#review — Public Fediverse posts

#Adults #FX #series #Hulu #review #DisneyPlus #comedy

https://www.evshift.com/500435/oben-rorr-evo-ride-review-best-electric-bike/ OBEN RORR EVO RIDE REVIEW | BEST ELECTRIC BIKE ? #bike #ELECTRIC #ElectricBikes #ElectricMotorcycles #ElectricVehicles #EV #evo #motorcycles #Oben #review #Ride #Rorr

Rick Ross Has Seven ‘Maybach Music’ Records—But Which One Is Really the Best?

https://thedewsperspective.com/2026/07/30/rick-ross-has-seven-maybach-music-records-but-which-one-is-really-the-best/

Rick Ross Has Seven ‘Maybach Music’ Records—But Which One Is Really the Best?

https://thedewsperspective.com/2026/07/30/rick-ross-has-seven-maybach-music-records-but-which-one-is-really-the-best/

Recap/Review: ‘Star Trek: Strange New Worlds’ Jumps Into Scares In “Griffin Incident” https://trekmovie.com/2026/07/30/recap-review-star-trek-strange-new-worlds-jumps-into-scares-in-griffin-incident/ #StarTrek:StrangeNewWorlds #StrangeNewWorlds #Review

Recap/Review: ‘Star Trek: Strange New Worlds’ Jumps Into Scares In “Griffin Incident” https://trekmovie.com/2026/07/30/recap-review-star-trek-strange-new-worlds-jumps-into-scares-in-griffin-incident/ #StarTrek:StrangeNewWorlds #StrangeNewWorlds #Review

Game Two daddelt mal wieder auf YouTube:

Schneller und Blutiger! Gears of War: E-Day Multiplayer Preview

https://www.youtube.com/watch?v=WkTpT8gMMxM

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #xbox #pc #pcgaming #steam #xboxseries #gearsofwar #gearsofwareday #gearsofwarmultiplayer #gearsofwaredaypreview #shooter #thirdpersonshooter #teamdeathmatch #conquest #hordesiege

Game Two daddelt mal wieder auf YouTube:

Schneller und Blutiger! Gears of War: E-Day Multiplayer Preview

https://www.youtube.com/watch?v=WkTpT8gMMxM

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #xbox #pc #pcgaming #steam #xboxseries #gearsofwar #gearsofwareday #gearsofwarmultiplayer #gearsofwaredaypreview #shooter #thirdpersonshooter #teamdeathmatch #conquest #hordesiege

Long Live The Black Parade: An Emotional Review Of My Chemical Romance’s Wembley Show

Introduction

I honestly ummed and ahhed about buying a ticket for this gig for what seemed like months. Between financial commitments and logistics it didn’t seem the most sensible decision. But in the end nothing could stop me from seeing my emo idols. Knowing they were also playing my favourite album in full only cemented it. I had to make this happen.

Buying a resale ticket through Ticketmaster turned out to be surprisingly painless, and for the limited view seat I actually think I bagged a bargain! The bigger challenge however was going to be getting to the concert. I had to go to Wembley and London driving is not something I’ll ever do.

This led to trying something new, travelling to a show via coach!

Big Green Coaches

I’d seen Big Green Coaches advertised for festivals like Download before, so I looked to see if they did gigs too. Not only did they, but they happened to have 1 seat left, I booked it as quick as humanly possible.

The experience itself couldn’t have been made easier. From the pickup at Derby Bus Station to climbing back on tired post show. Everything was well organised and more importantly straightforward. If I were to nit-pick, there were a few things that could have made my experience better.

Firstly, the coach actually cost me more than the gig! Which did sting a little even if only mentally. Secondly if I were to do it again I would want to travel with a friend. It’s not a short trip and made longer when sat next to a stranger.

Finally we arrived at the stadium 2 hours before it even opened. This is simultaneously a good thing and bad. Good in that even had we hit traffic we would have made it on time. But bad because after buying a shirt from the merch stand I had nothing to do for 90 minutes in the blistering heat!

However I would still massively recommend Big Green Coaches to anyone considering travelling for a major gig. Grab yourself a copy of Classic Rock magazine and put your noise cancelling headphones on. The time flies quicker than you might expect!

Anthony Green

The first thing I noticed about Anthony Green was just how excited he seemed to be there. Wembley is an intimidating venue for anyone and I suspect not the type of place he gets to play in his other bands. Including L.S.Dunes which he plays in alongside My Chemical Romance guitarist Frank Iero.

It was a shame really that the stadium was in fact still pretty much empty for his set. Those that were there on time however were treated to his show that really did deserve a bigger audiance that what it had.

Musically, I found his nine songs to share a pretty similar vibe, meaning they blended together a little more than I’d have preferred. That said I enjoyed his music still! If I had to pick a standout It’d be Trading Doses, which left the strongest impression on me.

https://open.spotify.com/track/1OgZxrttFuHchxqsepppWV?si=85e5a4a531a44080

I did however have a little laugh at the bassist who looked exactly like a character out of the British sitcom Fresh Meat. Once I had noticed that, I couldn’t unsee it. Sorry.

Looks aside, Anthony Green sounded excellent, with his vocals being much stronger than I expected. Carrying at times a surprising amount of grit and harshness that added another dimension to his performance.

When you consider he wasn’t even part of the original billing for the show I think he did a solid job at warming the crowd up (Although the 38c did that already). I just wish more people had seen it!

Sunny Day Real Estate

I need to admit something, I had never heard of Sunny Day Real Estate before this gig. Also if I am being brutally honest, I’ll probably never actively seek them out again.

They’re not a bad band, but they fell short of the type of music I tend to gravitate towards. Sometimes bands don’t click for someone, this is one of those times.

https://open.spotify.com/track/4mQfmZSNbkpIHua7lsVU7k?si=5bba0245d4ef4384

For a band that has been around for over three decades, two members part of the original Foo Fighters line up, it should not be surpsing that they know how to command a stage. Their blend of Emo and Alt rock kept plenty of people engaged throughout their set. I just couldn’t find myself getting fully on board.

