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The second installment of my "Yes, No, Maybe So" slate of predictions, where I lay out my wide pool of contenders and weigh each of their pros and cons. My first entry for the Best Picture field was received well enough, so I figured I'd keep going. I hope these are fun to parse through and prove useful when you make your own predictions.
I'm sure I'm leaving out some viable contenders, but these are the 20 names that stood out to me the most while surveying the field:

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

ANORA (Neon) Mikey Madison (No previous nominations; 25-years-old) Role: Anora, a Brooklyn sex worker who seizes her shot at marrying into royalty. Yes: She's carved out a nice reputation as a fearless actor. Baker is on a steady roll of mounting acclaim, and this project could really uncork her as a force of nature. No: Mikey goes for it in every role, but she's not everybody's cup of tea. Her style might be too eccentric for the median voter. Simon Rex can attest that knocking a Sean Baker leading role out of park is more useful for indie cred than Academy gold. Maybe So: If the movie nabs a big honor at Cannes -- Best Actress, perhaps? -- she'll definitely be in the conversation.
BLITZ (Apple Original Films) Saoirse Ronan (Four previous nominations; 30-years-old) Role: Unspecified, but presumably a young woman trying to survive the London Blitz. Yes: She's broken records by racking up nominations before even turning 30; a win feels more life a matter of "when" than "if." And what could be a more prime opportunity than starring in a Steve McQueen film that looks like a frontrunner on paper? No: The parameters of her role are still unclear. She might be more of a supporting player than everyone is presuming, and it's possible she doesn't even have the standout part among the cast. Maybe So: It doesn't look like The Outrun is going far in any awards conversation, but it was a very recent reminder of how much she can elevate a movie that otherwise wouldn't drum up hullabaloo. And if Blitz is strong enough, she could ride the wave on the strength of her reputation even if the role isn't a standout.
CHALLENGERS (Amazon MGM Studios) Zendaya (No previous nominations; 27-years-old) Role: Tashi Donaldson, a prodigy tennis player who becomes embroiled in a throuple with two other hot shots. Yes: She's having a helluva 2024, dominating springtime with Dune: Part Two and Challengers. She gets to be complicated, driven and highly physical in a star vehicle that worships the ground she walks on. Glowing reviews and an adult film that makes great use of her star power. No: Early release, and credit to her is heavily balanced with Faist and O'Connor (much to the movie's artistic benefit). Can she weather months of competition and short memories? Maybe So: When you've reached the level of superstardom that Zendaya has, sometimes the Academy wants to welcome you to the club at the first opportunity. When your vehicle is this good, admiration and affection can grow instead of recede over the year.
EMMANUELLE (Neon) Noémie Merlant (No previous nominations; 35-years-old) Role: Emmanuelle, a young woman following her muse through a series of erotic adventures. Yes: Merlant is a star in France and is recognizable to Hollywood thanks to her performance in Portrait of a Lady on Fire. She's pairing up with the promising Audrey Diwan. She could have a similar trajectory as Sandra Hüller last year as a respected European actor getting their crossover moment. No: A "series of erotic adventures" isn't as dramatically potent as "did this mercurial author murder her husband?", you know what I mean? The movie might be a tough sell to Hollywood, even if it's critically respected. Maybe So: The film isn't playing at Cannes, but if it makes a splash during the fall festivals then she could be in play with an increasingly international Academy.
THE FIRE INSIDE (Amazon MGM Studios) Ryan Destiny (No previous nominations; 29-years-old) Role: Claressa 'T-Rex' Shields, a boxer from Flint, Michigan who trained to become the first woman in her country's history to win an Olympic gold medal in the sport. Yes: Best known as one of the stars of the Fox series Star, Destiny could be one of the big breakouts of the year. A physically demanding portrayal of a real-life sports star in an inspirational true story could slingshot her into stardom, capped off with an Oscar nomination. No: She's not particularly well-known. Directorial debuts by cinematographers have a cursed history. The rumored release date is in August -- it might be a pure commercial play. Maybe So: Even if the movie isn't in the awards conversation, it could go a long way in elevating her for future consideration.
