961-965

Chapter 961: Rocket Ascension 

 

"Long Live Life" — what's the story behind it? 

 

Let’s rewind a bit to May. At that time, the European street tour of the band August 31st was causing a sensation, their single "Ho Hey" had climbed to second place on the Billboard charts after six months, and Anson was preparing to attend the Cannes Film Festival. 

 

Everything was exploding into action— 

 

Warner Records could foresee that a new wave of hype was about to arrive. 

 

On one hand, "Ho Hey" was performing well. 

 

But to be fair, the single had been out for over six months, and as the first pre-release single, it had already far exceeded expectations. Regardless of whether it could reach number one or not, the record company needed to start planning the next step. 

 

On the other hand, the album's promotion was in full swing. 

 

A single is a single, and an album is an album. Although the success of a single is worth celebrating, having even one hit single on an album is a reason to rejoice. But from the perspective of the record company and the artist, album sales were still the priority. In some sense, pushing the single up the charts was meant to boost album sales. 

 

The album *Midnight Summer* had already been officially released, and thanks to the success of "Ho Hey," the album had garnered significant attention and sold decently— 

but just decently. 

 

Now, it was time to release the second single from the album to continue promoting and driving sales. Warner Records needed to strike while the iron was hot. 

 

And for a company like Warner Records, they knew exactly what to do. 

 

In the second week of May, coinciding with the opening of the Cannes Film Festival, "Long Live Life" was officially released and began its journey on the charts— 

 

Unlike the more passive approach taken with "Ho Hey," where success was driven mostly by word-of-mouth, Warner Records changed its strategy this time, taking a more proactive approach. 

 

After all, the situation had changed. 

 

Radio play, record store stocking, billboards, posters—everything was rolled out full throttle. The promotional budget, which had been conserved up until now, was finally unleashed. 

 

In the most literal sense, money was being thrown around. 

 

It's worth noting that August 31st did not shoot a music video for this song due to various reasons. Typically, a music video can cost upwards of a million dollars, but this saved Warner Records a significant sum that could be invested elsewhere. 

 

Moreover, the success of "Ho Hey" gave Warner the confidence they needed. 

 

So— 

 

They went all out! 

 

"Long Live Life" was released with a big splash, completely different from "Ho Hey," showcasing a fresh image with Warner Records pulling all the big company moves. 

 

And the results were clear— 

 

In its first week, "Long Live Life" debuted at No. 67 on the Billboard Hot 100. 

 

For the general public, some may have heard of "Ho Hey" and some may not, but even if they had, the name August 31st likely still sounded unfamiliar. Not everyone keeps up with entertainment news, and information wasn't as easily accessible back then as it is now with social media trending topics. 

 

So, the fact that "Long Live Life" debuted at No. 67 was already a remarkable achievement. And it quickly won over critics and listeners alike. 

 

"Best of the year!" 

 

"A perfect blend of pop and classical, history and contemporary culture, with everything hitting the right note." 

 

"Flawless! A masterpiece!" 

 

"The melody, the lyrics, the arrangement—it's impeccable." 

 

"Anson Wood finds the perfect balance between grandeur and melancholy, hitting you right in the heart while pulling you into its depths." 

 

"A perfect adventure. Remember the name August 31st, and also remember Anson Wood—this won't be the last time he amazes the world." 

 

"Pioneering, jaw-dropping!" 

 

Praise, praise, and more praise. Overnight, "Long Live Life" was everywhere, from top-selling American magazines to niche publications focused on indie music. Everyone was talking about it. 

 

With the single "Ho Hey," people had already noticed the band's unique, offbeat style, but that was just the tip of the iceberg. "Long Live Life" took it further by blending classical instruments with a symphonic arrangement, creating a whole new fusion of pop and classical that rocked the music world. 

 

A meteoric rise. 

 

The impact was vast, beyond anyone's wildest expectations— 

 

On one hand, people were still watching in awe as "Ho Hey" maintained its stunning second-place position for weeks on end. 

 

On the other hand, "Long Live Life" shot up the charts like a rocket. 

 

In just four weeks, "Long Live Life" had leaped up four levels and made it into the Top 10 of the Billboard Hot 100, becoming the disrupter of May. 

 

Once it broke into the top 10, the competition became fierce, and the climb slowed down—but it didn’t stop. 

 

At this point, many thought— 

 

The Billboard Top 10 is like a battlefield, with fierce competition at every step. For a new band like August 31st, it would be tough to break through. 