More than anything I struggled with the pairing. A support act should either compliment the headliners sound, or be a huge name that they are an event in themselves. In the UK I don’t think Sunny Day Real Estate are either.

https://open.spotify.com/track/7MtlureL5VXmDnyoUeBxsd?si=0e4b3b0f8a584d34

I did however enjoy songs like In Circles and Seven, and they left a lasting impression. But to be truthful I wish I’d come for Joan Jett or Skunk Anansie.

I think the crowd were pretty split on them. Some were fully invested and loving it, singing, cheering. Others were on their phone. Consider me landing somewhere in between.

My Chemical Romance

The Black Parade

The band emerged to Vera Lynn’s We’ll Meet Again, which felt like an strange choice. Followed quickly by Over Fields (The National Anthem Of Draag), complete with stunning vocals from Lucy Joy Altus and Charlotte Kelso. I think this set the theatrical tone for what was to come well.

Then it happened.

The opening notes of The End. Rang out through the crowd and Wembley absolutely erupted. I knew My Chemical Romance fans were passionate (After all I am one of them) but I was not prepared for the reaction. It was as if every single seat had become charged with electric. Not a single person was sat down, and from that moment I don’t think I did!

https://open.spotify.com/track/0uukw2CgEIApv4IWAjXrBC?si=1aacc96196424112

Dead! kept the momentum rolling with an infectious party like atmosphere. Everywhere I glanced people were dancing, jumping and not forgetting screaming every word back at the band. It felt like an emo choreographed song with thousands of fans dressed in black moving together as one. The pace eased off slightly with This Is How I Disappear, but that was always going to happen when you play an entire album. Not every song can be a defining moment.

That being said I have always enjoyed the spoken-word opening of The Sharpest lives. It’s a masterclass in building tension, slowly pulling you in before exploding into a great chorus. Honestly it might be the best on the entire album. I might have damaged my voice during this one, but it was totally worth it.

As amazing as everything had been up to this point nothing could have prepared me for how I would feel during Welcome To The Black Parade.

The moment those iconic piano notes echoed around Wembley I felt goosebumps. It wasn’t just excitement, it was one of those rare moments where thousands of people became completely united by a song. You could feel emotion washing over the entire crowd.

Oddly the song has taken on a completely new meaning for me since becoming a father. Instead of hearing an anthem from my teenage years I now find myself thinking about a time when I might not be able to support my child. Somewhere between singing, headbanging and taking everything in, I released a single tear had escaped.

And honestly?

I’m not ashamed of that in the slightest.

This isn’t just an anthem. It’s one of the defining songs of my life.

https://open.spotify.com/track/5wQnmLuC1W7ATsArWACrgW?si=f7f7664077c54be3

Just when I thought the emotional damage had been done the band hit me with I Don’t Love You. If you have not heard this song before do yourself a favour and change that. It’s heartbreak wrapped up in a beautiful melody. By this point I was singing loud enough that I probably owe an apology to those who were sat near me.

One thing that really impressed me throughout the performance of The Black Parade album was the production. This was not a band going through the motions of an album in full show. It was a full blown theatrical experience. The transition between songs, the little story moments and visual details added to the magic. The type of magic only real fans would notice. This was no longer a rock show, but an event!

House Of Wolves has the unenviable task of following two of the best songs not only on the album but the bands back catalogue. It kept the momentum going but for me never reached the same heights.

Cancer threw things crashing back down to earth. The band have never shied away from life’s darkest reality. Hearing this track live hit me harder than it ever has on record before. Having lost people to cancer myself I connected to it in a way that I simply had not managed to before. If anyone is still wondering if this band is worth seeing live, this song alone is enough to answer that.

Then came Mama, the song that turned Wembley into a headbanging convention. I have never witnessed a stadium move in sync quite like that before. It looked like tens of thousands of people sharing the same heartbeat.

https://open.spotify.com/track/0Zh3tKIphLOvQux4dA6PFZ?si=cb97e01314d6490c

Now it is time to upset some people…

Sleep has always been my least favourite song on the album. It suffers from the impossible task of sitting right before Teenagers so in ripe spot to be skipped.

Speaking of Teenagers… wow.

Every single lyric was being screamed back at Gerard Way by the loving (And quite rowdy) crowd. Gerard was phenomenal all night truth be told but this song he found another gear entirely.

When I was growing up I never felt like I fit in anywhere. So Teenagers really resonated with me. Ironically I’ve never felt more comfortable than I did surrounded by eighty thousand people who understood the same feeling.

https://open.spotify.com/track/7j31rVgGX9Q2blT92VBEA0?si=7cbc3d36054c474a

For me Disenchanted never meant much, but I know for some fans of the band it means a lot. It’s a perfectly good song but I have never seen it as one of the albums stand out tracks.

Everything then built towards what, in my eyes at least, is the true finale of the album.

Yes, I know Blood technically comes afterwards, but Famous Last Words has always felt like the real ending to The Black Parade.

https://open.spotify.com/track/2d6m2F4I7wCuAKtSsdhh83?si=f6a80db7fd744bed

This might divide fans but it is actually my favourite My Chemical Romance song. I fell in love with it years ago thanks to the amazing music video. The vision of the band surrounded by flames sticks with me to this day. I never expected the live version to sit close, but man.

I was wrong.

The amount of fire blasting across the stage elevated a great performance to an unforgettable one. Huge credit needs to go to Mikey and Frank who really stood out on this track!

Blood eventually brought the album to a close. The on-stage antics made it an entertaining finish and allowed people to truly take in what they had just witnessed!

Remainder Of The Set

Remainder Of The Set

I’ll tell you what was odd. Seeing around a quarter of the crowd disappear.

