Intro

A year after George RR Martin finished A Dance with Dragons, he updated his fans on The Winds of Winter:

THE WINDS OF WINTER. Also known as "Son of Kong." Working on it. Lots to do.

Massive and very specific update on The Winds of Winter complete, George turned to another project:

THE WORLD OF ICE AND FIRE. The concordance. Elio and Linda are my partners on this one, a compendium of the history and legends of the world of Westeros. A coffee table book, lots of gorgeous art from such talents as Ted Nasmith, Justin Sweet, and others. Making good progress on this one of late, lots of great historical stuff that I think my readers will enjoy. Never before revealed details of Aegon's Conquest, the War With the Faith, The Dance of the Dragons, the Paramours of Aegon the Unworthy, etc.

Hm. That seems much more detailed. This would become a pattern for George in the early years after A Dance with Dragons’ publication. He’d update at length on all of the imaginary history he was inventing for The World of Ice and Fire while occasionally placing a single-yet-generous breadcrumb of an update about Winds into our porridge bowl of need.
This led to fans mostly being in the dark on GRRM's progress on Winds -- with more cynical fans wondered if George was working on on the book at all.
Here’s the thing: George was working on The Winds of Winter. I can prove it. And in 2015 when he optimistically predicted he could finish the book in six months, he had good reason for his optimism. What was that good reason? Because by 2015, GRRM had completed two plot arcs and had wrapped two major POV characters for The Winds of Winter.
You are skeptical. I will convince you. Follow me into the light.

The Leftovers

In his retrospective on A Dance with Dragons, GRRM talked about the chapters he cut to The Winds of Winter, saying:

First, my editors and I made some decisions as to where to end this book which involved shifting a few chapters back into the next volume, THE WINDS OF WINTER. With a series like A SONG OF ICE AND FIRE, there are always judgment calls to make as to where to end one book and begin the next, since you're really dealing with one long story. Does this scene work best at the end of one book or the beginning of the next? Should this character go out with a cliffhanger or with some sort of resolution (be it permanent or temporary)? And so on. And so forth.

Then he talked about the identity of the POV characters that were not in ADWD that had chapters leftover saying:

Sansa, Sam, Aeron Damphair, Arianne, and Brienne have no chapters in A DANCE WITH DRAGONS. Several of those characters had chapters written, completed, and polished that have been moved into THE WINDS OF WINTER.

In the years since 2011, we were told or been able to piece together most of the chapters cut from ADWD to TWOW. They are: Alayne (Sansa I), Mercy (Arya I), Arianne I and II and Aeron Greyjoy (The Forsaken)
In that 2010 post where he talked about cutting Damphair’s chapter from Dance to Winds, he talked about how many pages he had on hand for Winds, saying:

The good news is that I seem to have written more than a hundred pages of THE WINDS OF WINTER already.

Five chapters/100 manuscript pages. Now, let’s turn to the chapters that were moved after Damphair's in 2010. In 2011, GRRM’s editor Anne Groell talked about how two major sequences were cut from ADWD to TWOW. These two sequences are the Battle of Ice and the Battle of Meereen. Originally, these two battles were supposed to close ADWD out, but GRRM voluntarily cut one battle to TWOW, and then Anne Groell convinced him to cut the other battle.
Knowing, now, that GRRM was working on an Asha Battle of Ice chapter in 2014 but released a Theon chapter as his first TWOW sample in December 2011 (right after he finished his ADWD tour and also before he planned to embark on new writing for TWOW), we can reasonably assume that the Theon sample chapter was originally written for ADWD before George voluntarily removed it to TWOW.
Switching to deduction, we can then determine that the Battle of Meereen was the sequence GRRM's editors urged him to cut late in the process. What Battle of Meereen chapters were cut to TWOW? Here, we turn to the Cushing Library and find a display card from the “Deeper Than Swords” event indicating that George cut three chapters from ADWD to TWOW in April/May 2011.
As to who the POVs were, we can make an educated guess that one of them was a Victarion chapter and another one was a Tyrion chapter. Both chapters were read in early 2012 at conventions shortly after GRRM started writing TWOW afresh. As for the third chapter cut, I think this was Barristan’s first chapter. Thanks to zionius_, we know that George was writing Barristan II in April 2012, but in early 2013, GRRM read both Barristan chapters and indicated that the chapters were “new to you but old to me.” That third chapter was probably Barristan I.
The final two chapters we can be relatively certain were written for ADWD and cut to TWOW were a Bran chapter and an Areo Hotah chapter. We only know that Bran was cut thanks to _honeybird who discovered that it was listed among “missing chapters” originally slated as among the final chapters of the book. Additionally, we know that in 2010, Elio Garcia Jr. reported that three Dorne chapters were moved from ADWD to TWOW. Two of those Dornish chapters were Arianne chapters. The third was likely an Areo Hotah chapter.
Post-2010, GRRM cut six additional chapters to Winds. Adding in the previously-accounted-for five chapters, George had eleven leftover chapters as a springboard for Winds. Fast-forwarding to 2012, GRRM told Spanish fan-site Adria’s News that he had two hundred “really finished” manuscript pages for TWOW -- probably all of his leftover material from Dance (100 pages/5 chapters cut in 2010 + 100 pages/6 chapters cut in 2010/2011).
The identity of these chapters gives us a springboard for understanding where George was when he returned to writing Winds anew in early 2012, but it's important to note that George started Winds with a much smaller sample of leftover chapters than when he split Feast and Dance in 2005. Recall, then, that he had 542 manuscript pages/22 chapters done for ADWD.
But there's another and perhaps even more important difference: From all available evidence, George did not have complete story arcs like he did when he split AFFC/ADWD.
In 2005, George believed that the amount of material he had leftover put him over halfway complete on Dance. That was not the case for The Winds of Winter in 2012 where he only had 200 of the expected 1500 manuscript pages completed.

Early Progress on TWOW (2012)

When George began writing new material for Winds in 2012, he faced a daunting amount of new writing to finish the book. And given his track record, any old and new writing for Winds would be rewritten, revised and restructured.
So, how was it that George thought he was close enough in 2015 to get the book out before Game of Thrones, Season Six aired -- just three years after writing new material for TWOW?
We’ll start with what we know of George’s early progress on TWOW.
As we talked about above, George had about 200 new manuscript pages for the book between January and June 2012 -- work he considered to be “in rough form.” As to what specifically was contained in those 200 rough draft pages, we know that:

• George reported having a partially written complementary chapter set between the finished Arianne II and the unwritten Arianne III in 2010. Link
• He was working on Barristan's second TWOW chapter in April 2012. Link
• He was writing about the Dothraki in May 2012. (A Daenerys chapter) Link
• George sent a “batch” (3-5) of Arya TWOW chapters to Jonathan Robert, artist for The Lands of Ice and Fire to help in the creation of the map for Braavos in early 2012. Link

That’s about the extent of what we know about those 200 manuscript pages. Given the benchmark that 100 manuscript pages = ~5 chapters, he wrote rough drafts of ~10 total new chapters.
Fast-forwarding to a year later, Anne Groell reported receiving a batch of 168 manuscript pages from TWOW for a contracted payment from Random House in February 2013, and George reported being “about a quarter of the way done” on TWOW a month later. My reading is that GRRM finalized 168 of the 200 draft manuscript pages or ~9 additional chapters for TWOW.
So, by early-2013, GRRM had 368 manuscript pages and ~20 finalized chapters for TWOW complete for TWOW.
However, Anne Groell reported that the 168 manuscript pages wasn’t everything that George had written:

I currently have 168 pages that he submitted back in Feb 2013 in order to receive a contracted payment, but I know more exists, because he keeps talking about chapters he hasn't yet sent me.

This throws a wrench into things as George having 368 manuscript pages complete for Winds lines up well with his statement a month later that he was “about a quarter of the way done.” So, how to square that circle? What I'd guess is that George sent all of his finalized chapters forward to his publishers while retaining mostly-finished chapters he still wanted to polish.
To sum it up: from what we know: In 2012, George wrote ~200 manuscript pages and was specifically working on the Barristan, Daenerys and Arya chapters.
Meanwhile, GRRM was making significant progress on The World of Ice and Fire.

The Written World(book)

Let’s pause on Winds and switch over to George’s progress on The World of Ice and Fire for reasons that will become clear later on.
Shortly after returning from his ADWD tour, George began writing The World of Ice and Fire. As elio_garcia told me a few years back, George first wrote the history of Aegon’s Conquest which he sent to them in May 2012. Thereafter, GRRM wrote detailed histories of the various Targaryen monarchs, but where he really focused on was the history of the dance of the dragons.
By September 2012, Martin reported having 103 manuscript pages on the dance of the dragons. But even that was not the full extent of all he wrote on that event. In August 2013, George finished the dance of the dragons, writing 80,000 words solely on that particular Targaryen civil war.
Reasonably, many fans wondered whether The World of Ice and Fire detracted from George’s progress on The Winds of Winter. In terms of the sheer amount of time and effort it took to write the worldbook: probably, yes. However, as we’ll explore later on, George probably used his writing on The World of Ice and Fire as part of the process for writing The Winds of Winter.

Winds Progress (2013)

Switching back to Winds. By early 2013, George was only a quarter of the way complete on The Winds of Winter. Meanwhile, Game of Thrones was a few months away from airing the third season. So, George had to pick up the pace for the book to get ahead of the show.
The major issue in getting ahead of the show was that 2012 only had him finalizing ~10 new chapters, and in terms of completed story, he hadn’t finished writing the battles of Meereen and Ice that were supposed to close out ADWD. So, George seemingly continued work on the Battle of Meereen, writing and completing Tyrion’s second Winds chapter sometime between February and August 2013 as it wasn’t a part of the batch of chapters that Anne Groell received in February 2013, but he read the chapter at Worldcon 2013.
Meanwhile, in May 2013, George was asked point-blank by Portuguese fans what POV character he was working on, and he responded with “Arya.”.
Later in 2013, GRRM stated on his notablog that “you will definitely hear more of Jeyne Westerling.”. Given that we later learned at ComicCon 2014 that Jeyne Westerling will be seen in the Winds Prologue, we can speculatively-assume that George had written at least a draft or partial form of the Prologue by 2013.
Elsewise in 2013, we learned that GRRM requested Dothraki translations for The Winds of Winter from David J. Peterson (The creator of the Dothraki Language for Game of Thrones). This implies that George had Daenerys material written by 2013 and needed it translated from English to Dothraki.
So, again, in 2013, we see George working on the Battle of Fire, Daenerys and Arya (and also the Prologue).

The Locomotive Approaches (2014)

By 2014, two things happened. The first was that George RR Martin finished The World of Ice and Fire in March 2014. The second was that George realized that Game of Thrones was catching up to him.
First, The World of Ice and Fire. In March 2014, George RR Martin completed a chapter on the Iron Islands and finished the book. As he reported in that post, his completion of The World of Ice and Fire was late, owing to him being a slow writer but also due to him adding a lot to the book (Sound familiar?).
GRRM concluded his notablog post by saying:

And HEY, this means another monkey is off my back. Only a couple left gibbering up there now. That little joker monkey, HIGH STAKES. And... gulp… SON OF KONG.

Part of George’s nervousness about confronting the Son of Kong was based in how high of a mountain he had to climb to complete the book, but the bigger part is that he had a locomotive heading for him in the form of Game of Thrones.
In the early years after Game of Thrones premiered, GRRM wasn’t exactly dismissive of the idea that Game of Thrones would catch up to him, but he didn’t seem overly concerned.
By 2014, though, things had changed. Now about to air its fourth season, Game of Thrones was approaching the end of George’s published ASOIAF material. George, to his credit, was now cognizant of this, telling Vanity Fair in 2014:

“It’s my hope that they’ll [do two or three seasons for AFFC/ADWD] and then, long before they catch up with me, I’ll have published The Winds of Winter, which’ll give me another couple years. It might be tight on the last book, A Dream of Spring, as they juggernaut forward.”

The problem for George was that David Benioff and Dan Weiss were not interested in adapting A Feast for Crows and A Dance with Dragons into multiple seasons. Instead, they were only looking at doing these two books in one season.
In response, George transitioned most of his creative output to The Winds of Winter. Sadly, we don’t know much of this output, really only being sure that George was writing: Daenerys and Asha.
On a brief appearance on the John Oliver show, GRRM appeared from his office with the computer screen on. Years later, fans were able to figure out that George was working on an Asha Greyjoy Battle of Ice chapter.
Onto Daenerys. In September 2014, in an interview with Galaxy Magazine (link unfortunately behind a paywall or in a hard copy), George talked about his writing for Winds saying:

“I’m going back to The Winds of Winter and writing the next scene—I’ve got Dany in a particular situation. I’ve just got to worry about how does this scene resolve? How do I end this chapter? How do I phrase this sentence?”

Finally, when George released the Mercy chapter, he talked a little about his progress, saying:

So far, I have not done anywhere near as much rewriting on WINDS... but of course, it is not done yet.

Fans took this as a qualitative sign of George’s progress back in 2014. The problem was quantitative. Information about how much of The Winds of Winter was done by 2014 is sparse. However, at a November 2014 charity drive for the Wild Wolf Sanctuary, George off-handedly said:

"I'm still in the middle of [The Winds of Winter], so it'll be some time before I write the scenes in which they die."

Provided that George wasn’t using “the middle of the book” colloquially, this meant that Winds was roughly halfway complete by November 2014, or had 750 finalized manuscript pages for TWOW. George had picked up his pace in writing TWOW, but he still had a long way to go to reach the finish line -- an additional ~750 manuscript pages.

The Deep Breath Before the Plunge:

Before we venture into theory territory, we’re going to take a tactical pause and assess all of the known chapters George completed for The Winds of Winter by late 2014.

• Aeron Greyjoy: 1 Chapter
• Asha Greyjoy: 1 Chapter
• Areo Hotah: 1 Chapter
• Arianne Martell: 2 Chapters
• Arya Stark: 3-6 Chapters
• Barristan Selmy: 2 Chapters
• Bran Stark: 1 Chapter
• Daenerys Targaryen: 3 Chapters
• Prologue: 1 Chapter
• Sansa Stark: 1 Chapter
• Theon Greyjoy: 1 Chapter
• Tyrion Lannister: 2 Chapters
• Victarion Greyjoy: 1 Chapter

In total, that’s 19-23 completed chapters that we can be sure existed. If George was truly halfway done on Winds by 2014, that tacks on an additional ~19 chapters to bring us up to 38-42 chapters/750 manuscript pages completed for Winds by late 2014. For comparative purposes: A Storm of Swords was 1521 manuscript pages/82 chapters while ADWD was 1510 manuscript pages/72 chapters. What this means is that in a best-case scenario, George had to write or finalize an additional ~30 chapters/750 manuscript pages for the book to get to the finish line: a daunting task!
So, then why in early 2015 (four months after he said he was “in the middle”) did George RR Martin tell Entertainment Weekly that he could get the book out before Game of Thrones, Season 6?:

Having The Winds of Winter published before season 6 of Thrones airs next spring “has been important to me all along,” says the best-selling New Mexico author. “I wish it was out now. Maybe I’m being overly optimistic about how quickly I can finish. But I canceled two convention appearances, I’m turning down a lot more interviews—anything I can do to clear my decks and get this done.”

This interview was conducted in April 2015, and given what Martin later said about his publishing house setting an initial deadline of October 2015 to release the book, George thought he only had six months of work to do before the book would be done.
And that’s why I think George’s optimism about getting the book done by October 2015 was sourced to what he had already written, rather than what he had left to write. In that, I now believe George finished major storylines for The Winds of Winter by late 2014/early 2015.

The Completed Battles

Among the known completed chapters for Winds, one thing that stands out is how many of the chapters dealt with the Battle of Meereen and the Battle of Ice. From our best information, four battle chapters were removed from Dance, and George wrote at least three additional battle chapters between 2012-2014.
Let’s move into theory ground: in looking at the available evidence, it appears that when George got back to writing The Winds of Winter, he picked up where he left off: in Meereen. Completing Barristan’s second chapter in 2012 and then Tyrion’s second chapter in 2013 indicates that George’s initial forays into Winds were Meereenese-centric. But after 2013, we don’t hear about George working on Meereen.
Over to the Battle of Ice. The Asha fragment reads like the opening moves of the Battle of Ice, chronologically occurring almost immediately after the Theon sample chapter where Stannis tells Justin Massey:

“I want you gone before midday, ser. Lord Bolton could be on us any moment, and it is imperative that the banker return to Braavos. You shall accompany him across the narrow sea.”

