Braver than we are by Meat Loaf

I am a huge fan of both Meat Loaf and Jim Steinman. Their music, whether separate or in collaboration, has a special place in my heart. From the Bat albums to Welcome to the Neighbourhood; from Bad Attitude to Blind before I stop. Although the Steinman-penned albums are in a league of their own, I still enjoy Meat Loaf in his own right throughout his career.

Apparently there is a photograph somewhere of me singing along to Bat out of Hell when I was about four years old. In the photo I am seen sporting my own red hanky as seen in the music video. Rocking from an early age!

I am ashamed to admit that it has taken me a year from its release to actually listen to ‘Braver than we are’ in full. The reason for this is because on first hearing the album’s opener, ‘Who needs the young’, it just didn’t have that unique aesthetic I was expecting. After revisiting Steinman’s only solo album, ‘Bad for Good’ recently, I also decided to give this album another try – and I’m so glad I did. I didn’t give this album the time it deserved right off the bat (no pun intended).

I now present my thoughts on the album.

Braver than we are

Meat Loaf has had full collaboration with Jim Steinman on four of his thirteen albums to date. The first, and most famous was Bat out of Hell from 1977. The album ‘Deadringer’ following in 1981 and is so underrated if you ask me. Then came Bat out of Hell 2 in 1993, which is an album that got me through my years at high school.

Meat Loaf promoting Braver than we are
Meat Loaf promoting Braver than we are

Now, twenty-four years later, I am discovering their fourth collaboration – the unashamedly epic ‘Braver than we are’. As soon as I heard the news that Steinman and Meat Loaf were working together again I got all giddy like a school boy. And although it’s taken some time for me to ‘get it’ I’m now glad that I do.

The only thing more scary than a literal Bat out of Hell is the ongoing march of time. These two accept time’s weathering effects and embrace it completely in the music that they have created here. They made the conscious decision to not try and imitate what has come before – instead creating something new and fresh. In my opinion they have done this in spades.

Souvenirs from the past

Steinman is known for re-imagining and re-recording his music with different artists through the years. This album stays on par with that. However, many of the songs here I hadn’t heard before, as their roots can be traced back to his early musicals that I haven’t heard. Musicals such as The Dream Engine from 1969 and Neverland from 1977.

Saying that however, you may well recognise many melodies and chord progressions from earlier Meat Loaf albums. ‘Original Sin’ can be heard haunting the song ‘Loving You Is a Dirty Job (But Somebody’s Gotta Do It)’.

What I find really great about Steinman’s music is how it has stood the test of time, and has adapted through the years. As different artists have interpreted his works it has given the songs new dimensions. Hearing a well known lyric from the Bonnie Tyler song ‘Total Eclipse of the Heart’ during ‘Skull of your Country’, made me want to throw my fists in the air with joy. Cian Coey, who accompanies Meat Loaf in this song adapted its delivery beautifully and absolutely nailed it.

Stand out songs

Jim Steinman and Meat Loaf in recent years
Jim Steinman and Meat Loaf in recent years

The album kicked into a more familiar gear for me with the second song: ‘Going All the Way (A Song in 6 Movements)’. This song is absolutely incredible in how it takes you to so many places in its eleven and a half minutes. It is as grand and as symphonic as I’d expected from Jim Steinman’s pen. Like the rest of the album, it gets better with each listen.

The two featured vocalists on ‘Going All the Way’ are worth mentioning here. Ellen Foley and Karla DeVito both feature, with the voices of both soaring high and wide across the song’s huge canvas. They were both featured on the studio and live versions of the classic ‘Paradise by the Dashboard Light’, respectively. So it was great for them to come together for this album after so many years have passed.

Souvenirs touches a lyric from Two out of three aint bad and a musical progression from ‘Left in the Dark’. It’s little touches like these that made the album feel like home on the first listen. And if I wasn’t in love with this album before the song ‘More’, then I definitely was afterwards. This song brought with it an almost John Carpenter accompaniment along with its deep chugging guitar work.

Braver than we are closes on the gloriously upbeat, rock n roll belter, ‘Train of Love’. Closing the album in true Steinman style: an anthem to those moments when you feel like you’re on the head of a match that’s burning.