 

Maybe "Long Live Life" would follow in the footsteps of "Ho Hey" and get stuck at No. 2—perhaps second place was their ceiling, an unbreakable barrier. 

 

By the third week of June— 

 

"Ho Hey" was still at No. 2. 

 

"Long Live Life" had reached No. 5. 

 

August 31st and 50 Cent were each holding two spots in the Top 10, creating one of the most exciting showdowns of the early summer. 

 

It was against this backdrop that the unexpected happened— 

 

Typically, once a song enters the Top 5, it becomes increasingly difficult to rise further. If it does, it’s usually by one or two spots, at most. That's just the nature of the game. 

 

As a result, most of the attention was still on "21 Questions" and "Ho Hey." Would 50 Cent keep his hold on the top spot, or could August 31st break a historic record with ten consecutive weeks stuck at No. 2? 

 

That was the focus—until the shockwave hit. 

 

In the fourth week of June, the top three on the Billboard Hot 100 were completely shaken up. 

 

No. 1: "Long Live Life" by August 31st. 

 

No. 2: "21 Questions" by 50 Cent. 

 

No. 3: "Ho Hey" by August 31st. 

 

Boom! 

 

The entire North American music industry was in chaos, stunned by history being made. 

 

First, the nine-month ascent of "Ho Hey" was finally interrupted, as its ranking fell for the first time since October of the previous year. 

 

Second, "Ho Hey" ultimately missed its chance to break the record, staying stuck at No. 2 for nine weeks straight. 

 

Third, "21 Questions" failed to maintain 50 Cent's early momentum, losing the No. 1 spot after just three weeks. 

 

But most importantly, "Long Live Life" had taken the Billboard crown in just eight weeks, becoming August 31st’s first-ever chart-topping single. 

 

Shock, awe, and madness— 

 

Even though people had been hoping for this moment, no one was certain if August 31st could actually pull it off. Setting aside the fact that they were a new band, could their experimental blend of classical instruments with pop and rock really break through and find widespread success? That was the big question. 

 

Now, we have the answer. 

 

"Long Live Life" made history!


**Chapter 962: Double Chart Champions**

 

History is made— 

In an earth-shattering, sweeping manner that shocks all of North America.

 

"Long Live Life" has claimed the top spot on the Billboard Hot 100, cementing its place in the annals of music history.

 

After the initial wave of excitement calmed down, people finally began to reflect on the reasons behind this achievement.

 

It turns out that over the past week, "Long Live Life" completely dominated radio airplay. It surged to the top of the radio requests, far ahead of the second-place song, "21 Questions." It nearly doubled the airplay, showcasing the public’s overwhelming love for the song.

 

Incredible!

 

Finally, on August 31st, the band broke through and achieved their first-ever number one single with "Long Live Life"—

 

Their momentum soared to new heights.

 

In no time, there was a wave of excitement, with cheers, praise, and awe echoing everywhere.

 

But that’s still not all.

 

As "Ho Hey" kept climbing and "Long Live Life" shot up like a rocket, the band's popularity and influence skyrocketed. Even without factoring in Anson’s fame, the band was attracting significant attention.

 

Naturally, their album *Midnight in Summer* entered the spotlight as well.

 

Since its release in the last week of March, *Midnight in Summer* had flown under the radar. It wasn’t completely ignored, but its performance wasn’t exactly impressive either—

 

In its first week, it sold just over 2,200 copies.

 

That was enough to land *Midnight in Summer* on the Billboard 200 album chart.

 

Unlike the Hot 100, which lists the top 100 singles, the Billboard 200 includes the top 200 albums. If an album sells over a thousand copies, it usually makes the cut.

 

So, making the chart wasn’t a huge accomplishment.

 

In its second week, it sold over 3,700 copies.

 

In the third week, sales dropped to around 1,900 copies.

 

In the fourth week, sales surged to over 7,600 copies.

 

The numbers fluctuated wildly without any clear pattern. Sometimes, the rise of "Ho Hey" on the singles chart boosted album sales, and sometimes it had no effect at all, making it difficult to pinpoint any direct correlation.

 

Through April and May, *Midnight in Summer* remained on the Billboard 200. However, after two months, total sales were still under 50,000 copies—disappointing by all accounts.