To get speculative, it reads like George hadn’t written anything about the Battle of Ice between the Theon Winds chapter and the Asha chapter he was working on in June 2014. Yet we know that George had written additional Theon, Asha and Victarion Winds chapters by 2017.
All of this leads me to think that by the end of 2014, George had finished the Battle of Meereen, and I think it’s possible he completed the Battle of Ice as well.
That’s two major plot-points possibly complete by the end of 2014. Still, even with those story points hypothetically completed, George had only finished story arcs originally intended for ADWD.
And that’s why he wasn’t just done with the battles by 2014. He might have completed far more than that. Entire POV characters.

Daenerys Targaryen the Complete

Let’s start with an uncontroversial statement: By 2014, I believe that George RR Martin had completed what he thought was all of Daenerys Targaryen’s chapters for The Winds of Winter.
Kindly drop the rocks that have suddenly materialized in your hands. I know that is a controversial theory. It was a joke! For this particular hypothesis that George had all of Dany’s chapters done by 2014, I started with the problem of “How the fuck did George think he could finish Winds by 2015 given how little of the book seemed to be done by that point? And then my research took me to everything we knew about Daenerys in Winds and then by accident, I stumbled on the split between Feast and Dance.
That accidental stumbling led to a whole essay on this topic. In that essay, I talked about how George believed he had Daenerys' and Tyrion’s ADWD story arcs complete before he split AFFC/ADWD into two separate books. This, along with the started-yet-incomplete Jon, Davos, Arya, Asha arcs, led to his optimism that ADWD would be finished by 2006.
I think something similar happened with The Winds of Winter. I think George had completed Daenerys Targaryen’s arc (and another arc I’ll unpack in the next section) by 2014. Is there evidence for this wild-ass theory? Perhaps!
In June 2014, George RR Martin was interviewed by James Hibberd and teased The Winds of Winter, saying:

“Well, Tyrion and Dany will intersect, in a way, but for much of the book they’re still apart,” he says. “They both have quite large roles to play here. Tyrion has decided that he actually would like to live, for one thing, which he wasn’t entirely sure of during the last book, and he’s now working toward that end—if he can survive the battle that’s breaking out all around him. And Dany has embraced her heritage as a Targaryen and embraced the Targaryen words. So they’re both coming home.”

For much of the book, they’re still apart. That’s a fascinating statement! Why? Because it might imply that George had written Dany’s story to its near or actual endpoint!
No, I don’t think this means that George was nearly complete on all of his story arcs. Just Dany's (and the other one). And that tracks with his non-linear writing style whereby he writes from one POV - until he runs out of steam before switching to a separate POV. As George talked about in that interview, sometimes, he gets way ahead on certain POV characters, and even has them completed well in advance of other POV characters.
In that vein, there’s something else odd about Daenerys. After 2014, we don’t hear about George working on a Daenerys chapter … at all. This radio silence on Dany in TWOW lines up with George writing Dany’s ADWD chapters. In 2003, he told a fan that Dany’s ADWD chapters were almost wrapped up -- eight years before he published them. George did write a bit more about Dany after 2003 and after the split of A Feast for Crows and A Dance with Dragons, but the last we hear about him writing Dany chapters for ADWD was in 2008 -- three years before the book was published.
However, to be fair, in 2018, George had one more mention of Dany within the context of her aforementioned intersection with Tyrion, telling Entertainment Weekly:

In Winds, I have like 10 different novels and I’m juggling the timeline — here’s what’s happening to Tyrion, here’s what’s happening to Dany, and how they intersect. That’s far more complicated.

So, the counterargument is that what George was saying about Dany and Tyrion's intersection back in 2014 was aspirational. He planned for the two to intersect late in The Winds of Winter, but he had not written that intersection. And perhaps by 2018, he was still struggling with timing Dany and Tyrion’s intersection.
Here’s a counter-counterargument: George wrote one version of Daenerys and Tyrion intersecting by 2014, was initially satisfied with it, but in the years since, he grew dissatisfied and experimented with the event occurring at different narrative junctures in the Winds -- hence the “I’m juggling the timeline” wording.
At the very least, George juggling the timeline of character intersections by writing multiple versions of it is something George has done in the past. Back in ADWD, he reported writing three versions of Dany and Quentyn’s intersection, timing that to occur at different junctures in the story to see which one was the most narratively-satisfying.
Now, before I leave you all convinced that George had written all of Dany’s TWOW chapters by 2014/2015, there is a good counterargument. About a month ago, I sent the sketch of this theory to feldman10, and he responded by saying:

What I question given his writing style is how GRRM could have “finished” Dany years in advance if she is regularly intersecting with other POVs. For instance, if Barristan, Vic, and Tyrion do reunite with Dany at some point in TWOW (as I certainly hope they do!), I would expect GRRM would begin writing them as all one “story” (unless they split up again). That’s even more important if Dany reaches Westeros and starts interacting with the Young Griff team.
That's really because of the gardening approach. Given that writing style, how could GRRM possibly write Dany’s interactions and conflicts with those other characters without having written them all up to the same point, and therefore having decided what they’ve all experienced, where they’re all coming from, and what their respective gardens have produced?

These are all excellent points by Adam, and I appreciate the counterpoint and have copied and pasted it here with his permission.
And if you thought the “Dany is wrapped” theory is way too speculative, you’re going to love (hate) the next part of the theory.

The Dances of the Dragons

Remember how we talked about George’s progress on The World of Ice and Fire? Let’s bring it home here. Part of the reason why I initially brought up the worldbook is how it's tied into the plotting of The Winds of Winter. It’s almost as if George used his imaginary history as a set of guideposts for The Winds of Winter. But perhaps the imaginary history is more than a guide for the novel.
The theory: What I think happened was that George parallel-wrote the dance of the dragons alongside of his Young Griff story arc in The Winds of Winter.
Recall that in 2010, George had written two Arianne chapters that he cut to The Winds of Winter. Also recall that he had a partially-written complementary chapter and envisioned a third unwritten Arianne chapter. We skipped over the possible identity of that partially written complementary chapter, but here, we’ll talk about it. It’s very likely a Jon Connington chapter as he’s in a prime position to bridge events from the end of TWOW, Arianne II (Arianne goes to Storm’s End) to whatever George is planning for Arianne III.
Right after George published A Dance with Dragons, though, he decided to write another chapter in the Stormlands as werthead reported in August 2011:

As speculated by many, two large battles will take place early on, a ‘battle of ice’ (presumably at Winterfell) and a ‘battle of fire’ (presumably at Meereen). A third battle has been added, namely the assault on Storm’s End by Jon Connington’s forces. Originally this was going to happen off-page, but GRRM decided it really should be shown. Possibly because we’ve seen Storm’s End under siege forever and it might be cool to finally see the place under full-scale assault.

This was another spot where George was expanding Aegon VI’s story, gardening his way towards more satisfactory storytelling vis-à-vis a newly-imagined Jon Connington chapter. It also shows us that George was very much in the mindset of thinking through Young Griff’s storyline just a few months after the publication of ADWD.
And then similar to Daenerys, 2011 was the last time we heard about George writing one of our primary eyes on Young Griff in TWOW. Like the absence of Dany chapters, that is odd. With Dany, George played mostly coy with whether Dany would have chapters, because of the cliffhanger he left Dany on in at the end of her ADWD arc. But with Arianne Martell and Jon Connington, we already knew that Arianne would return as a POV, and George had all-but-confirmed that JonCon would return.
And yet, July 2010 is the last time GRRM talked about writing Arianne’s TWOW chapters while August 2011 is the last time we hear about George’s plan to write a Jon Connington chapter. But in the years immediately following ADWD’s publication, we have a whole body of imaginary history work which reads like signposts for where George was going to take Aegon VI and Daenerys’ story.
Here comes the speculation: I think the whole time George was writing a detailed account of the dance of the dragons for the worldbook, he parallel wrote Young Griff’s story arc in the form of Arianne and Jon Connington’s Winds chapters.
We know that George didn’t set Winds aside while he worked on The World of Ice and Fire as there are Winds chapters we know he was writing in the 2012-2014 timeframe. Logically, it makes sense that George stayed within the same sphere of creative inspiration as he developed the imaginary history in parallel with developing Young Griff's story.
There’s a paragraph which first appeared in The Princess and the Queen (an abridged version of the dance of the dragons) which has always struck me as explicit foreshadowing for Young Griff's story in TWOW. It's this one:

Every visible symbol of legitimacy belonged to Aegon. He sat the Iron Throne. He lived in the Red Keep. He wore the Conquerer’s crown, wielded the Conquerer’s sword, and had been anointed by a septon of the Faith before the eyes of tens of thousands. Grand Maester Orwyle sat in his councils, and the Lord Commander of the Kingsguard had placed the crown upon his princely head. And he was male, which in the eyes of many made him the rightful king, his half sister the usurper.

This paragraph is emblematic of something at work with the entirety of the dance of the dragons that George wrote: namely, that the entire historical conflict and civil war reads as backdrop for Young Griff/Aegon VI’s rise in The Winds of Winter and downfall in A Dream of Spring.
Is it so implausible, then, that GRRM was switching back and forth between writing Arianne and JonCon chapters while writing what became known as "The Dying of the Dragons" section of the worldbook? (Maybe, lol)

What Went Wrong

In 2005, GRRM predicted that ADWD would be published in 2006, sourcing this to how much Dany and Tyrion material was already done. If George had completed all the Dany, JonCon and Arianne chapters by April 2015, GRRM had good reason to believe he could get Winds out in six months. All he had to do was complete the POV arcs for characters supporting Young Griff and Dany’s stories as well as the “bottle storylines” and probably complete one more major story arc.
So, what went wrong?
In his New Year 2016 Winds post, George talked generally about the issues he had after his bout of optimism in 2015, saying things like:

Yes, there's a lot written. Hundreds of pages. Dozens of chapters. (Those 'no pages done' reports were insane, the usual garbage internet journalism that I have learned to despise). But there's also a lot still left to write. I am months away still... and that's if the writing goes well. (Sometimes it does. Sometimes it doesn't.) Chapters still to write, of course... but also rewriting. I always do a lot of rewriting, sometimes just polishing, sometimes pretty major restructures.

Later in the post, he talked about a similar angle, saying:

Even as late as my birthday and our big Emmy win, I still thought I could do it... but the days and weeks flew by faster than the pile of pages grew, and (as I often do) I grew unhappy with some of the choices I'd made and began to revise...

This is George’s gardening style at work: restructuring/rewriting/revising what he considered to be substandard writing. That’s part of the reason George failed to meet his October and then December 2015 deadlines.
But I think there’s a missing piece -- one which has only become apparent in George’s recent posts about the POV characters he’s reported working on in June, August and November 2020: the Dany/Young Griff supporting POV characters and the bottle arcs.
Back in 2005, George was optimistic that he could finish ADWD by 2006, because he merely had to finish Jon’s story along with cast of characters supporting Jon/Dany’s storylines. But what delayed ADWD was the supporting cast of characters – especially in Dany’s storyline as it related to the Meereenese Knot. George struggled for years to satisfactorily write a twisting path of POV characters heading toward – or away – from Meereen, and that, more than anything, delayed that book’s publication.
Turning back to Winds: In recent months, George has indicated that he was writing/visiting the following POVs:

• Tyrion Lannister
• Barristan Selmy
• Areo Hotah
• Asha Greyjoy
• Cersei Lannister
• Arya Stark
• Victarion Greyjoy
• Melisandre of Asshai
• Samwell Tarly

The POV characters listed here are ones likely to be found in support of Dany’s arc (Victarion, Barristan, Tyrion), in Young Griff’s orbit (Cersei and arguably Areo) or bottle arcs -- ones temporarily independent from the rest of the story (Samwell and Arya).
So, in addition to the rewriting/revising/restructuring, I’d argue that what belayed George’s optimism of publishing Winds in 2016 was the supporting cast of POV characters. Those troubles extended beyond 2015 given that George was still working on these POV characters in 2020.

Conclusion (2017-2021)

In the years since 2016, George has optimistically predicted that he'd finish TWOW in 2017. But six months later, GRRM discounted 2017 and thought 2018 was possible. But by mid-2018, he admitted that Winds wasn't coming in 2018. Then in 2019, tongue-in-cheek said New Zealand could imprison him there if he did not have TWOW in hand by Worldcon 2020.
Unfortunately, data on what GRRM was working on is spare, but I'll give it a shot. Given that George talked about how important Lady Stoneheart's story is for TWOW in 2017, my theory is that GRRM made progress on Jaime and Brienne's chapters in 2017.
Meanwhile, you may have noticed that there's another POV character I haven't mentioned: Jon Snow. Will Jon have chapters in TWOW? Are they written? Yes. Perhaps some of his optimism in 2019 is sourced to him making progress on Jon Snow, perhaps even completing his POV arc.
In his last specific update on Winds (As of January 2021), George sounded optimistic once again, :

No, sorry, still not done, but I do inch closer. It is a big big book. I try not to dwell on that too much. I write a chapter at a time, a page at a time, a sentence at a time, a word at a time. It is the only way.

At the beating heart of all of this work that George RR Martin has put into The Winds of Winter is a desire to create a book that satisfies and captivates us. I believe this book will come, and when it does, all of the bleeding into the keyboard will have been worth it.

Since The Weeknd is performing at the Super Bowl Halftime show, I thought it’d be nice to post a little guide to his discography for anyone interested in looking to do a deep dive into his work. I would’ve posted this the day of the event, but I assume that some people would probably like to go through it over the weekend.
This shares a direct overview of his released material, talking about his career and the background of the music, the videos, the meanings and all. I’ve written this from a pop perspective, keeping in mind that his history might be fairly new for general pop fans.
I also go into the storyline of the red suit character, if your interested in catching up on that narrative before the Halftime show (which will continue the story), I’ve listed the chronological order below followed by an explanation of that narrative.
I wanna be clear that the interpretations/theories are not conclusive. Abel rarely shares the metaphors or meanings behind his music. This is based on widely based on fan discussion/mutual interpretation. Fans can feel free to expand on anything in the comments.
It is important to know about Abel's backstory to get a certain perspective of where he’s coming from, especially when discussing the songs that deal with substance abuse. These recent articles cover his early years really well and share an up-to-date point of view of his success.
Variety 2020
Billboard 2021 - Also a good source for getting to know his team.
So, an essential TL;DR is this: Abel Tesfaye came from a broken home, he was born to Ethiopian immigrant parents who split up when Tesfaye was less than seven. He then lived with his mother and grandmother, only rarely seeing his father but having a nice impression of him. His drug addiction started as soon as he was a high schooler, he turned to shoplifting to pay for this need of various substances. Soon he dropped out of high school, leaving his home the same weekend, which would later inspire his stage name, The Weeknd. The name is reference/homage to the weekend his life changed.
Quick side note, I didn’t think this post would nearly reach the character limit. So I’ve cut out excess detail and lists of producers (with the exception of After Hours since we’re in that era).
Table of contents

1. XO.
2. House of Balloons.
3. Thursday.
4. Echoes of Silence.
5. Trilogy.
6. Kiss Land.
7. King of the Fall.
8. Beauty Behind The Madness.
9. Starboy.
10. My Dear Melancholy.
11. After Hours.

XO.

