Okay, I’m still not over the fact that they actually skated the legit pair program because you know what does it mean? Oh, so many things. It means it wasn’t spontaneous. It means that at one point one of them said “would you like to dance an exhibition with me” (I’m 99% sure it was Yuuri and when Victor realized it’s not a joke he probably died from happiness). And it also means that they choose the music together and talk about how important this program was for both of them and what does every line of the song means and then they had to prepare matching costume for Yuuri and then Victor choreographed them a program and decided that he will be the one to offer support for Yuuri’s jumps and I’m sure Yuuri isn’t light as feather and Victor had to actually exercise a little to be able to hold him and THEN they had to practice the whole thing, like imagine Yuuri being a bit scared and embarrassed to actually lean on Victor and Victor just taking him in his arms and all that innocent holding hands a bit too long and hugging and falling on ice together I can’t is this show even real, I swear we don’t deserve such happiness.
Ok I have to get to work so this is gonna be rushed af and incoherent and all but like can we just take a moment because
Like Yuuri being precious smol innocent sinamon roll as always, just happy to finally stand by everyone and share food and drinks and all, ever so grateful that he’s come this far, and met the love of his life in the process, which he couldn’t even get the nerve to talk to before. But we now know that’s not true because he basically declared his love via interpretive dance. Exhibit A:
LOOK. AT. THEIR. FACES.
Ok so it goes without saying that this is where Viktor fell in love. He’s just like omg this quiet meek guy is not what he seems like at all and by god just marry me already. And THEN, this darling little Katsudon goes on, after they’ve already parted, goes on to perform Viktor’s very own Stay Close to Me:
WHICH I’M PRETTY SURE VIKTOR INTERPRETED AS SOMETHING ALONG THE LINES OF: I haven’t forgotten; please come back to me, please be my coach. Look how well I skated this piece, just for you. This is me proving I’m worthy to skate with you as my coach.
Which leads me to this. Viktor’s priceless reaction:
Because like, ok. Imagine being Viktor. You share this amazing night with this guy and you fall in love at first dance basically, and it’s just so so great because again look at how much FUN they’re having together and the way they’re smiling at each other and it’s like Viktor says in this episode, love and life were something he’d ignored for far too long. But here comes Yuuri to change all that.
And now imagine, showing up at that hot spring. Like tada here I am! Aren’t you glad! And Yuuri freaking the fuck out. And Viktor thinking how endearing that is because aw he’s shy.
Aw he’s embarrassed from everything that happened when they were drunk
Aw he just needs to open up his walls and he’ll be the same guy he met on that night.
If you ask me I think this explains Viktor’s boldness throughout the series. Because it’s like he’s been in love all. this. time. and he’s just going around assuming Yuuri is the same way. The whole ‘let’s sleep together’ and ‘be my boyfriend’ and ‘tell me all about yourself’ at the beginning isn’t just Viktor being a cocky bastard. It’s Viktor being in love. In complete and absolute love.
And it sort of explains the whole Eros thing too. Because it’s not just on a random whim or even the fact that Viktor wants Yuuri to step out of his comfort zone. It’s because he KNOWS he’s more than capable, because he’s SEEN it before.
Which he follows with something along the lines of ‘you’ll show it to me soon, won’t you?’
Which basically now I’m gonna interpret as Viktor trying to get Yuuri to understand that what he did on that night was a hell of a lot more seductive than Yuuri himself might even realize, and if he can control that, then it’ll be the hook line sinker that’ll get him to finals.
Also a bit of revenge since, I’m assuming this was probably the first time Viktor was ever caught off guard. I mean seeing Yuuri doing things like that was probably enough to catch anyone off guard. And so maybe this whole time Viktor was just trying to get even, trying to prove that he could seduce Yuuri just as much as Yuuri had seduced him (and not exactly in the sultry way).
And I just. I’m so happy.
Please excuse my rambles. I’ll try to edit this after I get home.
Before founding New York City Ballet, Lincoln Kirstein donated the Dance Archives to MoMA. The 1939 gift included a significant variety of archival materials and artworks related to the history of dance; parts of this material, called the Dance Archives, became part of the MoMA Archives, and others were added to the curatorial departments or transferred to the New York Public Library for the Performing Arts. A selection of these materials were exhibited in Preview: Dance Archives in 1940 to announce the gift and the establishment of the Dance Archives as “a bureau of research and information to all persons interested in the art, theory, and practice of dancing.”
The museum soon established a Department of Dance and Theatre Design, but the function and role of this division was debated within the institution and it was dissolved in 1948. In the intervening years, however, dance has become firmly established as part of MoMA’s programming; the exhibition Artist’s Choice: Jérôme Bel/MoMA Dance Company opens on October 27.
What a wild week we’ve had! The GOP can’t get it together, a new Gorillaz album is officially on the way, Perfume Genius will follow up his critically acclaimed Too Bright soon, and Drake gave us an album, I mean, a playlist. On top of that, Feist is back! All four of these fine artists are included in the list below, duh, and there is one other winner worth paying attention to. Dive in.