HARD TRUTHS (Bleecker Street Media) Marianne Jean-Baptiste (One previous nominations; 57-years-old) Role: Unspecified, but presumably the focus of the movie's exploration of the contemporary world. Yes: Reuniting with Leigh since their fruitful collaboration on Secrets & Lies, which nabbed her an Oscar nomination. It'd be great if they make magic again and are rewarded for it. No: Bleecker Street is a minor league campaigner. It's been nearly 30 years since she was nominated and her profile has quieted considerably. Mike Leigh hasn't directed anyone to an Oscar nomination since Vera Drake two decades ago. Maybe So: The BAFTA constituency could make a huge difference if they throw their weight behind her and the film.
HEDDA (No Distributor) Tessa Thompson (No previous nominations; 40-years-old) Role: Hedda Gabler, newly married and bored with both her marriage and life, seeks to influence a human fate for the first time. Yes: One of the more exciting actors of her generation, she's spent the past decade doing a mix of commercial projects and small indies. Passing was a promising step towards the awards conversation, but she hasn't been playing in that arena up until now. How about a Henrik Ibsen adaptation, reuniting with her Little Woods director Nia DaCosta? That could do the trick. No: Will the movie even come out this year? Even if it plays in the fall festivals, it might get pocketed for 2025. Play adaptations are often stagey; could this be written off as a neat creative exercise rather than the real deal? Maybe So: The material is indisputably dramatic and weighty. DaCosta could be approaching this with fire in her belly after the reportedly frustrating experience on The Marvels. If the movie is arresting, she may have crafted a great awards vehicle for her star.
HERE (Sony Pictures) Robin Wright (No previous nominations; 58-years-old) Role: Unspecified, but presumably the matriarch in a family story "capturing the human experience in its purest form." Yes: Wright is one of the most prominent actors of her generation without an Oscar nod to her name. She became an Emmy mainstay with House of Cards. Maybe reuniting with her Forrest Gump director and co-star could finally get her into the Academy club? No: Zemeckis' output has skewed more towards "disaster" than "hit" for a while now. The pretentious log line doesn't bode well for this being a well-considered return to form. Maybe So: If this actually is a return to form for Zemeckis and a great spotlight for Wright, the narrative of her being the odd one out on Gump's success can only help her case.
HIS THREE DAUGHTERS (Netflix) Natasha Lyonne (No previous nominations; 45-years-old) Role: Rachel, a dutiful daughter who reunites with her fractious sisters when their father becomes terminally ill. Yes: Lyonne's graduated to the status of national treasure over the past decade and she's gotten career-best notices for this critical hit from last year's fall festivals. Netflix is a great backer for nabbing an acting nomination. The film's overall strong acclaim only helps her. No: She shares the limelight with Carrie Coon and Elizabeth Olsen. Will they even campaign her lead, or try their luck with the supporting category instead? Industry insiders saw this performance months ago; will the appeal endure when new and shinier contenders materialize? Maybe So: The Netflix effect cannot be underestimated. Even if the film doesn't become a package contender, her performance will be seen by many and that can make all the difference.
JANET PLANET (A24) Julianne Nicholson (No previous nominations; 52-years-old) Role: Janet, a spirited mother who we see through the adoring eyes of her codependent daughter. Yes: Rapturous reviews from last year's fall festivals with career-best notices for Nicholson. A24 is a savvy distributor and Nicholson's Emmy win for her turn in Mare of Easttown has upped her profile. No: Summer release date. It's a small film, and Nicholson is one of those hard-working actors who can be easily taken for granted amid a field of showy turns. Maybe So: If critics rally around Nicholson and keep her in the conversation through awards season, this could be the indie-performance-that-could.
