.
Notice how much of the On a Day... liner notes, linked above, center on her precociousness, her uniqueness, and her savant-like dedication to her craft – a focus that seems absent from the promo version (from what I can decipher in those potato-quality pictures, anyway). These talking points would provide the basis for a lot of her early self-promotion and budding stage persona in the Enchant years. Even though the EP failed to make EA a household name in the classical world, the wunderkind narrative was her “in” to grab the attention and heart of a broader audience.
And I guess she's been running with it ever since.

“MY ANCESTRY IS POSITIVELY LITTERED WITH LUNATICS AND GIRLS WHO FALL DOWN RABBIT HOLES ... MY NAME IS EMILIE AUTUMN LIDDELL. YES, THAT LIDDELL.”

Oh, come on. Much as a fan may want to believe, isn't that a little on the nose? The anglophile with an obsession for tea, clocks, and madness... is literally related to Alice in Wonderland? 🔍 Curiouser and curiouser indeed.
EA came out as Emilie Autumn Liddell in The Book – of course – in a passage where she describes an interaction with a nurse. 📝 Note how she stresses the authenticity of her name, and how not-chosen it is (and the Alice connection, which just comes up organically) by disclosing it in a scene where she's filling out paperwork.
I'm pointing this out, because it would be tempting to allow room for creative license (and the slightest cringe) in a work of creative fiction based on personal experience. Buuut... TAFWG was not marketed as fiction. The main narrative in TAFWG, according to EA, is an actual fac-simile of the journals she kept during a harrowing stay at a Los Angeles psychiatric hospital following a suicide attempt. This is something that EA has stressed from the inception of the book (and throughout all subsequents re-issues, even as the main narrative was altered and reworked), even claiming that a legal team had advised her to redact some names to avoid potential lawsuits. So, no, she's not doing a bit there.
When, after it made the rounds a few times, it became apparent that the claim didn't really make sense 📝🔍, reactions were mixed. Some older, diplomatic fans downplayed it as a somewhat embarrassing, but harmless self-mythologizing – similar in nature to her insistence on calling her electric keyboard a “harpsichord”. Devout EA apologists (commonly referred to as “bootlickers” in an increasingly polarized fandom – oh, don't worry, we're getting to that!) invoked the “life as performance art” defense: when she said it was literally her first name, she meant it metaphorically, duh! And either way, she probably had her reasons.
But others took offense at the boldness of the lie, or simply became curious. Was Liddell even her name at all?
If you've checked the link just above, you already know the answer. Per the public California birth log (a somewhat demented invasion of privacy that could well have been avoided by... not repeatedly drawing attention to a name that someone in the book calls “right out of a movie”?) : yes, no, kind of.
EA was born Emily Autumn Fischkopf* on September 22, 1977. The name came from her father, a first-generation immigrant from Germany. Her maternal grandmother's maiden name was Liddell (but no, not that Liddell, or so remotely that it doesn't matter). EA may have had it legally changed at some point in the last decade, but as of 2012, based on the public log of foreign visitors to Brazil (where she toured that year), her passport still bore the name “Emily Autumn Fischkopf”.
*No, EA's birth name is not literally “Fischkopf”. It's a non-silly German name that begins with an F. I know that it's ridiculous to clutch my pearls about EA's peace of mind now, but triggering new and disquieting Google alerts for a name she clearly wants nothing to do with (and that you don't care about) just feels... distasteful? I don't know. That info has been floating around long enough, the point has been made; this write-up is not about EA's last name, but about the fiends we made along the way! So Fischkopf it is.
Let's track the evolution here! It appears that she went by “Autumn Fischkopf” for at least part of her formative years, if we are to believe the credits from Mark Ruffalo's middling film debut 📺 (she was the child actor's violin-playing body double) and this random article about a Nigel Kennedy performance in 1997. 🔍 (That last link – possibly her first ever mention in the press? – is a niche favorite of mine. Violin superstar Nigel Kennedy calls her a “talented fiddler”, which suggests that she did have some cred and promise in the classical milieu at a young age, and that there is at least some truth to her claims of being a wunderkind. It also cracks me up that, out of all the things she's reiterated over the years, “I was born in '79” was a lie, but “I was attacked by a pet eel” was fact-checked by Nigel Kennedy.)
At some point in her late teens, she dropped the Teutonic surname and adopted the French ending of her given name (she made it a “LIE”! how poetic) to form the moniker “Emilie Autumn”. I assume that's also when she started privately going by Emilie / EA for short.
So there you have it. The damning evidence. A performing artist... changed her name. To her grandmother's name. Riveting stuff!
And to think that her fans could have carried on naively believing “Autumn” was her last name, or assuming it was a romantic nom de scène she picked during her Ren Fair phase. Or perhaps, even, not thinking much about her name at all, like normal people.
But nooo, she just had to poke the hornet's nest by making a whole thing out of it.