Any fans of the grandiose lyrics and arrangements of Jim Steinman will not be disappointed with this album. Anyone expecting Meat to hit the same high notes as he did in his early days, take heed – he isn’t afraid to embrace his deeper voice in this album, and neither should you.

Jim Steinman with Karla deVito and Ellen Foley
Jim Steinman with Karla deVito and Ellen Foley

Meat Loaf is known for his operatic delivery and larger than life presence on his albums. But on ‘Braver than we are’ he isn’t afraid to reel it in. As he sings on ‘Who needs the Young’, his voice just isn’t what it was. And that’s okay. Even in the lower end of the spectrum he delivers with the same authority that I always remember him having.

The more I listen to this album, the more it feels like a goodbye from both Steinman and Meat Loaf. The usage of so many themes from earlier material made this album feel like a closing overture to their collaboration. Kind of like how ‘overture’ from The Who’s Tommy touched on that album’s later themes and riffs. ‘Braver than we are’ did this for me but on a grander, career-spanning scale. All of this in the waning era of some of the most powerful, passionate music I have ever had the good fortune to experience.

The Thirteenth Reunion (Hammer House of Horror episode 2)

Leading on from the series’ opener, Witching Time, is the second episode of the eighties British anthology series Hammer House of Horror. The Thirteenth Reunion is a step away from the supernatural – perhaps consciously so in order to display the show’s diversity.

What’s The Thirteenth Reunion about?

Ruth is a newspaper reporter who has been stuck reporting on the mundane for too long. As part of her job, she is sent to a nearby health retreat called “Think Thin”. The owner has some questionable encouragement methods and she is sent to get the story.

During her first day she meets Ben, a well to do banker who dies that evening. His death occurs soon after taking a slimming pill that was given to him by the clinic. Although she is initially shocked at the news of his death, Ruth wastes no time in turning the suspected foul-play to her advantage. The advantage being the possibility of breaking a potentially big news story on her own.

Ruth and Ben have drinks in The Thirteenth Reunion
Ruth and Ben have drinks in The Thirteenth Reunion.

She is approached at Ben’s funeral by the director, who suspects his bosses of being up to something shady with some of the bodies – Ben’s included. She takes this opportunity to team up with the funeral director to investigate his bosses’ strange goings on. These events set Ruth on her passage of exploration that ultimately lead her to an unforgettable twist ending that will leave you open-mouthed long after the credits roll.

The horror is not knowing

There is no way to talk about the closing ten minutes of this episode without ruining it for you. What I will say is that you wont see it coming, not the full story at least.

All the way through this episode we are kept in the dark almost as much as Ruth is. We do get to see some of the interactions between shady characters that she doesn’t, but never enough to give the game away.

The Thirteenth Reunion is an episode that plays its cards very close to its chest. The majority of the episode is pretty standard investigative journalist stuff and it isn’t until the final few minutes that the real horror begins. And the majority of that horror is not in what it chooses to show you, but in what it chooses not to.

Bad for Good by Jim Steinman

Bad for Good by Jim Steinman is one of my all time favourite albums. Less is known about his only solo album than his collaborations with Meat Loaf.

It’s a crime that more people aren’t aware of this album. I absolutely adore every song on here and if I had to choose some desert island discs, this would be on there. Other artists, who have worked with Steinman, have been able to do versions of some of these songs. But for me nothing comes close to this grand, hugely personal collection.

Bad for Good by Jim Steinman

Bad for Good, the eponymous opening song, kicks the album off with pure fire. It encapsulates the things that Jim is so great at: intense, energetic musical passages; huge, expertly-woven orchestrations; lyrics that paint epic pictures of passion, power and love. His lyrics read like poetry and are delivered with great conviction and authority. The speed change half way in, with the verse that follows it, is one of my favourite moments on the whole album. The whole song plays like its own self-contained, nine-minute opera.

Bad for Good by Jim Steinman
Jim Steinman’s pose for the Bad for Good back cover

‘Lost Boys and Golden Girls’ is a much calmer piece, which I think is needed after that opener. Meat Loaf’s Bat Out of Hell 2 album used another version of this song in 1993. However, Jim’s version feels much more personal and stripped back to me. I love both versions but something about Jim’s rendition just pips Meat Loaf’s to the post.

