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Wildling (2018)
Wildling (2018)
2018 | Fantasy, Horror
Characters – Anna was raised by a man in the middle of the woods, she has been drugged to stop her going through her womanhood until she is rescued. Taken in by the local sheriff, she learns about the world for the first time, only she isn’t prepared for everything, finding it hard to adjust to everything. Daddy is the man that has raised Anna, he did educate her, while warning her about the outdoors, while he does drug her, the mystery is around why he kept her isolated. Ellen is the local sheriff that takes Anna in, she does her best to teach her about being a woman, while others just want to lock her away. Ray is the sister of Ellen that is still in high school, he tries to help her on a social standpoint, while being one of the only people left for her to trust.

Performances – Bel Powley is great in this leading role, she must go through a transformation and play the fish out of water figure too. Brad Dourif is just as creepy and you need him to be, always going to work in this type of role, with Liv Tyler being the cop that believes they know what will be right for victim, trying to be the role model figure.

Story – The story here follows a young girl that is raised in the woods, only to be released to discover who she really is and what she is capable off. This story does follow the traditions of seeing a young girl taken and raised in secret, before something happens to bring her into the real world, this side of things has been done before, it works and is an effective way to bring a stranger into a modern world. Where this story takes an interesting turn comes from the reason behind why she was being kept, we do get to see what she really is, but we don’t get to see if she is a threat to everybody else, we do get a couple of message in this film too that want to point out certain motives in hunting, but overall the story keeps us guessing and surprised by the truth.

Fantasy/Horror – This film does dive into fantasy when it comes to learn what Anna really is, we have ideas early on, but we are never truly sure what she will become, this does help with the horror side of the film because it keeps us waiting to see if there will be more bloodshed.

Settings – The film is set in a town surrounded by woodlands, this shows first where she was raised and where the people will welcome her, right back to where she feels more comfortable.

Special Effects – The effects are used to show the wounds and the look of the Wildling figure, there give us a creepy but natural looking creature and the blood isn’t afraid to be splashed about here.


Scene of the Movie – Home from the party.

That Moment That Annoyed Me – We could spend more time learn the normal human life.

Final Thoughts – This is a fun fantasy horror, it doesn’t hide the blood and is happy to give us a twist on the traditional storytelling.

Overall: Fantasy Horror 101
  
Immersion Play (Leather and Lattes #1)
Immersion Play (Leather and Lattes #1)
Katherine McIntyre | 2024 | Erotica, LGBTQ+, Romance
10
9.0 (2 Ratings)
Book Rating
Stunning intro into this new world!
I was gifted my copy of this book, that I write a review was not required.

BUUUUUUUUUUUUUUUUUUUUUUUUUUUUT if you follow my reviews, you'll know I have a particular fondness for this author, having followed her for some time and I NEEEEEEEEEEEEEEEEEEEEEED to write a review to tell you about this book.

Because it's a cracker of a book! Full of love and smex and found families and disfunctional real families and all the geeky references that are McIntyre's trademark!

Micah runs from his home, literally in the middle of the night, back to San Fran and his previous college room-mate, Pixie. He lands the job at Whipped as barista, and is introduced to a world of kink. Parker is a Dom, a Daddy as well. But he refuses to let anyone into his heart after seeing what losing the love of his life did to his dad. Micah, though, gets under his skin and sneaks in. Knowing it can only end in heartbreak, they still embark on a rollercoaster of a relationship, til Micah pushes Parker away, and Parker has to make some difficult decisions.

What I loved about this was that it really did creep up on me! I was enjoying it, yes, but couldn't say I loved it. Then I have no idea what happened, who said what or anything, but I started to LOVE this book, I really did!

Whipped is a kink cafe, and the staff are extremely free with their affections and bodies. I liked that Micah knew this, and still went to that first play night with them all. He did some research too, and knew once he found out that Parker liked to spank, he wanted that, wanted Parker. I loved that parker was well aware that Micah was new to the screen, and led him accordingly, even if Micah was the brattiest brat he ever came across, and Micah really didn't know that about himself.

Scorching smexy scenes between Micah and Parker, with a connection rarely seen. Even for McIntyre, the connection runs deep and hot and I loved it!

As it is a kink cafe, there is lots of smexy scenes, and I loved the introduction to the staff and owners and their particular flavour of kink. I feel that all these people will have amazing tales to tell and I really look forward to them!