Some returned a few minutes later, but others had clearly called it a night. I don’t think the ten minute break after The Black Parade helped things. But the issue was nobody was told what was happening. We had a song by Clarice Jensen on the cello to keep us company, and while great it is not what anyone travelled to Wembley to hear. It simply took too long to get on with things again.

What followed wasn’t a greatest hits set. It was a love letter to the die-hard fans.

https://open.spotify.com/track/7wzNovIu5urOjulGX4VzFo?si=f4f3f5d9f4164a2f

Boy Division kicked things off, taken from the band’s 2012 Conventional Weapons releases. I’ll admit I was slightly surprised it was chosen as the first song after The Black Parade, but once it got going, I couldn’t complain. It was an inspired deep cut that immediately reminded everyone this wasn’t going to be an ordinary arena show.

The band have recently revisited Danger Days, an album I’ve never hidden is my least favourite in their catalogue. Even so, hearing Party Poison live was a genuine treat, especially after Gerard revealed they hadn’t played it since 2011. It’s moments like that which separate a good gig from a truly memorable one. You’re witnessing songs that fans never expected to hear again.

https://open.spotify.com/track/7lRlq939cDG4SzWOF4VAnd?si=647d0c1f21214cfd

The heat inside Wembley was still relentless when the unmistakable opening of I’m Not Okay (I Promise) rang out.

What. A. Moment.

If there was ever a song that perfectly summed up my teenage years, this was it. Back then it was the soundtrack to every frustration, every bad day and every feeling of not quite fitting in. This time, though, I got to scream every lyric surrounded by tens of thousands of people doing exactly the same thing. There wasn’t a shred of judgement anywhere. Just one enormous shared release of emotion.

It’s a moment I’ll genuinely never forget.

After that emotional explosion, and the haunting performance of Desert Song, it was time to inject some pure fun back into proceedings.

https://open.spotify.com/track/5BB0Jzw60KyfSTyjJqtely?si=1304f6d4f2944631

Na Na Na (Na Na Na Na Na Na Na Na Na) is exactly the sort of chaotic, infectious anthem you want in a stadium. Somewhere during the song I managed to smash my knee against something sharp and actually cut it.

Did I care?

Not even slightly.

I was having far too much fun.

The surprises kept coming with Vampires Will Never Hurt You, taking everyone right back to the band’s 2002 beginnings. You can hear a young band still discovering exactly who they wanted to be, but that’s part of its charm. Every great band has to start somewhere, and hearing one of those early songs live felt incredibly special.

Sticking with the vampire theme, Vampire Money kept the energy soaring. Is it My Chemical Romance’s greatest song? No. Is it ridiculously fun in a live setting? Absolutely.

Sing followed, with Wembley once again doing most of the vocal work. In this case, I actually took a step back and let the crowd have their moment. Sometimes listening to thousands of people sing together is every bit as powerful as joining in yourself.

https://open.spotify.com/track/5dTHtzHFPyi8TlTtzoz1J9?si=7a39619db10a4686

Then came Helena.

Even though The Kids From Yesterday officially closed the evening, if I’m being honest, I was still emotionally recovering from Helena. It remains one of the greatest songs My Chemical Romance have ever written, and there was absolutely no chance I was staying quiet during that one. I sang every word.

As the final notes faded away, there was only one thought running through my head.

Thank you, My Chemical Romance.

For one of the greatest nights I’ve ever experienced.

Verdict

I’ve been to a hell of a lot of gigs over the years, but few have sat with me the same way this one has. I am now purposely writing this nearly 3 weeks later. I needed to give my brain time to fully process it. Seeing The Black Parade performed in full was everything I had hoped and then some. The atmosphere, production and the sense of belonging elevated it to something unforgettable.

No concert is perfect. I was not sold on all the support acts and the lengthy break interrupted the flow in the middle of the set. But those are tiny complaints when compared to all the things this show got right.

This wasn’t simply another stadium concert.

It was a celebration of one of the most influential rock albums of the 21st century, performed by a band who continue to mean the world to so many people including me.

Would I do that coach journey all over again?

Without hesitation.

“So long and goodnight.”

96/100

All rights to the songs used in this post are retained by the recording artists. This site claims no rights over them. All images were provided by Mihail Hristov (photo.morphic).

Long Live The Black Parade: An Emotional Review Of My Chemical Romance’s Wembley Show

Introduction

I honestly ummed and ahhed about buying a ticket for this gig for what seemed like months. Between financial commitments and logistics it didn’t seem the most sensible decision. But in the end nothing could stop me from seeing my emo idols. Knowing they were also playing my favourite album in full only cemented it. I had to make this happen.

Buying a resale ticket through Ticketmaster turned out to be surprisingly painless, and for the limited view seat I actually think I bagged a bargain! The bigger challenge however was going to be getting to the concert. I had to go to Wembley and London driving is not something I’ll ever do.

This led to trying something new, travelling to a show via coach!

Big Green Coaches

I’d seen Big Green Coaches advertised for festivals like Download before, so I looked to see if they did gigs too. Not only did they, but they happened to have 1 seat left, I booked it as quick as humanly possible.

The experience itself couldn’t have been made easier. From the pickup at Derby Bus Station to climbing back on tired post show. Everything was well organised and more importantly straightforward. If I were to nit-pick, there were a few things that could have made my experience better.

Firstly, the coach actually cost me more than the gig! Which did sting a little even if only mentally. Secondly if I were to do it again I would want to travel with a friend. It’s not a short trip and made longer when sat next to a stranger.

Finally we arrived at the stadium 2 hours before it even opened. This is simultaneously a good thing and bad. Good in that even had we hit traffic we would have made it on time. But bad because after buying a shirt from the merch stand I had nothing to do for 90 minutes in the blistering heat!

However I would still massively recommend Big Green Coaches to anyone considering travelling for a major gig. Grab yourself a copy of Classic Rock magazine and put your noise cancelling headphones on. The time flies quicker than you might expect!

