!HD! Movie Stream And Then We Danced

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• Columnist: Kyle Buchanan
• Biography: Carpetbagger at @nytimes
• 

Levan Akin; actors - Levan Gelbakhiani; And Then We Danced is a movie starring Levan Gelbakhiani, Bachi Valishvili, and Ana Javakishvili. A passionate coming-of-age tale set amidst the conservative confines of modern Tbilisi, the film follows Merab, a competitive dancer; ; Georgia; audience Score - 4206 vote.
Burn down the Vatican. Did he rlly just say that, damn boy he's the real man of steel with balls of rock, not steel, stronger than steel.
BAHAHAHAHHAHA THAT WAS THE BEST THING IVE SEEN ALL DAY.
What a wonderful country, Sweden! Gret music, great movie, great literature! Vivat.
Oh boy, how dreadful. Bad script, bad acting, bad cinematography, bad editing. Why are gay movies so lame and cliché? Why do gay actors act so big, without an ounce of reality? Why are they always the same? And why do the gay community have no pride and no values? Older rich man, buying themselves a young stud is so common and accepted in the gay community. Why is that? A woman who is kept by a sugar daddy will be seen just as that : a whore. Why is it acceptable in the gay community? Why such low standards? We talk about gay pride constantly. But when I look at the gay community, it's values and lifestyles, it makes me quite ashamed of being gay.

Xo gaxsovt anakliashi gazantipi ro gamartes da imis mere farosana chamt,exlac daelodnen gvtis risxvas ra vilocot chveni qveynistvis da daakleben qristianebs verafers da ver gagvwyvetav.gvtismshobeli gvfaravdes yvela qartvels.

And Then We Danced

And Then We DanCed hd download…. The guy with the tatoos is so perfect. Mogitxant dedis traki,amogshignavs vinme visac gadaekrebit tkveni dedamovtkan.

 