 

At that point, it was worth revisiting Anson's contract with Warner Records:

 

Anson had chosen to forgo an advance in favor of higher royalties, betting on bigger payouts down the road. But now it seemed like he had made a bad deal. The album wasn’t on track to hit a million sales—200,000 copies seemed like an unreachable goal. Anson's gamble appeared to have backfired.

 

Had his cleverness gotten the better of him?

 

Still, Warner Records remained patient, refusing to give up on the band—

 

Then the "Long Live Life" effect kicked in, giving album sales a major boost.

 

In just the first three weeks of June, *Midnight in Summer* sold 100,000 copies, doubling its previous two months' total. The album was now rocketing upwards and saw an explosive surge in the last week of June.

 

In that single week, *Midnight in Summer* sold 367,700 copies, a massive outpouring of energy.

 

A dark horse had emerged, rising straight to the top!

 

With more than 350,000 units sold in one week, *Midnight in Summer* stormed to number one on the Billboard 200, making it the most popular album in North America that week.

 

A glance at the Billboard 200 for that week reveals just how monumental this achievement was for August 31st.

 

Number two: *Dance With My Father* by Luther Vandross. 

Number three: *St. Anger* by Metallica. 

Number four: *Hail to the Thief* by Radiohead. 

Number five: *Come Away with Me* by Norah Jones. 

Number six: *Get Rich or Die Tryin’* by 50 Cent. 

Number seven: *A Rush of Blood to the Head* by Coldplay. 

Number eight: *Dangerously in Love* by Beyoncé. 

Number nine: *2 Fast 2 Furious* Soundtrack. 

Number ten: *Chocolate Factory* by R. Kelly.

 

Each of these artists, every name, every album, carries heavyweight status. These are projects that have secured their place in the history of music—

 

Time will solidify their legacy.

 

Yet, here stood *Midnight in Summer*, proudly claiming the number one spot.

 

Number one. Champion. The top.

 

The August 31st band had burst onto the scene in a spectacular fashion, grabbing the attention of the entire North American music industry—

 

An undeniable achievement.

 

This week belonged to the August 31st band.

 

Top of the singles chart: "Long Live Life." 

Top of the albums chart: *Midnight in Summer.*

 

The August 31st band claimed the double crown, truly carving out their place in this summer’s vibrant music scene.

 

And this was only the beginning. The band’s upward trajectory showed no signs of slowing down.

 

Especially on the highly competitive Hot 100, where new songs rise and fall at a rapid pace.

 

In the first week of July, *American Idol* mania hit—

 

Season two winner Ruben Studdard and runner-up Clay Aiken both released singles, as the finale of the show shattered TV ratings, drawing over 40 million viewers in North America. It was the hottest topic in the country.

 

There was no competition.

 

All eyes turned to the Billboard Hot 100, where industry experts widely predicted—

 

The chart-topping single would likely be a battle between Clay Aiken and Ruben Studdard. Many expected Clay, who had shockingly lost the *American Idol* crown, to make a comeback and claim his first number one hit.

 

This wasn’t to disrespect Ruben—he was also impressive—but most people believed Clay deserved the win. If not for the behind-the-scenes rumors that Clay preferred men, which allegedly led *American Idol* producers to rig the vote, the outcome wouldn’t have been the same.

 

After all, this was Fox, the notoriously conservative network.

 

The conspiracy theories spread like wildfire.

 

Still, there was no proof.

 

But that didn’t stop Clay's huge fanbase from rallying behind him.

 

Most believed that the same-day single releases from Clay and Ruben were a continuation of their championship rivalry. Without Fox’s interference this time, Billboard’s numbers wouldn’t lie. Naturally, everyone’s attention was focused on this showdown.

 

Clay or Ruben?

 

Ruben or Clay?

 

The debate raged on.

 

Though the August 31st band remained popular, their buzz seemed to pale in comparison to the *American Idol* frenzy. They were almost a footnote in the rapidly shifting landscape—

 

A one-week chart-topper is still a chart-topper, right?

 

Unbelievably, the hype surrounding the August 31st band somehow continued to build. Just when people thought this summer couldn’t get any crazier, reality proved them wrong and pushed the excitement to its peak.

 

Then, the latest Billboard Hot 100 was revealed.

 

Number one: "Long Live Life" by the August 31st band. 

Number two: "This Is the Night" by Clay Aiken. 

Number three: "Flying Without Wings" by Ruben Studdard. 

Number four: "21 Questions" by 50 Cent. 

Number five: "Ho Hey" by the August 31st band.