‘Love And Death And An American Guitar’ is another track that was reused on Bat Out of Hell 2. Again, as with the previous song, this version is a lot more stripped back – with nice synth fills used to dramatic effect. It’s actually a spoken word piece that acts as an intro to the song that follows, ‘Stark Raving Love’.

‘Stark Raving Love’ and ‘Out of the Frying Pan (And into the Fire)’ both keep the energy riding high. As does a later song called ‘Dance in my pants’, a fun duet with Karla DeVito in a similar vein to Meat Loaf’s song ‘Dead Ringer For Love’ (also written by steinman).

Big energy and wide diversity

Jim Steinman’s music has such energy and diversity to it and Bad For Good is the best possible showcase for those qualities. These songs never fit into a simple groove and just plod along. They are either melting your face off from fifteen different directions or are ripping your heart strings out with their gorgeous melodies and melancholic lyrics.

‘Surf’s up’ and ‘Left in the Dark’, two songs that slow the pace somewhat are such beautiful ballads. The latter is a heartbreaking, often angry ballad about a man aware of his lover’s infidelity. These lyrics taken from the song say so much more than I could by describing it to you:

But don’t tell me now, I don’t need any answers tonight
I just need some love so turn out the lights
And I’ll be left in the dark againLeft in the Dark, Jim Steinman (from Bad for Good – 1981)

Left in the Dark, Jim Steinman (from Bad for Good – 1981)

The album closes with the huge-sounding orchestral instrumental, ‘The Storm’. This piece wouldn’t be out of place as an overture for a huge opera production. And it serves further show just how diverse this man’s music is. It’s moments like this that make me wish that Jim Steinman was a prolific film composer. His operatic and, quite frankly, epic visions for music would do cinema so must good.

Bad for Good by Jim Steinman
Meat Loaf (left) and Jim Steinman (right)

A gem of an album

Bad for Good is a golden nugget of an album. It’s not very well known, even by many rock fans I’ve met, which is a shame. Whilst many may recognise his name from the front of Meat Loaf’s biggest albums, many more may not be aware of this solo album of his. I’m going to go on record and say that I believe this album is a cult classic – it demands to be listened to and appreciated by all.

Witching Time (Hammer House of Horror episode 1)

One evening David is composing the score for a new film when a loud but brief storm hits. When his dog, Billy, goes running off, he pursues it into the nearby horse stables. However, in the stables he doesn’t find Billy; instead he finds a mysterious woman in a black robe lying in the hay.

Black magic woman

Witching Time (Hammer House of Horror episode 1)
David Winter introduces Lucinda to electricity

Lucinda claims to be a witch from the 17th Century who managed to escape her execution by sending herself forward in time to the present day. She is played excellently by fiery red head Patricia Quinn. Lucinda is probably my favourite of the four main characters in this episode. Her portrayal of the ever-maddening witch is an entertaining watch, albeit not as scary as I would expect from this series.

As she becomes infatuated with David, Lucinda finds new and interesting ways to get inside his mind. Using the knowledge of David’s wife’s infidelity to her advantage, Lucinda slowly twists his mind against her so she can try and have him to herself.

Winter is coming

I knew I recognized the actor playing David Winter by not only his face, but also his distinct delivery of his lines. It was none other than Jon Finch, who I remembered from Hitchcock’s underrated ‘Frenzy’. Finch plays David with a similar, direct intensity – even in quieter scenes – that I remembered fondly from Frenzy.

I enjoyed seeing David’s slow descent into madness as the story escalated towards its heated conclusion.

What happened to Billy?

Witching Time (Hammer House of Horror episode 1)
Lucinda Jessup frightens Mary

Although this is not the strongest – or my favourite – episode of the series, it does have one of my favourite concepts for a story. The horror is downplayed considering it’s the first episode of the Hammer House of Horror. However, there are plenty of unsettling moments that should appease the hardest of Hammer Horror fans.

Unfortunately nobody knows what happened to billy.

Thoughts on Rise of the Tomb Raider

Lara Croft is one of, if not my number one, favourite computer game character of all time. So I went into this game already loving it with a pretty strong bias. That being said, I can honestly say that Rise of the Tomb Raider is one of the best all-round games I’ve ever played.