OMG SOUNDS OLD AND NEW AT THE SAME TIME. LOVE IT

Et puis nous danserons bordeaux. თქვენ შემოგევლეთ, ჩემო ტკბილო ქართველებო! 💟. DC Next Proudly Presents: Issue Two: Second Wind Written by AdamantAce & JPM11S Edited by ChillFlameSix & VengeanceKnight Next Issue > Coming Soon “Incursion” - Recommended Reading: Mister Miracle #7 Gotham Knights #9 Wonder Women #8 The Flash #9 Infinity Inc. #9 Booster Gold #7 Martian Manhunter #1 Incursion #1 Cassandra Sandsmark hung her head in shame after she lowered the lifeless body of yet another prisoner from their restraints. Another innocent person lost to the so-called ‘Apokoliptan’ scourge. Another life lost. As they moved chamber to chamber, they freed the all prisoners they could find that had not already been transformed into the horrifying abominations. Unfortunately, they found many who did not survive the metamorphosis. The former Wonder Girl examined the man’s face. His skin was withered, jaundiced by the partial transformation. His muscles were atrophied and misshapen, the bones beneath them forced into excruciating positions. But it was the man’s eyes that bothered Cassandra the most: Bloodshot and bulging forward, the fear of his impending death was preserved in them, a testament to Cassandra’s failure. The weight of that failure hung on Cassandra’s shoulders as she dragged herself from the enclosed, shadowy chamber and back into the cavernous hall. There, she rejoined Barry Allen - the new Flash - and Scott Free - otherwise known as the impossible Mister Miracle, who both similarly moved door to door, searching for survivors. Behind them, they pulled along a two dozen civilians, witless and terrified, each caked in dirt and their own sweat. Barry kept watch, scanning each and every turn for Parademons and Apokoliptan hounds. So far, they had been fortunate enough to avoid any more trouble. “No luck, ” Cassandra seethed, moving along to the next door. Scott’s face soured more and more as each new casualty was confirmed. He couldn’t help but feel personally responsible for all the hurt wrought by the Apokoliptan incursion, for reasons he was yet to share. He only knew they had to keep moving, that they didn’t have long, that Steppenwolf - the tyrant leading the incursion - was likely predisposed defending the remaining terraformers, and that as soon as he was done he’d come crashing down on any rescue attempt the heroes were still forging. Advancing along the next corner, the speedster Barry pulled Scott to one side. “I count sixteen. How are Dick and Superman doing? ” “Better than us, ” Scott replied, hopeful. “I gave Superman a Motherbox to keep in contact with me, and he’s confirmed at least thirty rescuees. But they’ve almost swept their floor, so we should be reconvening soon enough. ” Barry’s ear twigged beneath his tight-fitting red cowl. “Motherbox? ” Scott realised his mistakes. “It’s an advanced sentient computer unit capable of all sorts of tasks. Communications, interfacing, Boom Tubing. That’s how I entered the Fathership in the first place. ” “Boom Tubing? ” Barry persisted. A wry grin came over Scott’s face, “I’ll explain later. ” Then, Cassandra rushed out from the next chamber at the sound of an ear piercing roar. As the three heroes ushered the rescued civilians behind them, they assembled to stare down a familiar, yet seemingly more ferocious threat. A monstrous knight stood before them, looming eight feet tall, his bronze fur matted and rough and his plated armour a shimmering bright platinum. From behind his featureless helmet bored the intense red lights of his piercing eyes. And his claws. It was impossible to tell for sure in the darkness, but it truly seemed as if dregs of fresh blood clung to the glimmering blades at the ends of the beast’s large, contorted hands. At his feet, three of the same familiar, grotesque hounds snarled and circled, ready for their command. “Didn’t we already send you packing, Padfoot? ” Barry spat, feigning as much confidence as he could muster. In a moment, the beastly warrior lumbered forward, his heavy armour clattering and shifting as he moved. He let out a mocking laugh, more of a low, sustained growl. “Canis Minor, my son, was a coward to flee from you, ” he spat. “He was executed for that weakness. But I, Canis Major of Apokolips, harbor no such weakness. ” ⌁ ⌁ 💥 ⌁ ⌁ Across the expanse of the twisting, maze-like Fathership, Dick Grayson kept his eyes trained behind him. They were in a hostile environment, the spaceship of an alien race fabled as gods - and as destroyers of worlds - and for that, he knew he had to maintain the utmost vigilance as they traversed the halls leading five dozen terrified prisoners to freedom. But, to his admiration, Dick’s ally showed no such fear. In his Titans days, Dick was known as the dependable, level-headed leader, but as Superman strode through the Apokoliptan halls, completely undeterred even by the all-consuming black surroundings sapping the upper potential of his power, he was nothing but hopeful. Unlike Dick, Clark - as he had the pleasure of knowing him - looked forward, beckoning the fearful escapees to safety, his head held high, and his blue, gold and red attire still bright and bold in the darkness. “Let’s go! ” Dick gestured from behind, pushing the escapees along towards the nearing junction in the corridors. “Don’t slow down! ” Clark called out, gripping Mister Miracle’s Motherbox tightly in his hand, “Once we meet up with the others, we can all get out of here and get back to our families. Not much further to go now! ” “I wouldn’t be so sure, ” an unknown, bassy voice rang out, one so distorted it was as if he were gargling glass. Dick, Clark and each of the sixty-odd escapees looked every which way, searching their surroundings for the source of the all-encompassing voice, but found nothing. Then, out from the turn they had already taken slowly lumbered a massive figure draped in shadow. His jet black and crimson armor was ornate, his horned helmet broad and sharp. But unlike the wolf-like knight that had confronted them before, this man bore his face proudly. Despite his gargantuan form, he had the face of a man. His skin was tan, rugged and leathery, sporting what must have been a fresh, though scorched, cut across his cheek. Along with his bladed helmet, a neatly trimmed goatee graced his face, forming his gaunt and devilish visage. He moved with zero urgency, instead slowly dragging his oversized battle axe along the surface of the cracked, ebony floor. As the warrior approached, the old Dick - Robin - would have made some quippy remark about the clichéd nature of the unseen bad guy making a snippy comment before revealing himself, but the present day Detective Grayson was too stunned and concerned about the safety of the prisoners to really act. Seconds later, the towering behemoth came to a stop, remaining several feet away from the escaping prisoners. Planting himself and the butt of his axe on the ground, he spoke politely and simply in his ravaged tone. “I’m afraid I cannot let the fodder leave the Fathership, ” he boomed, “They are the lifeblood of our war effort and by the grace of Darkseid they shall not be taken from us. ” Just then, Clark lurched forward, moving between the civilians and deftly approaching the front of the hurried procession, standing by Dick’s side. “You kidnap, and pillage, and mutilate, all to build an army and pit them against their own planet? ” Superman exclaimed. “Why!? ” “Why waste the lives of our own people conquering such a worthless armpit of a planet? ” “You don’t believe that, ” Superman called back, “You’ve seen something in humanity, in Earth, and you want it for yourself. But you can’t have it. ” “I would say the same for you, Kal-El, ” the warrior grinned back, “The last son of Krypton deluding himself into believing he could possibly die a son of Earth. But no, I care less for this pile of rocks than you clearly realise. ” “You don’t know anything about me or my planet! ” Clark spat back defiantly, his chest aching. “Well then, let’s start over. I am Steppenwolf, of Darkseid’s Elite. And I have risen to lay waste to your planet and remake it in the image of Apokolips to send a message to Scott Free. ” “Scott? ” said Dick. “The self proclaimed Miracle is a coward. He refused to meet me in combat and - for that - the world he has come to love will be forfeit. ” Realising exactly how dire things were, Clark turned immediately to Dick Grayson and pressed the rectangular Motherbox into his chest, entrusting it to him. “Take this, find the others and get everyone out of here. You need to lead them to safety. ” “But we need you! ” Dick insisted. “I’ll be there, Red, ” Clark replied, “Now, go! ” Beat. “Okay. ” ⌁ ⌁ 💥 ⌁ ⌁ Guardian staggered to his feet, knees wobbling from fatigue, and glanced at the top of the beam of energy pouring down from the ceiling. “Looks like it’s all on me now. Fate of the world and all. ” As quick as he could manage, the hero moved towards the terminal Robin had been trying to hack. First, he checked on his friend who, despite barely being able to stand, had managed to hold his own in a fight against a group of Parademons. He was hurt badly, but there was nothing more he could do to help him. Second, he resumed Robin’s attempt at hacking the machine, but Guardian quickly realized just how true Robin’s previous comment of “this is complicated” was. An exasperated sigh escaped his lips as he tossed the hacking device to the side. “I t-told you…” Robin moaned, “You have to… to brute f-force it. ” Once more, Guardian looked to the source of the energy. Robin was right, there was only one thing left to do now: Smash. His stride full of a purpose it had previously lacked, Guardian prepared himself for the task at hand. He had no idea just what he was walking into… quite literally as a matter of fact, because his plan was to jump up the beam and destroy it that way, but he would not let that stop him. Gingerly, he reached into the thundering tower of light and quickly felt immense heat sear over his skin. Guardian gritted his teeth, willing away the