JOKER: FOLIE À DEUX (Warner Bros.) Lady Gaga (One previous nominations; 38-years-old) Role: Harley Quinn, an institutionalized rebel who takes a shine to Arthur 'Joker' Fleck, embarking on a bad romance together. Yes: Her casting perked up the ears of people who didn't even like the first installment. Gaga starring in anything is an event, and this sequel is a musical -- playing exactly to her strengths. Going toe to toe with Phoenix in his Oscar-winning role will leverage her star power in spades. If she steals the movie from him, watch out. No: Gaga was accepted by the Academy with a grounded performance in A Star is Born -- less so with high camp like House of Gucci. She was pointedly ignored for the latter even though her precursor run pointed towards her being a frontrunner. Does the Academy plan on being rude to her going forward, rejecting her theatrical turns and really making her work for it? Maybe So: The movie's going to be a huge hit, and you just know she'll be recording an original song. If she's a viable nominee, she feels like a threat for the win.
KINDS OF KINDNESS (Searchlight Pictures) Emma Stone (Two previous wins and two nominations; 35-years-old) Role: Multiple roles across three different stories, but the most prominent appears to be a woman searching for the messiah of a new religious movement. Yes: Stone has graduated into a rarefied league that few stars ever get to touch. She's fresh off a second Oscar and reuniting with Lanthimos, striking while the iron is hot. No: Anthology films don't lend themselves to roles that voters can glom onto. Even if she brings the house down, this might be viewed more as an exercise than an achievement, Maybe So: Stone is arguably growing into the Meryl Streep of her generation. We may have entered a new era where the Academy makes room for her no matter how unconventional the project.
THE LAST SHOWGIRL (No distributor) Pamela Anderson (No previous nominations; 56-years-old) Role: A fifty-something showgirl who must reassess her life after her Vegas gig closes up shop. Yes: Anderson has always had higher artistic aspirations than her career has afforded her. Gia Coppola has exhibited talent before, and this metatextual indie vehicle could be an ideal showcase for the 90s sex symbol's chops. No: Anderson has never been taken seriously as an actor before, and she comes with a lot of baggage. Even in an optimistic scenario, the movie might be received as a solid showcase but nothing revelatory. Maybe So: If the film makes a splash at the festivals, Anderson's narrative could be irresistible on the campaign trail. It would certainly make for one of the more triumphant stories of the season.
MARIA (No Distributor) Angelina Jolie (One previous win and one nomination; 48-years-old) Role: Maria Callas, a legendary opera singer facing the end of her life as her chronic condition worsens. Yes: Jolie is one of those movie stars where you feel she'd have a lot more nominations under her belt if she just tackled awards-friendly projects more often. She's playing a famous icon and working with Pablo Larraín, who's been on a hot streak with getting leading ladies nominated in biopic roles. No: Larraín's frosty star biopics have been received more and more coldly with each new installment. Kristen Stewart's nod for Spencer was a squeaker. Streaks are made to be broken, and this one's been on an increasingly strained thread. Maybe So: Jolie hasn't put herself out there in this arena for a while now; the sheer novelty of her starring in something this ambitious again will draw a lot of attention.
MOTHER MARY (A24) Anne Hathaway (One previous win and one nomination; 41-years-old) Role: Not entirely clear, but either the fashion designer or pop star in the film's central relationship. Yes: Hathaway's been generating some admiring press for sizzling up the (small) screen with her return to romantic comedy in The Idea of You. She's pairing up with David Lowery, who's quietly been one of the best American filmmakers out there. Could this glitzy vehicle be her return to the awards conversation? No: Is she even the lead role, or will the film tilt more towards Michaela Coel? Lowery's got an admirable body of work, but he hasn't broken through with the Oscars yet. Maybe So: Hathaway inexplicably became a punching bag for the internet after her 2013 win for Les Miz, but she's reemerged with no fucks to give towards the haters. She may be entering a resilient new era of being taken seriously again.