Anthony Green

The first thing I noticed about Anthony Green was just how excited he seemed to be there. Wembley is an intimidating venue for anyone and I suspect not the type of place he gets to play in his other bands. Including L.S.Dunes which he plays in alongside My Chemical Romance guitarist Frank Iero.

It was a shame really that the stadium was in fact still pretty much empty for his set. Those that were there on time however were treated to his show that really did deserve a bigger audiance that what it had.

Musically, I found his nine songs to share a pretty similar vibe, meaning they blended together a little more than I’d have preferred. That said I enjoyed his music still! If I had to pick a standout It’d be Trading Doses, which left the strongest impression on me.

https://open.spotify.com/track/1OgZxrttFuHchxqsepppWV?si=85e5a4a531a44080

I did however have a little laugh at the bassist who looked exactly like a character out of the British sitcom Fresh Meat. Once I had noticed that, I couldn’t unsee it. Sorry.

Looks aside, Anthony Green sounded excellent, with his vocals being much stronger than I expected. Carrying at times a surprising amount of grit and harshness that added another dimension to his performance.

When you consider he wasn’t even part of the original billing for the show I think he did a solid job at warming the crowd up (Although the 38c did that already). I just wish more people had seen it!

Sunny Day Real Estate

I need to admit something, I had never heard of Sunny Day Real Estate before this gig. Also if I am being brutally honest, I’ll probably never actively seek them out again.

They’re not a bad band, but they fell short of the type of music I tend to gravitate towards. Sometimes bands don’t click for someone, this is one of those times.

https://open.spotify.com/track/4mQfmZSNbkpIHua7lsVU7k?si=5bba0245d4ef4384

For a band that has been around for over three decades, two members part of the original Foo Fighters line up, it should not be surpsing that they know how to command a stage. Their blend of Emo and Alt rock kept plenty of people engaged throughout their set. I just couldn’t find myself getting fully on board.

More than anything I struggled with the pairing. A support act should either compliment the headliners sound, or be a huge name that they are an event in themselves. In the UK I don’t think Sunny Day Real Estate are either.

https://open.spotify.com/track/7MtlureL5VXmDnyoUeBxsd?si=0e4b3b0f8a584d34

I did however enjoy songs like In Circles and Seven, and they left a lasting impression. But to be truthful I wish I’d come for Joan Jett or Skunk Anansie.

I think the crowd were pretty split on them. Some were fully invested and loving it, singing, cheering. Others were on their phone. Consider me landing somewhere in between.

My Chemical Romance

The Black Parade

The band emerged to Vera Lynn’s We’ll Meet Again, which felt like an strange choice. Followed quickly by Over Fields (The National Anthem Of Draag), complete with stunning vocals from Lucy Joy Altus and Charlotte Kelso. I think this set the theatrical tone for what was to come well.

Then it happened.

The opening notes of The End. Rang out through the crowd and Wembley absolutely erupted. I knew My Chemical Romance fans were passionate (After all I am one of them) but I was not prepared for the reaction. It was as if every single seat had become charged with electric. Not a single person was sat down, and from that moment I don’t think I did!

https://open.spotify.com/track/0uukw2CgEIApv4IWAjXrBC?si=1aacc96196424112

Dead! kept the momentum rolling with an infectious party like atmosphere. Everywhere I glanced people were dancing, jumping and not forgetting screaming every word back at the band. It felt like an emo choreographed song with thousands of fans dressed in black moving together as one. The pace eased off slightly with This Is How I Disappear, but that was always going to happen when you play an entire album. Not every song can be a defining moment.

That being said I have always enjoyed the spoken-word opening of The Sharpest lives. It’s a masterclass in building tension, slowly pulling you in before exploding into a great chorus. Honestly it might be the best on the entire album. I might have damaged my voice during this one, but it was totally worth it.

As amazing as everything had been up to this point nothing could have prepared me for how I would feel during Welcome To The Black Parade.

The moment those iconic piano notes echoed around Wembley I felt goosebumps. It wasn’t just excitement, it was one of those rare moments where thousands of people became completely united by a song. You could feel emotion washing over the entire crowd.

Oddly the song has taken on a completely new meaning for me since becoming a father. Instead of hearing an anthem from my teenage years I now find myself thinking about a time when I might not be able to support my child. Somewhere between singing, headbanging and taking everything in, I released a single tear had escaped.

And honestly?

I’m not ashamed of that in the slightest.

This isn’t just an anthem. It’s one of the defining songs of my life.

https://open.spotify.com/track/5wQnmLuC1W7ATsArWACrgW?si=f7f7664077c54be3

Just when I thought the emotional damage had been done the band hit me with I Don’t Love You. If you have not heard this song before do yourself a favour and change that. It’s heartbreak wrapped up in a beautiful melody. By this point I was singing loud enough that I probably owe an apology to those who were sat near me.

One thing that really impressed me throughout the performance of The Black Parade album was the production. This was not a band going through the motions of an album in full show. It was a full blown theatrical experience. The transition between songs, the little story moments and visual details added to the magic. The type of magic only real fans would notice. This was no longer a rock show, but an event!

House Of Wolves has the unenviable task of following two of the best songs not only on the album but the bands back catalogue. It kept the momentum going but for me never reached the same heights.

Cancer threw things crashing back down to earth. The band have never shied away from life’s darkest reality. Hearing this track live hit me harder than it ever has on record before. Having lost people to cancer myself I connected to it in a way that I simply had not managed to before. If anyone is still wondering if this band is worth seeing live, this song alone is enough to answer that.

Then came Mama, the song that turned Wembley into a headbanging convention. I have never witnessed a stadium move in sync quite like that before. It looked like tens of thousands of people sharing the same heartbeat.

https://open.spotify.com/track/0Zh3tKIphLOvQux4dA6PFZ?si=cb97e01314d6490c

Now it is time to upset some people…

Sleep has always been my least favourite song on the album. It suffers from the impossible task of sitting right before Teenagers so in ripe spot to be skipped.

Speaking of Teenagers… wow.