 

Silence. Absolute silence.

 

Speculations were both right and wrong.

 

"Long Live Life" delivered an unbeatable performance, holding off the new competition to retain its number one spot, keeping its crown for a second week, and sparking even more buzz.

 

This…

 

This?

 

This!

**Chapter 963: Fending Off the Trends**

"Long Live Life" continues to dominate, holding the top spot on the Billboard Hot 100 in a way that's truly mind-blowing.

This achievement is even more shocking than when "Long Live Life" initially rocketed to the top. First, it beat out 50 Cent, and then it held strong against the momentum of "American Idol." The fact that the August 31st band held the No. 1 spot for two consecutive weeks proves its worth, leaving many speechless.

Roar, roar, roar!

“‘Long Live Life’ deserves this!” declared *Rolling Stone* in an article, voicing their unwavering support.

In the piece, they praised not only "Long Live Life" but also "Roar Hey," highlighting the August 31st band’s experimental and daring approach to music. The band managed to find a delicate balance between art and commercial success. Such a work, the article suggested, would be remembered and passed down for generations. Compared to other pop culture phenomena, the band's singular focus on music deserves more recognition and praise. Their Billboard victories are the public’s way of returning that love—a beautiful, mutual exchange.

Although *Rolling Stone* didn’t directly attack Clay Aiken and Ruben Studdard, there was a clear, underlying jab at them. As "American Idol" used its platform to create a massive sensation, the question was raised: How should we peel back the layers of hype and evaluate the core music behind the buzz?

This article was met with applause in the music industry but was fiercely criticized by fans online. These "fangirls" weren't about to let their beloved idols be insulted. The controversy surrounding *American Idol* continued to rage.

Still, *Rolling Stone* wasn’t completely overwhelmed by the "Idol" fanbase because the show's supporters were busy with their internal feud—"Clay vs. Ruben."

Both singers lost to "Long Live Life," which was bad enough, but even worse—Clay Aiken beat Ruben Studdard!

This, to many, seemed like proof of a conspiracy theory: that Fox Television had rigged the results, robbing Clay of his rightful title.

The drama only intensified, with the conspiracy narrative gaining more traction.

By the second week of July, "Long Live Life" remained at No. 1 for a third consecutive week. "Tonight" held at No. 2, and "Flying Without Wings" stayed at No. 3.

In the third week of July, *unbelievably*, "Long Live Life" held the top spot for a fourth week. Beyoncé’s "Crazy in Love" surged to No. 2, while "Tonight" slipped to third and "Flying Without Wings" tumbled out of the top 10, landing at No. 14.

The numbers told the story—facts don’t lie.

Of course, Ruben Studdard's supporters argued that Billboard rankings didn’t prove a conspiracy. After all, chart positions are influenced by song genre, style, and quality. Just because "Flying Without Wings" didn’t perform well doesn’t mean that the votes during *American Idol's* finale were rigged.

However, Clay Aiken’s fans weren't having it.

The conflict continued to burn and would likely follow both singers throughout their careers. *American Idol* was over, but their lives as singers had only just begun.

What was becoming more evident, though, was a clear decline in buzz. By the third week of their single releases, media interest had dropped drastically. The attention was fading faster than anyone expected. Apart from Clay and Ruben’s bickering fans, the media had moved on to more captivating topics.

For example, the fact that "Long Live Life" had fiercely held on to its top spot for four weeks—

The proof was right there: This wasn’t just a fleeting trend. The song had stayed at No. 1 for an entire month, and "Roar Hey" was still in the top 10, showing incredible staying power.

The August 31st band was undeniably creating a storm this summer. Who said rock was dead?

Meanwhile, Beyoncé’s "Crazy in Love" climbed to the No. 2 spot after nine weeks on the chart.

This song, featuring the iconic rapper Jay-Z, was the lead single from Beyoncé's debut solo album *Dangerously in Love*. The world was watching, and many were betting that Beyoncé would become the next Britney Spears, leading a new wave of female pop stars.

Beyoncé did not disappoint.

"Crazy in Love" had already overtaken "Long Live Life" in radio play, though the margin was slim. Many thought Beyoncé would claim the No. 1 spot that week. But despite the rise in airplay, "Long Live Life" held strong in other metrics, keeping its spot at the top.

On one hand, people marveled at Beyoncé’s rapid rise. On the other, they were stunned by the enduring power of "Long Live Life."