NIGHTBITCH (Searchlight Pictures) Amy Adams (Six previous nominations; 49-years-old) Role: A dissatisfied stay-at-home mom who begins to worry she might be turning into a canine beast. Yes: Adams is right alongside Bradley Cooper as the most recognized actor of her generation without ever taking home an Oscar trophy. She is glaringly overdue, and who better than the massively talented Marielle Heller to give her the star vehicle to finally propel her to long-awaited victory? No: The premise is aggressively strange. Adams is beloved, but her profile's been severely degraded after a series of disastrous choices. Is a whacko body horror movie going to pull her out of her career rut? Maybe So: This project was initially slated to go directly to Hulu, but Searchlight Pictures has since had an about-face and announced it will have a theatrical run. That indicates confidence, and you couldn't ask for a better distributor in the awards race.
PARTHENOPE (A24) Celeste Dalla Porta (No previous nominations; 26-years-old) Role: Parthenope, a woman born of the sea who looks for love in 1950s Naples. Yes: You could do a lot worse than making your theatrical debut starring in a Paolo Sorrentino picture. Dalla Porta is brand new, acting in some Italian TV before being cast in the titular role of the auteur's new feature. If the film is a Cannes sensation and Oscar breakout for Sorrentino, you'd imagine that the Parthenope of Parthenope would partake in the spoils. No: She's completely unknown, and Sorrentino has yet to hit with the Academy outside of the International Feature category. Will this be an actual acting showcase, or will she be relegated to being just the sensual muse of this odyssey? Maybe So: If Parthenope hits with the increasingly international Academy, she could be swept up along with the ride. Every year has a couple unknowns who are catapulted to the Oscar spotlight.
THE ROOM NEXT DOOR (Sony Pictures Classics) Tilda Swinton (One previous win; 63-years-old) Role: Martha, a long-suffering daughter who hits an unbridgeable impasse with her mother after a misunderstanding. Yes: The great Tilda Swinton teaming up with the legendary Pedro Almodóvar for his feature-length English debut. It has the potential to be dramatically rich and a spotlight of her talents. No: Will the movie even be out this year? Swinton is a legend, but she hasn't been recognized by the Academy since her win for Michael Clayton despite a string of great performances. Was it just a passing fancy that can't be replicated? Maybe So: The pedigree alone will be catnip for a savvy campaigner like Sony Pictures Classics.
THE SUMMER BOOK (No Distributor) Glenn Close (Eight previous nominations; 77-years-old) Role: A grandmother vacationing with her granddaughter on a Finland isle, where they bond over life and death. Yes: Close probably has the strongest "overdue" narrative out of any living actor, and this is a ripe role from a well-received book. The existentialism of her role only compounds how little time the Academy has left to finally recognize her. No: Will the film be out this year? Director Charlie McDowell's track record hasn't been strong enough to give a high degree of confidence for this adaptation. Maybe So: Admit it: Close made a lot of new fans by being a great sport and twerking to "Da Butt" at the 2021 Oscars. She will always be someone to root for.
THELMA (Magnolia Pictures) June Squibb (One previous nominations; 94-years-old) Role: A nonagenarian who seeks vengeance when she's robbed by a phone scammer. Yes: Squibb is probably the most beloved actor in their 90s working today, and this Sundance hit is a great showcase for her charms. No: The movie is a broad comedy and a summer release. Magnolia Pictures is a minor league campaigner. This is plainly a commercial play. Maybe So: There's something beautiful about Squibb starring in a gonzo action movie at her age. She'd be the oldest nominee ever by a considerable margin if she were recognized -- that's a juicy narrative.