Every single lyric was being screamed back at Gerard Way by the loving (And quite rowdy) crowd. Gerard was phenomenal all night truth be told but this song he found another gear entirely.

When I was growing up I never felt like I fit in anywhere. So Teenagers really resonated with me. Ironically I’ve never felt more comfortable than I did surrounded by eighty thousand people who understood the same feeling.

https://open.spotify.com/track/7j31rVgGX9Q2blT92VBEA0?si=7cbc3d36054c474a

For me Disenchanted never meant much, but I know for some fans of the band it means a lot. It’s a perfectly good song but I have never seen it as one of the albums stand out tracks.

Everything then built towards what, in my eyes at least, is the true finale of the album.

Yes, I know Blood technically comes afterwards, but Famous Last Words has always felt like the real ending to The Black Parade.

https://open.spotify.com/track/2d6m2F4I7wCuAKtSsdhh83?si=f6a80db7fd744bed

This might divide fans but it is actually my favourite My Chemical Romance song. I fell in love with it years ago thanks to the amazing music video. The vision of the band surrounded by flames sticks with me to this day. I never expected the live version to sit close, but man.

I was wrong.

The amount of fire blasting across the stage elevated a great performance to an unforgettable one. Huge credit needs to go to Mikey and Frank who really stood out on this track!

Blood eventually brought the album to a close. The on-stage antics made it an entertaining finish and allowed people to truly take in what they had just witnessed!

Remainder Of The Set

Remainder Of The Set

I’ll tell you what was odd. Seeing around a quarter of the crowd disappear.

Some returned a few minutes later, but others had clearly called it a night. I don’t think the ten minute break after The Black Parade helped things. But the issue was nobody was told what was happening. We had a song by Clarice Jensen on the cello to keep us company, and while great it is not what anyone travelled to Wembley to hear. It simply took too long to get on with things again.

What followed wasn’t a greatest hits set. It was a love letter to the die-hard fans.

https://open.spotify.com/track/7wzNovIu5urOjulGX4VzFo?si=f4f3f5d9f4164a2f

Boy Division kicked things off, taken from the band’s 2012 Conventional Weapons releases. I’ll admit I was slightly surprised it was chosen as the first song after The Black Parade, but once it got going, I couldn’t complain. It was an inspired deep cut that immediately reminded everyone this wasn’t going to be an ordinary arena show.

The band have recently revisited Danger Days, an album I’ve never hidden is my least favourite in their catalogue. Even so, hearing Party Poison live was a genuine treat, especially after Gerard revealed they hadn’t played it since 2011. It’s moments like that which separate a good gig from a truly memorable one. You’re witnessing songs that fans never expected to hear again.

https://open.spotify.com/track/7lRlq939cDG4SzWOF4VAnd?si=647d0c1f21214cfd

The heat inside Wembley was still relentless when the unmistakable opening of I’m Not Okay (I Promise) rang out.

What. A. Moment.

If there was ever a song that perfectly summed up my teenage years, this was it. Back then it was the soundtrack to every frustration, every bad day and every feeling of not quite fitting in. This time, though, I got to scream every lyric surrounded by tens of thousands of people doing exactly the same thing. There wasn’t a shred of judgement anywhere. Just one enormous shared release of emotion.

It’s a moment I’ll genuinely never forget.

After that emotional explosion, and the haunting performance of Desert Song, it was time to inject some pure fun back into proceedings.

https://open.spotify.com/track/5BB0Jzw60KyfSTyjJqtely?si=1304f6d4f2944631

Na Na Na (Na Na Na Na Na Na Na Na Na) is exactly the sort of chaotic, infectious anthem you want in a stadium. Somewhere during the song I managed to smash my knee against something sharp and actually cut it.

Did I care?

Not even slightly.

I was having far too much fun.

The surprises kept coming with Vampires Will Never Hurt You, taking everyone right back to the band’s 2002 beginnings. You can hear a young band still discovering exactly who they wanted to be, but that’s part of its charm. Every great band has to start somewhere, and hearing one of those early songs live felt incredibly special.

Sticking with the vampire theme, Vampire Money kept the energy soaring. Is it My Chemical Romance’s greatest song? No. Is it ridiculously fun in a live setting? Absolutely.

Sing followed, with Wembley once again doing most of the vocal work. In this case, I actually took a step back and let the crowd have their moment. Sometimes listening to thousands of people sing together is every bit as powerful as joining in yourself.

https://open.spotify.com/track/5dTHtzHFPyi8TlTtzoz1J9?si=7a39619db10a4686

Then came Helena.

Even though The Kids From Yesterday officially closed the evening, if I’m being honest, I was still emotionally recovering from Helena. It remains one of the greatest songs My Chemical Romance have ever written, and there was absolutely no chance I was staying quiet during that one. I sang every word.

As the final notes faded away, there was only one thought running through my head.

Thank you, My Chemical Romance.

For one of the greatest nights I’ve ever experienced.

Verdict

I’ve been to a hell of a lot of gigs over the years, but few have sat with me the same way this one has. I am now purposely writing this nearly 3 weeks later. I needed to give my brain time to fully process it. Seeing The Black Parade performed in full was everything I had hoped and then some. The atmosphere, production and the sense of belonging elevated it to something unforgettable.

No concert is perfect. I was not sold on all the support acts and the lengthy break interrupted the flow in the middle of the set. But those are tiny complaints when compared to all the things this show got right.

This wasn’t simply another stadium concert.

It was a celebration of one of the most influential rock albums of the 21st century, performed by a band who continue to mean the world to so many people including me.

Would I do that coach journey all over again?

Without hesitation.

“So long and goodnight.”

96/100

All rights to the songs used in this post are retained by the recording artists. This site claims no rights over them. All images were provided by Mihail Hristov (photo.morphic).