XO is the record label that The Weeknd and co. created in order to publish the first mixtape (House of Balloons) and the ones that would follow afterwards. XO has a lot of meanings that have to do with what went into the music and what still goes into it. XO is what the fans call themselves, popularly with the phrase XO Till We OD (shortened to XOTWOD); another way of saying “we’re ride or die for The Weeknd and his team.”
While some argue that it could mean anything since there isn’t clear meaning to it, fans continue to associate the abbreviation with ecstasy (X) and oxycontin (O). That definition stems from XOTWOD, fans assume it’s true because of the team’s history of drug usage. While others take it as it’s classical definition “hugs and kisses” because of the consistent lyrical nature of The Weeknd’s songs.
Overtime the definition of XO is simply known as: the fans, the crew, and the label. The Weeknd is more than just one person, he comes with XO. For the sake of clarity in this writeup, I’m going to refer to his crew as XO and the fans as “the fans.”
XO still serves as a record label, the current roster is The Weeknd, Belly, Nav, and Black Atlass. It remains The Weeknd’s record label and was his first label before becoming a subsidiary of Republic Records.
Throughout his career, The Weeknd has worked with Illangelo, a Canadian producer who’s work the fans adore. Carlo “Illangelo” Montagnese was one of main the producers on The Weeknd’s Trilogy, he’s credited on each track. The fan base claims his work to be some of the most notable artistry in The Weeknd’s discography. Their work together continued with Beauty Behind The Madness, Illangelo worked on seven tracks for that album. He then returned for After Hours working on another seven tracks.
DaHeala, another Canadian producer, is another significant factor in The Weeknd’s music. Jason “DaHeala” Quenneville worked as lead producer on Kiss Land. He returned to work on six tracks for The Weeknd’s Beauty Behind The Madness, including the hit Earned It. DaHeala returned as a writer for six of the songs on Starboy. Then DaHeala worked on nine After Hours tracks, and worked as the only producewriter alongside The Weeknd for bonus tracks Missed You and Final Lullaby.

House of Balloons.

Didn't wanna make this NSFW, so here's the super clean edited cover

This is a happy house. We’re happy here. (House of Balloons/Glass Table Girls)

One of the most iconic title tracks of all time. House of Balloons is about a lifestyle of drugs, sex, and partying; all in effort to drown out self-doubt. It comes from a place of wanting to make it big while doing what you can to survive, all while pretending everything’s alright. The mixtape describes various sorts of women, how they’ve had impacted the life of someone who’s already down on his luck.
Fans often refer to House of Balloons as The Weeknd’s best work. The mixtape was the first introduction the world got of XO, and it was one hell of a way to make an impression. It’s personal for the fans and Abel because it’s the only piece of work known to be based on his life. At the end of the day he’s a songwriter, with many of his albums he creates scenarios and world that he likes to explore through the music. But House of Balloons is known to be based entirely on his life. It remains The Weeknd’s most critically acclaimed work.
House of Balloons was crafted through the influences of Hip-Hip/Indie-Rock with the main focus on R&B. Through the genius of Ilangelo, the record was—and is—mesmerizing capturing the essence of a lifestyle that The Weeknd described as “anti-everything.”
House of Balloons assisted The Weeknd in gaining the attention of Republic Records, which would then host The Weeknd’s own label XO. Though hesitant at first, XO decided to partner with Republic after the co-founding brothers Monte and Avery Lipman kept coming back to Toronto solely for The Weeknd.
House of Balloons received three videos, The Knowing, Wicked Games and Twenty Eight. The Knowing was the very first video The Weeknd made, so of course it’d be something other-worldly; it essentially reflects the song itself but in a sci-fi setting. Twenty Eight represents Abel’s life after fame but also his remorse of letting captivating women into his life.
Fun fact— House of Balloons is an actual place in Toronto, it was where him and his crew lived after he dropped out of high school. They’d host parties, call girls, do drugs, and to make it less depressing they’d fill it with balloons.

Thursday.

Valerie on the cover

Welcome to the other side. (Life of the Party)

Thursday consists of the same themes as HoB; sex and drugs. But there’s a twist, he’s in a semi-relationship with this girl Valerie. She’s the only one on his mind, even though they meet only one day of the week, any guesses on what day that could be? Through The Weeknd’s phenomenal voice and the insane production, we’re also presented with this story of a toxic relationship where Valerie used to have the upper hand but she no longer does when she falls for The Weeknd.
While Thursday isn’t entirely about the relationship of The Weeknd and Valerie, it consists of reflections to Abel’s life after the release of House of Balloons. The song Rolling Stone notably has a double meaning, in which Abel asks his fans if they’ll stick with him when he gets mainstream appeal and decides to change his sound.
The track Valerie wasn’t on the original release of Thursday, it added when Trilogy was released. Ending the mixtape with Heaven or Las Vegas meant that The Weeknd’s actions with and without Valerie were a result of his fatherless childhood, making him push anyone away. That meaning behind Thursday doesn’t change when Valerie is added to the track list, it just means that both want the toxic relationship back.
The Zone (feat. Drake) was the first feature The Weeknd had on any of his work, the video for it was released in November of 2012. Rolling Stone had also received a video in October of 2012. Both were directed by The Weeknd and reflect the two different aspects of Thursday. The Zone has Valerie living it up in the House of Balloons. And Rolling Stone has The Weeknd doing a photoshoot for Trilogy, reflective of the song itself.
Fun Fact— the female voice heard in Lonely Star is The Weeknd’s, he pitched his voice to make it sound like a woman’s.

Echoes of Silence.

Diana on the cover

Laisse tomber les filles. Un jour c'est toi qu'on laissera. [Leave the girls alone. One day it’ll be you they will leave.] (Montreal)

Out of a dark introductory into the early life of The Weeknd, Echoes of Silence is the darkest work of his Trilogy. Let’s be honest the story here isn’t entirely ethical at times but makes for one hell of a mixtape.
Similar to Thursday, Echoes of Silence follows a storyline. After accumulating success, The Weeknd gains the attention of various women. There was this one woman (D.D.) who he liked but she initially rejected him (Montreal). The woman came back to him for his fame status and evidently fell in love with him (Outside), but now that he’s got the upper hand he treats him like a groupie (XO/The Host) and lets... bad things happen to her; she’s gotta pass a test before she can get with him. This test is either drugs or his crew (Initiation). He ultimately tells this woman that he’s not exactly longterm-relationship material, perhaps because her love is temporary (Same Old Song), because he’s Next. With the end of Echoes of Silence (originally ending on the title track) the listener is left to wonder why The Weeknd left her if he’d simply want her to stay.
As a side note— Initiation should not be condoned. It remains true that The Weeknd is a songwriter and the progression of time has changed perspectives. But a song that makes such suggestions as Initiation should not be ethically/morally claimed or celebrated.
The mixtape follows The Weeknd’s lifestyle after he’s gained all this success, he’s still the same person but now he’s gotten everything he wanted. Some tracks such as The Fall continue to emphasize his journey into stardom and his acceptance of fame being temporary. With the added Till Dawn (Here Comes The Sun), The Weeknd acknowledges the changes in his life, realizing that the old lifestyle is no longer there for him or his past lovers.
Echoes of Silence is known as an underrated gem of The Weeknd’s discography, it’s well received by fans and critically acclaimed but often brushed under the rug in discussion of his work. A lot of fans and casual listeners play the mixtapes through Trilogy rather than their respective albums. This often leads to people not playing EoS either at all or only the first few tracks, this is predominantly due to the nature of the compilation being nearly three hours long.
Fun fact— D.D. is a cover of Michael Jackson’s iconic Dirty Diana. Fans have named the woman in Echoes of Silence Diana because of this track. Various theories argue that the mixtape itself is based on the Dirty Diana itself with exaggerations of the truth, or whether or not it’s a story The Weeknd crafted based on the song.

Trilogy.

Rolling Stone video doubled as a shoot

You don’t know what’s in store. (High For This.)

Trilogy is a compilation of The Weeknd’s mixtapes, House of Balloons, Thursday, and Echoes of Silence. These three mixtapes were released 3-4 months apart from one another for free digital download in 2011, they gained quite a lot of attention from various industry executives.
Prior to the release of Trilogy, The Weeknd featured on Drake’s Take Care with Crew Love. The song was Abel’s first exposure to a Rap crowd/Rap fans, more people began listening to his music after the release of Take Care. The Weeknd then featured on Wiz Khalifa’s Remember You, which served as the second single off Wiz Khalifa’s O.N.I.F.C. Following those two releases, The Weeknd released Wicked Games as the first single off Trilogy.
Trilogy was formed after The Weeknd came under Republic Records’ management. The compilation album reached a debut/peak position of 4 on the Billboard 200 while reaching number one on the US Top R&B/Hip-Hop Albums chart. It’s a well received album with the highlight said to be House of Balloons, which arguably went on to influence various sorts of R&B music of the 2010s.
Videos for Trilogy

Kiss Land.

Iconic

I went from starin' at the same four walls for 21 years. To seein' the whole world in just 12 months. (Kiss Land)

Kiss Land is based on The Weeknd’s tour life. Visiting unfamiliar places gave Abel horror movie vibes. A guy who used to own the city (Toronto) he lived in is now a small fish in the ocean of the entire world. The Weeknd’s first studio album was a great introduction into the sound he would soon get well acquainted with.
While continuing the R&B sound with the essence of Dark Wave, the album explores emptiness and regret throughout the lyrics—or what pop fans could categorize as dark pop—. The Japanese aesthetic used for various videos and the single covers/booklet reflects the themes of feeling overwhelmed by such a loud world that there’s no point in being if you don’t belong.
The album explores the real-world and the women in it as well as regrets regarding past actions, namely letting go of women who could’ve been the one in Adaptation. The Weeknd attempts to find that satisfaction in other women and past lovers, but accidentally falls for a sex worker in Belong To The World. With Wanderlust he accepts and expresses that love in the modern world isn’t entirely possible. While continuing to tour the world he enjoys these new experiences with XO (Live For feat. Drake), as well as the new women in his life (Kiss Land). And when he’s back home, he accepts the loss of the relationship he cherished.
Kiss Land debuted and peaked at number two on the Billboard 200. It was fairly acclaimed but gained a massive cult following. There were four videos for made for the album, the title track, Belong To the World, Live For (feat. Drake), and Pretty. Those four songs received interesting visuals that kept up with their respective themes while Belong To the World/Kiss Land got visuals that matched the aesthetic of the album. To this day fans ask Abel for a part two to the horror-movie-inspired album after he said it’s the only album he would have a sequel for.
Videos for Kiss Land
Fun Fact— The video for Kiss Land on YouTube is an extremely edited version of the actual video shot for the song. The directors cut further explores the erotic-horror themes if the album.

King of the Fall.

King of the Fall 2020 cover (even though I talk about three other songs here)

Driving by the streets we used to walk through like a triumph. (King of the Fall)

These next few song were released between the Kiss Land and Beauty Behind the Madness era. Some fans would classify them as part of the Beauty Behind the Madness era—I’d say the same tbh—but they stand apart on the basis of success and acclaim. It’s a transition between The Weeknd being an underrated R&B musician to being a mainstream artist with massive recognition and appreciation.
The first of these four songs is King of the Fall. A fan favourite and a standout in The Weeknd’s discography. This is one of The Weeknd’s few Rap tracks, it gained a lot of attention within the Rap sphere. It was the way in which XO would announce that they’ve made it, little did they know that this was just the start.
Prior to the release of Beauty Behind the Madness (BBTM), The Weeknd gained mainstream attention. The Weeknd’s exposure to mainstream music was uphill, it wasn’t overnight. The first taste of BBTM came from Often, a song that reflected the themes of sex that Abel was known for. The track was released more than a year before BBTM’s release and had made it onto the trackless unlike King of the Fall. Slowly but surely The Weeknd gained exposure, his main sources of exposure were through a collaboration and a soundtrack.
Most pop fans heard about The Weeknd through his hit collaboration with Ariana Grande, Love Me Harder. The collab was made through Republic when The Weeknd said he wanted more than what he had gotten through Kiss Land. Ariana and Abel had formed a real bond cough The Hills cough, their bond assisted the song in becoming a memorable hit for both artists. Love Me Harder was a top ten hit on the Billboard Hot 100.
Later that year, The Weeknd was featured on the Fifty Shades of Grey soundtrack with Earned It, as well as Where You Belong. Earned It became a massive hit peaking at 3 on the Billboard Hot 100 and receiving an Oscar nomination for The Weeknd; a massive milestone for XO. Earned It kept up with Abel’s signature lyrics but the production differed heavily from the sort of R&B he was known for.
Videos from that era

Beauty Behind the Madness.

I can hear this image

I'm that ***** with the hair singin' 'bout poppin' pills, fuckin' bitches, livin' life so trill. (Tell Your Friends)

Following the success of Love Me Harder and Earned It, the Beauty Behind the Madness era began with The Hills. This was The Weeknd’s first number one on the Billboard Hot 100. Along with the video, The Hills became an addictive classic. The production and lyrics mirror a mature version of the sound that was originally found on Trilogy. It was truly in keeping with The Weeknd’s character, the only difference was his haircut.
Next came Can’t Feel My Face, a Max Martin production that differed greatly from anything The Weeknd put out in the past. In past songs, Abel had expressed his fear of losing his following if he went mainstream simultaneously asking his fans if they’d stay. He repeats that sentiment in the Can’t Feel My Face video. The sound has changed, the lyrics stay the same but now he’s a pop-star. The song became a hit as it reached number one on the Billboard Hot 100. With this massive bop previous fans still stayed, The Weeknd becoming a pop singer didn’t at all alter his image or sound; he mastered it.
In The Night and Acquainted were released as singles on the same day, the were the only singles to come after the release of Beauty Behind The Madness. The former received a music video treatment that followed the theme of the song itself while also starring Abel’s girlfriend at the time, Bella Hadid. Acquainted was robbed of a video even though Abel had shown off the fact that a video was in development; the song kept in the tone of The Weeknd’s work prior to BBTM.
Beauty Behind the Madness captures a Hollywood-based reality that The Weeknd came to understand: the dark aspects of your life will continue to follow you wherever you are. Real Life, Losers (feat. Labrinth), Tell Your Friends, Dark Times (feat. Ed Sheeran), and Prisoner (feat. Lana Del Rey) all capture a nihilistic view of a dream achieved.
Most of the videos of Beauty Behind The Madness have a mysterious white man. He’s featured in The Hills, Can’t Feel My Face, and Tell Your Friends. That man represents the devil. Throughout his journey in those videos, (The Hills) Abel runs into the devil after his car crash, (Can’t Feel My Face) he’s at the club then lights him on fire. The significance behind the fire could be selling his soul to the devil, BBTM is about Hollywood and a popular Hollywood myth is that celebrities sell their souls to the devil in exchange for fame. So in the Can’t Feel My Face video, Abel changes his sound to Pop (from R&B) thus leaving his signature sound in order to become famous, everyone starts enjoying his music once he’s sold his soul.
Then we see The Weeknd burying himself in Tell Your Friends, perhaps leaving the old Abel behind after the deal with the devil. However, instead of thanking the devil, Abel takes his revenge and shoots him. But wait, there’s more! The album trailer for BBTM features the devil burning a billboard with The Weeknd’s face on it, revealing Beauty Behind The Madness. HOWEVER, the final cut for the video features the devil being arrested while The Weeknd watches. This is a more realistic form of karma that the devil gets.
Videos for BBTM

Starboy.