“MY ENTIRE FAMILY DIED IN A FIRE.”

If you've never encountered a method-acting con artist or a person who struggles with pathological lying (I'll let you decide for yourself which of these, if either, applies to EA), you probably believe that you'd spot them a mile away. And in my experience, that's exactly why you wouldn't! Whether it's compulsion or calculated strategy, successful fibbers rely on people's natural social cues (like their assumption of good faith, their confirmation bias, their empathy, their desire for validation, their fear of awkwardness, ...) to subtly direct the flow and tone of the conversation. This allows them to short-circuit potential questioning of their claims.
One such strategy, for instance, I call the “I-will-not-further-speak-about-the-incident maneuver”. Out of the blue, you drop a graphic and incisive one-liner about something horrific that happened to you, in a curt or flippant tone that throws the listener off and usually shuts them up – thus sparing you from having to back up your claim with any convincing specifics. I'm not saying that every person who does this is a liar. Horrific stuff does happen to people, and I'm not here to police how they're supposed to disclose it. I'm just saying that if you wanted to fabricate an obvious Tragic Backstory™ and smuggle it past otherwise rational, discerning and reasonably intelligent people, that would be one way to do it. Full disclosure: it does work better in person than it does over the internet, especially when you've kept a blog.
When EA curtly dropped this bomb on Twitter (in response to an innocuous fan question that mentioned her parents – the receipt has sadly been X'd out of existence), and every subsequent time a new fan found out about her family's tragic demise (“I had no idea!”), the response was typically one of shock and sadness – and, in a few heartbreaking cases, commiseration from other survivors of family-annihilating events.
Many fans already had a hunch that something was up with her family, of course. She hinted at neglect and possible abuse in her book and lyrics. A number of her fans also came from dysfunctional households, so her not wishing to elaborate on the topic would probably have been a non-issue. But now she's saying they're dead? All of them? In a FIRE?! Holy macaroni! And you know it must have been awful, because EA – the same woman who got a dozen bangers out of a three-month-long toxic relationship, and based over a decade of her work on one bad hospital stay – had never, not once, felt called to share a song or poem about how it might affect a person to... lose all of their entire immediate family to a fire. Hmm. Meanwhile, the handful of older fans who had been following her since Enchant and remembered her dad passing in 2004 gritted their teeth and rolled their eyes. “Do your research. That's all I can say.” (We'll get into the culture of censorship free speech regulation on the Asylum forum in due time.)
Before more and more embittered ex-fans started compiling and circulating the receipts in the early-mid-2010s, investigating the whole “dead family” thing was a lonely journey – a coming-of-age expedition for the critical-minded Plague Rat, trawling through free background check websites and old Wayback Machine archives, until you went “Welp, there it is, I guess” and suddenly felt older, stupider, and a little bit hollow inside.
Although I don't remember how I personally made my way to The Truth (lol) back in the day, I still have a vivid memory of the moment I found the Facebook profile of EA's Very Much Non-Deceased Mother. It was mostly posts about her costume design work. A few candid pictures with EA's siblings and their kids. Christmas, birthdays, a wedding. Just... aggressively normal stuff. It was bizarre, looking in on this family of cheerful strangers with familiar cheekbones. Knowing that, somewhere out there, was an estranged eldest daughter, who had run off years ago to become a fiddle-wielding rockstar – and was now passing them off as having all died a gruesome death, while her fans secretly stalked their family photos. (Because I know you'll be asking in the comments: yes, EA's family is aware. Her mother once posted a picture of young EA and her siblings on Pinterest, sarcastically captioned “After most of us were killed in the fire.” 📝)
Again, it's tempting to discount EA's remark as a metaphor for family estrangement, taken too literally by neurodivergent minors who just didn't understand performance art. Well. First of all, even as a metaphor... let's admit, once again, that that 2000s edginess has aged like fine milk. It's a little crass to make a “metaphor” out of a plausible, life-shattering trauma that other people actually have to live with. (Veronica lost a beloved house to a literal fire 🔍 during her tenure as a Crumpet, for instance; no one died, but that alone seemed pretty rough.)
But, more to the point, evidence suggests that EA also told this to real people in her real, off-stage life – such as her Trisol manager, who backed the claim on the official Asylum Forum in 2007. 📝 When questioned about this post on a renegade forum in 2013, he had this to say:

I was the fool in this case. EA made that up of course. It’s just one thing on a long list of things she made up. Let’s agree she’s very creative with facts if she wants people to believe a story. (...) I once had a short chat with [EA's mom] and I got the strong impression she wasn’t dead at the time. Haha.