I looked back as far as a month, so apologies if this has been asked before. I'm thinking of a sort of Mandela effect but with songs in film - so songs that are strongly linked to a film but DON'T actually feature anywhere in regards to the film.
For example, River Flows in You by pianist Yiruma became a very popular yet unofficial "Bella's Lullaby" for Twilight despite never actually appearing in the film's soundtrack, nor I believe in the film itself.
Another example, though not a movie, is Bloody Mary by Lady Gaga becoming strongly associated with Wednesday Addam's dance scene in the series, when the song is actually Goo Goo Muck by The Cramps.
A final example, though probably not very widespread, is Clint Mansell's Lux Aeterna from Requiem for a Dream featured in a LotR The Two Towers trailer. During my Clint Mansell phase there was a fair bit of incorrectly linking the song to The Two Towers but it of course never appears in the film.
Can you think of any other songs strongly linked to a film despite NOT being in the film or on the soundtrack? Eager to see your comments! 😊

Tonight, 13 brand new queens will compete for the title of "America's Next Drag Superstar". Plus 1 returning queen is back for their second chance.
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In today's challenge, the queens will present two looks in front of Lady Gaga.
POLL
TRACK RECORD

For me, I got into festival heavily in season 2 (played a little in season 1) because of Lady Gaga, but it wasn't until Hysteria by muse came out that I said to myself "I'm gonna 100% flawless this song on Expert lead" and from then, I began playing everything on X. Usually, I would play M or H depending on difficulty, only doing X for challenges in season one, and even so, I was still terrible on M and H
I'm curious if others have had this moment within festival
That said, I'm having the same feeling after playing Highway Tune for the first time on lead

It's loud, proud and starts with a kiss as Dannii Minogue plays Cupid to ten single ladies. It's a heart-breaking, heart-racing hot girl queer Summer.
Air Date: Sunday 5th May on BBC Three (E01) and BBC iPlayer (E01/E02)
Review: https://www.theguardian.com/tv-and-radio/article/2024/may/05/i-kissed-a-girl-review-the-sweetest-most-touching-reality-tv-in-a-long-time
E01: Dannii Minogue is back to play Cupid for girls who like girls — and it starts with a kiss.
E02: Secrets, love triangles and a new girl — it's all to play for at the first Kiss-Off.
This won't be strictly enforced, but as some folks may be watching via BBC Three (and therefore an episode behind), please consider hiding any text pertaining to E02 using the Spoiler Tags. > ! No spaces between the Exclamation Marks and GreateLess Than Symbols ! <
Happy chatting, viewers. =)

It's loud, proud and starts with a kiss as Dannii Minogue plays Cupid to ten single ladies. It's a heart-breaking, heart-racing hot girl queer Summer.
Air Date: Sunday 5th May on BBC Three (E01) and BBC iPlayer (E01/E02)
Review: https://www.theguardian.com/tv-and-radio/article/2024/may/05/i-kissed-a-girl-review-the-sweetest-most-touching-reality-tv-in-a-long-time
E01: Dannii Minogue is back to play Cupid for girls who like girls — and it starts with a kiss.
E02: Secrets, love triangles and a new girl — it's all to play for at the first Kiss-Off.
This won't be strictly enforced, but as some folks may be watching via BBC Three (and therefore an episode behind), please consider hiding any text pertaining to E02 using the Spoiler Tags. > ! No spaces between the Exclamation Marks and GreateLess Than Symbols ! <
Happy chatting, viewers. =)

It's loud, proud and starts with a kiss as Dannii Minogue plays Cupid to ten single ladies. It's a heart-breaking, heart-racing hot girl queer Summer.
Air Date: Sunday 5th May on BBC Three (E01) and BBC iPlayer (E01/E02)
Review: https://www.theguardian.com/tv-and-radio/article/2024/may/05/i-kissed-a-girl-review-the-sweetest-most-touching-reality-tv-in-a-long-time
E01: Dannii Minogue is back to play Cupid for girls who like girls — and it starts with a kiss.
E02: Secrets, love triangles and a new girl — it's all to play for at the first Kiss-Off.
This won't be strictly enforced, but as some folks may be watching via BBC Three (and therefore an episode behind), please consider hiding any text pertaining to E02 using the Spoiler Tags. > ! No spaces between the Exclamation Marks and GreateLess Than Symbols ! <
Happy chatting, viewers. =)

Just a quick little story that encapsulated the boomer mindset. This was in a FL grocery store today. As I was walking in for my grocery shopping, Boomer lady was walking out. She made a comment to another passerby in what I assume was the end of their conversation. The comment I heard was “I don’t care about anyone else, I only think of myself.” Then proceeded to leave her shopping cart right in the middle of automatic doors, so they wouldn’t be able to close.
Really just symbolized the whole boomer mindset and philosophy. Only think about yourself and then inconvenience everyone else.