pain as he decided to plunge right in. The pain that was once contained to his hand erupted all across his body, and the hero let out an agonizing scream. For several seconds, he anguished, paralysed. Pain was a funny thing like that. Slowly though, he began to push back, knees trembling as he took one step forward, then another, and another, and soon enough, Guardian had made his way to the center of the beam. He was in position, now there was only the small matter of getting to the top. ‘Okay, you can do this. ’ he chanted to himself in his head. Guardian fumbled around for a second to find the best position to leap from. ‘You can do this. ’ He felt the muscles tense in his legs just waiting to be released in a mighty burst of strength. He took a deep breath, then released that tension. Instantly, he shot upwards with a force so few beings could muster. As he approached the peak of his arc, the heat only grew more intense, and very quickly he began to panic as he realised he was being forced back down by gravity. With a loud thud, he smacked right against from where he leapt. Maybe he couldn’t do this. Battling against a sense of vertigo, blazing heat, and just plain fatigue, slowly, Guardian dragged himself to his feet, his breathing labored. One more time. He wiped the sweat that dripped from his brow. The energy beam was getting to be too much for him. If he didn’t destroy the machine soon, it would destroy him. With that thought in mind, Guardian took a deep breath, steadying himself. One last shot. With the last vestiges of his strength, he leapt once more into the air, which instantly shook with a sonic boom. As Guardian erupted upwards, a familiar heat burned once more against his face, accompanied by the same feeling of being pushed down. But this time, in his determination, Guardian felt that not even gravity could stop him now. The source of the beam inched ever closer to his flushed face, sparking the slightest glimmer of hope. Seemingly, the world has slowed down around him, seconds dragging on into an eternity. Nerves. Nerves that would not subside until he had either succeeded or failed. He waited for his answer. Finally, the tension was cut when he came to within an arm's reach of the beam. Realizing this was his moment, Guardian thrusted his arm forward, metal bursting open around his hand. A cry of joy escaped the hero’s lips as the beam fizzled out around him, though that feeling of elation quickly subsided once he again began to plummet down to the ground, and everything around him began to explode. Instead of just splatting against the ground as he had previously done, Guardian took care to roll with his momentum this time around. As he lumbered upright, he quickly ran to where Robin was and threw him over his shoulder, wasting no time in making use of his super speed to race to where Lobo and Maxima had went: What they believed to be the armory. The strange looking guns that the Parademons used lined up in racks against two of the four walls, the other two being reserved for what appeared to be the equivalent of bombs and artillery. In the center of the room, a large pile of the demons themselves laid, each and everyone broken and bloodied by the man who stood atop it: Lobo. The Czarnian was rather beaten up himself, his body marred with deep gashes and various things sticking out his back. The most grievous injury he sported had to be his missing hand, though not that he let it stop him from using the stump to punch back down one of the creatures in the pile that tried to struggle back up. In his other hand, he held his hooked chain, though not for long since he decided to break off the hook and shove it into his stump, effectively giving himself a hook-hand. Beside Lobo was Maxima, who had been grievously wounded during their several fights with the Parademons that had continued to stream into the room, and more than likely would have continued to if the ceiling had not begun to cave in. Quickly, Lobo moved to protect his fallen companion, knocking aside a piece of falling debris then positioning himself over her so he could catch a support beam tumbling down. While it he may have caught it effortlessly, it did put him in a rather interesting position due to how the beam had fallen: He couldn’t move. Because most of the beam was still attached to its proper place, he couldn’t merely toss it aside, and if tried to break off that section of the beam, the rest would surely come crashing down. To his luck, Guardian, with Robin slung over his shoulder, came charging into the room. “Lobo! We need to get out of here! ” “What the frag is happening?! ” he shouted. “The charges ain’t planted! ” “Long story short, I made a big laser explode and now it’s taking this place with it! ” “Ya fragging dumbass! ” “Come ‘on; we need to get going! ” “Can’t! ” Lobo motioned with his hook hand to Maxima. “If I let go, the roof will drop! ” A ball of flame burst through one of the walls, licking the finish on one of the bombs. Seeing this and realizing it was only a matter of time before those bombs would explode, Guardian raced over to the pile of bodies, climbed atop it, and threw Maxima over his other shoulder. Now with not one, but two on his shoulders, he made his way out the door, stopping at the threshold to look back at Lobo, who was eyeing him intently. “Are you leaving or what? ” shouted Guardian. Lobo dropped the beam then made a dead sprint for the door, the ceiling caving in behind him like it was some sort of action movie. “Just waitin’ fer ya to get out of here! ” Shards of metal nipped at the Czarian’s heels, egging him into moving faster than he already was. Just as the room completely collapsed, Lobo managed to escape, fleeing with Robin to where Steel was while dodging explosions along the way. As they came upon the location where Steel was supposed to have planted his charges, the distinct sound of human moans met their ears, causing Guardian to run faster than he already was. Steel had been sent to one of the rooms in the higher levels, the purpose of said room being unknown, but as the hero came to where his ally supposedly was, he found only a mass chunks of metal strewn with a sickly, alien blood piled up to block what was more than likely an archway of sorts. Setting Maxima and Robin against a wall, he climbed up the mound and peered over. He only found that the inside was in a similar state of disrepair. Suddenly, another explosion rocked the terraformer, this was one bigger than the last, that sent Guardian tumbling over into the inside of the room. “You alright, kid? ” shouted Lobo from the other side, having finally caught up. “I’m fine. ” groaned Guardian. “Lobo, you start clearing out the debris. I’ll look for Steel. ” With the terraformer still crashing down around them, the pair worked fast to accomplish their respective tasks. Following the sound of an ever weakening moan, Guardian ripped through scraps of metal desperately racing to find his fallen friend, ever aware that time was of the utmost importance in a situation such as this. Eventually, a glimmer of a metal unlike the rest caught his eye, causing the hero to paw at that area with wanton abandon. It had to be him. Who else could it be? As that glimmer slowly grew and grew, it became apparent that it was in fact Steel, or at least, what was left of him. While he was still alive, it was just barely. Alone against an army of Parademons, he had not fared well, his armor clearly having been clawed at and torn apart by the creatures claws. They didn’t stop at the armor, though; no, they had sunk into his flesh as well, leaving his body littered with deep, bloody gashes. It was a miracle he hadn’t bled out already. They must have looked worse than they actually were. Atop his chest, which was thankfully still covered in his armor, a support beam had fallen, crushing down on him with enough force to kill a man, which Guardian quickly sought to relive. With one arm, Guardian pulled the beam off Steel and cleared the remaining debris. Steel was still conscious, but his helmet had been broken, leaving him vulnerable to head trauma that he was clearly suffering from. A small groan escaped Guardian’s lips as he picked up Steel bridal style and carried him away to safety. Lobo picked up Maxima and Robin. Everyone was now accounted for, leaving only the small problem of actually escaping. Yet another explosion blasted through the terraformer, this time ripping itself across the space between Guardian and Lobo, causing them both to flinch as they braced themselves. Time was running out; they had already spent a minute of their time fetching their compatriots and if the pair had to guess, they had no more than fifteen seconds left. Fifteen seconds to escape an alien machine falling out of the sky. What could go wrong? Lobo brought his fingers to his lips and made a shrill whistling sound, his way of summoning his bike. Over the cacophony that filled the air though, one could only wonder if the signal would be heard. That question became all the more prevalent when Lobo commanded that they jump out through one of the many holes that had formed along the walls of the terraformer. “It’ll be fine! ” Lobo promised. “The main man has done this thing countless times. ” “I have a hard time believing that! ” shouted Guardian. Lobo shot him a devilish grin, then leapt out the terraformer. Guardian hurried to the edge himself, pushing out every rational thought that crossed his mind that screamed at him not to do this. It was ludicrous, but then again, some many things if his life were. Right now, all he needed to do was take a leap of faith. And so he did. Wind rushing past his face, Guardian gripped Steel as hard as he could manage, eyes squished shut. If this went wrong, he didn’t want to see it. Luckily, his faith was rewarded once he felt something come up underneath him, prompting the hero to open his eyes. It was Lobo, sporting that same grin he had given him not seconds before. Piled high on the SpazFragz666, the Metropolis gang rode off into the sunset. ⌁ ⌁ 💥 ⌁ ⌁ Canis Major's immense weight