(OK, dude, but did you or did you not sell fake EA tickets on a scammy website in 2008? Because we never did get the skinny on that.)
Fifteens years on, EA continues to insist, unprompted, that “the fire” destroyed her childhood drawings and baby pictures. 📝 This more recent Instagram post is like a Greatest Hits of her most notorious yarns, to a degree that's either premeditated trolling or a subconscious call for help. She casually, yet pointedly mentions her age in relation to a specific year... and specifically draws attention to the signature, one that she used well into the Enchant era. In doing so, she made me notice, for the first time, that the A blends into an F. As one could expect from an artsy, Renaissance-obsessed teenager, her OG signature was a freaking monogram for Emily Autumn Fischkopf. It's like “The Tell-Tale Heart” for the digital age! AM I THE ONLY ONE SEEING THIS?? 🦠

A BIT O' THIS & THAT: MISCELLANEOUS CLAIMS

Just for fun, here are other sundry “citation needed” facts that EA has claimed over the years. All are originally from the book unless sourced otherwise. Some of them may have been jokes, some of them might even be true! Whatever that word still means!

• She suffered near-fatal leukemia at age 2, but miraculously recovered. Doctors were baffled.
• She has perfect pitch and tone-color synesthesia. 🔍
• She also had a photographic memory before Ativan ruined it. That's how she remembers what the sky looked like on the day she came out of the hospital leukemia-free.
• It is well-known and well-established, among the bipolar community, that bipolar people all over the world will regularly and inexplicably wake up at 4 in the morning. 🎵 On the dot. No one knows why, but they do. Doctors are baffled.
• She can play the violin on horseback!
• The traumatic hospital stay happened before Opheliac until it happened after. 🔍 Doctors are time lords.
• TAFWVG “has been cited in text-books used as part of the psychology curriculum at Oxford University in London.” 📝 I would have intuited Oxford University to be in Oxford, but then again, I didn't go to Oxford.