ids
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* Africa - Marasi.wav
* Ah Ya Alby - Hakim ( Ajna & Samm Edit ).wav
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* Along Came Polly - Rebuke ( Konstantin Sibold, Carmee & ZAC Remix ).wav
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* Laa - El Sawareekh (Diass Remix)
* Los Hijos Del Sol - Juanjo Tur & Cariñito ( Juanjo Tur Edit ).aiff * Love Game - Lady Gaga ( Chris IDH Remix ).mp3
* Love Me Again - Legare & MALHO (FR).wav
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* Love Will Save Me - WhoMadeWho & RY X ( Marten Lou Remix )
* Macaron - Moojo , Carlita ft Gabsy.mp3
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* Mamakusa II - Busta, Rampa, Black Coffee.wav
* Mandaro - Don Jongle, Kali Mija [Abracadabra Music].mp3
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* Ms. Jackson - Moojo.mp3
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* Officially Lost - Lil Yachty & Timengeldardt.mp3
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* Sirius - The Alan Pearsons Project ( Innellea Remix )
* Sonke - Chaleee & Muscardo
* Soro Soke - QUENTRO & Tuna.wav
* Soy Candela - Jaquet
* Soy Como Soy ( Arodes Remix ).wav
* Space Beyond - Meloko ( Mont Rouge Remix ).mp3
* Sunray - Chris IDH
* Sunrise - Kashovski & Abel Ray.wav
* The Mamas The Papas - California Dreamin ( Mita Gami Edit )
* There Is A Light - Mathame
* Think About - Notredame.wav
* Ti Milo ( Rampa Edit )
* Toxic x Garden ( &ME Remix )
* Turn Me On - Black Coffee ( BRØDER Afroboot ).wav
* Travis Scott - Butterfly Effect ( &ME Remix ).wav
* Travis Scott - FE!N ( Dj Teddy-O Remix ).wav
* Travis Scott - FE!N (Quentro & Tuna Remix).wav
* True Story - Liva K.wav
* Troy - Samm.wav
* Together - Janet Jackson (Rampa Remix)
* Together - Jean Claude Ades & Re.You
* Unavailable - Davido( Lazare Remix ).wav
* Vertebrea - Luchii ( SOMMA Remix ).wav
* Volare - IRENEE S
* Wastelands - Bedouin (Santiago Garcia Remix).flac
* Water - Tyla ( Vanco Edit )
* Water - Tyla ( Yaacov Remix ).wav
* Water - Tyla ft Travis Scott (MOOJO Remix).wav
* What A Day - CamelPhat & Eynka ft. Delilah Montagu ( Marten Lou Remix )
* What You Desire - Moojo & Da Capo & Tabia.mp3
* We You - Super Flu ( Adam Ten Remix ).wav
* Whoo Is He - Bill Withers ( Victhor Remix )
* XXXXXXX - Vitoto & NiteFreak
* Yawanawa Sina Vaishu - Alok ( Maz Remix ).wav
* Yo ma Love - Raffa Guido.wav
* You Got Me - Yves Jacquet.wav
* Your Eyes - Black Coffee ft.Shekhinah ( DJ Drift Franklyn Remix ).wav
* Your Love Ain't The Same - Key Notez ( Maz Remix ).wav
* Ze Roberto - Moojo & Gabsy.wav