Compared to the conspiracy-laden drama of *American Idol*, this battle on the charts was far more thrilling.

Finally, in the last week of July, Billboard's Hot 100 saw a change.

The new No. 1: Beyoncé’s "Crazy in Love."

At No. 2: "Long Live Life" by the August 31st band.

At last, "Long Live Life" ended its month-long reign at the top. Though it couldn’t hold on to the top spot, the August 31st band had already outperformed rivals like 50 Cent’s "In Da Club" and "21 Questions."

Moreover, both "In Da Club" and "21 Questions" had already dropped out of the top 10, while "Roar Hey" remained strong, still in the top 10.

This showed that while "Roar Hey" may have lacked the explosive popularity to hit No. 1, its longevity and steady appeal were undeniable, proving its value to fans over time.

Finally, Beyoncé claimed her first solo No. 1 hit, marking her official debut as a solo superstar.

Boom!

The media went wild again, with another wave of excitement pushing the summer into full frenzy.

Warner Records was ecstatic—success!

When they first signed the August 31st band, there was some internal disagreement. Even with Anson in the picture and the buzz from their *Tonight Show* performance, signing a band and producing a full album was a big risk. But now, the gamble was paying off, and the returns far exceeded expectations.

The reason? Low costs.

Warner now realized why Anson had fought so hard for royalties. From not filming music videos to doing grassroots street tours in Europe, Anson had been shrewd in marketing, maximizing profit with minimal expenses.

In the process, the band’s image and brand were solidified.

The impact went far deeper than traditional marketing.

On one hand, "Roar Hey" and "Long Live Life" continued their chart dominance.

On the other, the album *Midnight Summer* maintained strong momentum on the album charts, with short-term success evolving into sustained popularity. The album’s long-term potential was becoming clearer by the day.

And Warner hadn’t forgotten the ace up their sleeve—"Wake Me Up."

**Chapter 964: Brewing Momentum**

 

Rubbing their hands eagerly, Warner Records was brimming with excitement. "Roar Hey" and "Long Live Life" were just the beginning—they hadn't forgotten the true highlight of the "Midnight in Summer" album.

 

That song was "Wake Me Up."

 

It was the song that shot the August 31st Band to fame on the streets of New York, and it was the same song that sparked a wave of heated discussions after their performance on "The Tonight Show," eventually opening the door for the band's album release.

 

Without a doubt, people were eagerly awaiting this single and the wave of excitement it would bring.

 

Warner Records was well aware of this, but they were biding their time.

 

A song like "Wake Me Up" had to be released at just the right moment to maximize its impact. Warner wasn't rushing.

 

The reason was simple: whether it was on the streets of New York or on "The Tonight Show" stage, the band had appeared as an unknown entity. The song itself didn't even have a title back then, so careful planning was crucial for promotion and distribution.

 

If they released it haphazardly, how would they create buzz?

 

"That performance that went viral two years ago on the streets of New York," or "That band that was on 'The Tonight Show' last year," or "The song that Anson surprised everyone with"—none of these vague phrases had any real power. First, too much time had passed, and those memories had been buried under countless new events. Second, the keywords were too unclear, lacking impact and memorability.

 

If they released the song carelessly, they’d be relying entirely on word of mouth.

 

The reputation and anticipation that "Wake Me Up" had built could easily fade with time, leading to a disappointing result. In that case, it would’ve been better to start fresh with "Roar Hey."

 

Warner was patient, thinking long-term and waiting for the August 31st Band to become more widely recognized, for people to naturally connect the band with "Wake Me Up," and for the right moment to emerge.

 

Even if people didn’t make that connection, it wouldn’t matter because Warner could stir up buzz themselves through online forums while "Midnight in Summer’s" first and second singles climbed the charts.

 

In simple terms, they were creating momentum.

 

Warner believed that, with the album's growing success, listeners were likely already discovering "Wake Me Up" and spreading it online.

 

Soon, the single would be reawakened.

 

The timing was ripening.

 

Once the buzz built up, Warner could smoothly release "Wake Me Up," creating a new wave of excitement that would elevate the band to an even higher level of popularity.

 

Just imagining it made them rub their hands in anticipation.

 

But the more they looked forward to it, the more they needed to stay calm and patient.

 

Warner had grand ambitions for the August 31st Band and "Midnight in Summer," so they needed to carefully execute their plan.

 

Rushing it might destroy their chance at success, and that’s something Warner didn’t want.