collided with the pitch wall with crunch, his plate armor clanging together as he bounced, deftly maneuvering to just about land on his feet. With a shake of his head to gather his wits, he dug into the ground before springing forward, bounding through the air, claws first, right for his opponent. Cassandra stood her ground in the seconds the beastman hurtled towards her. Her priority was ensuring the escape of the innocent civilians, who fled as fast as they could along the corridor behind her, aided by the lightning-quick Barry. It was in times like these that the former Wonder Girl wished she hadn't dumped her old regalia in the bay, certain her silvered bracers would have been perfect for deflecting Canis Major's savage attacks. But as Olympos, the masked fiend of Gateway City, all Cassandra could rely on were her instincts, a borrowed enchanted lariat, and her demigod physiology. She only had to pray it would be enough. So, as Canis Major inched closer and closer by the instant, his bladed mitts ready to tear her to shreds, she launched herself into the air, closing the gap rapidly to deliver a deft kick to the centre of the creature's breastplate. And while the impact sent the Apokoliptan reeling back, he had more than enough time to rake his claws across Cassandra's leg, tearing through denim and flesh in one. She was hit. She was vulnerable. But before she could hit the ground, her thigh already searing in anguish, crimson lightning enveloped her, and Cassandra found herself placed upright several paces along the corridor by Barry. Then, while Canis Major burst into a charge, unable to strike out at any of the prisoners lagging behind thanks to the Flash's intervention, the front of the fleeing civilians had other problems. Using advanced tech, or perhaps just magic, Mister Miracle danced up and along the winding walls of the expanding hall, frantically scrambling to protect the civilians from Canis Major's three fiendish hounds. As they pounced and clawed out at the defenseless people, Scott threw his hands forward, streaking volleys of golden force through the air to knock the beasts off course whenever needed. Even for an alien; an impossible man; a god, he was exhausted, but he had to keep fighting. He leapt from the leftmost wall, striking one hound in the skull with the flat of his boot before effortlessly landing back on the rightmost wall and continuing his sprint onto the ceiling. Barry struggled to keep his thoughts in check as he rushed to protect all he could. He felt as if he was moving so fast, so frantically, that he never stayed in the same place long enough to piece together what he was doing. It was as if he was acting entirely on instinct. He had already tried grabbing the hounds and dragging them as far away as he could, but they seemed supernaturally bound to their general, summoned back just out of view an instant later, every time. Cassandra was hit, and while he had pulled her out of harm's way immediately after, Barry couldn't help but feel responsible for her injury. As he ran, it was with absolute fear, knowing that - as fast as he was - anyone hurt, or killed, in the chase would be so on his watch. He wasn't ready for that guilt. The Flash cried out, narrowly dodging the animalistic swipe of Canis Major's claws as he plucked a slower civilian from the Apokoliptan's grasp. "Where's Superman!? " “Not here, ” Cassandra called back as she pushed through the pain emanating from her slashed leg and barreled back towards the pursuing Canis Major. They wouldn’t outrun him, she knew that, and if Superman wasn’t here they had to handle him themselves. Though as Cassandra and her opponent leapt towards each other once more, it became instantly clear that the brutish knight was done playing with his food. Instead of exchanging blows with the young woman, Canis Major simply beat her out of the way with his oversized fists, clearing a path for him to rapidly bound along the hall on all fours like the dog he was. Scott and Barry were already plenty occupied keeping the Apokoliptan animals busy to possibly keep Canis Major back, and in those moments, Cassandra too realised that the time for games was over. Canis Major was mere strides away from eviscerating one unfortunate escapee there and then when Cassandra lunged forward, propelling her golden lasso through the air. Then, as she did, Barry screeched into Flashtime. It was a state he could best describe as when he was moving so fast the world around him seemed to grind to a halt, or near enough. Sweat poured off of the fledgling hero, he was almost completely spent. Barry could feel his consciousness begin to wane with every moment spent at this speed, but he couldn’t ignore Cassandra’s attack. He watched the shimmering rope unfurl through the air at a crawl, cutting through the air towards Canis Major. He pushed himself, seeing how close the Apokoliptan was to killing one of the civilians. All he had to do was get them out of harm’s way. But as he moved through Flashtime with as little energy as he had remaining, it was like trying to push through butter that slowly thickened around him, slowing him more and more. Canis Major inched closer and closer to the helpless prisoner, but even more rapidly, Cassandra’s looped lasso neared its target. Then, as the rope ensnared Canis Major, pulled tight around his throat, it was clear what Cassandra’s plan was. Barry shook his head. Could he really just let another hero kill someone? Even an alien warlord. No, he rejected it completely. All life was sacred to him. But as his time in Flashtime was running short, he knew that trying to move the prisoner free would only allow Cassandra to exact her kill, and stopping Cassandra would only doom Canis Major’s prey to certain death. Though it broke him to do so, he had to admit to himself that he wasn’t fast enough. The world resumed around him, Barry tumbled forward, struggling to see straight, and with one heave of her magical lariat, Cassandra snapped Canis Major’s neck. And with their tamer dead, the spectral hounds seemed to fade from existence with a fiery whimper. As the dust settled, the prisoners - and Scott, Cassandra and Barry along with them - were safe. “You…” Barry panted. “You shouldn’t have done that…” He stood by Canis Major’s lifeless body as Scott slowly ushered the fleeing prisoners back to the group. “You didn’t have to do that. I could have saved him without--” “There wasn’t a choice, ” Cassandra stood firm. “We couldn’t be sure. One day you’ll understand. ” Silently, Barry thought to himself. He sure hoped he’d never understand how such an awful compromise could be seen as so reasonable. A second later, a familiar face came sprinting down the adjacent corridor. Dick Grayson, leading thirty-odd hurried prisoners. “Are you guys okay? ” “Where’s Superman? ” Scott interjected, straight to business. “We ran into trouble. Big guy called Steppenwolf, ” Dick relayed, a dour look on his face. “Superman stayed behind to buy us time to escape. ” Scott nodded warily. This wasn’t good news. “Right. Well, I’ve heard plenty about your planet’s Man of Steel, and after seeing him in action… all I can offer is that if anyone could go toe-to-toe with Steppenwolf, it’d be him. ” Cassandra pushed over to Dick, taking him by the arm. Dick couldn’t help but notice her limp, despite her best efforts to hide it. “Are you alright? ” “Yes, ” Dick held her at arm’s length and smiled. “I might not have a demigod healing factor, but I’ve got a few tricks. Miracle, I have your… Mother-thing. ” “Motherbox, ” Scott replied. “Give it here, I can use it to open a Boom Tube to take us all out of here. Then we can regroup with your allies and take the fight to Steppenwolf’s forces. ” Dick held the small, rectangular computer in his off-hand. It was like a circuit board found on Earth, but several times thicker, a deep scarlet colour much like Scott’s own outfit, with vibrant gold wiring that seemed to glimmer even in the light-eclipsing halls of the Fathership. Dick held it out to Scott before hesitating for a moment, inching it back slightly. “Is something the matter, Grayson? ” Scott asked. Dick took a deep breath. He had a hundred urgent questions to pose the impossible man, but he knew they had to wait til they were all safe. He looked Scott dead in the eye, sober and simple. “I give you this, you… ‘Boom Tube’ us to safety, and then you tell us all exactly what these ‘Apocalypse’ guys are doing here. ” Scott nodded. He was going to have to be honest eventually. He took the Motherbox in his gloved hands, and much unlike how Dick clung to it like a took, embraced it as a friend. He held it out at arm’s reach and prepared to use it. “Wait! ” Barry stopped him. The rest all turned to him. “We can’t just leave Superman. Even if he is… Superman. ” Beat. “Scott,, ” said Cassandra, acutely aware that yet another wolf knight could emerge from the shadows at any moment. “Get everyone off the ship, I’ll go find Superman. ” “No, ” Scott shook his head. He knew his responsibility. He pressed his finger against the flat edge of the Motherbox, and with a explosive clap of thunder - perhaps a boom - a glittering golden warp in space appeared ahead of him, a twisting, contorting tunnel to freedom. The wind roared through the portal, as a warmth returned to the corridor that the lot of them had long since forgotten to miss. Over the surging winds, Scott cried “You should all go. Get these people to safety and gather your allies. I’ll help your Superman and return him to you for the final fight. ” “What? No…” Barry replied limply. But Dick took charge. “Let’s go, ” Dick grabbed Barry by the shoulder and pushed him along. He looked back to the terrified prisoners, now seconds from freedom. “Follow my lead. ” And with a sprint, Dick vanished into the golden gateway. One by one, the escapees went after him, then Barry. Then, Cassandra stopped, turning back to Scott. “Miracle, ” she said. “Yes? ” he replied, tired but determined. “Good luck. ” See Superman take on the forces of Apokolips in Superman #9, Then, the story concludes in INCURSION #3!