What is Rise of the Tomb Raider about?

Lara Croft, slightly more battle-hardened from her time on Yamatai, is in pursuit of a lost artefact – The Divine Source. The secret to immortality is said to be contained within the artefact. The locals believe the Divine Source to be a fragment of God’s soul. It is something that her father searched for before his death.

As in the 2013 Tomb Raider reboot, this game’s predecessor, the whole game is open for exploration. You are free to search the areas for any of the Hidden tombs that are scattered about. Interesting, and handy, character perks can be achieved when these are solved. However, that being said, some will require certain skills and/or equipment that aren’t acquired till later on in the game. You are free to explore these areas or just power through the main story and come back later.

Trinity are a group of mercenaries who are also looking for the Divine Source. A ruthless man named Konstantin leads them and, although his methods are shady, has good reasons for wanting to find it. These Trinity soldiers are the main antagonists that you’ll find yourself fighting through as you progress through the game.

Harsh and beautiful landscapes

The world of Rise of the Tomb Raider is just simply stunning. Around every corner of this game I found myself impressed with every level of the world’s details. The glistening water running down the inside walls of ancient crypts; sudden downpours of rain as I quietly made my way through the bushes in enemy camps. The tombs in this game seemed to have had a lot more thought put into them too. Not only were these environments gorgeous in the dim firelight, so too were they more elaborate than the previous Tomb Raider. I found myself taking more time to figure the puzzles out, and on larger scales too.

One of the first large areas you will come across, the Soviet Installation is as gorgeous as it is grim. It’s a large-scale Gulag from Stalin-era Russia which basically means it was a forced labour camp. The reality of what people in these camps, some only guilty of minor crimes, had to endure cannot be overstated. That being said, Rise of the Tomb Raider does an excellent job of emphasising the brutal horror of these places. I didn’t even know what a Gulag was until this game, where I then went and researched afterwards. That’s not to say that the game is depressing at all, it just presents its story on the backdrop of real history. A history that it is very faithful to.

The game does a great job at mixing open-world game play with the more claustrophobic environments. These tighter moments really do create tension in all the right places which is always paid off in the end. While there are a couple of annoying gun fights in this game, the fighting is done with such fluidity that it does become fun after a while.

Girl’s got skills

As with the previous game, you will earn XP and skill points that you can then use to learn new skills. Not only that but you can also find murals and monoliths across the world, which will increase your languages proficiency. Some monoliths will require a higher language level, which will then uncover hidden treasures and tomb entrances on the map.

The weapons too are all available to upgrade as in Tomb Raider (2013). This is done by salvaging parts from wooden crates as well as off the pelts of the mountain wildlife. You can then choose which weapons to upgrade first.

Scaling walls is pretty much the only key ability that remains from the first game. The scaling of rock faces is so much smoother and faster here too, partly due to the fact that she now has two pick axes. Later on in the game you’ll also acquire more interesting accessories that will allow you more spiderman-like qualities.

Lara Croft forever

Rise of the Tomb Raider does a great job at taking what its predecessor set up and elevating it to incredible new highs. Crystal Dynamics have done an amazing job at keeping Miss Croft alive, while making her more human in the process. I’m really looking forward to the next instalment in this series, which may be called Shadow of the Tomb Raider. But only time will tell if this is to be. If it is to be, and they keep on the same trajectory, then the next game is going to be insane.

Masseduction by St Vincent

Masseduction is the fifth album by alternative pop artist St Vincent – real name Annie Clark. It’s a showcase for her varied approaches to creating great music and never fails to deliver the goods.

I had no prior experience with any of St Vincent’s music before hearing Masseduction. Within the first couple of songs, certainly by the time I heard the eponymous track, I was hooked.

She displays a diverse range of styles that come through on this album, many of which echoed in my mind back to artists past and present.

St Vincent Masseduction artwork
St Vincent, real name Annie Clark.

I couldn’t help but get Alanis Morissette vibes from the album’s second song – the energetic ‘Pills’. ‘Pills’ is super catchy and could have settled in that groove for the whole song. But, in what I’ve now come to expect from her, she switches up the tempo and style two thirds in.