Filled with bops

If I could, I'd trade it all, trade it for a halo. And she said that she'll pray for me, I said, "It's too late for me.” (Ordinary Life)

After the massive success of Beauty Behind the Madness, there was a lot of hype around what The Weeknd would do next; evidently he decided to explore Pop. The fandom he had gained wasn’t entirely based in the Pop sphere, his fans consisted of general Rap fans, but Starboy attracted the Pop audience.
Initially, most of his older fans couldn’t get behind Starboy, it differed greatly from the previous sound. It was crazy to think that the guy who made Trilogy managed to make such a Pop-centric album. But this was Abel expressing his versatility.
Since this is where most pop fans found out about Abel’s work and became fans I won’t talk too much about the singles, rather more about the album itself. His work with Daft Punk cemented this album in an efficient mix between Pop and R&B, where Beauty Behind the Madness was more R&B with Pop, Starboy was considered Pop with R&B.
Beyond the genres, Starboy explores two evident themes. One being his life with fame and recognition. The next being his love life in Hollywood, this aspect of the album came from his relationship with Bella Hadid which ended after the release of the album.
The cross became the symbol for that era and appeared in the album’s photoshoot as well as the videos. There was never any conclusive word on the use of the cross but there are various theories about it, something to note is that Abel was raised Christian, it could perhaps be a reflection of his past.
The cross he uses to destroy his accolades (Starboy video) is assisting him rather than something that’s holding him back. Abel’s upbringing was rough but now he’s celebrating it rather than feeling bad for himself. The cross continues to come up in the Party Monster video, this time it’s in the party house he’s making his way through. Then it shows up in the video for Reminder, this time in the form of his merch, the people wearing it are perhaps representative of his fans. Then we see it in the False Alarm video, both Abel and the girl are wearing it; the notable thing being that Abel holds his cross up before dying. Then in the brilliant video for Secrets, after giving up on the girl he’s with he leaves the building to find a giant cross. And finally in the I Feel It Coming video, The Weeknd sports a shiny cross necklace, and Daft Punk find it years and years after Abel froze.
The videos tell us that the cross is an evident piece of his story. This could mean that his past will always be with him, no matter what sort of fame he’s experiencing he’ll always be who he once was.
Also, I’m gonna take this moment to once again the genius that is the Secrets (both the song and the video). Yes it’s my favourite song/video off of Starboy but it’s so underrated.
Videos for Starboy, Secrets video bottom right
Fun Fact— Most demos of the tracks on Starboy weren’t as pop as they became, they started off R&B but became pop after production.

My Dear Melancholy.

Note the comma

They said our love is just a game, I don't care what they say. But I'ma drink the pain away, I'll be back to my old ways. (Privilege)

Oof (but in a good way, this whole thing is a bop). For this one I’m gonna talk extensively about The Weeknd’s relationships, which personally feels really invasive but it’s but it’s essential when talking about these sad boy anthems. Beyond that I’d just like to state that though they are part of the narrative both Bella Hadid and Selena Gomez deserve respect/privacy.
So when it comes to Pop music fans I think it’s safe to say that we all know a lot about this one. My Dear Melancholy (MDM) came after the very public relationship of The Weeknd and Selena Gomez. However it’s not just about Selena, some songs reflect his relationship with Bella Hadid (whom he got back with a month after MDM’s release).
My Dear Melancholy consists with The Weeknd’s exploration/mastery of merging Pop and R&B together. The EP was praised by fans for its lyrics and production, many went on to theorize that it was his most personal project since House of Balloons. The EP was the shortest album to reach number one on the Billboard 200.
My Dear Melancholy and fan conspiracies; name a better duo. The first theory being that the EP is entirely about Selena Gomez which wasn’t too much of a mystery since the lyric “I almost cut a piece of myself for your life” exists. Not only did MDM come after Abel’s relationship with Selena Gomez but also after his relationship with Bella Hadid. As far as fans were aware those two relationships were the most important relationships Abel had ever been in.
In theory, the songs about Bella and Selena can be categorized. Call Out My Name, Try Me, and Privilege are likely about Selena. Wasted Times, and Hurt You are likely about Bella. Leaving I Was Never There to act as an introspective look into The Weeknd’s life, basically making him hop back on his vices for comfort.
Another popular theory was that My Dear Melancholy was the first of another trilogy. This rumour was widely believed due to the comma at the end of the title on the album cover. But the fans soon gained a real reason to believe this theory, since the CEO of XO (the record label), Sal had liked an Instagram post that featured the cover and alleged date. Since Trilogy is a fan favourite this conspiracy spread like wild fire, so much so that fake titles and covers were made. The name of this trilogy would be: (1)My Dear Melancholy, (2)We’re Alone Together, (3)Abel.
Only one song served as a single for the EP. Call Out My Name was released nearly two months prior to the actual release of the album, it debuted/peaked at number four on the Billboard Hot 100. The mysterious video captures The Weeknd in various atmospheric places that reflect the tone of the EP, a haunting yet unexplained reality that the listener is to reflect on.
From the cover, to the music, to the video, to lyrics, My Dear Melancholy is an introspective reflection of heartbreak.
Call out my name video

After Hours.

Talented, Brilliant, Incredible, etc.

My darkest hours. (After Hours)

After Hours comes after success but references two lows in The Weeknd’s life. The album welcomes darkness and leads the listener towards a dead-end. The Weeknd’s past two albums (Beauty Behind The Madness and Starboy) ended on hopeful notes, they left the listener with a sense of hope but all hope his lost with After Hours.
Fans compare After Hours to House of Balloons—a rare occurrence considering House of Balloons’ acclaim—arguing that both albums are on the same level. Debate continues on whether or not both albums are on the same caliber. The belief that After Hours stems from reality does a lot to help its side of the argument.
The era began with Mercedes-Benz commercial that featured Blinding Lights, that was our first taste of the everlasting bop. Heartless was premiered on an episode of Memento Mori hours before its release on the 27 of November (2019), Blinding Lights was released two days later. Both videos were as brain melting as promised and the served as the tip of the iceberg.
After Hours was released nine days after COVID-19 was declared a pandemic, there was a massive risk in releasing an album that would not have a lot of promotion after it’s release (other than magazine coverage). There was no telling whether or not people would pay attention to the album during the height of the fear surrounding the pandemic, but it was a massive success. After Hours debuted at number one on the Billboard 200, with singles Heartless and Blinding Lights topping the Billboard Hot 100.
The album is layered with haunting productions that remains predominantly R&B but dives deep into Pop with some of the tracks. Max Martin produced the massive hit Blinding Lights as well as In Your Eyes, Save Your Tears, Hardest to Love, and Scared to Live which samples Elton John’s Your Song. Other notable producers include Metro Boomin who worked on the hit Heartless as well as Escape from LA, Faith, and Until I Bleed Out. With Kevin Parker on the interlude Repeat After Me.
Beyond the production are the narrative driven lyrics. In theory the album references two significant events in Abel’s life, his second breakup with Bella Hadid and his arrest in Las Vegas. The latter was due to his misbehaviour; in January 2015 he punched a cop in Vegas, lmao. Which means that After Hours is a recollection of The Weeknd’s first few years in LA. He merges the concept of his breakup with the idea of being an upcoming star, feeling free in the city of lights all while diving deep into the meaninglessness of those lights.
While After Hours starts with loneliness and a second chance it leads up to Abel returning to his vices of lust. In Alone Again his loneliness caught up to him and he’s asking for a second chance. He acknowledges his mistakes and situation in Too Late/Hardest to Love, in Scared to Live his ex then returns to him for a second time. He remembers his past ways in Snowchild and the way in which it lead to better days, but where do you go after such highs? In Escape From LA he faces the superficial reality of Hollywood, glad that he got that he got back with his ex, while continuing to question if it’s worth it. But he fucks up the second chance when she pulls up to the studio.
Who is she? Much like the other mysteries surrounding The Weeknd’s music, we may never know. Is it all more of The Weeknd’s songwriting ability or is it driven by reality? Fans found a merge between the two to be more accurate, After Hours is about heartbreak and a return to the vices that held The Weeknd back.
Heartless is when The Weeknd is once again back to his ways, he may have been in a serious relationship but after throwing that away he spirals back to the way he once was. It’s sad but it’s one hell of a song. Speaking of brilliant songs, Faith is when Abel admits that he’s back on his vices, he states that he needs his ex back with him till the end; he’s back to self-loathing.
So when he says he’s blinded by the lights, there’s two meanings to it. The Faith outro tells us that he’s in a car with flashing lights, a cop car (as confirmed by Abel) to be exact. Then Blinding Lights tells us that while he’s watching the bright lights of Vegas pass him by he calls out for the girl that he regrets losing. That is the peak of the After Hours narrative. He’s behaving badly over the loss of the girl he loved and is now at the worst position trying to find her and gain her trust for a third time.
Following Blinding Lights is In Your Eyes, this is where The Weeknd vows not to judge her; he can see right through her but will never do anything to make her upset. Does this mean their back together? Not exactly. Save Your Tears details a sort of moving-on that The Weeknd isn’t ready for but tries to help her move on, blind to his own inability to move on. Does it work? Not really. Repeat After Me (Interlude) shows that he’s still trying to convince himself that he’s unfazed by the loss of a meaningful relationship.
Then you hear a true masterpiece. The title track is a spiral into true regret and an apology for his actions, he admits that his ex girlfriend is the only reason he lives. In a dark lonely city she’s the only one keeping him sane. But his pleas fail, Until I Bleed Out is when The Weeknd no longer wants her in his life so much so that he wants to erase his memory of anything related to her. The bonus tracks then echo the final sentiment.
It’s one sad ass album, ain’t it. But here’s where the Red Suit Character comes in.
Shoutout to the makeup department
The album isn’t the only narrative to follow with After Hours. The videos for the album follow their own sort of narrative. The story follows an unnamed guy that goes by “red suit character” according to The Weeknd.
There’s a lot of confusion and endless theories surrounding this character’s story, after The Weeknd confirmed that it’s about a decent into Hollywood culture it makes more sense… kind of. I’m gonna discuss the storyline without talking about the movies that have influenced it, this way the focus remains on the character.
The order of these videos is Heartless / Blinding Lights / Blinding Lights (Live on Kimmel)* / After Hours short film / In Your Eyes / Until I Bleed Out / Snowchild / Too Late / Live at AMAs* / Save Your Tears
*Though all live performances could count as part of the narrative, these one relate directly with the videos that follow.
He’s is first seen in Vegas with Metro Boomin (Heartless), intoxicated on various substances. He dives deeper into his high until he licks a frog, after that he faces the true effects of this high. He’s frightened by the result and runs far away from Vegas. (Blinding Lights) He’s then found in LA, where he’s dancing in the street, hypnotized by the singer, beat up by guards, and races past all those bright lights in his Benz. Ultimately realizing the shallowness of the Los Angeles fantasy.
(Blinding Lights Live on Kimmel) We then find him performing Blinding Lights live, while he attempts to find more reason in within the madness city; he couldn’t find it on the streets so he goes to the stage. (After Hours short film) Even then there’s no meaning to anything in the city, he mindlessly wanders into the depth of the subway where he’s dragged by the reality of it all and ends up possessed. (In Your Eyes) After being possessed he chases the woman whose boyfriend he just murdered, she runs into a club falls deeper into the After Hours fantasy, in a successful attempt to defend herself she beheads the red suit character and dances all over LA with his head, iconic behaviour.
(Until I Bleed Out) Then in an ethereal dreamscape, red suit character finds himself in a House of Balloons. He’s trying to escape, but the people there keep pulling him in; he’s getting higher while observing Glass Table Girls. He spirals into the antarctic, the other side of the world. From Heatless to this point in his story, his vices lead him back to the lowest point in Abel’s life. Is it Hell, Heaven or Las Vegas? (Snowchild) He relives his career up until the point where his story began. Considering he’s dead, his life basically flashed before his eyes.
(Too Late) LA girls find the red suit character’s head and live their best life. They wanna have sex with him so they find the best boy parts by calling up a stripper who could be the body. The stitch the head up with the body and do what they want. But now he’s brought back to life. (Live at AMAs) He’s had work done… He went in to get his nose fixed and the doctor said “you sure that’s all you want?” The red suit character’s face is healing while he tries to celebrate his life on top of a bridge.
(Save Your Tears) Surrounded by a masked cult he debut’s his new face. Do they like it? Are they impressed? Not instantly, their masks translate no expression so how’s he to know? Is any of this worth it? Nope red suit character continues to die inside. He finds a maskless girl in the crowd, she’s lively unlike the rest; but even then, nothing on the inside nothing on the outside. He wants death again, somehow a second chance with this city is still pointless. He tries to kill himself via the girl and himself but it’s all a facade; theatrics.
His story continues but that’s all we know so far.
The videos make a lot of film references. This post by explain these references very well, as well as past album references here (part one) and here (part two).
After Hours is inspired by a lot of movies, since Abel is in fact a cinephile. The main movies that inspired the aesthetic and storytelling are believed to be Fear and Loathing in Las Vegas (1998), Casino (1995), Joker (2019), Uncut Gems (2020), and After Hours (1985). The album tells two sad narratives but remains one of The Weeknd’s best works yet. He’s expanded his videography and enhanced the interest of people who casually enjoy his music and of course his fans.
But the era isn’t over, by the time this is posted his Super Bowl Halftime show is yet to happen. And it’ll continue the red suit character’s story.
Videos for After Hours (so far)
Fun Fact—The Heartless video features a reference to Thursday. When he’s trying to run from Vegas, a sign behind him flashes “Heartless / Heaven or Las Vegas.” This could be a reference to Abel running from his past, after all Heartless is about him returning to his vices.

END.

Thank you for reading this, again, I didn’t realize it would end up being this long. But I hope this this served as a nice refresher for any fans who wanted to revisit Abel’s work before the Super Bowl.
And I really hope that anyone interested in getting into his music finds this helpful. Once again, the theories/interpretations mentioned aren’t conclusive, they’re widely based on fan discussion/mutual interpretation.
Due to the character limit I couldn’t add too links to the albums, so here are some artist links.
Apple Music | Spotify | YouTube | The Weeknd’s Shop | Tidal | Genius

What's Smash?

One of the premier fighting game franchises of all time, Super Smash Bros is a party series published by gaming giant Nintendo which sees characters from their various franchises (alongside several third-party characters) coming together for some family-friendly violence. Beginning with the original title in 1999 for the Nintendo 64, Smash has seen several outings in the years since, such as the iconic Melee for the Gamecube, Brawl for the Wii, the unoriginally named Smash 4 for the WiiU and 3DS, and the most recent title, Ultimate, which released on the Switch in 2018. Ultimate was seen as a huge celebration for the franchise, boasting that EVERYONE IS HERE- all seventy + fighters, ranging from staples of the original game to guest fighters and DLC, were in the launch roster. Helmed by Masahiro Sakurai, Smash is a household name and staple for parties worldwide, with Ultimate being one of the highest-selling fighting games in the world at over 12 million units sold.

What's Fire Emblem?

Fire Emblem is Nintendo's forray into strategy- a turn based fantasy seires that's one of the longer-running staples of the company with its roots in 1990 for the Famicom. Despite a lot of pushing from Nintendo, Fire Emblem failed to take off in the West for many years, with the future of the franchise being uncertain after several successive commercial flops in the 2000s. With the franchise risking cancellation if it failed to find a market, the team made a Hail-Mary pass of epic proportions thanks to Fire Emblem Awakening in 2013- a launch title for the 3DS that finally marked the series getting a foothold in the West. Since then, the series has released three big games: Fates, which wasn't very good due to pulling a Pokemon and cutting the game into three separate releases and having an awful story, Heroes, a free to play mobile game, and Three Houses, which saw the series move to the Nintendo Switch. In Three Houses, you play as Byleth, a mercenary hired to teach one of three classes in a military academy that are all led by House Lords- Edlegard, Dimitri and Claude. Three Houses combined Persona-style time management for social interactions with the tactical gameplay of the series, and was a critical success for the company, selling over 3 million units.

Smash and Fire Emblem's shared history

Fire Emblem and Smash have a tied history, due to Smash being part of the reason the series even began releasing in the West (Fire Emblem had such a small presense before this that a lot of people unironically thought Marth and Ike were original characters made just for the game). Two characters, Roy(Who's also our boi) and Marth, were playable in Melee, with their popularity leading to Nintendo beginning localisation efforts of the other games. Since then, Fire Emblem has gotten consistent additional represetation in each mainline title:

• Brawl added Ike, protagonist of Path of Radiance and its sequel, Radiant Dawn. His massive two-handed sword and battle cry of "GREAT AETHER" made him stand out as a fun battler, with high damage potential but a weak mobility selection to balance him.
  
• 3DS/WiiU would bring back Marth, Ike and Roy, alongside newcomers Robin and Lucina from Awakening and, post-launch, Corrin from Fates as a DLC fighter. The Mii Fighter would also get an outfit themed on Awakening's co-protagonist Chrom as DLC.
  
• Ultimate would launch with all prior Fire Emblem characters as part of the launch roster with a new addition- Chrom making the transition from Mii Fighter to Echo Fighter (the game's term for characters who are moveset clones, in this case for Roy while Lucina was officially made an Echo Fighter for Marth). Ultimate also saw a large collection of music from the series being available alongside three stages.
  