Et puis nous danserons ugc. ამ სიმღერის მოსმენამდე ჩემს გამოყლევებას სასღვარი ჰქონდა... Et puis nous danserons levan akin. Et puis nous danserons musique. Et puis nous danserons film complet. Here after watching And Then We Danced.

Stupid movie, unnatural and inappropriate story. This movie is trial to deface culture of real Georgian dance and songs. Georgian dance have always been for real males, not for gays. It's elements are from real martial arts and history, and will always be. Et puis nous danserons lyon. Et puis nous danserons. Et puis nous danserons allocine. როდის გამოვა ეს ფილმი. And Then We Danced DUAL AUDIO DOWNLOAD Watch And Then We Danced Online Vidspot. So bad movie!
worst film ever made. film to earn a zero percent rating.

Great pilmi. The hot pizza guy was the only good thing Lame. This song makes me so happy! And then we danced 🌈. Dzaan mixaria ro vitardeba nela saqartvelo💕😂 gay shit is beginning. Woa. that moment when you just close your eyes and imagine experiencing this situation 💞. Et puis nous danserons bande annonce vf. 1:48 mwvane dddddd. This is a gays only event go home 😂💕 dzaan mixaria ro qartuli filmi exeba am temas 💕💕💕.

Et puis nous danserons streaming

Et puis nous danserons telerama. Robyn, youre work is Outstanding ! 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Et puis nous danserons trailer.

არ მჯერააა... როგორ მიხარიაა... როგორც იქნა ❤️❤️❤️❤️❤️❤️🤗

Throw d20 frag grenade: Take a chance on meeee. Artist: The Weeknd Album: Beauty Behind the Madness Release Date: August 28, 2015 Listen: Spotify | Apple --- Who is The Weeknd? Abel Tesfaye, also known as The Weeknd, is a Canadian artist who has been making music since 2010 and is one of the biggest artists from this past decade ( Number 14 according to Billboard to be exact). His career started off through him dropping a few songs on Youtube under his now known stage name, that gained attention from various music outlets (including popheads favourite Pitchfork) which lead to the release of his first mixtape House of Balloons that was critically acclaimed. He eventually gained the attention of Drake (who got him to contribute to his album Take Care in 2011) and many major record labels (finally signing with Republic Records) and since then his popularity has only skyrocketed all over the world. Initially known for his brooding alternative R&B style and his emotional drug and sex fuelled lyrics, the Weeknd has since then expanded his horizons to incorporate a more pop and electronic style in his music as well by collaborating with producers such as Max Martin and Daft Punk, but still never shying away from his roots in some songs. --- The Journey to Beauty Behind the Madness Prior to 2015, The Weeknd was still a relatively unknown artist to the general public but had significant following in the music hemisphere due to the critical success of his Trilogy mixtapes (House of Balloons, Thursday and Echoes of Silence) and his debut studio album Kiss Land. At this point in time, I still did not know who The Weeknd was since all I listened to was top 40 music and whatever music videos were trending on Youtube, like the basic teenage I was. After dropping Kiss Land which debuted number 2 on the Billboard Top 200, The Weeknd went on to contribute to The Hunger Games: Catching Fire soundtrack on two tracks; The Devil May Cry ( which I am totally not listening to for the first time while writing this) and the original version of Elastic Heart with Sia. He dropped a few other songs/covers around this time including his fantastic cover of Drunk in Love as well as King of the Fall (released prior to the King of the Fall Tour). Finally on July 31 2014, he dropped the lead single of BBTM which was Often. Shortly after that single dropped he collaborated with one of my other favourite artists on the song Love Me Harder with Ariana Grande (honestly a top 5 favourite song for me). This ended up being his first top 10 song on the charts and was his first big break into the mainstream. Not too long after at the end of 2014, The Weeknd released Earned It which was the lead single from the infamous 50 Shades of Grey Soundtrack (Earned It also ended up being part of BBTM). This was the song that made him more of a household name as it peaked at number 3 on the charts, was nominated for an Oscar and won him his first Grammy (alongside him winning a Grammy for BBTM in the Urban Contemporary catergory). At this point I had heard of him because of this song but I did not care for it particularly at the time. Following Earned It, The Weeknd released The Hills which ended up being his first number one single. This ended up being arguably his biggest hit and his only song to go Diamond (it went 10x Platinum in 2019). Following The Hills, he released Can't Feel My Face and this one-two punch of singles catapulted him into being one of the most popular male artists of this decade. --- Track by Track Real Life Kicking off the album we have Real Life, a dramatic mid tempo song about The Weeknd's hesitancy to commit to a relationship and how he would rather be alone. "Mama called me destructive, said it'd ruin me one day", "Cause every woman that loved me, I seemed to push them away" he laments about his lack of desire to fall in love or even accept love from another woman. This song definitely plays into the same themes his has talked about in the past and I think it's a solid opening to the album that sets the tone properly, although it is personally not one of my standouts. The production I throughly enjoy though and it the ying to Earned It's yang (similar yet polar opposites). Losers (feat. Labrinth) Losers I have felt has always been an underrated track in The Weeknd's discography. In this song he makes allusions about dropping out of high school to pursue his dreams of making music and talks about he managed to make it in the world by relying on himself rather than on others. It's a nice change of pace from his other songs and having Labrinth's fingerprints throughout the song (he helped write and produce it on top of his feature) makes it unique. I love the jazzy elements that he brings into the song and I think the bridge is one of the strongest on the album. Tell Your Friends The third track on the album (also known as the one that Kanye West helped produced) is a braggadocios song about how The Weeknd is now living a life full of fame and he does not shy away about what it's like. It's sort of the precursor to Starboy, however I would say this track is a little darker. In an interview that Abel did with Pitchfork, he talks about how Kanye used Devil in a New Dress from MBDTF as a reference and inspiration while working on this song which makes a lot of sense as they both have a similar style and lyrical content. This song has a very chill vibe to it and showcases a different side to the Weeknd musically compared to other songs on this album; with more rapping and less vocal acrobatics. Often Often is the Weeknd at his usual self; getting with girls and having sex. However, this song in my opinion is one of the biggest bangers that he has done (along with following track on this album). One of my favourite parts of this song is the sample of the song "Ben Sana Vurgunum" sung by Turkish singer Nükhet Duru, which plays in the background of the entire song but most prominently at the beginning and end of the song. I think it's one of the most effective samples I've heard in recent memory and allows the song to stand out greatly. The Hills The Hills is one of the biggest bangers of this decade in my opinion and it also happens to be The Weeknd's most popular song of all time so far (number 31 on the decade end list from Billboard). This song I think is the perfect blend of trap and pop and is one of the few songs in his discography that is loved equally by casual listeners, critics and long time fans. It's definitely one of my favourite songs by him that I will never get sick of, and the fact that this song is rumoured to be about one of my other favourite artists, Ariana Grande, is a juicy tidbit that makes the lyrics in the song even more fascinating to listen to. Acquainted Acquainted originally started off as a leaked song called Girls Born in the 90's, but was reworked a lot before being included on the album (I personally haven't heard the original leak but a lot of fans prefer the original leak to the actual song). This song is probably one of my favourite non-singles from the album as it is low key slaps and has fantastic production (one of the best on the album imo). The production is quite unique and I think this song is a good representation of how Abel combines his old style with a newer sound. Can't Feel My Face Although Earned It and The Hills were the songs that made him blow up, this is the song that made him a household name. This is song your mom, dad and grandparents will bop to when they hear, even though they have no clue what it is actually about (hint: it rhymes with propane). This is also song that made me a fan of the Weeknd so no matter what it will always hold a special place in my heart. As a person who is usually drawn to songs with catchy production before lyrical content, this caught my ear straight away the first time I heard it. The second thing that caught my attention was how much this guy sounded like Michael Jackson, who I was a fan of at the time. This song convinced me to check out the rest of his work and eventually even purchase this album through iTunes. Shameless Shameless I think is another one of the more underrated tracks on the album. A mid tempo song with a plucky acoustic guitar sound (that turns into electric guitar towards the end), this isn't your typical Max Martin produced song (yes it is produced by him). The first time I heard this song, it definitely stood out since it wasn't really like anything else on the album and I think it has grown to be one of my other favourite non-singles from the album. I would definitely love to see The Weeknd do more stripped down and simplistic songs like this in the future. Earned It This is the song that allowed the Weeknd to blow up, so I guess we can thank 50 Shades of Grey for something after all these years. Originally featured on the soundtrack for that movie, this song was added because why not boost your albums sales. This has never been a favourite of mine, but I absolutely love the orchestral strings and his voice on the song. It's mesmerizing for sure. In the Night The sister song to Can't Feel My Face, this song was also produced by Max Martin and it is also one of my favourite songs by him of all time. Just like Can't Feel My Face, the Weeknd sings about a dark subject (an abused girl who uses stripping/dancing as a form of escape from the pain she has received) over an upbeat catchy beat that is classic Max Martin produced stuff from around this time. This song I think is the perfect pop song, with a great build up, bombastic chorus and some of his best MJ-esque vocals. Songs like this are what sold me as a fan, and this song is probably the best starting point for those pop music fans who want to get into his music (if one of this subs favourite main pop girls did this song, they would be raving about it for years and years). As You Are This is in point in the album where the songs go from mostly bops to more mid tempo music. As You Are is a song about two broken people in love who are destined to fail and break each other hearts instead. The song has two parts to it essentially, and the second half of this song is haunting beautiful and has some of my favourite vocals from the album. It's still probably my least favourite song on here though, although it is not bad by any means at all. Dark Times (feat. Ed Sheeran) Dark Times is an interesting song on this album, as I would have never expected him to do a song with Ed Sheeran but yet it still works really well. It's a dark, drug infused acoustic jam session that somehow ended up being recorded. The song in fact was written in full the day after they partied together one night. I think this is one of the most underrated songs from both their discographies and I really appreciate how they blended their styles together to create this song. Prisoner (feat. Lana Del Rey) The song is the first of multiple collaborations with Lana Del Rey, who the Weeknd calls one of his inspirations in his music (the monologue from Lonely Star on the Thursday mixtape was inspired by Lana). Out of the collabs they have done so far, this one is probably my favourite. The Weeknd and Lana both sing about their addiction to fame and what it has cost them to get there, and how they are now a prisoner to their decision of the life they have chosen. They have great vocal chemistry and give the song an eerie but darkly luxurious style to the song. Angel Beauty Behind the Madness closes out with Angel, which is a dramatic 80's inspired power ballad. This song is a beautiful and somewhat heartbreaking closer. Abel talks about how he found somebody to love who brings him light, yet he can't seem to commit because of this life his lives; a dangerously empty life as he puts it. He hopes she finds someone else to love if it were not meant to be and these lines sung alongside a choir are absolutely haunting and gorgeous. I think it's a solid closing song and is a hopeful yet heartbreaking way to touch upon the themes of love and fame that are throughout this album. --- Final Thoughts Although this album may not be as emotional and personal as his previous albums/mixtapes, I think Beauty Behind The Madness is the keystone of Abel's transition from a mysterious 'underground' artist to a pop star unlike any other. If it weren't for songs I heard on the radio or on Youtube that were from this album, I would have not discovered this wonderfully talented artist and have checked out the rest of his work. As his discography has grown and evolved into a more pop sound (which some original fans did not love as much), I think he has stilled stayed true to himself in his music. Sure, songs like Can't Feel My Face and In The Night may be his most accessible work to date but there is no one else big in the industry right now I feel could pull off those songs. The fact he has never shied away from the same lyrical topics and dark undertones he has always talked about even if his sound has changed is a feat only he could have pulled off. And this album was just the beginning of the journey into him exploring more new sounds from many genres and executing it like no other person in the game right now. --- Questions What do you think about this album? Where would you rank it amongst the rest of his work? Have your thoughts changed on this album since its release? What were your initial thoughts when this project came out? What are your favourite songs and why? Are you happy with the direction The Weeknd took after this album? What type of sound do you like the most from him? If you read all of this, thanks for your time, I love you and also go stream Blinding Lights!