New #review today: "In harmony with the cover art and the album title, much of the music on #FrenchTV's new album sounds as if it could have been written as the soundtrack to a 70s spy thriller movie, with breezy themes and funky beats. What you won’t hear is the complex Canterbury / RIO sound the band has presented on most of their albums." #ExposeOnline #CuneiformRecords http://expose.org/index.php/articles/display/french-tv-the-spanish-caper-2.html

New #review today: "In harmony with the cover art and the album title, much of the music on #FrenchTV's new album sounds as if it could have been written as the soundtrack to a 70s spy thriller movie, with breezy themes and funky beats. What you won’t hear is the complex Canterbury / RIO sound the band has presented on most of their albums." #ExposeOnline #CuneiformRecords http://expose.org/index.php/articles/display/french-tv-the-spanish-caper-2.html

From Dark Horse Comics, Only The Savage Are Left #2 continues this story of monsters in more ways than one.

https://comics.3millionyears.co.uk/p/review-only-the-savage-are-left-2

#Review #OnlyTheSavageAreLeft #DarkHorse

Rigor Sardonicous is a two-man funeral doom project from my neck of the woods of Long Island, New York, featuring members of Teloch Vovin and Abhorrence. Despite their lurking in the scene since 1999, I didn’t hear of them until Thus Spoke reviewed their seventh album, 2023s Praeparet Bellum. How could a band like this exist right under my nose for so long without me catching a whiff? Well, as Thus summed up in her review, they aren’t exactly tearing a hole in the metalverse with their lo-fi, quasi-industrial style of funerary music. The material on Praeparet Bellum was one-dimensional, plodding, and devoid of the necessary tricks and treats to keep such slogging doom interesting and, well, listenable. I hoped Diatriba Deorum would see the duo elevate their game, and in some ways, I suppose they have. But will it be enough to take them from deep, dark obscurity into the sunlight?

In a word, no. While Diatriba Deorum is a step up from last time and shows some improvement in pacing, atmosphere, and overall execution, this is still an inky grey slab of slow-motion doom without much in the way of engagement. Things do open quite strongly on “With God’s Love,” which is a slightly more aggressive creature for Rigor, rocking a pseudo-industrial, lo-fi hum that feels ominous and eerie. Subteranean vocals belch and burp over simple, plodding riffs and a programmed drum clicks and thumps in the background (I’ll refer to the drummer as “Clanger” henceforth). What helps is that the song is only 2 minutes, and if it was pushed much past that, things would go off the rails. “Death Cult” is a classic funeral-death-doom track with an unmistakably Sabbathian lead riff winding endlessly through a colorless glade of dead spruce as Clanger thrums along lifelessly and Joseph J. Fogarazzo roars quietly down somewhere in the mulch of the lo-fi mix. It’s got a certain dark, hypnotic mood that works well enough to let the 6-plus minutes slip by without testing your resolve too aggressively.

There are more tracks here, however, that are all too happy to test your resolve and attention. “I Am” is 8-plus minutes of ugly plodery with very little in the way of change-ups or tempo shifts. It’s an aural experience akin to being slowly chased down a long yellow corridor by Pirate Clark from Backrooms. It starts to feel overlong before the halfway point, and that’s a problem. By the end, even Clanger sounds tired and uninterested. “Commandment” is the album’s bright spot, with riffs evoking a strong Warning flavor as things stagger and shamble around the corpse yard unhurried. Closer “Actus Tragicus” also manages to rise slightly above the standard drudgery heard across Diatriba Deorum, offering enough melody to keep things mildly interesting over 9-plus minutes. The weird thing with Rigor’s music is that any song taken in isolation works as a standard funeral doom piece. It’s when the whole album bum-rushes you that you realize how one-note and monotonous their style and approach can be. At 44:36, Diatriba Deorum feels about a week longer, and it’s nearly impossible to focus intently throughout. That said, I’ve had it on in the background as I worked, and it was almost meditative and somewhat soothing. Go figure. The production is super raw, unprofessional, and soupy, but it does help convey a cold, soullessly industrialized aura. The guitars lack enough raw force to deliver meaningful impact, and the vocals feel like they were recorded under several layers of wet concrete. Other than that, good job!

Joseph J. Fogarazzo handles vocals and guitar. His death groans and grunts are appropriately wet, sticky, and hideous, booming away in the hidden caverns below like some eldritch abomination. His guitar work can best be described as minimalist and simplistic. He’s definitely an adherent to the less is MOAR school, offering rudimentary leads that barely change or morph over long run times. If he offered more (or some) decorative, forlorn harmonies over the leads, we would be getting somewhere, but he’s largely content to slowly riff away as time crawls and fingernails grow. Glenn Hampton’s bass work is there but does nothing to stand out. It’s like he doesn’t want to draw attention away from the threadbare riffs or inelegant drumbeats. Basically, there’s not a lot going on here, even for just two people and a machine.

Though better than Praeparet Bellum, Diatriba Deorum plays out like one long repetitive death march into nothingness. Aside from a few vague bright spots, this is a never-ending morass of bargain-basement funeral doom. I want to love it, but it refused to let me. Instead, I’ll use it as a relaxation tool when the need arises. Rigor Sardonicous are obscure as fook even in their own neighborhood, and now I know why.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Meuse Music
Websites: rigorsardonicous1.bandcamp.com | facebook.com/rigorsardonicous.official
Releases Worldwide: July 31st, 2026

Rigor Sardonicous is a two-man funeral doom project from my neck of the woods of Long Island, New York, featuring members of Teloch Vovin and Abhorrence. Despite their lurking in the scene since 1999, I didn’t hear of them until Thus Spoke reviewed their seventh album, 2023s Praeparet Bellum. How could a band like this exist right under my nose for so long without me catching a whiff? Well, as Thus summed up in her review, they aren’t exactly tearing a hole in the metalverse with their lo-fi, quasi-industrial style of funerary music. The material on Praeparet Bellum was one-dimensional, plodding, and devoid of the necessary tricks and treats to keep such slogging doom interesting and, well, listenable. I hoped Diatriba Deorum would see the duo elevate their game, and in some ways, I suppose they have. But will it be enough to take them from deep, dark obscurity into the sunlight?