Perhaps one of the largest showings of how tied together the two series are, especially regarding FE getting off the ground in the West, can be seen in the announcement trailer for a re-release of Shadow Dragon and the Blade of Light, the first game in the series as part of 30th anniversary celebrations. The trailer shows two young boys playing Melee and wondering where Roy and Marth are from, leading to them discovering Fire Emblem at large.
It's at the launch of Ultimate, before the DLC released, that I'd like to dovetail and cover some of the tensions between Smash and Fire Emblem, alongside the post-launch support Ultimate got.

Smash fans vs Fire Emblem Fans: A Short History

Smash fans and Fire Emblem fans don't get along a lot of the time, it must be said (though Smash fans don't get along with anyone very well). Many Smash fans blame FE as the reason for Smash's roster being stereotyped as "Anime swordboys," due to Nintendo almost entirely drawing from the sword-fighting leads of the series instead of an axe or lance fighter. (Hector from Blazing Blade is often called an example of what a more atypical Smash rep would be due to wielding a large axe). While most of the fighters try and do different things mechanically (Robin is almost entirely a spellcaster for instance, while Corrin can turn into a dragon), that Chrom and Lucina were both moveset clones didn't help this perception.
Many other Nintendo franchise fans aren't happy additionally at how Fire Emblem gets blatant preferential treatment by Nintendo. While it is justified as them wanting to show off the new FE games in each Smash title, that Fire Emblem is all but guaranteed to get new Smash rep every time a new game releases has embittered fans of older franchises that Nintendo hasn't given as much love lately (especially F-Zero, Metroid, Golden Sun and more). Sakurai being an open Fire Emblem fan hasn't helped the perception of an inherent bias for FE, though this is usually countered by the low representation for the Kirby and Kid Icarus franchises despite Sakurai's own roles in them.
By Ultimate, a growing sentiment is that Fire Emblem is getting over-represented, as with the addition of Chrom it was now the third-most represented series in Smash after only Mario and Pokemon. Given FE's niche status in the West for most of this time, fans weren't very happy at this, partly for the aforementioned reason of wanting their own favorite franchises to get a new fighter (Metroid fans at least got a bone when Ridley joined the Ultimate roster and when Dark Samus became an Echo Fighter for Samus).

Ultimate's Fighter Pass 1: HOES MAD

Following Ultimate's launch, Nintendo released a season pass for five characters who would be added post-launch. Smash getting new fighters is notable not just because it means a new fighter and that franchise getting the prestige of saying it got into Smash, but because it means new music that can be used (unless you're Cloud) during matches. For the most part, the DLC fighters got really positive reactions due to the majority being unexpected third-party choices. Case in point, most players never saw it coming when during the Game Awards 2018, the first fighter would be revealed to be Joker from Persona 5. He'd be followed in 2019 by three more reveals: Dragon Quest's Hero, representing the more iconic protagonists in the legendary JRPG franchise, Banjo and Kazooie from the cult Microsoft series, and Terry Bogard from the SNK franchise (shout out to Sakurai's history lesson that's pretending to be a showcase for Terry, which also involves Sakurai's story of how they got 50 tracks from the SNK games into Smash)
Also Sans from Undertale got in. This unironically led to an increase in Mii Gunner mains.
Terry and Hero would generate some salt in the West due to perceived antiquity and lack of pedegree/mainstream appeal (Hero being "another anime sword boy" didn't help), leading to a mocking response of HOES MAD from Hero's fans especially, though Terry's got in on the fun thanks to the pun involving Terry's home series, Fatal Fury.
Thanks to the four characters seen thus far, the expectation was that Fighters Pass 1 would be made entirely of third party characters, and as January 2020 rolled around the expectations were high as to who would get in. Sora from Kingdom Hearts was a popular choice, alongside Geno from the Mario RPG series. Some dumbasses even wanted Tracer from Overwatch, partly thanks to Blizzard all but openly begging Nintendo for a Smash invite. The one with the most consistent support was Dante from the Devil May Cry series. And a few accidental coincidences boosted the idea of Dante getting in:

• Dante's first three games had been ported to the Switch during Fighter Pass 1, with Devil May Cry 3 releasing in February 2020 soon after the final character was announced.
  
• Brian Hanford, who played V in Devil May Cry 5, had a slip of the tongue where he talked about Dante in the context of Smash (“to be part of Marvel Vs Capcom, or Super Smash Bros., would be huge, which is what Dante is gonna be,”), leading many to believe Brian had leaked Dante as the fifth fighter.
  
• Dante was experiencing a large-scale renaissance in popularity thanks to DMC 5 launching in early 2019, leading to him being on everyone's minds when it came to him joining the roster. Adding in his experience in fighting games already thanks to the Marvel vs Capcom games, it seemed set in stone that Dante would join the hallowed halls of Smash.
  
• To hype up the final character, Sakurai posed with three fingers outstretched. DMC fans took this as a hint of Dante, given that DMC 3 would be coming soon to Switch.
  
• On the same day as the character reveal, Capcom had planned a DMC announcement (it turned out to be an announcement that the game would have a co-op mode for Dante and Vergil in Bloody Palace).
  

With expectations set high, everyone tuned in on January 16th 2020 to see the final Season 1 character... and it was Byleth, the player character of Three Houses.
Another fucking Fire Emblem rep. The internet took it well, as you'd expect. Dante's fans just resorted to sad memes and jokes about one of Byleth's alt skins being "close enough" to let them pretend Byleth was Dante.

Smash likes to date around, and Fire Emblem is that girl that he always goes back to.
Byleth Joins The Roster: The Salt Mines Floweth

Byleth's announcement generates some of the most negative reactions to a Smash fighter yet seen, boasting the largest like-dislike ratios of Ultimate's DLC, and only matched for disliked announcements across the entire franchise by Corrin.
A lot of people weren't happy at Byleth's inclusion, suffice to say, though like Terry and Hero the HOES MAD crowd came back for another go around. It didn't help how utterly predictable it was given it was a historical recreation of Corrin's inclusion in WiiU/3DS. While Byleth had been predicted, many expected the mechanical variance would be that Byleth would function similar to the Pokemon Trainer (who swaps between the Gen 1 Pokemon) in that Byleth would command Claude, Dimitri and Edlegard from the sidelines. Instead, Byleth had four weapons- three representing each of the House Leaders alongside their own custom whip-sword, the Sword of the Creator. That being said, at least Nintendo were somewhat self aware about it this time, given the reveal had supporting character Sothis mock Byleth for losing a fight by going "Too many swordsmen, were there?" as a way to reveal that Byleth's female variant would join the roster.
While Byleth did offer some mechanical variety from the other FE reps, some were disappointed that Byleth specifically was representing Three Houses, due to Byleth's personality not being one of their selling points. Perhaps it would have been more preferable to have one of the House Leaders instead represent the game, but given how any one being selected would have been seen as favoritism of the Leaders (and the arguments about said Leaders being quite vicious), Byleth was the safest choice, if perhaps the most predictable. Fans of Xenoblade 2 were also unhappy at clear bias on Sakurai's part, given he'd previously said Rex, the MC, was from too new a game to qualify for a roster slot in Ultimate. In comparrison, Sakurai admitted in his presentation of Byleth that he pestered the developers to get early access copies of Three Houses to get to plan out Byleth's moveset, which only helped the idea of Fire Emblem operating on different rules from other series.
Overall, Byleth was seen as a disappointing inclusion to wrap up the Fighters Pass, with the announcement honestly being more notable for the memes about the salt over the character themself. (My favorites were the ones about Joker adding yet another teacher to his harem) After the shock reveals from relatively niche series such as Persona and SNK, Byleth was generally felt to be an overwhelmingly safe option to close on. While Sakurai did announce Fighters Pass 2 in the same event, promising six more DLC characters for Ultimate, a lot of fans from different franchises were still let down given how unpredictable the first wave had been.

Fighters Pass 2 and the Byleth aftermath

Byleth would launch a few weeks later and the reception was largely "Yeah they're fine," after an initial launch of "Yeah you're fuckin' overtuned and overpowered." They got some people who main them, others swore off them, much like any other DLC character in a fighting game, and the salt gradually diminished.
In February of 2020, Sakurai would tacitly admit during a Famitsu article about Byleth's development that he was aware of the criticism about the addition, saying that he doesn't have as much power over roster choices as people like to believe (Byleth apparently snubbed a fighter he was much more enthusiastic about) but that he agreed that there were a few too many sword fighters and Fire Emblem representatives specifically in the game. Given Sakurai has said Smash will never have a roster as large as Ultimate again, it's likely some of Fire Emblem's representation will be cut down in future games as part of this culling.

That being said, I understand. First and foremost: there are too many Fire Emblem characters; and what’s more there are too many sword-users.

So far, three of the six planned characters for Fighter's Pass 2 have been released, with Min-Min from the Arms series coming first, Steve from Minecraft literally breaking Twitter (Steve's addition could be a post of its own with how much salt he generated) and the OG Anime Sword Boy, the One Winged Angel himself in Sephiroth being announced at the Game Awards 2020. We're still waiting for updates on when the fourth fighter will be revealed and who they may be, but regardless of who it is, there will always be a few mad hoes in the background.
Also Geno finally got into Smash!... As a Mii skin which led to the character's fanbase collectively reaching for a noose. These hoes weren't even that mad, it was mostly just sad.
Still. At least it's better than whatever the Walluigi mains are up to.
Thanks for reading.

Artist: Jessie Ware
Album What’s Your Pleasure?
Label: PMR Records
Release date: June 26th, 2020
Listen: Apple Music, Spotify, Youtube Music
popheads [FRESH ALBUM] Thread: Here

Early discography

English singer-songwriter Jessica Lois Ware (born October 15th, 1984), has already had a thriving career in music for about a decade. Jessie Ware started her career doing background singer gigs for artists like SBTRKT and DJ Joker. She's also a credited background vocalist on Florence and the Machine's excellent sophomore album Ceremonials, just to name a few of her early career feats.
Even if you are unfamiliar with her earlier work, you might've stumbled upon a track she's co-written or lent her vocals to. Apart from the already mentioned Ceremonials, she sings a beautiful chorus on "The Crying Game" from Nicki Minaj's 2014 album, The Pinkprint. She's also co-written the title-track of Haim's "Days Are Gone" album and Ed Sheeran's "New Man" from Divide.
As a result of her deciding to pursue a solo career, her debut album, Devotion, was released on August 12th, 2012 to critical acclaim, reaching the top ten of the UK album chart. Reviewers praised Jessie's soulful, warm vocals. It spawned singles such as "Wildest Moments", which remains a discography highlight if you ask me.
After touring Devotion, Jessie began writing her sophomore album Tough Love, which was released on October 6th, 2014. While she did not stray too far from the sound she established with her debut album it did spawn arguably her biggest chart hit to date. With writing credits from Ed Sheeran and Benny Blanco, "Say You Love Me", became her biggest song to date and is certified gold in the UK.
Her third studio album, Glasshouse, released on October 20th, 2017, was a slightly more upbeat affair than her first two albums, but that's not to say that melancholy she had become known for had been completely thrown out the window, as this was a deeply personal record, with her lyrics and vocals taking center stage. As opposed to Devotion and Tough Love, Glasshouse leaned more into adult-contemporary than the electronic r&b feel of the aforementioned albums. Glasshouse showed an even more mature side of Jessie as she navigated the highs and lows of all the life turns that come with marriage.

Album background

Following Glasshouse, which in some perspectives failed to meet the label's expectations in spite of its impressive list of co-writers and producers, Jessie largely shifted the focus to her podcast Table Manners. It quickly gained a dedicated follower-base due to the warm and oftentimes hilarious, chemistry between Jessie, her mom Lennie, and their impressive lineup of guests, the first couple seasons having guests such as Ed Sheeran, Sam Smith, and Alan Carr, to name but a few stars. In an interview with The Independent last year, she admitted to people being more familiar with her through the podcast than through her music, which she seems perfectly content with. She also admitted to the podcast giving her a new platform to be more open about her personal life, something that she had felt pressured of doing with her music, as was more than evident on Glasshouse.
For the recording of her fourth studio album What's Your Pleasure?, Jessie reunited with producer James Ford, who she had previously worked with on Tough Love, to create this new disco soundscape. With this album, Jessie felt less pressure to appeal to the greater music industry's expectations of her music, and the result is an album filled with nu-disco-tinged, front-to-end bops, dripped in glittery escapism flair. She emerges as a modern disco diva ready to serve bangers, let loose, and have fun. There are nods to classic disco outings, but Jessie and her collaborators have managed to create a new spin on the genre, something that is equal parts contemporary, timeless, and fully Jessie Ware.
What's Your Pleasure? was preceded by a couple of pre-release singles and had been in the works for about two years prior to the album's release. The sultry "Adore You" was aptly released on Valentine's Day back in 2019, followed by "Mirage (Don't Stop)" in November. In early 2020, singles "Spotlight" and "Save a Kiss" followed in quick succession and quickly built up hype for the album. Finally, the anthemic title track dropped days before the album's release. Initially scheduled for a June 5th release, it got pushed back a couple of weeks and was finally released into the world on June 26th, 2020.

Track-By-Track breakdown

Spotlight
It just so happens that the opening track of the album is also one of the undisputable highlights. What sets the album apart from your standard dance-pop fairs right from the start is the ethereal, cinematic, flair of "Spotlight". A dream intro sets the stage as you can almost imagine it being the beginning of the night. Even though it's a stark departure in tempo from her previous work, it's still very much a Jessie Ware song, never once sacrificing the mature songwriting and instantly recognizable vocals that she's become known for. Jessie's voice is almost whisper-like as she lustfully sings "I just wanna stay in the moonlight, this is our time in the spotlight." Jessie is inviting the listener to stay in the disco heaven for a minute and we'll happily oblige.

If only I could let you go
If only I could be alone
I just wanna stay in the moonlight
This is our time, in the spotlight

What’s Your Pleasure? (Official Video)
What’s Your Pleasure? (Dance Video)

Come on now,
Push, press, more, less,
Here together, what’s your pleasure?

Speaking to Glamour magazine last year, Jessie stated that she wanted this to be an album for people to have sex to. There's really no better song than the title track to make that statement clear as day. Evident from the lyrics above, taken from the pulsating, hypnotic chorus, this song is pure, fierce sex. The bassline is dirty and the lyrics are by far the most explicitly about sex on the entire album, but without making it too on the nose. This song is about a temptation that's too good to resist, Jessie is confident that they can make the most perfect love together, and she, sure enough, sounds utterly convincing and sensual.
Ooh La La
One of the characteristics of classic disco was, among other things, a killer bassline, which is a returning trait in the album, thankfully. And Ooh La La has a funky bassline to die for. In contrast to the first two songs, this one is more playful, as Jessie sings longingly and fantasizes all the things she and whoever she's singing about, could do together, with subtle innuendos referring to the joyride she's visualizing. Even though the song starts off relatively soft, it erupts into a full euphoric flurry of emotions during the outro, as she sings:

Drivin' fast, Drivin' fast, technicolor street lights
Cigarettes on the dash, we can have a sweet time
Baby where have you been all of my life?

Soul Control
Similar to Spotlight, this is another lustful track, albeit with a lot more energy to it. Cascading synths and a funky bassline swirl with relentless pace as Jessie sings about losing one's inhibitions with whoever you happen to come across. This is glittery disco goodness in all its glitz and glamour.

Let's get a little closer
Crash into me, please
Let's keep these wheels in motion
Tell me what you wanna be

Save A Kiss
This is a personal favorite of mine. Compared to some of the rest of the album, the production on this song is actually more streamlined, which gives the lyrics and gorgeous melodies time to really shine. It's utterly euphoric and easy to sing along to, yet there's that ever so slight hint of melancholy in the lyrics. The melodies of the verses blend beautifully into the soaring chorus which later sparks a post-chorus dance break. There are quite a few elements to it but it all works together seamlessly. I also love how the extended intro gives the production some more breathing room, it really adds to an already excellent song.