ასეთი კარგი, ადამიანური, ხარისხიანი და ერთი ამოდუნთქვით სანახავი ფილმი დიდი ხანია არ მინახავს 🥰 მადლობა ყველას 🙏🙏🙏. Na escuridão da madrugada, na rodovia com o som no ultimo volume sentido litoral! Robyn. ერთი სიტყვით შემოვიფარგლები, ბრავო! ❤❤👏🏻👏🏻 Just one word, Bravo.

Artist: Taylor Swift Album: Lover Released: 23 August, 2019 Label: Republic Records Listen: Spotify / YouTube / Apple Music / TIDAL r/popheads megathread #1 / r/popheads megathread #2 ‘The woman said to the serpent, “We may eat fruit from the trees in the garden, but God did say, ‘You must not eat fruit from the tree that is in the middle of the garden, and you must not touch it, or you will die. ’” “You will not certainly die, ” the serpent said to the woman. “For God knows that when you eat from it your eyes will be opened, and you will be like God, knowing good and evil. ”’ Genesis 3:2-5 When I think of love, I think of this picture I took of my best friend on her graduation day, in a bright yellow dress (though you don’t see much of the dress, only the gold shade of her skin in the sun, and when I say that she is gleaming and brilliant, like some precious metal, I need you to know that I am not exaggerating) lying in green grass, her hair tangled and her eyes darkened as she squints. The look on her face is one of such pure, unrestrained joy that her smile creases from the width of it. My best friend, it should be said, can’t stand Taylor Swift, or her music (the separation of these two things is important, and will come up many times in this write up), and would probably be annoyed with me mentioning her in the same sentence as Taylor. (Too bad. To me, Fi, you are the embodiment of love, and I cannot talk about love without talking about you. ) I have a more complicated relationship with Taylor Swift. I grew up with Taylor. She was a deity among us young, lovesick (or desperately waiting for someone who would make us lovesick) Southern girls, and we did what the devoted do for any deity: we worshipped her. I still remember the first time I heard ‘Our Song’ (in my middle school gymnasium, in 2007, on the recommendation of a girl I’m not friends with any longer) and at the time, I did not understand the concept of ‘having a song’, but I knew ‘Our Song’ was going to be my song. Over the next nine years, loving Taylor Swift came in and out of fashion. My friends and I adored her gowns and cut pictures of her from magazines for our walls and screamed about short skirts and bleachers in the backseats of our parents’ cars. Then we said she wrote too many songs about her ex boyfriends. We had opinions about her relationship with Harry Styles. (We didn’t care about Jake Gyllehaal yet. ) But, still: hers was the first episode of SNL I ever watched. (I still have her monologue song memorised, partly because my brother and I rewrote it to be about our dog, and we called it the dog-alogue song. ) Loving her and hating her feels now like it was a fundamental part of our (Southern) girlhood, because when we loved her, it was an act of defiance — we loved her in spite of the hateful words of those who did not, who called her gendered slurs like ‘slut’ and ‘whore’, words that had their claws in us from early ages — and when we hated her, it was an act of a different kind of defiance — we were girls, so we were supposed to love Taylor Swift and her pretty dresses and love songs about the famous men she had dated and we wanted to date too. We were girls, so we were meant to want to be her: tall, thin, blonde, beautiful, heartbroken. (Sometimes, we did. Often times, I still do. Girlhood, as Taylor and I both know, means never being able to win. ) By the time Taylor Swift started making pop music, two things had happened: everyone I knew now loved Kanye West, and I had learned what intersectional feminism was. Over the last few years, my opinion on Taylor Swift has not wavered: her music has shaped who I am and fostered my understanding of what I find important and beautiful, and I treasure all of it. At the same time, I can no longer love the image of Taylor Swift, or the person who wears that image, in the blind, devotional way I once did. I think this is important to disclose, as it shapes my interpretation and adoration of Lover. Before we move on: think of what love is to you. Keep that thought in your mind. PART ONE: EDEN Lover is not a complex album. In the final minute of it, on a distant-sounding voicemail recording that suggests she’s moving out of frame as it fades, Swift lays the album’s thesis bare: she ‘wants to be defined by the things she loved, not what she hates, or fears [interestingly, this could be considered the exact opposite of a statement she had made more than a decade prior: in the liner notes of 2008’s Fearless, she says, “To me, ‘Fearless’ is not the absence of fear. It's not being completely unafraid. To me, fearless is having fears. ’ and, accordingly, Fearless is an album almost entirely about what the then-18 year old Swift feared], or is haunted by”. (The text of this voicemail is also the album booklet’s opening. ) Lover was never really a guessing game, and it’s made obvious by the voicemail that Taylor herself (and not the person she sings “you’re my lover” to on the title track, though whether she labels them as such as an act of deception or to align them more closely with herself is ambiguous) is the titular lover. But, like all Taylor Swift albums, her seventh album, arriving nearly thirteen years after her debut (for the uninitiated, thirteen is Swift’s subversive choice of lucky number), is made richer by its context, and then, it becomes something else entirely. This write up is centred around a thought that did not strike me until I rewatched the opening of the music video for ‘Me! ’ (those few seconds when a snake dissolves into a cabal of pastel butterflies, one of the first images of the post- reputation era) and thought extensively (and self-reverentially) about being a girl in the American South in the 2000s: Lover is Taylor Swift’s Eden, untouched by the ‘sin’ of a woman’s choice (to bite the apple, to defy God, to listen to a snake, to be the snake). Briefly, the story of Eden, for those who may need it: in the Judeo-Christian narrative, Adam and Eve were the first humans, modelled in God’s image — Eve having been created from the rib of Adam in order to serve as his companion. They lived in the lush garden of Eden, a microcosm of the world God created, and had been allowed to eat the fruit of every tree but one: the Tree of Knowledge of Good and Evil. A snake in the garden deceives Eve, convincing her to eat the forbidden fruit. She gives the fruit to Adam and convinced him to eat too, and the pair gain the knowledge of the Tree. As a result, God banishes them from Eden, and in particular, curses Eve and her descendants (childbirth, menstruation, and obedience to her husband) for disobeying him and listening to the snake. (The story of Adam and Eve varies across the Abrahamic religions, this is the Christian tradition — Adam and Eve’s decision to eat the fruit is know as the fall of man, and created the state of original sin, the foundation of the belief that all humans are sinners. ) Lover, as both an album and an era, is Eden in the moment just before Eve listened to the snake, when all the players (God, Adam, Eve, the snake, the fruit and the Tree) existed and were perfectly placed to act, but did not yet know what game they were playing. In general, the album and many of the statements made by Swift during promotion of the album, are an attempt at reversion and reconstruction (to keep things simple, let’s say now that the public image of Taylor Swift is the Eden she is trying to return to with Lover, as it was what was damaged by her self-referenced fall from grace), but, at the same time, she keeps an eye on the future she already watched play out (the album is littered with parallels and references to reputation that come up suddenly and loudly, like warning sirens). Resultantly, Lover is a transitional album, existing in the space between the self-immolating Taylor Swift that made reputation and the Taylor Swift that the former explicitly killed off; it is an Eden that is aware of the fall and seeks to undo it before it can occur. This might explain, but not excuse, some of the most frequent criticism of the album — that it had large amounts of filler (there are 18 songs on Lover, four of which were released prior to the album’s release) and the songwriting was weak. Viewing it through these two parallel lenses, as an album that seeks redemption and in doing so is mostly transitory, lends a hesitance to its moments of bombast and garishness (such as the lead single, ‘Me! ’, which we’ll discuss as a product of Eve-Taylor later on), but the narrative that surrounds Eden is not the only thing that Lover resembles: Lover is, visually and sonically, an album that blooms and, at points, withers. It arrived in a haze of fauna (there were seven palm trees and she was definitely, wink, counting down to something) and pastel tones, with a spring-release lead single and beginning-of-the-end-of-summer album release date, entirely new territory for Swift. The album’s aesthetic has been lush and careful; the cover of Lover itself (designed by 24 year old Colombian-American artist Valheria Rocha) is a sunset of pinks and oranges and pale blues, a pink heart painted in glitter surrounding one eye. The rest of the album’s imagery has had the same shades, and Swift dresses whimsically and in colours, a stark contrast to the dark gradients that dominated reputation’s visual messaging. And then, of course, there are the snakes that have been turned into butterflies, their populations bolstered by CGI and back tattoos and emojis. There are other moments of magical realism (talking traffic lights and haunted clubs, the former bearing a certain resemblance another Jack Antonoff line, from Lorde’s ‘Green Light’, “I whisper things / The city sings them back to you”) on the album, interspersed between warbling piano keys and drums that resemble a heartbeat. Swift maintains her appearance as a master of multiple genres, moving from a sugary collaboration with a Disney-esque hue (‘Me! ’) to a ballad with a Dixie Chicks feature (‘Soon You’ll Get Better’) and the stylish pop that she had perfected on 1989 (‘Cruel Summer’). While there are fewer songs that seem purpose-built for experimentation than there were on reputation, there are still some obvious risks: the children’s choir on ‘It’s Nice To Have A Friend’ and ‘Careless Whisper’ saxophone on ‘False God’ are standouts in a fairly diverse (bearing in mind that this is, ultimately, still a Taylor Swift album) sonic landscape. The last part of the resemblance Lover bears to Eden’s garden is a thematic one: literal and figurative growth. Taylor turned 30 on the 13th of December, and the end of her twenties was a key point of focus in both her promotion (for her cover of Elle, in March, she wrote a list of 30 things she had learned before her 30th birthday, the insights ranging from practical to gut-wrenching to cheeky) and critical (and tabloid) contemplation of Lover. Taylor Swift had more or less come of age in the public eye by the time she released Red in 2012, and Lover is an extension of and meditation on her growth, both as an individual and in her relationship with the English actor Joe Alwyn (now her longest linear relationship to date — Alwyn was also, presumably, the subject of several songs on reputation, and while a rare few boyfriends have seemingly been referenced on multiple albums [Joe Jonas, Harry Styles], none have ever monopolised two albums like Alwyn), coveting both senses of the word ‘lover’ she uses on the album. As was mentioned earlier, many of the first images of the era involved butterflies, which are commonly used to note change through references to the process of metamorphosis, and from such a meticulous artist, this could not have been anything but deliberate. Next: we discuss 2016, both for Taylor Swift and the world as a whole, as the fallout from her recorded phone call with Kanye West shapes Lover’s promotion in the same way it shaped reputation’s lack of the same. PART TWO: THE FALL My favourite song on 2017’s reputation was (the ridiculously underrated) ‘Don’t Blame Me’, where Taylor sings, voice echoing and sultry, “I once was poison ivy, but now I'm your daisy / And baby, for you, I would fall from grace / Just to touch your face / If you walk away / I’d beg you on my knees to stay. ” The parallels between Taylor Swift and Eve are not exact, but they do not need to be: both Taylor Swift and Eve listened to ‘snakes’ (take this only figuratively, who the snake