MANiCURE1295

slay Bruno

I’m PRAYING that DWAS is #1 while JFAD takes over the BO imagine the #1 song in America and #1 movie in America… Queen of Hollywood who?

I don’t think it will. THE relied a lot on the “Beyoncé going country” plus TikTok dance hype. The growth for DWAS seems to be a lot more natural. Also I think THE was a lot more fan driven whereas DWAS is gonna be more GP driven. I have faith this time around.

https://imgur.com/a/y93e5Xp im so obsessed with DWAS do yall love my little sing along?

this looks so f-ing good

I need to just say this…. if any fanbase deserves this…ITS US. We’ve gone 4 years without an album and have suffered through lashings with other pop artists having major success. we finally get our time with DWAS & JFAD Venice premiere just 2 WEEKS AWAY we all deserve this moment and this slaying and I hope we all soak in the next 6 months together cause no matter what’s…it’s gonna be a fun ride with lots of fun Gaga moments to talk about and discuss from JFAD premiere, movie release and then GG/CCA/BAFTA/SAG nominations and then GRAMMY nominations and possible Oscar nominations. WE f-ING DESERVE THIS SOAK IT IN AND ENJOY!

This is going to be a massive smash in the US….

Yeah we really need SC to f- off next week

wow I’m good

I’m gonna go with 800k to be “humble” cause yeah I didn’t think of discography growth and whatnot

SZA was doing about 1M more streams than Gaga yesterday so if she passed SZA it’s safe to say we have another 1M+ update growth incoming for DWAS edit: SZA could’ve lost some streams naturally as well but I think it’s safe to say DWAS probably just grew that much?

Lemme me just go hold Aspen while I listen to DWAS edit: also, Gaga got a new doggo?!?!? it’s so cute

Yes Lady Godga & Daddy Bruno

Top 10

YES ITS #11 (+4)!!!!

almost 18M daily streams yes GODGA

The answer is a full-on musical, which uses a genre associated with Judy Garland and Fred Astaire to examine a frayed mind growing even more dangerously untethered as the Joker stands trial for five murders. “Todd took a very big swing with this whole concept and with the script, giving the sequel to ‘Joker’ this audacity and complexity,” says Gaga. “There’s music, there’s dance, it’s a drama, it’s also a courtroom drama, it’s a comedy, it’s happy, it’s sad. It’s a testament to [Todd] as a director, that he would rather be creative than just tell a traditional story of love.” “Joker: Folie à Deux” may be his most go-for-broke gamble yet. It’s a movie that kicks off with a Looney Tunes-inspired cartoon starring the Joker (courtesy of “The Triplets of Belleville” animator Sylvain Chomet) before hurtling through prison riots, courtroom faceoffs and a variety-show sequence that finds Phoenix and Gaga portraying a homicidal Sonny & Cher. “The goal of this movie is to make it feel like it was made by crazy people,” Phillips says of his manic approach. “The inmates are running the asylum.” “Joker: Folie à Deux” is set two years after the first film, which ended with Arthur shooting a Carson-like talk show host (Robert De Niro) dead on live television while outfitted as the Joker and inciting a citywide riot in the process. Now, Arthur is locked up in a psych ward and facing the death penalty. But after meeting a fellow patient, Harleen “Lee” Quinzel (Gaga), who is obsessed with him — or, rather, his alter ego, Joker — Arthur ditches his medication and prances into a fantasy world that often plays like the MGM musicals of yesteryear on acid. As their bond intensifies, Arthur and Lee break into songs like “Get Happy,” “For Once in My Life” and “That’s Life” that convey their shifting emotions: He’s drawn to romantic ballads; she prefers music about power. Clearly, they want different things out of a relationship. Despite all the singing and dancing, Phillips struggles with the idea of labeling “Joker: Folie à Deux” a musical. In many musicals, actors will sing along to a pre- recorded track. In this film, Phoenix and Gaga did everything live, accompanied by a piano player who performed off-camera, trying to keep up with whatever tempo they established. In the editing room, Phillips then tried to sync the radically different takes into a coherent whole, something that he describes as a “nightmare.”

it looks SO f-ING GOOD