Save a kiss for me tonight
Wait for me, no compromise
Promise you, it won't be long
Just save a little bit of your lovin', baby

Adore You
This was the first taste of the album we got back in 2019. Adore You is a simple confession of love, a bit more subtle and subdued than the rest of the album. There's also a hint of the vulnerability and softness of her past work in her voice on this song. To me, it feels perfectly placed in the middle of the album as the mood changes ever so slightly.

I think I'm falling for you
For you
And I know that I adore you

In Your Eyes
Adding to the line of absolutely iconic songs titled In Your Eyes (look no further than to The Weeknd and Kylie Minogue), this is another grand cinematic piece, with a beautiful string arrangement that adds a brooding atmosphere to the song, while Jessie fires on all cylinders with her soulful vocals. Speaking to Zane Lowe, she said that "this is definitely the Bond-theme of the album.", and listening to it you can hardly disagree with that statement, as one can imagine it fitting perfectly during any given opening credit.

There were butterflies moving in the light
They were justified every single time
Every time you looked, they were justified

Step Into My Life
So by now that you're a little over halfway through the album, you're probably asking yourself how much juice it's got left as all the tracks have been pretty killer, right? Well, thankfully, the party shows no signs of stopping. Step Into My Life is another fun and groovy track. Jessie has had enough of waiting for some kind of confirmation as she desperately seeks intimacy.

You got my attention, no complications
I just wanna get to know ya
I don't wanna talk, no conversation
I'm tired of wantin' more, more of your love

Read My Lips
This is the one song on the album that I'd consider campy, it's very tongue-in-cheek with carefree energy. The lip smacks during the chorus are so much fun. This is very apt given the subject matter of getting the partner to open up and be a little more daring. Read her lips, she's literally telling whoever she's singing about to make the damned move. But she makes it clear that she's going to wait for the response no matter how long it takes, the background vocalists echoing her sentiment during the blissful outro:

(Don't you know I need you so?) I'm waiting for you all night
(Read my lips, I can't let go) If only you could read my mind, baby
(Don't you know I need you so?)
(Read my lips, I can't let go)
You and me were meant to be

Mirage (Don’t Stop)
With this song, Jessie is on a mission to make you dance, with a simple, repeated command to don't stop moving together. It's almost like at this stage of the album, she's entering the late-night phase so to speak. This is a surefire dancefloor-filler, with Jessie making references to dancing under the moonlight and getting swept away in the joyous moment of it all. I like to imagine myself potentially locking eyes with a stranger to the tune of this song. If I had to pick a least favorite track on the album, this would be it, but in an album as rich as this one, it's a ridiculously strong least favorite track I'd say.

Sometimes I see you in my dreams
You are the only fantasy I see

The Kill
Now correct me if I'm wrong, but based on what I've seen, I think it's safe to call this a fan favorite, and with good reason. This one is quite dark and foreboding, there's an urgency to it in the production, and once again, the strings add to the cinematic feel of the song, but this time the mood is considerably more sinister than anywhere else on the album. It's quite enigmatic, as the production sure is enough to be danceable, but the lyrics tell a whole different story. There layers upon layers to this song to pick apart. It's almost like it's taken straight from a movie scene where the camera pans out over a city skyline, and unsurprisingly that's exactly what is pictured in the music video.
If you haven't watched the music video (linked above) for this song you need to do yourself a favor and watch it right away as it perfectly encapsulates the emotions of the song. By far the best music video on a budget in recent memory for me. The perfect lighting, the cinematography, Jessie's delivery, I could gush on and on about it.

Tell me what you wanna know
And I'll tell you everything inside
I'll tell you that you are the one for me
Don't try to kill me with your love
Don't kill me with your love

Remember Where You Are
Given the quality of this album, it's seriously impressive that it maintains its standards all the way to the end. I can't think of a more fitting song to close the album with. Remember Where You Are is a sprawling epic that has a true sense of finality to it, it's like the end credits to a rich album journey. A heap of horns and strings complement the subdued bassline, while Jessie and her background vocalists' angelic voices sweep over you like a warm hug.
The song is about staying grounded even through the dark times, and she makes it clear right from the cathartic opening line, "the heart of the city is on fire", which she sings with all her passion. I don't think it's an understatement to say that it carries even more weight during these times of uncertainty and as such it comes off as an even more poignant, and grand, end to the album.

The heart of the city is on fire
Sun on the rise, the highs are gonna fall
But nothing is different in my arms
So darling, remember, remember
Where you are

Final Thoughts

If you've managed to read through all of this, thank you for reading! It was a joy to write about one of my favorite albums of last year. I really think Jessie and her collaborators managed to create something unique. At its core, the album is very much centered around escapism, that's what dance-pop is all about after all. But it's also expertly written, filled with emotion and personality. That's the greatest thing about it, I think. Even if it's dance-pop which could easily be written of as impersonal, she's managed to create a dance-pop album that's very much a Jessie Ware album in a new, exciting shape. The songs are all so polished and refined that it's hard to find something negative to say at all. She really showed that she's fully in charge with newfound confidence. I for one can't wait to hear what she does next.

Points of discussion

1. If you've listened to Jessie's past work, how do you feel about her move to dance-pop? Do you feel like it was a successful transition?
2. What's Your Pleasure? is filled with small production quirks and vocal standout moments. What are some of your favorite moments of the album, however big or small?
3. Jessie confirmed a couple of weeks ago that a deluxe edition is on the way! What would you like to hear from the deluxe tracks? Any collaborations you would like to hear?
4. What direction would you like to see Jessie take next with her music?

Artist: Grimes
Album: Miss Anthropocene (Deluxe | Revised | Revised Deluxe)
Label: 4AD
Tracklist and Lyrics: Genius
Release date: February 21, 2020
popheads [FRESH] thread: Here
Listen: Apple Music (Deluxe) | Spotify (Deluxe V1) | YouTube Music (Deluxe V1)
You know me as the girl who plays with fire,
But this is the song I wrote you in the dark ...
Madness, intellect, audacity?
Grimes, the stage name of Claire Boucher, is an electronic musician and multimedia artist from Vancouver, British Columbia, Canada. How ordinary and uncontroversial that makes her sound. As any Pophead surely knows by now, Grimes is far from either of those things.
Much of the lore behind Grimes' early career seems well-known by now to her fans: she attend McGill University in Montréal, Québec (a very prestigious school) where she had an interest in neuroscience and worked on her Russian, a language she had first picked up in childhood (she is of French and Ukrainian heritage, and her name means "clear (f.) butcher" in French, a fact she finds hilarious). She chose her stage name after hearing of grime music on her MySpace (which is still around), and listed her music as "grime" despite never having heard grime music before (she ended up liking it, by the way). She also goes by c, the physical constant for the speed of light, because she finds her name hard to pronounce (she has a slight speech impediment, as well as a lisp for the sound /s/, though she doesn't care about the latter).
Grimes learned to use recording software in university (Apple's GarageBand) and about music production from friends, and got involved with the music collective Lab Synthèse, which had a production space in a now-closed warehouse in Montréal and spawned the label Arbutus Records, which has since housed many Canadian indietronica acts. Grimes' first two albums were released on this label: Geidi Primes, a concept album about her favourite novel, the science fiction epic Dune; and Halfaxa, an ambient electronica album that has been described as gothic, both in 2010. Not expecting that anyone would hear her debut (it was first released as a run of 30 cassettes with hand-drawn covers by her), both albums were well-received by critics, to her surprise. All writing and almost all production was done on both by her alone.
Grimes' early work was linked to the "witch house" microgenre, an underground scene of electronic music that was gothic in both sound and aesthetic, and was briefly popular around the early 2010s. (This can be seen on the tracklist of Halfaxa with that scene's trademark use of arcane symbols in their titles.) In 2011, she released the split EP Darkbloom with fellow Canadian electronic musician D'Eon, with the first five tracks being by her. Notably, this EP had her first song to have a music video, the self-directed "Vanessa". Her breakthrough, though, was yet to come.
If you're looking for a dream girl, I'll never be your dream girl
Visions (2012), Grimes' first LP with her new label 4AD, won her widespread acclaim and made her a cultural phenomenon in her home country of Canada. The album gave a more accessible and poppy spin on her early mix of dark, ambient and psychedelic music, and is a bewitching, trance-like album to listen through. Although the first single from it was "Genesis" with a music video featuring Brooke Candy, she won acclaim for her song "Oblivion", written about her own experience with sexual assault and trauma afterward. During this time, Grimes' image became linked with the Manic Pixie Dream Girl archetype, the concept of "kawaii" (a Japanese aesthetic which roughly translates as "cuteness") and her waiflike appearance; as well as her reputation as an outspoken feminist.
Grimes has expressed dislike of being misinterpreted as a less serious musician during this time because of her turn towards a pop sound and aesthetic, as well as frustration at not being taken seriously as a woman music producer, still fairly uncommon in electronic music. Indeed the recording of Visions is a key part of Grimes lore: she made the album alone at her home in a matter of weeks, neither sleeping nor eating, and taking amphetamines to stay focused (she has alluded to possibly having ADHD before). [Author's note: Grimes has since disavowed the association of her music with drugs, saying that she has struggled with addiction in the past.]
Her next album came in 2015: the widely acclaimed Art Angels, which saw a turn towards an even poppier sound and moved away from the ambient and psychedelic feel of Visions towards classic synthpop and electronica. Art Angels was recorded again at her home, now in Los Angeles, and showed a mix of strong pop hooks with more intelligible lyrics that touched on themes of personal doubts, lost friendships, and her place in the music industry. [Because this album is most likely her best-known on Popheads, I will not discuss it in much depth].
Infamously, she was quoted in 2019 as calling the album a "piece of crap", a narrative she has refuted since, saying her comments were taken out of context. Despite her success, neither Visions nor Art Angels had any singles that charted highly even in her home country, but she gained a loyal cult following online. To accompany the album, she also released The Acid Reign Chronicles, a series of music videos by her and her best friend HANA).
How could one follow up an album that's been repeatedly called one's magnum opus? It would have to be something crazy, wouldn't it? Something that's provocative ... it gets the people going ...
This is the sound of the end of the world
Does anyone think global warming is a good thing? I love Grimes. I think she's a really interesting artist
We come to it at last: Miss Anthropocene, stylized at release as Miss_Anthrop0cene, Grimes' fifth studio LP and my pick for album of the year.

It’s called Miss_Anthropocene. It’s a concept album about the anthropomorphic Goddess of climate Change: A psychedelic, space-dwelling demon/ beauty-Queen who relishes the end of the world. She’s composed of Ivory and Oil - Grimes via Instagram

?

The way I figure it is that climate change sucks and no one wants to read about it because the only time you hear about it is when you’re getting guilted. I wanted to make climate change fun. Miss Anthropocene has got a Voldemort kind of vibe. She’s naked all the time and she’s made out of ivory and oil. It’s going to be super tight. [...] If I’m stuck being a villain, I want to pursue villainy artistically. If there’s nothing left to lose, that’s actually a really fun idea to me. I think it has freed me artistically. The best part of the movie is the Joker. Everyone loves the villain. Everyone fucking loves Thanos. Let’s make some Thanos art. (Source)

If you haven't heard this album or know anything about it yet, you might be thinking: Wait, what?
Miss Anthropocene is a concept album about the apocalypse. As Grimes said, she wants to make climate change fun. We're living in a new epoch, the Anthropocene, the age of humanity, so named because we now have the power as a species to alter our environment, or even destroy it. Some might find this disturbing. Grimes, however, finds it thrilling.

So my album’s about a modern demonology or a modern pantheon where every song is about a different way to suffer or a different way to die. If you think about it, god-making or god-designing just seems so fun. The idea of making the Goddess of Plastic seems so fun to me. - Grimes

As is common with Grimes: Is she serious? Is she trolling? Being edgy? When the news is full of natural disasters, species extinctions and dire warnings about a climate apocalypse, why would anyone want to make an album about how dying from climate change is awesome? Well, it should be said: Miss Anthropocene is not Grimes. She is a character, a personification of our times, and she is also (this is very key) a villain. This is, as Grimes has done before and shown a long-running interest in, a work of science fiction.
It would be absurd not to talk briefly about how our last year was dominated by the life-altering effects of COVID-19 and how life in quarantine has felt like the apocalypse to many. It's been hard on us, our mental health, our finances. This isn't a "quarantine album", and the album was mostly finished before the virus appeared in the news. Grimes did not predict it, but she ended up making the perfect soundtrack to our dire 2020 anyway and how powerless we felt to do anything about it. "You're gonna get sick, you don't know when", she sings. The threat was always looming whenever we went out, and when we stayed in we had little to do often but doomscroll through news articles about wildfires, protests against police brutality worldwide, a draining election cycle in America, take your pick. Last year was frankly a shitshow no one saw coming - though maybe they should have. Things just aligned right with this album being full of darker lyrical themes, and darker in sound than the bright-sounding Art Angels.
We had a taste of what the album would be like before it came out with the song "Pretty Dark" (video, a demo track released in 2019 that didn't make it onto the album. On this song, Grimes explores alternate characters, being a girl named "Dark", as a chance to escape from her Grimes persona. However, the concept of the album ended up being much more complex, with a whole pantheon of "new gods" that are fitting for our time, each song representing a different facet of the modern world. Here they are as listed on her website months before the album came out:

1. Goddess of climate crisis: Miss Anthropocene
2. Demon of addiction: "Delete Forever"
3. Goddess of ID and social media: War Nymph, her digital avatar
4. Demon of AI: "We Appreciate Power"
5. Goddess of gaming: "Violence"
6. Demon of political apathy: "My Name is Dark"
7. Goddess of simulation: "4ÆM"
8. Demon of ego death: "Before the Fever"
9. Goddess of digital lust: "IDORU"
10. Demon of sexual assault: "Darkseid"
11. Goddess of gender roles: "So Heavy I Fell Through the Earth"

Isn't this pretentious? Maybe. But it's optional: you don't need to know all of the album's lore to understand what Grimes is singing about on it. For those who wish to know the background and thought process behind the album in more detail, I highly recommend reading this interview with another uncontroversial Popheads fave, Lana Del Rey first, then delving into her Genius annotations. For now I'm going to give my own, somewhat subjective (!) takes on what each track is about.
Annihilation sounds so dope!

• "So Heavy I Fell Through the Earth" (Visualizer)

In 2020, Grimes became a mother for the first time with partner Elon Musk, having a child named X Æ A-Xii (the Roman numeral for 12); a breakdown of how they came up with this unusual name can be found here. Grimes and Musk met in 2018 on Twitter, bonding over an obscure philosophical reference (a thought experiment about the dangers of AI called Roko's Basilisk) and made their first public appearance together at the Met Gala that year. Because Musk is (I would argue) an even more controversial figure than Grimes is, I won't be talking about him otherwise, nor do I believe it's relevant to the album. However, this song does touches on her feelings about pregnancy and motherhood, having to (in her words) sacrifice her body to another being.
When Grimes announced her pregnancy in a rather cryptic Instagram post, there was some debate over whether she was pregnant herself at all (remember, she trolled the media in 2019 by claiming to have had an experimental eye surgery which makes zero biological sense). This was cleared up soon, however. On this song, Grimes reflects on being (as the saying goes) heavy with child, bringing new life into a world with an uncertain future. This entrancing song sets the tone for the rest of the album, as does its music video, which begins with a reference to the classic sci-fi film Blade Runner (a movie about rogue androids in Los Angeles that takes place in the far-off year of ... 2019, the year of the song's first release).

• "Darkseid" (Lyric video)

This song references the name of a powerful comic book supervillain, as well as Grimes' Playstation user ID, with online gaming being (her words) "where I go to kill people and stuff". The song features lyrics in Mandarin Chinese by Taiwanese rapper 潘PAN (Pan Wei-Ju), also known as Aristophanes, who had a feature on Art Angels' "Scream". A fan translation can be found here. Here Grimes develops upon her fascination with villains and death, while the lyrics by 潘PAN are hard to interpret literally, but paint a vivid picture of death and decay. The opening line feels quite fitting for a year where many of us sat at home all day being anxious (Unrest is in the soul / We don't move our bodies anymore ...) while the operatic backing vocals call to mind religion and medieval themes, another long-running interest of hers. However this is by far the most difficult song for me to connect with its "god" in concept, and I think its original concept was most likely just abandoned.