 

So, when should "Wake Me Up" be officially released?

 

Wait. Just wait a little longer. It wouldn't be too long now.

 

...

 

Meanwhile, the North American market was buzzing with activity.

 

On the other side, the European music market was also heating up.

 

Let's not forget—the August 31st Band had been touring city by city across Europe, forming a connection with audiences through live performances, allowing their music to resonate deeply.

 

"Midnight in Summer" was selling just as well in Europe as it was in North America. Even more impressively, the singles "Roar Hey" and "Long Live Life" were performing equally strong, securing top spots on various European charts.

 

Especially in the UK.

 

Although rock music had been on the decline in North America, with only a few bands like Linkin Park breaking through—and that with some luck—rock in the UK had seen a resurgence in the 1990s with the rise of Britpop bands like Oasis, Pulp, and Radiohead, keeping the rock wave alive.

 

And it was still evolving.

 

So, while it took some time for the August 31st Band to gain traction in North America, they ignited a frenzy in the UK in half the time.

 

Unlike the dominance of hip-hop and rap on the Billboard charts, European music charts are more diverse and eclectic.

 

"Roar Hey" had claimed the number one spot on the UK pop charts, and it impressively held the top position for three weeks in a row.

 

"Long Live Life" debuted at number two on the charts during its first week and was met with widespread acclaim. In its final week, it surged to number one, holding that position for seven consecutive weeks and earning endless praise.

 

While Europe’s market may not be as commercialized as North America’s, with fewer sales and lower box office numbers, no one can deny that the continent holds its unique influence.

 

The August 31st Band quickly found their place here.

 

Warner didn’t have to do much—word of mouth and glowing reviews were enough to establish the band's name. Touring the streets of Europe was a perfect fit for the young audience’s preferred style of promotion, much like countless rock bands before them who had risen to fame through underground performances. Now, the August 31st Band was following in those same footsteps.

 

The wave of excitement was still building.

 

In Europe, people soon started spotting the band members—Lily, Connor, and Miles—without Anson.

 

But no one was surprised. After all, news of "Spider-Man 2" starting production was everywhere, and Peter Parker couldn’t be seen roaming around Europe. There was no need to ask—the answer was obvious.

 

Without Anson, Miles and the others continued their journey like thousands of other independent bands, sparking some discussions and speculations, but Europe’s tolerance for indie bands allowed them to carry on without constantly being hounded for answers about Anson. For Miles and the crew, this was a precious opportunity to breathe.

 

It allowed them to explore their musical dreams. Life was slowly returning to normal, just like it had been when they first performed on the streets of New York.

 

The difference now was that they had rediscovered their passion, reigniting their drive.

 

Meanwhile, Anson quietly embarked on a new journey.

 

Everyone knew Anson was returning to the "Spider-Man 2" set to resume his acting career, but strangely, no one seemed to notice his whereabouts.

 

Once again, Anson vanished into the crowd without a trace. Compared to the heavily scrutinized Hollywood scene, Anson’s "disappearance" in Europe was much more seamless and effortless.

 

No attention was drawn.

 

Someone really ought to study how he manages to do that!

Chapter 965: Lost in a Dream

 

"...Ladies and gentlemen, passengers on the flight from Amsterdam to New York..."

 

The airport announcement jolted Karl Rivett out of his deep thoughts. He hurriedly packed up his laptop, preparing to board the flight, though his mind was still elsewhere—

 

He had been writing a film review on *Pirates of the Caribbean*.

 

Yet, instead of focusing on *Pirates of the Caribbean*, his mind wandered off to images of works by British director Peter Greenaway. The mere thought of those visuals made him marvel.

 

Indeed, films are vastly different from one another.

 

At the recently concluded Karlovy Vary International Film Festival, they held a retrospective for this director, renowned for his bold and adventurous visual style and his daring approach to organizing film sequences.

 

Compared to Cannes, an A-list international festival, the Karlovy Vary Film Festival in the Czech Republic is a B-list event, less prestigious in many ways. But Karl loved this year’s Peter Greenaway retrospective.

 

The retrospective opened a new door for Karl, allowing him to discover a director he had only heard of but never really explored. His experience at Karlovy Vary was just as rewarding as at Cannes, reigniting his passion for cinema. The journey was well worth it.

 

However, as a new-generation film blogger, a form of self-media that was just emerging in the online world, Karl faced obvious disadvantages compared to traditional media. So, he couldn’t afford to be picky—if a festival invited him and covered his travel expenses, he would show up, doing his best to work with organizers and secure more opportunities.