Micah and Parker's story has some difficult themes: death of a parent, withdrawl from life of another, obnoxious families, and all that entails. I loved how each topic was dealt with. Parker tries with his dad, he really does, but it's not until Parker lays it all out with his dad, that dad then tries too. Micah's family caused all his problems, caused him to run, but he always thought they would come round. It's not until his sister Eva, comes out to them, that they show their true colours and Micah decides enough is enough.

It's Eva who gets the next story, her and Pixie hit it right off when she visits Micah. I look forward to reading that book!!

I can't give it anything other than . . . .

5 full and shiny, and super smexy stars!

*same worded review will appear elsewhere
  
Bridget Jones's Baby (2016)
Bridget Jones's Baby (2016)
2016 | Comedy, Romance
Come the F*** on Bridget… who’s the Daddy?
The world’s favourite lonely-hearts diarist is back. Bridget (Renée Zellweger) once again starts the film ‘all by herself’, haunted by occasional meetings with ex-flame Mark D’Arcy (Colin Firth) – now married to Camilla (Agni Scott) – and facing the natural discomfort of the early funeral of another friend who has died way too young. And at 43, Bridget’s biological clock is also ticking towards parental midnight.

Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.

OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.

New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.

Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.

Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
  
Mystic Vale
Mystic Vale
2016 | Card Game, Fantasy
The Land needs you, Druid! It is plagued, barren, in need of revitalization and only your Circle can cure it and bring vivacity back to our home. Earn as many VP crystal shards as you can to defeat the other Druids and re-beautify us!

DISCLAIMER: This review focuses on vanilla Mystic Vale. We have most of the expansions in our collections, and we may do reviews on them and how they change the experience. If we do, we will either update this review or link to the expansion reviews here. -T

Okay, so the last part of my intro doesn’t quite make thematic sense, but this is a competitive game. A really good competitive game where there really isn’t a ton of direct player interaction, so if you enjoy merely messing with your opponents’ plans and just seeming like an annoying bee sting, read on.

I will also get this out of the way early: this is my first Card Crafting Game and the first of its type (that I know of, anyway). The concept is explained in the next paragraph. There are now others, but this is the grand-daddy. I was skeptical at first and was late to hop on the bandwagon here, but when I did I was really blown away. You have your own deck of cards that is exactly the same as your opponents’ decks, with a different colored back. Throw those cards into the provided clear sleeves, set up the other decks from which you will be purchasing upgrade cards, and you are setup.

The game mechanics are familiar, where you are pushing your luck to flip over cards from your deck to create a hand of cards… or bust and do nothing. Using the symbols on these cards allows you purchase cards from the current offering grid. Once you have purchased your new card(s) you must put them in the sleeves along with your starting cards to improve those starting cards! How can we do this, you ask? THE CARDS ARE SEE-THROUGH PLASTIC CARDS. Some starting cards are completely blank, and so adding to them drastically increases their value. This is a twist on the old deck building mechanic where you are no longer adding cards to make your deck more plentiful, but you are improving the sleeved cards you already have.

The art on the cards you are purchasing from the offer are printed in a way where information is split into three areas – top, middle, and bottom. So, you may have a starting card that gives you one icon worth of purchasing power with art on the top section. You grab a card to add to that another purchasing icon, with art on the bottom section. Now the next time this card comes up in your hand it is worth two icons to spend on further cards. Simple, right? Well, there are several types of purchasing icons (stars, leaves, paws, etc), not just one general icon. Some cards will furnish you with the other icons that you can use to purchase Vale cards (see photo below). These are powerful cards that can provide VPs and other actions to propel you to victory.

There’s so much in this game, even with just the vanilla base cards, that I just cannot explain everything here. So I won’t. If you have questions, do let me know. Speaking of the base game, here’s what you get.

A box. The box is decent size and will accommodate an expansion. I believe it is supposed to handle more than one, but in my experience, I wasn’t able to fit a whole lot in there with the provided insert. So I made my own. The VP tokens are great. The plastic cards are really great, but they have a strange (or familiar if you have played games like Gloom) smell to them that takes a bit to get used to smelling. Also, the cards come with a protective cling-film layer that will eventually start peeling off. These are used to facilitate printing on the plastic, and can be kept on or taken off – your preference. I’ll tell you what though. The art on this game is absolutely stellar. I really haven’t seen much better on a game, so I definitely am keeping my protective film on mine. The sleeves are decent, but I have had a few blowouts from usage. The game comes with more sleeves than is necessary, so I am hoping I never run out.