is in Taylor’s narrative depends on who you are) and initiated their own downfalls as a result. Taylor has, for most of her career, painted herself as an innocent figure; actions are mostly done to her instead of the opposite. (This began to shift around the time of Red, when she first started creating music outside of the country music bubble (with its defined roles for women and men) and began to engage more fully with pop and not the crossover pop she had built her career on. One of her most sonically striking songs, and a strong example of the fact that Taylor Swift is capable of making perfect pop music, ‘Style’ features her admitting blame for a relationship’s rockiness (“I said, ‘I’ve been there too a few times’”); these admissions continue on reputation (despite ironic titles like ‘Don’t Blame Me’ and ‘Look What You Made Me Do’) and then is mostly absent from Lover. On Lover, Taylor is mostly the picture of youthful arrogance and innocence (barring, of course, moments of cheek [“He got that boyish look that I like in a man / I am an architect I’m drawing up the plans / It’s like I’m 17 / Nobody understands”] and the entirety of ‘False God’, with its latent sexuality), and Lover, both aesthetically and musically, is charged with that combination. However, on Lover, something interesting does happen: a number of songs are about things Taylor did to someone else, or with someone else, rather than what was done to her by them — ‘Paper Rings’ being a key example. ) The year of her fall, 2016, was a difficult year for Taylor personally, between the end of her relationship with Calvin Harris and the beginning of a cultural war with her at the centre, and it shattered the careful construction of Taylor Swift as an innocent third party. It’s unnecessary to rehash what happened for the thousandth time, but given that Swift did not do press during the reputation era (allowing the album to serve as her immediate reaction), her most clear feelings were expressed during Lover’s media tour. Simultaneously, 2016 was also a politically harsh year; in Britain, where Taylor now spends a great deal of time (her boyfriend, Joe Alwyn, is a Londoner, and she’s seemingly adopted the country as her own), populism lead to a referendum win for ‘Brexit’-idealists that has sent the country into ceaseless turmoil, much of which she would have witnessed as she spent more and more time in the UK. In the US, a president who has now been impeached for abuse of power (and this is before we touch on his history of virulent misogyny, racism, xenophobia, ableism, homophobia, transphobia, and corruption, and as we all, hopefully, know, this is only the tip of the orange iceberg) was elected, and many Americans, myself included, were seized by terror. Taylor didn’t comment on the US’ 2016 election, or its contenders, beyond telling people to vote. She clearly regrets this, as a great deal of Lover’s promotional efforts have been related to activism: industry-related (masters ownership and sexism, both of which we’ll touch on in the next section) and plainly political (LGBT+ rights in particular, and she’s clearly learned more about the experiences of people of colour). She, and her mother, Andrea, endorsed a Democratic candidate in Tennessee's 2018 mid term, and while he lost, her vocal disgust with the political landscape of the United States has continued. (In November, it was announced that she was the subject of a documentary, and it was later revealed that Netflix will be premiering ‘Taylor Swift: Miss Americana’ at Sundance, ‘Miss Americana’ being a reference to ‘Miss Americana & The Heartbreak Prince’, the dazzling political allegory at around the midpoint of Lover. The documentary will presumably look at Taylor’s involvement with the field of American politics, and much remains to be seen about the behind-the-scenes of her decision-making. ) Lover is, from the, until recently, apolitical Taylor Swift, a political record, a direct response to both her fall (and what she gleaned from it, particularly her relationship with Joe Alwyn, which began, as well, in 2016) and the fall of her country: “American stories / Burning before me / I'm feeling helpless / The damsels are depressed / Boys will be boys, then / Where are the wise men? / Darling, I'm scared” Next: on fear, loathing, and femininity. PART THREE: ADAM (OR: GIRLHOOD II) In Billboard’s retrospective of Taylor’s albums prior to the release of reputation, Jonathan Bradley described Self-Titled Taylor as a contradiction, “a lovestruck naïf who slices her enemies with precision”, one of my favourite descriptions of her, because it describes what drew me, and many, many others, to her when I was young: there was a pervasive and graceful violence to the way she dispatched her ex-boyfriends that made us root for her, even as her sabre teeth grew dull over time and her hints at misandry took on new forms — red, wet eyes and hands clasped for Red, wine glass in hand, ready to be shattered, for reputation. Whether you believe her advocacy self-serving or encompassing, Taylor Swift has contended with and spoken out against misogyny for much of her career, and began identifying as a feminist in 2014. In many of her Lover -era interviews, she spoke about the creation of her ‘squad’ (a mostly white, mostly thin, mostly conventionally beautiful — and if you remove Lena Dunham from this group of women [as Taylor did after Lena’s breakup with Jack Antonoff] the mostly thin and conventionally beautifuls become all thin and conventionally beautifuls) as a decision born from bullying when she was young, and how the criticism of her feminism as white woman-centric (shorthand: white feminism, as opposed to intersectional feminism, which accounts for race, sexuality, disability, gender, social capital, economic class, and a host of other things) allowed her to learn and develop her understanding of feminism and misogyny further. Originally, this section was created to discuss Lover as a ‘healthier option’: it is the first album whose master recording Taylor Swift legally owns, and after six albums with Nashville-based Big Machine Records, her first with her new label, streaming giant and Universal Music Group member Republic Records, making her a colleague-of-sorts of artists like Drake and the Weeknd (and her friend/popheads favourite Lorde). Taylor’s navigation of her relationship, and subsequent breakdown of that relationship, with Scott Borchetta (the man who signed Taylor when she was 14, as Big Machine’s first signing, and was part of her development as an artist, as well as a man she considered a friend) hangs over Lover. (My deluxe edition of the album has diary pages referencing him. ) But Borchetta and Swift (and the catalyst for everything, Scooter Braun) have been discussed at length on this sub, and instead, I’d like to talk about female anger: in this era (and to a degree, the reputation era, though then her reaction to what happened to her was manifested as an avoidance of media coverage, anchored by the phrase, “there will be no further explanation, there will just be reputation ”), Taylor Swift was furious. Returning, briefly, to Eden: Eve is a controversial figure in feminist theory (there is some debate as to whether or not it is degrading to refer to her as the first femme fatale, given that the archetype has deeply sexist roots that deny women their agency and sexuality, and given how women have attempted to both destroy and reclaim this archetype, including Swift, on ‘Blank Space’), and, in her myth, she chose to disobey a man and was faced with far harsher punishment for it than the man who did the same action as her (in the Christian interpretation, anyway, in the Islamic tradition, Adam and Eve were punished as equals). In the 2010s, (mostly white) female rage became more acceptable in the mainstream; the release of Gillian Flynn’s ‘Gone Girl’ (as a novel in 2012, and as a David Fincher feature in 2014) was a cultural turning point for the successful depiction of evil women, and Flynn has constructed an empire on the sharpness of her writing and the inherent violence of her novels, writing with a brutality that both conforms to and rejects patriarchal models: in ‘Sharp Objects’ (a book and HBO show), (trigger warning: self harm) the main character carves words, including gendered slurs, into her body, hurting herself with them before anyone else can. One of Taylor’s mentioned favourite TV shows, Killing Eve, is strong representation of this evil white woman on the outside of acceptability: one of the show’s two main characters is Villanelle, a childish, ruthless killer for hire, who tangles an unwitting Eve in her web and is sexually fascinated by her, creating an erotic atmosphere that hovers just over all of Eve and Villanelle’s shared scenes. (This sinister sexual tension is not a stranger to Taylor, she’s flirted with it for years, pre-dating her most explicit references to sex on reputation and then Lover. ) Lover is not an inherently angry album. It’s actually the opposite, purposefully covering very real issues in a sheen of pop gloss (‘You Need To Calm Down’ is the most glaring example of this, a song that references the LGBT+ community, but trips by attempting to compare Taylor’s brushes with being hated by the public to homophobia). Her most pointed song, about sexism, and appropriately titled ‘The Man’, is watered down to hooks and obvious insights, with twinkling digs at Leonardo DiCaprio’s refusal to date women (models) over the age of 25, and even throwing in a gendered slur (bitch) she’s expressed discomfort with being called (and which made an appearance in her ‘Look What You Made Me Do’ music video with a volleyed, “Don’t call me that! ” that is never responded to) in the past. Taylor’s anger is most palpable, and palatable, and righteous in her interviews about, and personal statements on, Big Machine Records’ (and her masters’) sale to Scooter Braun. She openly expresses disgust with and hatred for Braun and Borchetta, after what she referred to as years of loathing Braun (particularly his participation in acts of misogyny and assorted pettiness against her) privately. For many (even, I think, most, if not all) women, privately hating a man for things they have done to you, but which you can’t speak about if you want to keep your job, or your friends, or your family, is an achingly common feeling. The fear, and the sadness, and most of all, the rage, palpable in Taylor’s statements about her politics, both personal (the sale of her masters) and public (the general political landscape of the United States), are painfully familiar. It’s difficult not to think about how the fate of her master recordings must have hung over her as she made Lover, and regardless of whether it is done for a self-serving purpose, Swift’s push for reform of industry practice regarding masters ownership is important, bringing an occasionally-cared-about issue back into the mainstream. Next: having covered a great deal of Lover’s context, we finally discuss the music itself. PART FOUR: EVE Lover is built on a foundation comprised of three themes: religion, marriage, and youth (or nostalgia, whichever you find more fitting a description of what Taylor is singing about). Every motif that crops up with regularity on the album (alcohol, sex and sexuality, her lover) can be categorised under one (or two, in the case of wine, which is both a religious symbol and a symbol of adulthood, and sexuality, which is related to adulthood and marriage) of these themes. I said in my initial thoughts on Lover that this is a redemption album. I’ve figured out how to word it more concisely since then, so what I mean to say is that the most central theme of Lover is not, in actuality, love, it is redemption: (as I said in August, and have not figured out how to say any differently in the time since) what is love (and a lover) if not the embodiment of redemption? To be loved despite what you have done — is that not the peak of redemption? Religion / Religious Dichotomies ‘Cruel Summer’ Cruel Summer has cemented itself as a sub (and fan) favourite, sparkling pop with an undercurrent of danger. Opening with the phrase “fever dream high”, it’s some of the sharpest writing on the album (invoking past Taylor Swift albums with imagery like Taylor in the glow of a vending machine, a spiritual successor to the fridge light she danced in on Red) and has moments of pure ear candy (the screamed “I love you, ain’t that the worst thing you ever heard? ”, for one). Thematically, it’s an extension of reputation single ‘Delicate’, about a fragile, secret relationship, and Taylor makes extensive use of dichotomies in the song’s lyrics, angels