If “One Dance” was Exhibit A in Drake’s case for global domination, “Passionfruit” makes a convincing closing argument. This track contains, if not the whole world, at least a whole world: one that encompasses house and afrobeats, new wave and chillwave, soft rock and even softer soul. It’s a beautiful world, too, one marked by weeping synths, a hypnotic keyboard riff, and circular drum programming so vibrant you could hula hoop to it. But this is Drake, so despite all its rhythmic propulsion, what sticks with you most about “Passionfruit” is the emotional content, the way he bends all these disparate ingredients toward melancholy so deep you’d be wise to keep a lifeguard on duty. Not so long ago, this wistful story about lovers falling apart would have become one of Drake and 40’s patented R&B slow jams, which would have been fine but not particularly revelatory at this juncture. Now it’s something else entirely, something that suggests the death march that was Views was actually leading somewhere worth going. –Chris
Damon Albarn and Jamie Hewlett’s rag-tag animated band was always far less interesting conceptually than they presented themselves to be. As deep as the virtual members’ mythology goes, it will always be burrowed second to the inventive, free-wheeling pop music Albarn has wrung out of this project for nearly 20 years now. All the lead-up to the announce of Humanz has been mildly humorous, but disposable at best, and at their worst these antics come across as pointlessly, painfully tedious. Thankfully, the Gorillaz’ music is so good and their shtick so forgettable that the moment you press play you’re immediately transported away from it all. This time the journey takes you not to anything resembling the breezy, lucid world of the Plastic Beach, but rather a place a bit more spectral, and possibly special. Of the four tracks the band dropped yesterday afternoon, “Andromeda” is the most immediately aurally arresting. Albarn builds a simple dance track with astral ambitions, and reaches them through sheer navel-gazing (plus a subtle-but-essential assist from D.R.A.M.). There’s some soul-lifting secret ingredient hidden beneath the song’s array of synths and Albarn’s smooth, dry croon — the same one present in all of the Gorillaz best tracks — that makes the whole thing brim with life, no matter how often these guys insist they’re merely “cartoons.” — Pranav
Sophie Allison is originally from Nashville, though her roots don’t often show up in the muted bedroom pop she makes as Soccer Mommy. But on “Last Girl,” with a full band in tow for the first time ever on record, it’s apparent that she grew up in the country capital of the world and inherited the naturalistic storytelling characteristics that come with the genre. There’s echoes of Taylor Swift in the jealous girlfriend narrative of the track, but the unflashy nature of Allison’s songwriting calls back to an even earlier era of confessional dejection. “Last Girl” pivots around an aching question — “Why would you want to be with me when she’s got everything you’ll ever need?” — and each verse is a putdown ramp-up about the worries that can’t stop rattling around inside her head. That Allison is able to channel that insecurity and second guessing into something as sickly sweet as “Last Girl” is a testament to what makes the project so great, and an encouraging sign of things to come. –James
“Pleasure,” Feist’s first new song in almost six years, starts at a whisper and stays there for almost its entire run. When that bluesy classic rock riff hits in the middle of the track and again towards the end, it feels almost like an afterthought, a reflex. It’s a ways removed from the muddy operatics of 2011’s Metals or her big commercial breakthrough, 2007’s The Reminder. Instead, Leslie Feist uses “Pleasure” to remind us of her origins. In the first interview she gave about her new album, Feist reminisced on the early days of her career when she could pull out her guitar and stun on the spot. “I cut my teeth doing that for years and I wanted to sort of fess up and make sure that I could still do that,” she said.
And “Pleasure” is enticing in how bare-bones it is. It reminds you of the wonders that Feist can conjure with just her voice, in the deliberateness over what words she emphasizes and which she chooses to swallow. “Get what I want, and still it’s a mysterious thing I want,” she sings in the opening lines. “So when I get it, I make sense of a mysterious thing.” Feist explores the impassable distance of constantly wanting more: What is pleasure if not a dull, momentary satisfaction before you’re back to desiring again, waiting for the next rush? “It’s my pleasure/ And your pleasure,” goes the chorus of banal niceties — an endless, repetitive cycle of always wanting. –James
When The FADER profiled Perfume Genius’ Mike Hadreas, they titled the article “How Perfume Genius Grew Up And Started Thriving.” The piece is about Hadreas’ life as a sober, stable artist living with his longtime partner in Tacoma, WA. He spends a lot of time hanging out with his adorable dog in his comfortable home, and whatever “having it all” is, Hadreas seems pretty damn close. The first single off of Perfume Genius’ forthcoming album, No Shape, is a song called “Slip Away” and it is the sound of someone who is finally figuring shit out and reveling in the confidence that comes with knowing you’re really good at what you do. Kate Bush-level theatrics are turned all the way up on both this song and its accompanying video, which finds Hadreas running from a pack of goblins in a Garden Of Earthly Delights of sorts. “Take my hand/ Take my everything/ If we only got a moment,” Hadreas pauses before his voice descends to a command. “Give it to me now.” “Slip Away” would sound good in any context, but it’s kind of the perfect song for spring; the type that makes you want to walk out on your job midday, to “let all them voices slip away.” I’m still sitting here after a dozen or so listens, but spend some time with this one and you’ll see what I mean. —Gabriela
Edgar Degas: A Strange New Beauty, featuring approximately 120 monotypes along with some 60 paintings, drawings, pastels, sketchbooks, and prints, opens tomorrow! Read The New York Times’s review of the exhibition, which they say “makes the past feel alive.“
After attending charity fundraisers, opening museum exhibits, and dancing the night away at a ball held at the Maldonian embassy, Princess Tiana ended her weekend with an impromptu meet-and-greet at her restaurant. Millions of fans flocked outside “Tiana’s Palace” to see the princess, who stayed until well after midnight so as not to disappoint the ardent crowds.
This photograph above, taken by the princess’ husband, Prince Naveen, shows a happy, but tired princess, rocking a natural fro as she leaves a generous tip for the bellhop of her suite.