This review is long enough, but I wanted the reader to know that I hold this game in VERY high regard. It is well entrenched in my Top 10 list, and I don’t see it moving downward any time soon. The expansions definitely add a ton of replayability to it, but even as is, Purple Phoenix Games gives this one a revivified 21 / 24.

https://purplephoenixgames.wordpress.com/2019/03/15/mystic-vale-review/
  
Roma (2018)
Roma (2018)
2018 | Drama
Amazing performances by leading actresses (0 more)
Left far too little on the cutting room floor (0 more)
Caught in a bad Roma
Contains spoilers, click to show
It’s been a long while since I watched a film deserving of a truly, harshly negative review. I have gotten so close so many times, and I’ll be damned if Netflix hadn’t gotten close to earning that with the fridge-logic that ruined Bird Box. Even Bird Box, though, feels enjoyable in retrospect compared to another Netflix exclusive: Alfonso Cuarón’s Roma.
Since I’m in a clear minority on this film, I feel obligated to preemptively address some common criticisms. If Roma had been produced in English, presented in color and with any score, it couldn’t fix the fact that I simply dislike Roma’s genre. Sure, I’ve liked slice-of-life drama films, and modern period pieces do fine by me. Pretentious Oscar-farming arthouse flicks like this, though, never win my praise.
Roma follows Cleo, a housemaid in Mexico City. Cleo has gotten pregnant and the presumed father, Fermín, leaves her to buy cigarettes before the baby’s even born. Her employer, Sofía, is dealing with a cheating spouse. What follows is two hours of both of these women marginally helping each other with their respective situations. As slice-of-life films do.
Since it's a slice-of-life film, much of the story just basically happens. You'll remember a scene here or there that happened, even if it was ultimately insignificant. In one scene for instance, Cleo goes to confront the baby daddy, who’s at a huge martial arts class. She spectates and proves to be the only one able to perform a certain yoga pose. Which is important because it helped add another few minutes to the film.
Cleo goes into labor not long after this confrontation, but her daughter ends up being stillborn. This all happens in the midst of the Corpus Christi Massacre. What the heck was the Corpus Christi Massacre, you may ask? According to this film, it was a brutal inconvenience on Cleo’s way to the hospital after her water breaks. This actual historical event simply happens and is never addressed for one second more. You know, just like in Titanic where the shipwreck just makes things inconvenient for Rose and Jack.
The last major scene in the film comes when Sofía invites Cleo to come with her family on a trip to the beach, not as staff but to help Cleo cope with the tragedy of losing her child. While they’re there, Sofía leaves the children in Cleo’s care for two freaking minutes, and two of the kids nearly drown. Cleo, though, can’t swim, and so she stands out in the water as the kids rescue each other. And that's about as close as Roma gets to a cohesive plot. Cleo only came with them to help her grieving, which meant she could be there to be powerless while her employer’s kids save each other’s lives. Bad things happen to us, the film teaches, so that good things can coincidentally happen in our proximity.
In fact, coincidence seems to be the running theme, here. Remember the Corpus Christi Massacre? No? What if I call it “the scene where Cleo goes into labor”? Maybe that helps? Fermín briefly held Cleo at gunpoint in the middle of it. Again, mere coincidence. Just like it’s a mere coincidence that she goes into labor the same day as a massacre that killed 120 people. As coincidences do.
Roma isn’t an aggressively bad film. There are a rare few moments within Roma’s 2-hour runtime where you think, “I can see that clip showing up during a Facebook video binge,” but again: These are moments more rare than our current president ordering a rare steak. That rarity has everything to do with the fact that the movie has so few moments, at all. The rest is shots that linger too long from angles that repeat themselves all too often. It’s like Cuarón asked someone, “What does a movie like Juno need to be better?” They responded, “Nothing.” So Cuarón packed Roma with nothing.
Which brings up one of my biggest criticisms of Roma: The cinematography is bland. Cuarón shot practically the entire film on one camera, set a specific distance from the subject, and kept takes running as longer than they should have, padding out a short-film’s worth of content to feature length. It’s bland cinematography that somehow earned an Oscar for Best Cinematography.
Gravity showed us what Cuarón was capable of. Beyond bringing a seemingly authentic view of space to the big screen, Gravity offered variety. Yes, the huge collision scene in Gravity takes on the feel of a one-take scene, but even then, the camera moves with the action. And if your attention moves away from the foreground the shot, you’re able to see other important things going on. With Roma, though, your foreground is your film. Period. And to be sure, you'll be kept at arm's length from that foreground at all times, both metaphorically and cinematically.
There's a number of reasons why Roma wasn't the Best Picture, this year. Gravity proved that Roma is not Cuarón’s best film. Bo Burnham–yes, that Bo Burnham–wrote and directed a better slice-of-life film with Eighth Grade. And Roma might not even be the past year’s best black-and-white film; I dare suggest that Cold War may have been better.
To give it the credit it’s due, Roma’s cast rightly earned nominations for their performances. Yalitza Aparicio and Marina de Tavira earned Best Actress nominations for their roles, and for their part, their performances were authentic as can be. It's the least the Academy could do for having them endure Cuarón's lengthy takes.
But now that I've given it credit, I demand my time back for the scene of Fermín going Star Wars Kid meets Full Monty.
  