and devils in particular, that lend themselves to a feeling of sinfulness and create a vaguely sexual charge to the song. The title, too, showcases another dichotomy: summer is typically regarded, and portrayed, as something sweet. Taylor calls it cruel, and accuses it of being a knife (and not merely knife- like, it is a knife) that cuts her to the bone, singing about both her relationship and the season as violent. (“If I bleed you’ll be the last to know” is a damning line, regardless of how you interpret it, but paired with the first verse’s “Bleed slow”, the song has an unmistakably gory tinge to it. ) ‘The Man’ A meditation on the dichotomy of men and women, The Man is, in essence, a breakdown of the things Taylor has done during her career and in her personal life that would be regarded differently if she was a man. (The title is a double entendre, referring to both being ‘the man’, as she sings about in the chorus, and to The Man, the patriarchal authority. ) It’s an unsubtle, bouncing takedown, and Swift rightfully points out that she’s been subjected to extensive criticism for things that famous men, Leonardo DiCaprio being named and shamed, get away with in the eyes of the general public. I think the most concise summary of The Man comes from Taylor’s testimony at her 2017 sexual assault trial, in response to having been called cold (a descriptive term usually reserved for women who aren’t as warm as they’re expected to be): “I have an uncanny ability to solicit all kinds of new criticism. ” ‘The Archer’ Lover’s pre release promotional single was mostly lost in the discussion of the rest of the album, but it’s a stunning ballad with an unanswerable question at its heart: who could ever leave a woman like Taylor Swift? Who could stay? The song is deeply personal, quietly delving into her insecurity (she’s had issues with disordered eating, and has spoken about her issues with her body image and weight in the Lover era) and being torn apart by the expectations (the repeated line about being ready for combat, but not wanting it, but maybe wanting it, that eventually just becomes “I’m ready for combat”, is not an unfamiliar feeling to me and my Southern girlhood). The dichotomy in The Archer that made me categorise it here is mostly contained in its title and chorus (she’s been both the archer and the prey, she sings in the chorus, over a sparse instrumental with a soft drum that acts like a heartbeat), but it also touches on the theme of youth (“I never grow up / It’s getting so old”, and a reference to the Humpty Dumpty nursery rhyme that is somehow brutal), and has one of the album’s references to ghosts. The Archer is agonising (the line, “All of my heroes die all alone”, while a Jack Antonoff sentiment he’s vocalised before, is a gut punch when you listen to it at the wrong moment in your life) and agonised, and it is absolutely crucial to Lover’s narrative. ‘Cornelia Street’ Cornelia Street is easily one of Lover’s best songs, with its echoing keys and backseat drinking. Referencing the house in New York Taylor lived in when she met Joe Alwyn, the sentiment of the song is one so strong it should be added to the pantheon of horrible, dangerous feelings Taylor managed to put into words: if her relationship with (presumably) Alwyn were to end, she sings, she’ll “never walk Cornelia Street again”, unable to go down it without thinking about him or their relationship. The beauty of Cornelia Street is in its lack of subtlety; the chorus takes place almost entirely in Taylor’s higher register, and while not screaming, like ‘Cruel Summer’, it paints her love as something terrifying, something mystifiying. The song aches so much that the hypothetical (“if I ever lose you”) doesn’t make sense until the “again” is added, an intriguing hint that, at one point, their relationship nearly broke down. ‘Soon You’ll Get Better (featuring the Dixie Chicks)’ Soon You’ll Get Better hurts. It hurts, and it hurts, and it hurts, and it’s brought me to tears and onto my knees. A ballad in honour of Taylor’s mother, Andrea, who loves the Dixie Chicks (it should be noted that the Dixie Chicks’ rise and fall in country music, due to speaking out against George W Bush in 2003, was tinged with the sexism Taylor contends with on Lover, and was an act of political activism in a hostile word) and has breast cancer, the sentiments in Soon You’ll Get Better are deeply personal, and their expression is painful: Taylor explicitly makes reference to Jesus for the first time in years (she’s had a relatively a-religious career, considering her country roots), saying she prays to him because of desperation. She canonises her mother’s “holy orange bottles” (for those of you not from the US, here, most of our prescription drugs come in plastic orange bottles) and “paints the kitchen neon”, because Andrea has to get better. There’s a danger in talking about the illness of someone you are close to, because you don’t want to make things about you. (I am often the sick person, having discovered that I have a life-threatening illness that attempts to kill me every so often when I was a pre teen, and I have experienced people talking about my illness in a way that makes me feel as though it, and I, am a burden to them. ) But Taylor’s adoration of her mother is plain, and she explicitly says, “I hate to make this all about me”, managing to walk the narrow line between expressing her feelings about her mother’s cancer and harming her mother by expressing them. It’s difficult to imagine Andrea would be angry with such a tender song, especially because Taylor admits the impossibility of her understanding what her mother is going through — but, she sings, she’ll never stop trying to. ‘False God’ Immediately following the agony of ‘Soon You’ll Get Better’ is the ecstasy of False God, a song that can only be described as ‘sonically chill’ with a George Michael-invoking saxophone in its veins and an extended religious metaphor for oral sex. (The altar is Taylor Swift’s hips, and an altar is where kneeling takes place. ) False God is patently hedonistic and even more patently sacrilegious, with Taylor admitting that, regardless of whether or not her and her lover’s relationship is a false god (that new religion she mentions in ‘Cornelia Street’), they’ll still worship. It comes in sharp contrast to Soon You’ll Get Better not only sonically, but in sentiment, but their pairing makes a certain kind of sense: Swift quietly shows the spectrum of human interaction with religion, from desperate prayers for healing to ‘oh my god! ’s when their religion meets her altar. Marriage ‘Lover’ Lover being about marriage is obvious, Taylor creates a set of vows in the middle of the song, and sings about a beautiful domesticity, referring to her boyfriend (or fiancé, or husband) with pet names (including the titular ‘lover’). It’s a sweet little song, and it’s obvious why Taylor loves it so, joy plain on her face during every performance of it to date. It’s a purpose-built wedding song, too, and it’ll be unsurprising if we learn her relationship with Alwyn has progressed. ‘Paper Rings’ Paper Rings is earnest and honest, its chorus stating explicitly that she’d marry Alwyn. (With paper rings, despite her noted love of sparkle and shine. ) It’s a bouncy, fun little song, perfect for singing along to, and touches on more of the domesticity in ‘Lover’ with a wink, referencing dirty dreams to match the dirty jokes of her lover. Youth / Nostalgia ‘I Forgot That You Existed’ I Forgot That You Existed is a paradox, because by virtue of its existence, Taylor hasn’t exactly forgotten their existence (‘they’ being speculated to be anyone from Kanye West to Calvin Harris to Karlie Kloss). It’s the opener of Lover, and in the second verse, she makes explicit reference to her previous album: “Got out some popcorn / As soon as my rep started going down, down, down”. She says that the person at the centre of the song taught her some lessons, but she’s since forgotten them, and the track is ultimately a misstep, with her cackling and spoken “So... yeah” taking on a forced tone given the song’s paradoxical nature. But, in Taylor Swift fashion, it is catchy. ‘I Think He Knows’ A song that, like much of Taylor’s pre- reputation discography, hints at the act of sex rather than couching it in obvious metaphors, has a moment of self awareness that is stunning, previously referenced in this write up: “It’s like I’m 17 / Nobody understands”. The year she turned seventeen, Swift released her debut, self-titled album: she was still a teenager, and the nature of a teenager is to be misunderstood, but it’s difficult to imagine that no one would understand her, especially since she has, from the beginning, laid herself, and her emotions, bare in her music. ‘Miss Americana & The Heartbreak Prince’ Miss Americana is, at points, an allegory, comparing American politics (and possibly a dash of British politics too) to a high school movie set, with more explicit references to Taylor’s teenage years. It’s a pretty song, one of the album’s highlights, and there are moments of it that are sonically beautiful, like her “darling I’m scared” and “voted most likely to run away with you”. It’s not her best metaphor, but it is easy to understand how Taylor Swift would see America in 2019 as a high school that alienated her (and millions of others). ‘ME! (featuring Brandon Urie)’ Me! has been discussed at length as a misstep, and it really, really is, the worst of Taylor’s terrible lead single choices, but what is striking about Me! is how blatant it is: when she wanted to shed her snakeskin, left over from reputation, she really shed that skin. Me! is aimed at another demographic entirely (“Hey kids! Spelling is fun! ”, which was removed from the album, but we all know is there), and sounds like it should be in a Disney movie. It’s a strong departure from reputation, but, like that album, gives the impression that it was something Taylor had to get out of her system, for better or worse. ‘It’s Nice To Have A Friend’ It’s Nice To Have A Friend is my song of the year, and it is here because it is the most important song on Lover, at the centre of all three themes. The writer Donna Tartt said, in ‘The Secret History’, that “Beauty is terror. Whatever we call beautiful, we quiver before it”, and It’s Nice To Have A Friend is, somehow, with the plucked notes and the children’s choir at the backbone of it, terrifying. I said, when I first wrote about its importance, that it feels as devastating as one of my favourite Taylor songs of all time, ‘Treacherous’, if in a very different way, and I think the ability to make such a sweet sentiment (a love that extends from childhood into infinity) feel terrifying and ominous is rare and precious. I also said that I believe it ties the album together: there's the idea of redemption (being with her lover from the beginning, so she never had to suffer anything else), of youth/childhood/nostalgia (the first two verses), a wedding, the minutiae of love (details like a shared glove and rice that looks like snow, tying back to the first verse), and religious imagery (the church wedding, the concept of fate). It’s been months, and I still don’t know how to talk about this track as anything but a masterpiece that I do not know how to describe except as the embodiment of beauty and, to a degree, terror. Which is interesting, because I know many people hate it (sometimes with a passion), and it’s in the bottom half of the sub’s ranking of Lover. This post will be continued in the comments, as it is past the character limit. And: please enjoy this meme I made when I saw Raykel also quoted the Bible in her write up.

Et puis nous danserons soundtrack

ამ რუსკას რატო აპიარებს ყველა არხი ვერ ამოვხსენი 😀😀. Take a chance on me. Et puis nous danserons paris. Love this song this is before he got into the new type of country love this older stuff. Nostalgia hits so hard im about to cry😭. Et puis nous danserons critique.

 

Et puis nous danserons cinema. Hah gayyyyyyyyyy.

 

თქვენ შიგ ხო არ გაქვთ. Is this move available anywhere to watch? I got lost here. Is anywhere a link to watch this move? Very interested! Thanks. Et puis nous danserons bande originale. He is so beautiful 😍😍😍😍😍😍😍😍😍😍😍😍😍😍😍. Das ist wirklich eine Katastrophe. nichts gegen schwule. aber ich schäme mich das georgien jetzt eine Runde macht und das ein Film kommt wo es um 2 Schwule geht. gmerto shen tu gvishveli 🙏. Amazing movie, exactly says everything about Georgia and how georgians react to LGBT people. I loved it and this movie definitely shows that love doesn't have sex, religion, color...

 

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