These changes, which happen in a few of her songs, are hugely effective and was really a gateway drug into St Vincent’s music for me.

Then once the title song ‘Masseduction’ dropped… I just lost my shit.

‘Masseduction’ is the album’s third song, and plays like a love letter to Prince. Everything from the song’s title; to the distortion-heavy guitar licks; and through the song’s funky beat. But in no way is it a cheap knock-off. On the contrary – since Prince, and other great heroes of music, have recently passed – we are in dire need of great idiosyncratic artists to stand up for good music. St Vincent is a part of that army.

The album continues through further belters, ‘Sugarboy’ and ‘Los Ageless’, that keep the energy up high without ever becoming tiresome. The music video for the latter enhances another aspect of St Vincent I find compelling – her visual style through the album’s artwork.

The artwork for this album seems to further support the sound she is going for. With its glossy, vibrant colours and sharp edges, but with cryptic imagery that conceals a deeper message beneath the shiny plastic.

Publicity shots for St Vincent album Masseduction
Cryptic neon pop imagery

The album closes its first half with the stripped back, and welcome, piano ballad ‘Happy Birthday, Johnny’. With the removal of nearly all instruments but for a piano along with her voice, we get up close and personal with her. This departure from the previously up tempo tracks serves to give an extra layer to her message. Here she is pealing back the shiny cover to expose the heart beneath. And the result with this song is a gorgeous ballad that tugs at those heart strings.

Just when I thought I’d heard her at her most energetic, along came ‘Fear the Future’ – a frantic piece backed by the craziest beats on the album. If I’m honest, the dance music style that is informing this song isn’t a style I would choose to listen to. And while it’s not nearly my favourite song on the album, Annie still makes it work within the context of this gorgeous, neon pick and mix of an album. (I have no idea what neon pick and mix means – I just thought it sounded cool in my head).

Kinky boots
Kinky boots

The album’s closing song, ‘Smoking Section’ is definitely my favourite on the whole album. It feels like one of the most personal of the collection too, with some real guts to it. The drum / low-synth fills that hit the song in two places, have such a deep guttural punch to them. These short riffs were reminiscent of something by The White Stripes to my ears. But just as soon as the one-two punches have landed, she switches the song up from melancholic to hopeful with the repeated lyric “It’s not the end”. Her voice fading into the ether as she does.

While never faltering from her own path, St Vincent manages to dip her toes into a good variety of styles for this album. I am completely mesmerised by every song and probably will be for some time to come. A lot of pop music is much of a muchness to me nowadays but people like St Vincent keep the flag flying for introspective, thought provoking music with hidden depths.

If you want to increase the overall quality of your music collection, then pick up Masseduction by St. Vincent now.

Too alive – Thoughts on the game Outlast

Dark, disturbing and utterly terrifying. I don’t think I’ve been quite so scared playing a game than I have been with Outlast. It came to a point where being killed was a blessed relief from then suspended tension. Things were always going to get bad for our hero, I just didn’t foresee how bad things would get.

What is Outlast about?

In Outlast you play Miles Upshur, an investigative journalist who is looking for his story within the walls of the Mount Massive psychiatric hospital. He has been given a tip-off from a whistleblower within the Hospital about some shady goings on. It is here that you begin the story – parked up outside and looking for a way in. But of course It’s not long until things go pear-shaped and your quiet entrance becomes a frantic search for escape.

The game is played from the first-person perspective of Miles. Seeing it through his eyes really added to my emotional investment of it all. With all the lights turned off in my living room, the small shafts of light in-game were my only illumination.

The further through the hospital you advance, the more dark and twisted the story becomes. So too do the creatures searching for you in the dark become harder to best. Made excruciatingly difficult at times with the complete inability to fight back.

An inability to fight back.

One big aspect of Outlast, that sets it apart from most, is in its fighting mechanics… or complete lack thereof. It is impossible to fight back or even defend yourself in Outlast – all you can do is run, hide and try to sneak past whatever lurks in the darkness. This fundamental rule is what makes this game so unique in all the games I’ve played. Other horror games, like Silent Hill and Resident Evil, allow you to collect weapons and ammo in order to at least try and fight back. However, in Outlast, you must use only your wits, and more often than not your cowardice, to survive.