I was about 10 and I was addicted to read [dostoevsky]. I could spend hours learning about all sorts of stuff, staring at the illustrations and photos, and of course, smelling the books. However, I could get my fix at my local library only as my parents could barely afford food for us, let alone buying fancy books. So, I became a regular guest at the kids/teenager section of the library.
One day I couldn't get there in time, so I only had about half an hour to spend before closing time. Not just that, but they also had a brand new, 400 page copy of C&P waiting for me on the shelf. It was love on the first sight. I felt awful, because I knew that I couldn't do much reading in such a little time, and then there was this lovely smelling book with a montage of a skull and a cross (vintage books edition) on the front cover just begging me to read it. Sadly, books like those were not borrowable and time was ticking.
I thought about 'taking it', but it was just enormous and I wasn't. I wasn't a bad boy either, I told myself. But what if I just take a few pages? That surely won't hurt anyone, and noone will notice it missing. That's what I did. The book was binded in a way, that I could carefully rip about 5 pages out in one go. I wrapped the pages around my foot, slipped them in my socks, covered my socks with my pants and I just casually walked out. The first time I actually said 'Thank you very much' with a big smile to the librarian and she gave me that awkward 'What the heck are you talking about?' look. My 10 years old mind quickly realised how stupid I was to say that and I, maybe even my parents could be in jail for this, so I just rushed out, sweating and with my heart jumping out of my chest.
Originally I wanted to return the pages at the next visit to the library. But as I was sitting on my bed at home, reading about Petersburg and Raskolnikov (the only content I got at the time), I came up with the masterplan of repeating the process until I get every page. And the plan was working! Not just that, but I improved on the technique. I wrapped pages around my feet, around my arms (had to wear long sleeve for that) and also kept a stack on my back, tucked carefully in my pants. I could get about 20-25 pages in just one day. I remember walking slowly like a robot on my way out as I didn't want to crush the pages too much. I couldn't bend in any direction because the pages were holding my limbs tight.
After several visits to the library the book began to visibly shrink. So I got some paper from the photocopy room and replaced the missing pages with blank ones. My last visit was the sketchiest, because I had to take the trophy somehow. By trophy I mean the hard cover with the astronauts on. There was no way to wrap it like I did with the pages and it was too big to hide it anywhere on me. But I was so close to victory, I couldn't let it go. I had the shiny cover in its full glory, in my hand. I put it under my t-shirt, on my back. Hands in my pocket, trying to hold the cover with my elbows. I was scared to the bone that they will catch me and send me to jail. I checked my reflection in the window. I looked like a terrified Lady Gaga with fake shoulderpads. But I was also shameless by this time, I knew I was an awful person. It was nearly 5 o'clock and every librarygoer left, the librarians were doing their closing up routines so the front desk was abandoned. I just walked out without anyone noticing me.
Note: Original post https://www.reddit.com/offmychest/s/8iudyf1OL5 I found this so hilarious. I couldn't stop myself from making a Russian parody of this.

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

HOW IT STARTED: A WOMAN OF MYSTERY

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

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

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

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

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

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

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

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

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

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

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

“MY ENTIRE FAMILY DIED IN A FIRE.”

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

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

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

A BIT O' THIS & THAT: MISCELLANEOUS CLAIMS

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

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

ELECTRIC VIOLIN: UNPLUGGED

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

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

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

CONTINUED IN COMMENTS

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With the elections rapidly approaching, the time has come for the Prime Minister to enact his last bill as the formal PM. While not being removed from office, directly, the bureaucratic red tape and timelines of course reach a point where no new bills are able to be passed. As such, Tommy Douglas has brought together the assembled Parliament, as well as journalists and reporters. Perhaps the most important bill to date, finalization of the position of the Royal Family in the Dominion of Canada has finally been reached, with the agreement of parliament for a ceremonial position to be granted to Princess Margaret, where she will now be known as the "Governor Royal".