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Paul Chesworth (3 KP) created a post

Feb 20, 2018  
OSTURA – THE ROOM

Six years is a long time between album releases. A lot can happen in that time, the biggest issue being the fan-base. In today's throwaway music era, where songs are disposed for having a 20 second intro by the ‘millennials’, but thankfully us rock fans are of a more discerning disposition and made of sterner stuff. Six years is nothing in the scale of rock bands, but I had to admit that even I was a bit worried that this album would never see the light of day. It was written immediately after the debut ‘Ashes Of The Reborn) from 2013 up and through to 2016…..and here it is (finally) in 2018! Top marks to Ostura for not losing faith and getting ‘The Room’ out there. I for one am bloody glad that they have persevered.


They probably feel like a cat with 10 lives, as it has been picked up by Universal Music MENA, when it could have literally gone south and not got released at all. There have been some Ostura casualties along the way. Gone are Tony Ghanem (vocals) and Chris Naimeh (drums), and in comes Alain Ibrahim (guitars), and Alexander Abi Chaker (drums – live, and additional percussions, and he wrote all the drum parts for The Room’). For the album, Thomas Lang is behind the kit and has quite an extensive CV; and I have to say, he IS ON FIRE here.

The 12 songs were written in chronological order and work as a score for an equally cinematic storyline about a social recluse girl who takes refuge in a room. Locked in with her thoughts, fears and ambitions, the girl’s imagination turns the room into an endless universe where she is the creator. Soon after, the creation gains the ability to create and ask the right questions. The story tackles the notions of fear, perfection, social anxiety, ambitions, rage, power, and the struggle between the creator and the creation.

'The Room' is a massive production with performers from 12 countries, alongside the City of Prague Philharmonic Orchestra and the core band. The premise has a lot to live up to. So, do Ostura live up to this high bar they have set for themselves?

Emphatically, yes! Where the debut was more ‘Metal’, and a mix between something like Avantasia and Kamelot, ‘The Room’ is a different experience entirely. The sound now is more cinematic and falls partly on the side of Ayreon. The sound (track) is like that of a film, it’s filled out and sounds huge, partly due to the involvement of The City of Prague Philharmonic Orchestra, a choir, string quartet, and an electric triangle (one of these isn't true). The whole concept has been so carefully constructed that the Orchestra and band are not overwhelming each other or jockeying for position. It’s a perfect balance of band and orchestra coming together for probably THE release of the year.

After a very long wait, I can wholeheartedly, 100% state that ‘The Room’ is worth it, and then some! Opening track ‘The Room’ starts with this pulsating and growing riff that explodes into action. The contrast in vocals between Erosion (Monsef) and The Girl (Jreissata) works a treat, you have the roughness/industrial vs. the angelic, its light vs. dark, and they also have the wonderfully melodic metal vocals of Utopia (Michael Mills, Toehider). ‘Escape’ has hall the hallmarks of symphonic metal that you could wish for. Mills proves to be the Ace in the pack as his vocals are ear-splittingly phenomenal. The Room is more than just Within Temptation with a couple of extra sets of balls, as Ostura throw everything into the mix, both vocally and musically, there is even the daddy of them all, a Hammond organ.

In case you are worried, the three-pronged (trident) vocal assault that was seen on the debut is still here. Only this time, Monsef and Jreissata have seriously upped their game, and have in Mills a singer of the highest quality. Mills is immense, his vocals are up there with early Queesnryche’s Geoff Tate. Its not just the Mills show - Monsef glides from low to high with ease, and Jreissati' vocals are just simply divine. The three together are pure perfection.

‘Beyond’ is where the cinematic soundtrack comes to the fore. Alan Ibrahim’s and Marco Sfogli’s guitar playing collides with the PSO – electric vs. an orchestra, industrial riffs dueling against violins (An orchestra is just the heavy metal of the 1600s to the present day, without a Marshall), all coming together for this huge soundscape of noise. ‘Erosion’ is one of those songs that I wish I could play through a PA. It’s a track that you just can’t play loud enough. It mixes the brutality of guitars that Dream Theater used to do so well, with a male baritone choir! Ostura have so much faith in what they are doing that the orchestra parts come to the fore and throw in a choir for good measure adding further to the already pomp-tastic sound.