Throughout the halls of the quickly-deteriorating hospital, you’ll find all manner of places to hide. Under beds; behind up-turned mattresses; toilet cubicles; lockers. One time I even found myself staring directly at my enemy, only under the cover of the pitch black. These hiding places aren’t guaranteed sanctuary though, as those hunting you won’t think twice about tearing a door from a locker or searching under beds.

Because of the zero fighting, all of the controls you play with are geared towards your movements. Whether it be glancing behind you as you sprint away from a pursuer, peering round a dimly-lit corner, or creaking a door open as slowly as you can. Opening a door is actually one of the initial things that got me so immersed in the game. You have the option of just opening the door normally, which results in a thud, or holding down the button and easing forward with the controller’s analogue stick.

Utterly Terrifying

No game has made me so consistently scared of playing it than Outlast did. There was never a moment when I felt any degree of safety, with every room and corridor serving only to raise my fear and anxiety levels. The amount of times I went into it saying “it’s only a game – if I die I can just try again.” was many. But I simply couldn’t disengage from the game on an emotional level. In times between playing it I’m sure part of me staying there – trapped inside the hospital with Miles.

With the game being split into chapters, I found myself unwilling to play past more than one at a time. The constant state of tension really took its toll on me after a while. Although saying that I did do the last three chapters in one sitting, which I’m actually pretty proud of.

I’ve talked about the darkness and the things that lurk within, as well as your complete lack of defences. But fear not, for you do have one item by your side throughout your time at Mount Massive that may just save your life – your video camera.

Just a man and his camera

Your only accessory that you take with you on your journey is a digital camera with its night vision mode. This camera is your only friend in the dark, often pitch black, hallways you find yourself exploring. I found myself, at least half of the time I was playing, with the camera up to my face – night vision turned on. One memory that sticks with me is being trapped in a prison area, all prison cells opened, with a huge bulking creature searching for me. Using the camera to search the blackness was the only thing that got me out of there.

But the camera’s battery won’t last forever, which is why you should always be keeping an eye open for the game’s only consumable items – extra batteries. The game doesn’t really make the prospect of exploring every nook and cranny inviting. But I strongly advise you to look around for those batteries. Luckily I never ran out of them but there were many times when I came damn close.

As well as batteries you’ll also come across numerous documents, which shed some light on the history of the hospital and what went on before your arrival. These are an interesting read if you want to deepen your understanding. If not, just run.

Not for the faint hearted

If you are of a nervous disposition you will NOT want to play this game. I’m not easily spooked but this game had me in a constant state of anxiety. Sometimes to be caught and have your heart ripped out is a nice way to break that tension… sometimes. All in all I really enjoyed this game, but it’s a game that look back at with enjoyment – when I was experiencing it I was petrified.

It’s for this reason that I can’t decide whether I want to play the Whistleblower DLC and the recently-released sequel. I mean I want to… but do I really want to?

Don’t say you haven’t been warned.

Life is Strange: Before the storm episode 2 (Brave New World)

Following on from, and topping, a previous instalment of Life Is Strange is always a mean feat to accomplish. However, as with all times previously, the creators have done it again with Before the Storm episode 2.

Chloe’s path is cracking

In the opening of episode 1, Chloe Price was still pretty innocent – albeit sneaking out to secret gigs and smoking the odd bit of weed. So it was interesting to see how she is starting to walk that bad path we know her for during episode 2. Through dealing with Frank Bowers and ultimately breaking and entering a student’s dorm room for him, Chloe’s path starts to crack as it leads her forward into her not too distant future.

The choices I found myself making with Chloe had devastating effects on other characters too. In fact I found myself asking “What do I think Chloe would do?” as opposed to “What would I do?”. I was only interested in trying to secure the future Rachel and Chloe want together, and I was willing to let others hurt for it.

The relationship deepens

The episodes of the game are each set within one full day, so time is limited in developing such a close bond. But for me the creators do this with ease through such great use of the scenes that play out. Every interaction, each word spoken, serves to at the very least weave these two characters even closer together.