• "Delete Forever" (Video)

On this song, released only a couple of weeks before the album itself, Grimes surprised fans with a poignant acoustic ballad with influences from country music - not exactly the kind of genre she is known for doing. Taking the title from a prompt on her computer, Grimes wrote this song about the opioid crisis in North America, being saddened by the death of rapper Lil Peep, who had overdosed on fentanyl (a powerful opioid and dangerous street drug). As well, she touches on her own experiences with drug abuse (I did everything / More lines on a mirror than a sonnet) and being around drug culture in her youth, having lost many friends to drug addiction herself; she compares the experience of feeling euphoric on drugs to the myth of Icarus flying too close to the sun. Grimes describes this song as emotionally hard to perform for her, as is "Oblivion". In the video, she plays a queen overlooking a crumbling empire.

• "Violence" (Video)

Grimes brings up again her fascination with the history of warfare and weaponry over a club banger, produced by the late i_o (Garrett Lockhart) who sadly died in November of unknown causes. Described as a love song sung between the planet Earth and humanity that portrays a dysfunctional relationship between the two; in describing the concept behind the music video, Grimes also talks about digital violence as a modern addition to the physical violence of the past, which is fitting given its "god" is video games.
The video, filmed in the Vibiana cathedral in Los Angeles, features Grimes surrounded by women wielding swords and dance choreography inspired by Tiktok, with a cameo by HANA as the dead woman on the floor. Though Grimes didn't plan to put this song on the album, and the video was choreographed and filmed in a hurry, nevertheless she was pleased with the results. With its edgy and ironic concept (no, Grimes does not really love violence, nor does the Earth; she does collect swords though), as well as its excellent production, this is my own favourite song on the album.

• "4Æm" (Performance video)

Written for the long-delayed video game Cyberpunk 2077, in which Grimes plays an NPC named Lizzy Wizzy, this track has Grimes make use of her love of Bollywood films, sampling the soundtrack of the historical drama Bajirao Mastani. Grimes is well-known for her insomnia (see: the recording of Visions above), which is in turn known for its health effects (explaining the lyrics about getting sick). Here Grimes seems to portray being up all night in an ambivalent way. [Having stayed up all night many times, including to write this piece you are reading right now, I can confirm it only feels fun up to a point, after which it becomes exhausting.]
To me this sounds like great music to play in a futuristic city at night - Grimes is a big fan of the cyberpunk genre herself, which tends to feature this setting, as shown by her previous references to Blade Runner and Akira (an influence upon the video of "Delete Forever").

• "New Gods"

Here Grimes gets into the theme of the album as being inspired by the "gods" - secular replacements for religion - that underlie the concept of the album, the most important being the goddess of climate change (Miss A herself) but including addiction ("Delete Forever"), insomnia ("4Æm"), and more.

I was like, “Well, who are the new gods?” Because we have all this new stuff. We have plastic and pollution and plastic surgery and social media. The new gods sound sick. They sound like … like the Sailor Scouts, like these sick demons. - Grimes

Here Grimes also alludes to her image as gothic, describing herself as wearing "black attire, black eyeliner", fittingly for a bleak-sounding, pessimistic song. Being the slowest track on the album, it may be hard to get into, but it wouldn't be the same without it.

• "My Name Is Dark"

Grimes described her thoughts behind the making of this song in this ... interesting tweet. (I voted for "fighting Balrog", but it seems closer to the latter.) Her "nu metal song about insomnia" ended up being not quite either but does show some of the influence of industrial music on the album; she again brings up drug use, sleeplessness and her alter ego of "Dark" from the single "Pretty Dark".

It’s just about pretty obvious, like, paradise in hell, making the decision to be good or bad. The specter of death always haunting you. It was serious. - Grimes

Grimes depicts herself as jaded and nihilistic (The boys are such a bore / The girls are such a bore / I never trust the government and pray to God for sure, yeah) in the lyrics and alludes to mental illness and self-destructive urges with the opening lines about wishing for annihilation ("When you don’t care if you live or die, when you’re so depressed that you’re like, 'Whatever, fuck it'"). She also hints at her long history of controversies and misconceptions in the media (I'm not shy but I refuse to speak / Because I don't trust you to understand me). Grimes found the song very difficult to make, wanting it to sound "roaring" with its screaming vocals.

• "You'll Miss Me When I'm Not Around"

In one of her most melancholy-themed songs, here c. sings openly about suicide ideation, conceptualizing it as another demon of hers. She brings up various suicide methods and self-harm, and imagines herself in death as happy. Despite its morbid subject matter, this is a deceptively upbeat song musically. Although self-destruction and death are recurring themes on this theme, this is the one where she talks most about wanting to die herself.

• "Before the Fever"

First of all, that title is almost too on the nose for an album released in February 2020.
Here Grimes sings about hedonism in the first verse and uses an old joke as a metaphor for death (There are many ways in / But there's only one way out), referring to birth and death. She explains the title thus:

Grimes explained how she wanted "Before the Fever" to invoke the "literal feelings" of dying — the uncertainty, desperation, and bizarre tranquility presumably felt when one knows it's the end. "Fevers are just kind of scary, but a fever is also sort of poetically imbued with the idea of passion and stuff, too," she told him. "It's like it's a weirdly loaded word — scary, but compelling and beautiful." What's more terrifying and more beautiful than committing yourself to another person when everything could very well implode in your face? One could even call it romantic. (Source)

Even though it was written before the COVID-19 outbreak became serious, nevertheless the theme of this song could easily be called love in the time of coronavirus for the way it combines metaphors of illness with romance (cf. the analysis of "Violence").

• "IDORU"

By far the happiest-sounding song on the album, this seven-minute epic is also the longest, and much needed after the dark themes that pervade much of it. Beginning with what sounds like birdsong, it's a fun, cute, lighthearted ditty that gives a bit of much-needed hope to the album (I wanna play a beautiful game / Even though we're gonna lose / But I adore you). Maybe we're all going to die and humanity will go extinct; maybe not. If that's going to happen, can't we have some fun anyway?
As an aside, the title is a neat pun on the phrase "I adore you" but also seems to be referencing the novel Idoru ("idols") by famed cyberpunk author William Gibson, in turn about the Japanese concept of "idols", a unique kind of celebrity.
There has been fan speculation over who, if anyone, the song may be about; Grimes alluded to its meaning on a livestream with HANA but did not say in the end. My own take is that it could just as well be about the Earth itself.
These are all ten of the tracks on the standard edition of Miss Anthropocene; on the deluxe version(s) there are five bonus tracks, four of which are alternate mixes of other songs on the standard edition that differ mainly in length ("So Heavy I Fell Through the Earth", "Violence", "My Name is Dark" and "IDORU"). These seem to have been done to make the longer tracks more suitable for playlists, explaining the name "algorithm mix" for them. As well, there is one more: the original WAP.

• "We Appreciate Power" (Video)

First of all: what a fucking BANGER.
"We Appreciate Power" is a bonus track that was released as a single in 2018. It was originally meant to feature vocals by Poppy, who had featured Grimes on her own 2018 album Am I a Girl? but after a feud between the two, she was replaced with HANA. Musically, it is influenced heavily by nu-metal, it blends crunchy distorted guitars and loud rock drums with an awesome electronic drop. Grimes' and HANA's vocals trade between verses and choruses and blend so well it is hard to tell which part is whose upon first listen. This song was due to have a larger-budget music video, but ended up getting a bare-bones video instead, which is still a very fun watch with its cyberpunk visuals.
Lyrically, it was inspired by a North Korean girl group who make propaganda music for the state, as well as Grimes' fascination with the concept of an AI dictatorship. "We Appreciate Power" touches on common cyberpunk themes like mind uploading, transhumanism and simulated reality. The song portrays AI rule as something desirable yet frightening, punctuating the lyrics with unsettling shrieks and ending the song with Grimes chanting "Submit" repeatedly. Despite its tongue-in-cheek nature, the song's lyrics led to a minor controversy: for her speculation of AI replacing humans, musicians Zola Jesus and Devon Welsh called her a "silicon fascist" and they got into a spat on Twitter that seems to be resolved, with Grimes acknowledging Zola made some good points. As for the prospect of an AI takeover: it's frankly a terrifying thought, but at least we'd have jams like this.
Now is the time to burn twice as bright and half as long. Sincerely, Miss Anthropocene
This writeup is dedicated to all those cyberpunks who fight against injustice and corruption every day of their lives! (DJ mix)
Thanks so much for letting me do this writeup, Popheads - and thank you if you made it to the end. I know there is a lot here, but Grimes is a longtime favourite artist of mine and I had a lot to say. I hope I've been reasonably balanced here and not come off as an apologist stan; I am well aware Grimes can be "messy" or a "problematic fave". However, I've tried to explain the best I can what this album is really about, give my thoughts, and explain why I think it's one of the albums of the year. As well, if I said anything factually wrong, please let me know; I tried my best to source everything and get things right.

Questions for the culture:

• [Voice of Anthony Fantano] What did you think of the album? Did you love it? Did you hate it?
• The album was infamously leaked months before its release. (I didn't listen to the leak.) Did you listen to it or not, and do you think it may have affected fan reception to the album?
• A big problem with concept albums is that they often have an elaborate concept that doesn't come across well in the lyrics. What do you think of Grimes' concept for this album and did she succeed at it? Do you have different readings of the lyrics than what I wrote?
• How would you say this album holds up against her others? Was the darker tonal shift a good thing? Would you have liked her to make a more upbeat or poppy album?
• How would you rank it this among the year's albums? Were they better on average, worse, etc.?

Feel free to ask me any other questions, bring up other topics as you like and I will respond to everyone. (I just have one request though: please for the love of god do not bring up Grimes' partner or child; I think it's messy and like I said, not very relevant to the album anyway.) Any other topic, no matter how "spicy", is fair game though. Just be nice.
Hope reading this was fun! We have more AOTY posts every day for the rest of the month, so be sure to check those out too.
WE APPRECIATE POPHEADS
- vayyiqra