‘Mourning Light’ is the first chance to catch your breath as its just The Girl, and a small accompaniment in comparison. We have just witnessed the beautiful calm and serenity of The Girl, you know there’s something sinister just around the corner. It doesn’t half deliver with ‘Deathless’. It’s the kind of intro that you would see on a film like Godzilla, or Cloverfield, dark and looming with a sense of impending danger. The final third of ‘The Room’ has two of the biggest songs in both ‘Darker Shape Of Black’ in which Ostura have roped in 'he who shall not be named!' The other being a 12-minute magnum opus ‘Duality’. 'The 'International Man of Mystery's' style is so distinctive that it is bound to draw comparisons. The song has everything – huge riffs, against a Middle Eastern backdrop, and with the orchestra adding an overall massive sound. The filling in the middle of these two monsters is ‘The Surge’ and is solely a vehicle for ‘Erosion’ and Monsef to take centre stage.

In fact I’m going to leave it right there. It would be a poor read if all I did was wax lyrical about every song in a similar manner. I blame Danny Bou-Maroun and Elia Monsef. Its their bloody fault that the ‘The Room’ is so damn good!

I simply cannot fully express in words how good ‘The Room’ is. If you’re a fan of Ayreon, and I know there are quite a few of you out there, you absolutely positively need this in your collection. There’s a lot to absorb here, as ‘The Room’ will require several listens as its like being bombarded with a wall of sound. You will pick up on things you didn't hear the first time, and so on. The end result though is seriously worth the wait. In the world of cinematic rock, Ostura stand-alone, no one can touch them. Purely as an album it is up there with Ayreon’s ‘01011001’ and possibly Dream Theater’s ‘Metropolis Pt. 2: Scenes From A Memory’. I'm not kidding.

Credit also needs to go to Jens Bogren. Ostura have a hell of a lot going on here, and to get the production so ‘right’ has taken one huge effort. To mix the sound and multiple layers are not an easy task to make it sound as good as this, and he has done a superb job, where others could easily have failed.

Honestly, very few albums hit my inbox that are this good. If anything peaks this in 2018 whether it be metal, prog, AOR and everything in between, I will be very surprised indeed. This is without doubt, awesome!

NOTE – Universal are not releasing this on CD as it’s a dying format. This is a shocking decision considering they have a potential ‘Ostura’ of an album in their possession. Criminal. Here’s hoping the band can offer up something via a Pledge campaign.

Score – Awesome!

Tracklisting –
The Room
Escape
Beyond (The New World)
Let There Be
Erosion
Mourning Light
Deathless
Darker Shade Of Black
The Surge
Duality
Exit The Room

Ostura
Youmna Jreissati – Vocals as ‘The Girl’
Elia Monsef – Vocals as ‘Erosion’ Charango, Additional Acoustic Guitar, Programming, Engineering, Media
Danny Bou-Maroun – Piano, Keyboards, Orchestration, Programming, Cubase Operation, Additional Percussions
Alain Ibrahim – Acoustic guitar, Rhythm Guitars, Guitar Co-arrangements
Alexander Abi Chaker –Additional percussions, Drums Co-arrangements on tracks (1,2,4,5,8)

Guest Musicians

Michael Mills – Vocals as ‘Utopia’
Thomas Lang – Drums
Dan Veall – Bass
Marco Sfogli – Lead Guitar on tracks (1.2.3.5.8.11)
He who shall not be named, yet!! – Lead Guitar on Track 9
Ōzgūr Abbak – Lead Guitar on Track 6
The City Of Prague Philharmonic Orchestra Conducted by Danny Bou-Maroun
The Lebanese Filmscoring Ensemble – Choirs, String Quartet
Yamane Al Hage – Violin Solo on Tracks (3,8,9)
Jokine Solban – Violin Solo on Track 2
Nobuko Miyazaki – Flutes on Tracks (9,11)
Mohannad Nassar - Oud on Tracks (5,10)
Roger Smith – Cello on Tracks (1,10,12)

Mixed, mastered and re-amped by Jens Bogren at fascination Street Studio, Sweden
Alexandre Moreira – Editing
All vocals, piano, violins, percussions, recorded at the Citadel, Dlebta, Lebanon

Twitter - @Ostruraband
Facebook - https://www.facebook.com/osturaband/