Chloe’s and Rachel’s relationship is taken to a whole other level through what is perhaps one of the most beautiful scenes I have ever watched in a game. The scene in question involves the reenactment of Shakespeare’s The Tempest and truly had me close to tears experiencing it.

Kylie Brown and Rhianna DeVries, who play Rachel and Chloe respectively, absolutely nail their performance throughout this game. A lot of different people go into the making of Life is Strange: Before the Storm – into what makes it great. However, I feel that Kylie and Rhianna carry much of the emotional weight of the story and do so with such grace using their voices alone.

An ending that takes your breath

Emotional, cliff-hanger endings are pretty much par for the course in Arcadia Bay. And I’m happy to say episode 2 delivers as I would expect. The only thing with this, is that it is such a great ending that I really don’t want to wait another two months or so for it.

During what could well be one of the most uncomfortable dinners of either Rachel or Chloe’s life, the cliffhanger ending is revealed and left me completely slack-jawed yet again.

With episode 1 I felt like I needed a break after the explosive ending that occurred. But with episode 2, with it’s revelation right at the end, it only made me want to immediately know more.

A raging fire

Perhaps what I find most moving of all, is related to the fact that we know the ultimate destinies of these characters. This is why I find it very hard to hate David; and why I can’t feel too sorry for Nathan when his Dad is giving him grief. But most of all, it’s why I can’t help feeling almost heart-broken when Rachel and Chloe confess their feelings; their future plans; and share their first kiss. Much like Laura Palmer in Twin Peaks: Fire Walk With Me, these girls’ relationship is a raging fire close to being snuffed out.

How to easily set a custom redirect in Laravel form requests

In Laravel you can create custom request classes where you can house the validation for any given route. If that validation then fails, Laravel’s default action is to redirect the visitor back to the previous page. This is commonly used for when a form is submitted incorrectly – The visitor will be redirected back to said form to correct the errors. Sometimes, however, you may wish to redirect the visitor to a different location altogether.

TL;DR (Too long; didn’t read)

At the top of your custom request class, add one of the following protected properties and give it your required value. I have given example values to demonstrate:

protected $redirect = '/custom-page'; // Any URL or path
protected $redirectRoute = 'pages.custom-page'; // The named route of the page
protected $redirectAction = 'PagesController@customPage'; // The controller action to use.

This will then redirect your visitor to that location should they fail any of the validation checks within your custom form request class.


When you create a request class through the Laravel artisan command, it will create one that extends the base Laravel class Illuminate\Foundation\Http\FormRequest. Within this class the three protected properties listed above are initialised from line 33, but not set to a value.

Then further down the page of the base class, on line 127 at the time of writing, there is a protected method called getRedirectUrl. This method performs a series of checks for whether or not any of the three redirect properties have actually been set. The first one it finds to be set by you, in the order given above, is the one that will be used as the custom redirect location.

Here is that getRedirectUrl method for your convenience:

* Get the URL to redirect to on a validation error.
* @return string
protected function getRedirectUrl()
    $url = $this->redirector->getUrlGenerator();

    if ($this->redirect) {
        return $url->to($this->redirect);
    } elseif ($this->redirectRoute) {
        return $url->route($this->redirectRoute);
    } elseif ($this->redirectAction) {
        return $url->action($this->redirectAction);

    return $url->previous();

Do you have any extra tips to add to this? Let me know in the comments below.


It’s been a while

I’ve not been writing as often as I’d like this last week. Partly this is due to my having done the Birmingham International Marathon last Sunday and being in recovery from a knee injury from that. But I know that’s a pathetic excuse – there’s always my phone that I can write posts on after all.

That being said I am currently putting together a structure, a strategy if you like, for planning writing and publishing posts at a more consistent rate. Once it is all put together I’ll put together a list of the programs and services I am using for it.

I had a goal a few weeks back of getting to this site to have 250 published posts in total by Christmas day 2017. This post will be number 182 so I’m not sure if I’ll successfully manage 250 by then. But I will give it a good try.

Going to be going pumpkin picking tomorrow but don’t know what I’m going to theme my pumpkin on this year. Last year’s was Pinhead from Hellraiser. I’d love to hear some suggestions from you.

Take care, Dave.