Ladies and Gentlemen, Today marks a significant milestone in the annals of our nation's history. It is with great honor and profound privilege that we gather here in the heart of our democracy to witness a momentous occasion – the swearing-in of Her Royal Highness, Princess Margaret, as the inaugural Governor Royal of Canada. For far too long, our great nation has stood apart from the Kingdom of England, our ties severed by the tumultuous tides of history. But today, we stand on the precipice of a new era, one defined not by division, but by unity and mutual respect. The expedition conducted by the Royal Canadian Navy, undertaken with unwavering determination and boundless courage, heralded a rekindling of our relationship with the Kingdom of England. Through diligent efforts, contact was established, and Princess Margaret graciously accepted our invitation to return to Canadian soil. Yet, let us be clear – our vision for the future is one of sovereignty and self-determination. We have chosen not to revert to the colonial dominion status of yesteryears but to chart a new course, one that honors tradition while embracing progress. The role of Governor Royal, conceived through meticulous deliberation and democratic discourse within this esteemed Parliament, symbolizes our commitment to forge a distinct identity while retaining the ties that bind us to our historical roots. This ceremonial position, akin to the Governor General, shall serve as a guardian of our parliamentary traditions, a beacon of continuity in an ever-changing world. Princess Margaret, in assuming the mantle of Governor Royal, shall preside over the ceremonial affairs of our nation with grace and dignity. From the solemn opening of Parliament to the commemoration of our most cherished traditions, she shall embody the spirit of unity and inclusivity that defines the Canadian ethos. Furthermore, in accordance with the will of Parliament, the position of Governor Royal shall adhere to the principle of Seniority Succession. This ensures that the eldest member of the Royal Family shall inherit the responsibilities of this esteemed office, transcending individual personalities to uphold the sanctity of our institutions. As we embark on this journey together, let us reaffirm our commitment to the values that define us as Canadians – tolerance, diversity, and compassion. Let us embrace the future with optimism and determination, knowing that our shared destiny is rooted in the rich tapestry of our past. In conclusion, let us extend our heartfelt congratulations to Her Royal Highness, Princess Margaret, as she assumes the role of Governor Royal. May her tenure be marked by prosperity, harmony, and unwavering dedication to the service of our beloved nation. Thank you, and may Canada endure for generations to come.

Hey there, I'm Mark, 25M. Remember me?
Here's what I'm looking for: a best friend to share some interests with, hopefully to learn more and become a better person. Tell me about yourself a bit when you respond, and let's carry on from there.
Books: I like books! I find myself buying more than I'll ever read. "So many books, so little time"- Frank Zappa. I began my book enthusiasm, when I was a pre-teenager, by reading Tintin, Archie comics and short stories of Sherlock Holmes. Over the years I moved to techno thrillers (Michael Crichton) and fiction (Agatha Christie, Lee Child, Stephen King) to now where I'm engrossed in non-fiction (history, science). My current area of interests involve non-fiction accounts of espionage, spying and covert operations. I've begun to read a book about Soviet Union. Who knows where the tide of interests will go next.
Music: I like rock music. Queen. Pink Floyd. Led Zeppelin. Tom Petty. Eagles. Black Sabbath. Some non-rock artists whose selected tracks I like: Adele, Eminem, Lady Gaga. Compositions by John Williams are always a pleasure to listen to (Jurassic Park, Star Wars, Indiana Jones)
Niche topics: I am a devoted watcher of YouTube channels featuring content with regards to spaceflight, military food, weird and obscure science concepts, and interesting historical events. Furthermore, I'm a huge fan of Conan O'Brien (Team Coco forever!!), Johnny Carson and David Letterman. I'd love to talk about rockets, military food, weird incidents, catastrophes, physics, humour and much more! Seinfeld and Curb your Enthusiasm are my go-to shows!
I am recently on a reading streak of Perry Mason novels (completed 17 out of 85)!
Fun fact: I like to watch clips of Hell's kitchen, or Gordon Ramsay cooking while I'm having a meal (because I find it appetizing for some reason). Lately I've discovered a Youtube playlist where they describe making of food in big batches, which is awesome!
I'm looking forward to hear from you! Let's be best friends(?). If you have any questions (related to the above subject matter or otherwise), feel free to ask. I'd encourage you to ask some weird question at the first instance to lighten up the conversation 😂
I'm done typing this, and I'll be eagerly waiting for your response!!
P.S: There's a chance that I may be asleep or busy with something when you respond. Don't worry, I will respond to you, without fail.
This is a SFW friendship which I'm looking for.