 

Whether Cannes or Karlovy Vary, both were rare opportunities for Karl.

 

After wrapping up at Karlovy Vary, Karl was heading to North America—

 

First to Washington, where a documentary film festival was being held. Then to Nantucket in Massachusetts for a festival focused on screenwriting and storytelling. After that, he would head to Seattle for the longest-running film festival in North America, lasting a full three weeks.

 

Lastly, depending on timing, he would either try to catch the Los Angeles International Film Festival or head to Montreal for a festival that specialized in fantasy, horror, and science fiction films.

 

His schedule was packed.

 

But that wasn’t all—

 

While these festivals focused on art films, independent cinema, classic restorations, and niche genres, Karl also had to keep an eye on commercial films, especially during the summer blockbuster season.

 

After all, “Pirates of the Caribbean” was a must-watch.

 

Somewhat surprisingly, Johnny Depp’s dark, eccentric, and sinister portrayal brought a unique charm to the movie, transforming what would have been an ordinary pirate film into something fresh and captivating.

 

Karl had a hunch that this summer season might stand out thanks to the sudden emergence of *Pirates of the Caribbean*.

 

Suddenly, a bold thought crossed his mind: what if Anson played in *Pirates of the Caribbean*?

 

Not Orlando Bloom’s role, but Johnny Depp’s. Although Anson was still too young, and if he were cast, it would likely be in Bloom's more decorative role rather than Depp’s, Karl couldn’t help but let his imagination run wild.

 

He always felt that Anson's rebellious, defiant aura was so complex that it had a lot of untapped potential.

 

As he boarded the plane, stored his luggage, and took his seat, Karl was about to open his laptop and resume working when he realized, two beats late, that the Washington film festival had actually booked him a business class seat—

 

For a long-haul flight across the Atlantic, he could finally get some proper sleep.

 

Despite that, Karl couldn’t help but marvel. Of course, it was the Motion Picture Association of America hosting the festival—money wasn’t an issue, and they were spending lavishly.

 

Having grown accustomed to the cramped economy class, Karl felt like a country bumpkin wandering into a luxurious palace, curiously inspecting everything around him. He even excitedly ordered a glass of champagne.

 

Who would have thought business class came with a welcome drink?

 

Had it not been for the work he needed to do, he might have already started downing alcohol.

 

Indeed, business class was on a different level—there was the welcome drink, seats that reclined into a bed, plenty of legroom, a custom menu, a more sophisticated in-flight entertainment system, and... a long-haul flight with Anson Wood.

 

Wait.

 

Karl froze, the smile frozen on his face. He blinked a few times: wait, Anson Wood?

 

What did he just see?

 

Was it a trick of the eye?

 

Karl slowly turned his head to the left, as if mimicking the possessed girl in *The Exorcist* with her 360-degree head rotation.

 

That man... could it be...?

 

Wearing a dark gray hoodie, the man had pulled the hood over his head, covering most of his face. But there was just enough light from the window outside to outline his sharp nose and cast a small shadow.

 

Low-key, reserved, but with an unmistakable radiance.

 

Karl's brain completely shut down. He stared dumbly at the man, forgetting to breathe, forgetting to blink, even forgetting his own existence.

 

How did this happen?

 

Was this his imagination? Like a child's imaginary friend? He had just been daydreaming about Anson playing the pirate captain in *Pirates of the Caribbean*, and now his fantasy had somehow materialized, with Anson sitting right next to him?

 

Was that even possible?

 

Karl held his breath, suddenly realizing that his gaze was too intense—practically that of a creep. This wasn't good.

 

He quickly averted his eyes, scanning the cabin—

 

No manager, no assistant, no bodyguard, no entourage. Just Anson, sitting alone.

 

Could this really be happening?

 

Karl couldn't control his doubts, his mind spiraling into a loop of uncertainty.

 

And yet, his gaze returned to Anson’s profile once more.

 

This time, worried that his stare was too obvious, Karl tried to sneak glances from the corner of his eye.

 

Could it just be someone who looked like Anson?

 

No, who else could look like Anson!

 

The more he looked, the more convinced he became that it really was him. Karl was sure of it. Excitement surged through him, nearly choking him with its intensity.

 

What should he do? What should he do, what should he do, what should he do? It really seemed to be Anson!