In a word, no. While Diatriba Deorum is a step up from last time and shows some improvement in pacing, atmosphere, and overall execution, this is still an inky grey slab of slow-motion doom without much in the way of engagement. Things do open quite strongly on “With God’s Love,” which is a slightly more aggressive creature for Rigor, rocking a pseudo-industrial, lo-fi hum that feels ominous and eerie. Subteranean vocals belch and burp over simple, plodding riffs and a programmed drum clicks and thumps in the background (I’ll refer to the drummer as “Clanger” henceforth). What helps is that the song is only 2 minutes, and if it was pushed much past that, things would go off the rails. “Death Cult” is a classic funeral-death-doom track with an unmistakably Sabbathian lead riff winding endlessly through a colorless glade of dead spruce as Clanger thrums along lifelessly and Joseph J. Fogarazzo roars quietly down somewhere in the mulch of the lo-fi mix. It’s got a certain dark, hypnotic mood that works well enough to let the 6-plus minutes slip by without testing your resolve too aggressively.

There are more tracks here, however, that are all too happy to test your resolve and attention. “I Am” is 8-plus minutes of ugly plodery with very little in the way of change-ups or tempo shifts. It’s an aural experience akin to being slowly chased down a long yellow corridor by Pirate Clark from Backrooms. It starts to feel overlong before the halfway point, and that’s a problem. By the end, even Clanger sounds tired and uninterested. “Commandment” is the album’s bright spot, with riffs evoking a strong Warning flavor as things stagger and shamble around the corpse yard unhurried. Closer “Actus Tragicus” also manages to rise slightly above the standard drudgery heard across Diatriba Deorum, offering enough melody to keep things mildly interesting over 9-plus minutes. The weird thing with Rigor’s music is that any song taken in isolation works as a standard funeral doom piece. It’s when the whole album bum-rushes you that you realize how one-note and monotonous their style and approach can be. At 44:36, Diatriba Deorum feels about a week longer, and it’s nearly impossible to focus intently throughout. That said, I’ve had it on in the background as I worked, and it was almost meditative and somewhat soothing. Go figure. The production is super raw, unprofessional, and soupy, but it does help convey a cold, soullessly industrialized aura. The guitars lack enough raw force to deliver meaningful impact, and the vocals feel like they were recorded under several layers of wet concrete. Other than that, good job!

Joseph J. Fogarazzo handles vocals and guitar. His death groans and grunts are appropriately wet, sticky, and hideous, booming away in the hidden caverns below like some eldritch abomination. His guitar work can best be described as minimalist and simplistic. He’s definitely an adherent to the less is MOAR school, offering rudimentary leads that barely change or morph over long run times. If he offered more (or some) decorative, forlorn harmonies over the leads, we would be getting somewhere, but he’s largely content to slowly riff away as time crawls and fingernails grow. Glenn Hampton’s bass work is there but does nothing to stand out. It’s like he doesn’t want to draw attention away from the threadbare riffs or inelegant drumbeats. Basically, there’s not a lot going on here, even for just two people and a machine.

Though better than Praeparet Bellum, Diatriba Deorum plays out like one long repetitive death march into nothingness. Aside from a few vague bright spots, this is a never-ending morass of bargain-basement funeral doom. I want to love it, but it refused to let me. Instead, I’ll use it as a relaxation tool when the need arises. Rigor Sardonicous are obscure as fook even in their own neighborhood, and now I know why.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Meuse Music
Websites: rigorsardonicous1.bandcamp.com | facebook.com/rigorsardonicous.official
Releases Worldwide: July 31st, 2026

Razer Huntsman V3 HE Review: Jumping on the Bandwagon

https://fed.brid.gy/r/https://www.wired.com/review/razer-huntsman-v3-hall-effect-keyboard/

Razer Huntsman V3 HE Review: Jumping on the Bandwagon

https://fed.brid.gy/r/https://www.wired.com/review/razer-huntsman-v3-hall-effect-keyboard/

Prevalence of food #allergies in older adults: A systematic #review and meta-analysis

"...Older adults show meaningful rates of self-reported #food allergies and sensitization, with cow's milk, peanut, and egg emerging as frequent sensitizing foods. However, the prevalence of clinically confirmed food allergies remains poorly defined. ..."

#Research #Aging #Nutrition #Care #Health #Geriatrics

https://www.sciencedirect.com/science/article/pii/S1939455126002619?via%3Dihub

Prevalence of food #allergies in older adults: A systematic #review and meta-analysis

"...Older adults show meaningful rates of self-reported #food allergies and sensitization, with cow's milk, peanut, and egg emerging as frequent sensitizing foods. However, the prevalence of clinically confirmed food allergies remains poorly defined. ..."

#Research #Aging #Nutrition #Care #Health #Geriatrics

https://www.sciencedirect.com/science/article/pii/S1939455126002619?via%3Dihub

HCF Review - John Woo's ONCE A THIEF (1991)
https://horrorcultfilms.co.uk/2026/07/once-a-thief-1991/
#film #cinema #movies #movie #review #action

HCF Review - John Woo's ONCE A THIEF (1991)
https://horrorcultfilms.co.uk/2026/07/once-a-thief-1991/
#film #cinema #movies #movie #review #action

There are many crazy movies from the days of the video store. NONE of them have the ending that Blood Debts has.

Read the review from May 2021 at https://wp.me/p9XNnZ-22q

#blog #review #80s #action #exploitation

There are many crazy movies from the days of the video store. NONE of them have the ending that Blood Debts has.

Read the review from May 2021 at https://wp.me/p9XNnZ-22q

#blog #review #80s #action #exploitation

After a long time of debating, I finally finished my Wuthering Heights review, from the Movie Adaptations.