ELECTRIC VIOLIN: UNPLUGGED

You know how whenever a musician starts behaving obnoxiously, old sages will come down from Mount Wisdom to advise disgruntled fans to “simply ignore [behavior]” and “just focus on the music”? Well, in the Asylum, “just focusing on the music” won't always preserve you from EA's shenanigans. This “claim” is a little different, but I've decided to include it because it is so odd, emblematic, and ultimately tragic. I also count it as “biographical”, because it involves a key tenet of EA's character sheet: the violin.
Being a kickass fiddler is one of EA's trademarks, and has always been central to her narrative; as of 2024, “world-class violinist” is still the first claim to fame she lists in the “Story” section of her official website. Which beggars the question: why won't she play it? And why won't she acknowledge that she's not playing it?
We got our hopes up in 2020, with that one post 📝 about her iconic 1885 Gand & Bernardel getting refurbished by a luthier – a thoughtful birthday surprise from her boyfriend – but despite the promising “More to come...” at the end of the caption, that turned out to be a false alarm. In truth, it may well have been over a decade since anyone has witnessed EA draw a single note from her cherished instrument.
The fact that Lord Autumn was able to sneak it out during lockdown without the Lady noticing tends to confirm that she hadn't been playing much behind the scenes. She seems to be under the impression that e-violin manufacturer Zeta is no longer in business (they did close down in 2010 🔍, but reopened under new management in 2012), which suggests that she hasn't been keeping up with the violin scene for a while. Besides, the fingernails don't lie. 🐀
As the live shows veered more theatrical with the release of Opheliac, the extended violin features from the Enchant era were cut to two main appearances per concert: “Face the Wall”, a seven-minute-short, Hendrixesque take on Arcangelo Corelli's “La Folia” – and “Unlaced”, an arpeggio-ed frenzy that was originally paired with a stilt-walking and ballet performance by the Crumpets. These two instrumental tracks remained a fixture on four successive tours. And on four successive tours, “Unlaced” was... well... clearly dubbed. 📺 She was holding her e-violin, her hands were playing the notes, but what was coming out of the speakers was indubitably the studio version.
There were possible explanations, of course. Some sound buffs pointed out that “Unlaced” has multiple violin layers, and that a live violin solo would have sounded harsh and unbalanced over the supporting tracks 🔍 – but then, why pick an unplayable song as a staple of the show?
The violin-miming wasn't even very hush-hush, she didn't try that hard to hide it – it was just never addressed or acknowledged. On “Unlaced”, Veronica was usually summoned to “play” the keyboard – and we knew that was make-believe, they had a whole skit about it. 📺 Ditto when EA would play the intro to a song, then get up from the keyboard as she started singing, and the harpsichord track just kept going. It was part of the theatrics, the suspension of disbelief; live playing just wasn't the focus.
Still, because playing two songs should have been in her wheelhouse, EA's choice to stand on stage and mime along with her own world-class violin skills was puzzling. We knew EA was capable of playing “Unlaced”: “Face the Wall” was proof enough that she could still shred like nobody's business, and some lucky fans got to hear her nerd out about pitch standards and rock some Bach at VIP showcases in 2011 (though it was always the same piece, and reportedly not always on point: “she made beginner mistakes, like weird jaw, wrist, elbow placement and tension...” 🐀). And sure, “Face the Wall” was an intense piece, but... it was one of two in the show. The same two, always. She was supposed to be classically trained...!
As EA's fabrications became more common knowledge among the fanbase, people took increasing issue with this odd staging choice – particularly after “Face the Wall” was retired partway through the 2011 tour, leaving only the pantomime, with nothing else happening on stage to distract from it. 📺 People started fixating on her constant and inexplicable tweaking of the truth. Fake name, fake age, fake promises, and now she was fake-fiddling and making a grand show of it? Was she outright mocking her audience, daring them to call her out? Milking a skill she had grown bored with, in the lowest-effort way possible, knowing that goo-goo-eyed fans would still pay to see it? Playing them the world's saddest song on the world's quietest e-violin?
The release of new album Fight Like a Girl in 2012 did little to soothe the Plague Rats' fiddle blues. The violin was much less prominent on FLAG than it had been on Opheliac and Enchant. There were almost no solos, which provided fewer opportunities for playing or miming on stage. “Unlaced” was retired from the touring setlist. One night in Texas during the 2012 tour, due to being on vocal rest, EA played the melody line of “Liar” on the violin. 📺 And that was pretty much the last time world-class violinist Emilie Autumn was heard playing her instrument, on stage or in recording – to the dismay of many fans who had loved her for it.

Can someone please grab this woman by her hand, lead her across her livingroom/bedroom/study, and point at that lonely forgotten dusty violin in a corner of hers so she remembers that she actually owns it? (🐀)

It was yet another bizarre, glaring inconsistency in EA's narrative that fans seemed expected to ignore. Another elephant in the padded room. (Personal anecdote that I don't have a receipt for: in early 2012, when I asked if there was a possibility of EA playing another baroque set for the VIP events on the upcoming tour, her then-manager responded that that wouldn't be possible because venues didn't have the proper acoustics.)
Through some her posts over the years , attentive fans pieced together the likely truth of EA's effective retirement as a violinist. It's actually quite sad, and may cast a different light on EA's artistic shift.
The 2011 tour was initially scheduled for late 2010. It was postponed because EA had been neglecting a jaw injury for years, and needed emergency surgery to avoid “serious and irreversible damage” to her one violin-holding jaw. 📝 She had the surgery early in September; in late November, she performed all over Latin America for six nights straight, and by January, she was back on tour. The same tour during which she made “beginner's mistakes” on the Bach partita, and retired “Face the Wall” for good after a few shows.
She underwent jaw surgery again in 2018, after three years of orthodontic treatment which she said had “prevented [her] from performing”. It was the first anyone was hearing of this (she said she hadn't been touring because she was writing the musical!), and it's as far as EA ever got in terms of half-addressing the obvious: that after dedicating a third of her time on Earth to her craft, after years of pushing through the pain night after night, rushing through recovery periods, and making compromises so the show could go on... she may not be physically able to play concert-level violin anymore.
Once again, something that should (and would) have elicited empathy and support from most fans turned into a point of frustration, speculation and mockery, for years – because EA continued to favor pretend-play and fantasy over the sobering, unglamorous truth. Well, at least everyone's unhappy.

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