Hey new username, formerly littlejohn04
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• Alex Cross (vudu or iTunes)
• Alien (hd MA or 4k iTunes)
• Alien Covenant (MA HD or iTunes 4k)
• Allegiant (vudu hd or iTunes 4k)
• Allied (iTunes 4k)
• Aloha (MA)
• Annihilation (vudu hd or iTunes 4k)
• Alpha (MA)
• Alpha 4k (MA Sony pass)
• Alvin and the Chipmunks: The Road Trip (MA HD or iTunes 4k)
• Amazing spiderman (MA)
• Amazing spiderman 2 (MA)
• American made (MA)
• American reunion unrated (MA or iTunes)
• American Sniper (MA)
• Anchorman 2 (vudu or iTunes)
• American Ultra (vudu)
• Anger Management (MA Sony pass)
• Annabelle comes home (MA)
• Annihilation ( iTunes 4k)
• Apocalypse now 4k vudu or 4k iTunes
• Aquaman (MA)
• Argo (MA)
• Arrival (HD vudu or iTunes 4k)
• Assassins Creed (MA HD or iTunes 4k)
• The Artist (MA)
• Atomic Blonde (vudu/MA HD or iTunes 4k)
• Bad Boys (MA)
• Bad boys for life (MA HD or MA 4k)
• Bad Grandpa (vudu or iTunes)
• Bad Moms (itunes)
• Bad words (itunes)
• Batman v superman (redeems both theatrical and ultimate) (MA)
• Batman the Dark Knight Returns Part 1 (MA)
• Batman the Dark Knight Returns Part 2 (MA)
• Batman Hush (MA)
• Batman ninja (MA)
• Batman soul of the dragon (MA 4k)
• Beautiful creatures (MA)
• A Beautiful day in the neighborhood (4k MA or gp)
• Ben Hur (vudu)
• Best Man Holiday (vudu or MA)
• The Big Short (iTunes or vudu)
• Birdman (MA)
• The Birds (MA HD or iTunes 4k)
• Birds of prey (MA)
• Black Mass (MA)
• The Blindside (MA)
• Bloodshot (MA)
• Bombshell (vudu 4k or itunes 4k)
• Book of Eli (MA)
• The book of life (MA)
• Boss Baby (MA)
• The Bourne Identity (vudu or iTunes 4k)
• The Bourne Legacy 4k MA or hd MA
• Boyhood (vudu or itunes)
• the breakfast club (MA or itunes)
• Bride of Frankenstein (MA or iTunes)
• Bridesmaids (iTunes)
• Bumblebee (vudu hd or iTunes 4k)
• Cabin in the woods (vudu hd or iTunes 4k)
• The Campaign (MA)
• Captain Phillips (MA)
• Captain Underpants (MA)
• Chappie (MA)
• Cloud Atlas (MA)
• Cloudy with a chance of meatballs (MA)
• Clueless (vudu or iTunes)
• Colombiana unrated (MA)
• The conjuring (MA hd or 4k gp?)
• Contagion (MA)
• Coming to America (hd vudu or 4k iTunes)
• Courageous (MA)
• Cowboys & aliens (iTunes ->MA)
• Crawl ( iTunes 4k)
• Crazy Stupid Love (MA)
• The Croods (MA)
• Daddys home (vudu hd or itunes 4k)
• Daddy's Home 2 (vudu)
• Dark City (MA)
• The Dark Knight Rises (MA HD or MA 4k)
• Dark Shadows (MA)
• The dark tower (MA HD or 4k MA)
• Dawn of the Planet of the Apes (vudu hd or iTunes 4k)
• Days of thunder (vudu hd or iTunes 4k)
• The dead don't die (MA)
• Deadpool (HD MA or 4k iTunes)
• Deadpool 2 (MA)
• Dear White People (vudu)
• Despicable me 2 (itunes 4k)
• Detective Pikachu (CA gp ports to MA)
• Die Hard 5 (foxredeem choices)
• Divergent (vudu hd or iTunes 4k)
• Django Unchained (vudu)
• Dolphin Tale (MA)
• Dredd (vudu hd or iTunes 4k)
• Dr Suess the Lorax (MA)
• Dracula Untold (vudu or iTunes 4k)
• Draft Day ( vudu or iTunes)
• Dragged across concrete (vudu 4k or iTunes 4k)
• The Duff (vudu or iTunes)
• Edge of Tomorrow, LIVE.DIE.REPEAT. (MA)
• Elysium (MA)
• Endless Love
• Ender's game (vudu hd or iTunes 4k)
• Epic (MA)
• The equalizer (MA)
• Escape plan (vdludu hd or iTunes 4k)
• E. T. (ITUNES 4k or MA HD)
• Ex Machina (vudu)
• Expendables 3 unrated (iTunes)
• Extremely Close and Incredibly Loud (MA)
• everest (MA HD or iTunes 4k)**
• Fantastic beasts and where to find them 4k MA
• Fast & furious 1 (HD vudu or itunes 4k)
• Fast & furious 2 (HD vudu or itunes 4k)
• Fast & furious 3 (HD vudu or itunes 4k)
• Fast & furious 4 (HD vudu or itunes 4k)
• Fast & furious 5 (HD vudu or iTunes hd)
• Fast & furious 6 (HD vudu, itunes 4k, 4k MA)
• Fast & furious 7 (HD vudu or itunes 4k)
• Fast & furious 8 (HD vudu, iTunes 4k, 4k MA)
• the fault in our stars (MA HD or iTunes 4k)
• Fifty Shades of Grey (MA HD or iTunes 4k)
• Fifty Shades Darker (iTunes 4k)
• The Fighter (vudu or iTunes)
• The Five Year Engagement (iTunes)
• Flight (iTunes)
• Footloose (vudu or iTunes)
• Ford vs Ferrari (4k MA)
• Forgetting Sarah Marshall (itunes)
• Fright Night 2 (MA)
• fury (MA)
• Gangster Squad (MA)
• Gemini Man (vudu 4k or iTunes 4k)
• The Gentlemen (4k iTunes)
• Get Smart (MA) (Will trade this for literally anything)
• Get Out (vudu hd)
• Ghost rider spirit of vengeance (MA)
• A Ghost Story (vudu)
• Ghostbusters answer the call theatrical + ext. (MA)
• Gifted (MA)
• Girls Trip (vudu or iTunes)
• God's Not Dead 2 (vudu or iTunes)
• Godzilla (2014)
• Godzilla 1998 4k MA
• Gold (vudu)
• Gone Girl (UK gp or MA HD or iTunes 4k)
• Gravity (MA)
• Green Lantern & Green Lantern Emerald Knights (MA)
• The Great Gatsby (MA)
• The Grey (iTunes or MA)
• Hail, Caesar (MA)
• Hall Pass (MA)
• Halloween (4k MA)
• The Hangover Part 2 (MA)
• The Hangover Part 3 (MA)
• Hansel & Gretel (vudu or iTunes)
• Happy Feet 2 (MA)
• Harold & Kumar Xmas (MA)
• Harry Potter 6 Half Blood Prince (MA)
• Harry Potter 7 part 1 Deathly Hallows (MA)
• Harry Potter 7 part 2 Deathly Hallows (MA)
• the heat (MA)
• Heaven is for Real (MA)
• Hellboy 2019(4k vudu or iTunes 4k)
• Her (MA)
• Hercules (vudu hd or iTunes 4k)
• Hereditary 4k @ fandango now or vudu hd
• Hidden figures (MA HD or iTunes 4k)
• Hit and run (iTunes)
• Hitman agent 47 (MA HD or iTunes 4k)
• The Hobbit Trilogy UK code
• The Hobbit: an unexpected Journey (theatrical) (MA)
• The Hobbit: an unexpected Journey (extended) (MA)
• The Hobbit: The Desolation of Smaug (Theatrical) (MA)
• Hobbs & Shaw (MA)
• Holiday Inn ( iTunes)
• **Home Alone (MA HD or iTunes 4k)
• Hop (vudu or iTunes)
• Horrible Bosses (MA)
• Horrible Bosses 2 (MA)
• Hotel Transylvania (MA)
• How to be single (MA)
• How to train your dragon 2 (MA)
• Hugo (vudu or iTunes)
• The Hunger Games (vudu or iTunes 4k)
• Hunger games catching fire (vudu/iTunes 4k)
• The Hunger Games: Mocking Jay Part 1 (vudu/iTunes 4k)
• The Hunger Games Mockingjay Part 2 (itunes 4k)
• Huntsman Winters War (MA)
• I am legend (MA)
• I, Frankenstein ( iTunes 4k, vudu hd)
• Ice Age Continental Drift (MA)
• Identity Thief (itunes)
• Ides of March (MA)
• Inception (MA)
• The Incredible Burt Wonderstone (MA)
• Independence Day resurgence (MA HD or iTunes 4k)
• Insidious the last key (MA)
• Insurgent (vudu or iTunes 4k)
• Interstellar (vudu hd)
• The Invisible Man (MA 4k)
• It remake (MA)
• J. Edgar (MA)
• Jackass 3 (vudu)
• Jack Ryan Shadow Recruit (vudu hd or iTunes 4k)
• Jack the Giant Slayer (MA)
• Jason Bourne (vudu hd or iTunes 4k)
• Jaws (4k MA or iTunes 4k)
• Joker 4k MA
• John wick (vudu hd or iTunes 4k)
• John Wick 2 (vudu hd or iTunes 4k)
• Journey 2: The Mysterious Island (MA)
• Joyful noise (MA)
• Jumanji welcome to the jungle (MA)
• Jumanji the next level (MA)
• Jurassic Park (MA HD or iTunes 4k)
• **Jurassic Park the lost world (MA HD or iTunes 4k)
• Jurassic Park 3 (MA)
• Jurassic World (MA HD or iTunes 4k )
• Justice League (MA)
• Justice League Dark 4k @MA
• Justice league doom (MA)
• Justice Leage gods and monsters (MA)
• Justice Leage throne of Atlantis (MA)
• Justice league vs bizzaro league (MA)
• Justice league war (MA)
• Kin (hd vudu or 4k iTunes)
• King Kong 2005 ( MA 4k or iTunes 4k)
• The king of Staten Island (MA)
• Kingsman The Golden circle (MA HD or 4k iTunes)
• Knives out (4k vudu or iTunes)
• Kung fu panda 3 (MA)
• La LA land (vudu 4k or iTunes 4k)
• Lara Croft Tomb Raider 4k vudu or 4k iTunes
• Lego Movie (MA 4k or hd)
• Lego movie 2 (MA)
• Lego Batman (MA)
• Les Miserables (MA or iTunes)
• let's be cops (HD MA or iTunes 4k)
• Life (MA)
• Life of pi (4k iTunes or hd MA)
• The Lincoln Lawyer (vudu hd or iTunes SD)
• Logan (MA HD or iTunes 4k)
• London Has fallen (vudu or iTunes)
• Lone Survivor (vudu or itunes 4k)
• The Longest Ride (MA HD or iTunes 4k)
• Love actually (iTunes)
• Love and monsters (4k iTunes or hd vudu)
• Lucy (MA or iTunes 4k)
• The Lucky One
• Magic Mike (MA)
• Madagascar 3
• Mad Max Fury Road 4k (MA)
• Magnificent seven (vudu)
• Mama (itunes)
• Mamma Mia 2 movie collection (MA)
• mamma Mia 2 here we go again (MA)
• The man with the iron fists (iTunes->MA)
• Man of Steel (MA)
• The man from UNCLE (CA gp will port to MA or MA)
• the Meg (MA or gp)
• Men in black 3 (MA)
• Midnight Special (MA)
• midway (itunes 4k or vudu 4k or gp)
• Mike and Dave need wedding dates (hd MA)
• mile 22 (itunes)
• Million ways to die in the west (itunes)
• Minions (vudu or iTunes 4k)
• Mission Impossible 1 ( iTunes 4k)
• Mission Impossible 2 ( iTunes 4k)
• Mission Impossible 3 ( iTunes 4k)
• Mission Impossible 4 (vudu HD or iTunes 4k)
• Mission Impossible 5 (vudu hd or iTunes 4k)
• Mission Impossible 6 (vudu HD or iTunes 4k)
• Miss Peregrines school for peculiar children (MA HD or iTunes 4k)
• Moneyball (MA)
• The Monuments Men (MA)
• Monty python and the holy grail (vudu)
• Mordtecai (vudu)
• Mortal Kombat Scorpions revenge 4k (MA)
• Mortal Instruments city of bones (MA)
• the Mountain between us (MA HD or iTunes 4k)
• Mud (vudu)
• the mummy 2 (MA)
• Murder on the orient express (MA)
• My Big Fat Greek Wedding 2 (iTunes)
• Neighbors (iTunes or vudu )
• New Mutants (gp)
• Noah (vudu hd or iTunes 4k)
• Norm of the North (vudu)
• Now You See Me (vudu or iTunes)
• Oblivion (MA or 4k iTunes)
• Olympus has fallen (MA)
• Once upon a time in Hollywood (CA gp->MA or MA hd)
• Overboard 2018 (vudu or iTunes)
• Pacific Rim (MA)
• Pacific rim uprising (4k MA)
• Pain & Gain ( iTunes)
• Paper Towns (hd ma or iTunes 4k)
• Paranormal activity (vudu or iTunes)
• Paranormal activity 2 (vudu or iTunes)
• paranormal activity 3 (vudu)
• paranormal activity the marked ones (itunes)
• Paranormal Activity Ghost Dimention (itunes)
• Parasite (MA)
• Parker (MA)
• Passengers (MA)
• Patriots day (vudu hd or iTunes 4k)
• Paul (itunes)
• The peanuts movie (MA HD or iTunes 4k)
• Percy Jackson 2 (MA)
• The perfect guy (MA)
• Perks of being a wallflower (vudu or iTunes)
• Pet Semetary 1989 (itunes 4k)
• pitch perfect (vudu or iTunes 4k)
• Pitch Perfect 2 (vudu or iTunes 4k)
• Pitch Perfect 3(ma)
• Predator 2018 (MA)
• Premium Rush (MA)
• Prisoners (MA)
• Prometheus HD (MA)
• Promised land (itunes)
• Psycho (MA)
• The Purge (vudu hd or iTunes 4k)
• The Purge Anarchy (vudu hd or iTunes 4k)
• Rambo last blood (vudu hd or iTunes 4k)
• Rango (vudu)
• Rear Window ( iTunes 4k)
• Red 2 (vudu or iTunes 4k)
• red dawn (SD iTunes)
• Red Sparrow (MA)
• The revenant (MA HD or iTunes 4k)
• Riddick directors cut (MA HD or iTunes 4k)
• Ride Along 2 (iTunes)
• Rings (vudu or iTunes 4k)
• Rio 2 (MA)
• R.I.P.D. (MA or iTunes)
• Rise of the guardians (vudu or iTunes)
• Robocop 2014 (vudu)
• Robots (MA)
• Rocketman (vudu hd or iTunes 4k)
• Rock of Ages (MA)
• Room (vudu)
• Run All Night (MA)
• the rhythm section (vudu hd or iTunes 4k)
• Saban's power rangers (iTunes 4k)
• Safe (vudu)
• Safe house (itunes)
• San Andreas 4k MA
• Sausage Party (MA)
• Saving Private Ryan (hd vudu or 4k iTunes)
• Saw 7 movie collection (vudu)
• **Scary stories to tell in the dark (vudu 4k or iTunes 4k)
• Schindlers list (MA HD, 4k or iTunes 4k)
• Scoob (MA)
• Scream (vudu or iTunes)
• secret in their eyes (MA)
• Secret Life Of Pets (vudu/MA or iTunes 4k)
• Secret life of Walter Mitty (MA)
• serenity (MA hd or iTunes 4k)
• Sex and The City (MA) (will trade this for literally anything)
• Shaft 2019 (MA)
• The Shallows (MA)
• Shawn the sheep (vudu)
• Sherlock Gnomes (vudu hd or iTunes 4k)
• Sherlock Holmes (MA)
• Sherlock Holmes Game of Shadows (MA)
• The Shack (iTunes or vudu)
• Shaun of the dead (iTunes 4k)
• Sicario (vudu or 4k itunes)
• Silver linings playbook (vudu)
• Sing (vudu or iTunes 4k)
• Sinister ( vudu or iTunes)
• Sixteen Candles (vudu)
• Skyfall (vudu/Gp hd or ITunes SD )
• Slapshot (MA)
• Slenderman 4k MA (Sony pass)
• Snowhite and the Huntsman (vudu hd or iTunes 4k)
• Smurfs 2 (MA)
• Smurfs Lost Village (MA)
• Snitch (itunes 4k)
• Snowden (MA or iTunes)
• Son of Batman (MA)
• Spartacus (4k MA)
• Speed Racer (MA) (Will trade this for literally anything)
• Spiderman Far From Home 4k (MA)
• Spiderman Homecoming (MA)
• Split ( MA hd or iTunes 4k)
• the spongebob movie sponge out of water (itunes)
• The stand up guys (vudu)
• The Star (MA hd or 4k Sony pass)
• Star Trek (itunes 4k)
• Star trek into darkness (vudu or iTunes 4k)
• Star Trek beyond (vudu hd, vudu 4k or iTunes 4k)
• Storks (MA)
• Suicide squad redeems theatrical & extended (MA)
• Super 8 (vudu or iTunes)
• superman Red son (MA)
• Taken 2 (MA)
• Tag (MA)
• Tammy (MA)
• Ted (unrated) (MA)
• Teenage Mutant Ninja Turtles 2014 (vudu hd or iTunes 4k)
• Teen titans judas contract (ma)
• Tenet (MA hd or 4k)
• Terminator dark fate ( iTunes 4k)
• Texas chainsaw 2013 (vudu or iTunes)
• This is 40 (MA or iTunes)
• Ted unrated (vudu or iTunes)
• Ted 2 unrated (MA or iTunes)
• Thunderstruck (MA)
• to kill a mocking bird (MA or iTunes)
• Total Recall 2012 (extended & theatrical)
• Total Recall old (4k vudu or iTunes)
• Trainwreck (itunes)
• Transcendence (MA)
• Transformers 2 (vudu)
• Transformers 4 age of extinction (vudu hd or iTunes 4k)
• Transformers dark of the moon (vudu hd)
• Transformers the last knight (vudu hd or iTunes 4k)
• Triple 9 (MA)
• Trolls (MA)
• Trolls world tour 4k MA
• True Grit (vudu or iTunes)
• Twilight breaking dawn part 2 (vudu or iTunes 4k)
• Unbroken (iTunes)
• Uncut Gems (vudu, gp, fn)
• Underworld Awakening (MA)
• Us ( MA 4k)
• War for the planet of the Apes (MA HD or iTunes 4k)
• War Room (MA)
• Warm bodies (vudu hd or iTunes 4k)
• The Watch (MA)
• Watchmen ultimate cut (4k MA)
• the way back (MA)
• We're The Millers (MA)
• White house down (MA)
• Wonder Woman (MA)
• The World's End (4k iTunes)
• World War z (vudu or iTunes)
• Xmen Apocalypse (MA HD or iTunes 4k)
• Xxx return of Xander cage (vudu hd or iTunes 4k)
• Zero Dark thirty (MA)
• Sony movie pass

​
**Standard Definition Movies*\*

• 21 jump street
• 22 jump street
• Alex Cross
• Annie 2012
• call me by your name
• Divergent
• Ex Machina
• Fury
• the homesman (vudu)
• Insidious 2
• Men in Black 3
• Mud
• Now you see me
• Red 2
• Sex tape
• Sparkle (MA)
• Spiderman Far From Home (4x)
• Spiderman into the spiderverse
• Think like a man

**Itunes SD/xml *\*

• Abraham Lincoln vampire hunter
• avengers
• back to the future
• back to the future 2
• back to the future 3
• the bank job
• black swan
• Broken City
• Captain America First Avenger
• Chronicle
• Despicable Me
• diary of a wimpy kid 3 dog days
• die hard 5
• due date
• epic
• Family guy it's a trap
• Fast And Furious
• Fast And Furious Tokyo Drift
• Green zone
• the heat
• ice age
• Inglorious Basterds
• iron man 2
• Jennifer's body
• jumper
• kung fu panda 2
• life of pi
• Mamma Mia!
• Monsters Inc
• the Muppets
• parental guidance
• Rio
• percy Jackson sea of monsters
• percy jackson the lightning thief
• Prometheus
• the proposal
• Puss in Boots
• red dawn remake
• rio
• Skyfall
• The Fast And The Furious
• The Hangover
• the heat
• the town
• tron legacy
• walking with dinosaurs
• Xmen First Class
• Xmen the wolverine

TV shows*

• ballers season 2 gp or vudu
• Ballers season 3 gp or vudu
• ballers season 4 gp or vudu
• Band Of Brothers (gp, vudu, iTunes)
• Barry season 1 gp vudu or iTunes
• Batman the animated series (vudu)
• Breaking Bad Season 5 vudu
• Breaking bad the final season vudu
• Fringe Season 5 vudu
• Game of thrones seasons 1, 2, 3, 7 (individual codes)
• girls season 1 gp or vudu
• girls season 2 gp or vudu
• House of cards season 2 vudu
• The newsroom season 2 gp
• Rick & morty Season 3 vudu
• Shameless season 4 vudu
• Supernatural Season 10 Itunes
• True Detective season 3 iTunes, gp or vudu
• Veep final season (vudu)
• Wizard of Lies (itunes, gp)
• The Young Pope (itunes, vudu)

Screen passes list
https://www.reddit.com/usedigital4kcollectocomments/hiq066/screen_passes/?utm_medium=android_app&utm_source=share
**REQUESTING*\*
New releases 4k preferred Itunes preferred if not MA

• Tremors 6 movie bundle
• Afew good men 4k
• me earl & the dying girl
• dark skies
• Ice age meltdown
• Ice age dawn of the dinosaurs
• Ice age great eggscapade
• a24 stuff
• Charlie brown holiday specials
• Paddington 1
• spooky buddies
• Mirror mirror
• Harry Potter 4k set

Lower priority * Monsters Inc MA * Ratatouille MA * Bugs life MA * Sword in the stone MA