Check out my Substack:
https://iliwritesstuff.substack.com/p/wuthering-heights

#movies #review #romance

Meet Cute in Manhattan: give Kendall Leary a chance! New romcom with a new face. #movies #review https://oldaintdead.com/meet-cute-in-manhattan-give-kendall-leary-a-chance/

Meet Cute in Manhattan: give Kendall Leary a chance! New romcom with a new face. #movies #review https://oldaintdead.com/meet-cute-in-manhattan-give-kendall-leary-a-chance/

4 Best Budget Smartwatch Models for Less Than $250 (2026)

https://fed.brid.gy/r/https://www.wired.com/story/best-budget-smartwatch/

4 Best Budget Smartwatch Models for Less Than $250 (2026)

https://fed.brid.gy/r/https://www.wired.com/story/best-budget-smartwatch/

Ab heute im #Kino: THE INVITE. Toll besetzt, bringt die dialogreiche Komödie nicht nur die unterschwelligen Wünsche ihrer Figuren ans Licht, sondern auch die Erwartungen und Enttäuschungen in Beziehungen der heutigen Zeit. Das ist sehenswert, vor allem für ein verheiratetes Publikum. Zur #Review: https://www.treffpunkt-kritik.de/the-invite-2026/

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

Ab heute im #Kino: BITTERES FEST. Das stellenweise amüsante spanische Drama lebt von seiner Besetzung, wartet aber mit einer Geschichte auf, die an allen entscheidenden Wegstationen zweimal ankommt und letztlich doch nirgendwo hinführt. Zur #Review: https://www.treffpunkt-kritik.de/bitteres-fest-2026/

TCL Tab A1 Plus Review (2026): Cheap Tablet That Doesn’t Feel It

https://fed.brid.gy/r/https://www.wired.com/review/tcl-tab-a1-plus-tablet/

TCL Tab A1 Plus Review (2026): Cheap Tablet That Doesn’t Feel It

https://fed.brid.gy/r/https://www.wired.com/review/tcl-tab-a1-plus-tablet/

https://www.evshift.com/500211/new-leapmotor-c10-review-is-this-now-the-leader-of-plug-in-hybrids/ NEW Leapmotor C10 review: Is this now the leader of plug-in hybrids? #C10 #ElectricCars #ElectricVehicles #EV #Hybrids #leader #Leapmotor #PlugInHybrids #PlugInHybridsVehicles #PlugIn #review

I Have Thoughts on the iPhone Air

https://christianselig.com/2026/07/iphone-air-review/

Comments: https://news.ycombinator.com/item?id=49107145

#HackerNews #iPhoneAir #review #techthoughts #AppleInnovation #smartphone

I Have Thoughts on the iPhone Air

https://christianselig.com/2026/07/iphone-air-review/

Comments: https://news.ycombinator.com/item?id=49107145

#HackerNews #iPhoneAir #review #techthoughts #AppleInnovation #smartphone

Lunch At The Daily Scoop!

https://web.brid.gy/r/https://theorkneynews.scot/2026/07/30/lunch-at-the-daily-scoop/

Lunch At The Daily Scoop!

https://web.brid.gy/r/https://theorkneynews.scot/2026/07/30/lunch-at-the-daily-scoop/

The Ramayana trailer has finally arrived, and while Yash, Ranbir Kapoor and Sai Pallavi are winning praise, fans are all asking the same question: Where is Sunny Deol's Hanuman? https://english.mathrubhumi.com/movies-music/news/ramayana-part-1-trailer-reactions-social-media-yash-ravana-ranbir-kapoor-ram-sunny-deol-hanuman-missing-nj0z4oud?utm_source=dlvr.it&utm_medium=mastodon #RamayanaMovie #MovieTrailer #Review

Joyce Carol Oates slams Emily Wilson over viral ‘Odyssey’ takedown

Days after a classicist who translated Homer’s “The Odyssey” in 2017 eviscerated the Christopher Nolan film based on…
#NewsBeep #News #Topstories #dailyglobaltitlesale #EmilyWilson #Film #Headlines #HOMER #JoyceCarolOates #oates #Odyssey #originaltext #poem #review #teamnolan #TopStories #Translation #version #wilson #year
https://www.newsbeep.com/669393/

💿 REVIEW: Charli xcx confina a selvageria do âmago sob a redoma de vidro da arte em Music, Fashion, Film

https://g02mp.blogspot.com/2026/07/Review-Charli-xcx-Music-Fashion-Film.html

#pop #britpop #review #poprock #Charlixcx #blog

💿 REVIEW: Charli xcx confina a selvageria do âmago sob a redoma de vidro da arte em Music, Fashion, Film

https://g02mp.blogspot.com/2026/07/Review-Charli-xcx-Music-Fashion-Film.html

#pop #britpop #review #poprock #Charlixcx #blog

Open Peer Review, Fewer Retractions: A Study That Proves Its Own Point

Share if you found this interesting.

https://1ban.news/open-peer-review-retraction/

#1ban #open #peer #review #retraction #science

Open Peer Review, Fewer Retractions: A Study That Proves Its Own Point

Share if you found this interesting.

https://1ban.news/open-peer-review-retraction/

#1ban #open #peer #review #retraction #science

Please check out my review on Keeper
Any likes/comments are greatly appreciated (it helps with the algorithm)
Please follow for more!
#moviereview #movies #movie #moviereviews #moviereviewer #film #films #subscribe #like #share #review #follow

http://ryansmoviereviews.com/2026/07/30/keeper/

Please check out my review on Keeper
Any likes/comments are greatly appreciated (it helps with the algorithm)
Please follow for more!
#moviereview #movies #movie #moviereviews #moviereviewer #film #films #subscribe #like #share #review #follow

http://ryansmoviereviews.com/2026/07/30/keeper/

#CriminalMinds deliver their worst streaming season so far.

#Streaming #series #review #reviews #NowStreaming #drama

https://cee.onl/drb

#CriminalMinds deliver their worst streaming season so far.

#Streaming #series #review #reviews #NowStreaming #drama

https://cee.onl/drb