Daddy 39;s Home Horror Movie
Dorthea Seate
A social media video that captures how an American bulldog reacts when she hears the words "daddy's home", even though her owner was sitting right next to her, has delighted audiences across the Internet. The viral video, which has been viewed over 2.4 million times since it was first shared to TikTok on October 14, shared how female bully Annabelle stares at the door when she's notified of her owner's imminent arrival.
"Annabelle is a three-year-old American bully. We also have her littermate brother Norman. They were born on Friday the 13th, March 2020, and are named after horror movie characters," the dogs' owner, Danni Keane, told Newsweek.
"However, [she] is a handful. She loves to torment her brother by barking in his face until he chases her, she would run the house if we let her, and she loves affection and attention of any kind, especially when it's coming from her dad," Keane said.
Keane told Newsweek she started recording Annabelle and Norman greeting her husband Bobby whenever he came home from work after she'd realized that their dad coming home was their favorite time of the day.
Keane recalled how the dogs learned the all-important phrase: "It started when they associated the (family social media app) Life360 sound with him coming home. That progressed into me asking them if daddy was home when they [were] alerted to the Life360 sound. Then I silenced the app notification and started saying, 'daddy's home.' They both get super excited and usually run to the window to see if his truck is there."
The largest version of the American bulldog breed, the American XL Bully, is set to be banned in the U.K. following a string of vicious attacks by dogs of the breed which have left multiple people dead.
The British government had announced on September 15 that the breed will be banned in the country. To achieve 'banned' status, the breed would have to be defined by experts and added to the Dangerous Dogs Act.
Another user added: "I think she thinks, 'daddy's home' means the garage door sound, and that usually means her dad is coming home, but she knew he was home, and went to greet him anyways because that's routine."
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Her current focus is on trending stories and human-interest features on a variety of topics ranging from relationships, pets, and personal finances to health, work, travel, and family dynamics. She has covered current affairs, social issues, and lifestyle stories extensively.
Melissa joined Newsweek in 2023 from Global's LBC and had previously worked at financial news publication WatersTechnology, tmrw Magazine, The Times and The Sunday Times, Greater London-based radio broadcaster Insanity Radio, and alongside other journalists or producers for research purposes. Since joining Newsweek, Melissa has been especially focused on covering under-reported women's health and social issues, and has spent a large part of her time researching the physical and mental impact of both the contraceptive pill and abusive relationships.
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St. Vincent's Annie Clark connects with Jade to talk about her upcoming album, Daddy's Home, the visual representations that have accompanied the eras of her discography, and putting together the band for her recent Saturday Night Live performance.
I was watching a video and it must have been a behind-the-scenes thing with you and the band getting ready and getting pumped up for the performance. As someone who is so desperate to be back and see live music, I can only imagine what it was like for you to be back on stage and performing. So I was hoping that you could kind of describe that feeling, that energy that you had.
Well first of all, in getting to put this new band together, by the time we hit SNL, we'd been a band for about eight days. So, that shows you how pro everybody was. But getting to be back in a rehearsal room with people and hearing them sing, and hearing them play--it was like a phantom limb, magically reappeared. They're really the best. Then actually, the performance--there's not an analogue in daily life that scratches that itch, you know? So actually getting to do that--feel the energy of like, "3, 2, 1.." The rush and the thrill of the just being in the moment and the crowd, it was thrilling and it made me want to just--why can't I just be on tour right now?
Why can't we all just be on tour right now going to live shows? There is something about that live performance, and you're such a wonderful live performer. The visual aspect is so huge, I was actually really struck by the visuals of this performance, which kudos to you guys for pulling that together for eight days being in a band. There was this really beautiful softness to everything in the performance. The fur coat that you were wearing, and your backing vocalist--everything just had this softness and warmth. It was really different from your last tour, which to me was really like sharp edges, and there was this starkness on the stage. It brought to mind this interview that I had heard with you where you said you had taken angular as far as you could go, and I was really hoping that you could expand on that a little bit.
So much of this new record is 'things that are wiggly' is the only way to explain it, but really just things that move in and out like water and flow and really being way more about that kind of energy than about things that are right angles and clear lines. The music that I was really referencing and really digging into was the music from the early 70s, New York. '71 to '76 where rock and jazz and fusion and all this stuff kind of merged. It was really harmonica sophisticated, but so musical and it was just that kind of vibe. I keep using words like vibe and flow.
Very 70s, but it's true, that music had a whole lot to teach me and I've loved it for so long, but I've never really gone there and I learned a lot. The other thing about the performance aspect of the record is, with those singers, and writing parts for the singers like I did on the record--I wanted that to be like--that's a conversation. It's not background singers. It's a real time conversation. I wanted to make sure that was clear with the performance. These aren't background singers hiding in the back making the lead singer seem more competent. It's like no, you're front and center. We're having a conversation here. You're very much a part of it and they were so great.
Yeah, it felt very Bowie and Luther Vandross, sort of that back and forth. But hearing you say the things about, like, the curviness, versus the straight lines, there's this wonderful thing about like the visualisation of music that I find so fascinating. Speaking of Bowie, that idea of the era and it being a certain look or a certain style, and having to have those background vocalists, as opposed to just you know, Annie and guitar, front and center. Is that something that comes to mind when you're putting together the album or is that visual something that comes after the fact?
When I'm making the record I am more just thinking about the music. The visual side of it really comes as a result, and enduring once I know kind of what the music is. Then the visual side can kind of start to bleed in and continue to tell the story. That's what I always want to do with the visual side is just continue to tell the story of the album.
It seems like you're kind of playing around with instrumentation as well, mixing in some synth and everything else. Was that like a kid in the candy store energy going on? Or do you always start with guitar when you're starting to write some stuff?
Oh, no, I rarely start guitar. Honestly, I really rarely sit down with a guitar and write a song. I think I have better ears than I do hands. But as far as--are we talking record making or a live performance? Sorry.
Yeah, I mean, some of the songs came about from me turning knobs and plugging in CV cables to modular syntha. Just doing this for an hour until something sounded cool, then taking six seconds of the thing and being like, "I'm gonna write a song around that." That's definitely how the song "Pay Your Way In Pain" happened. Just, "Oh, cool. I found this modular baseline that is really evocative to me and I'm going to follow that." Same with a song--there's a song on the record called "Down," which was kind of a similar process in that modular world, and then a lot of things were way more--I went back and studied the harmonies: Stevie Wonder, Steely Dan, and that kind of stuff, and just went back to school. Like, "Damn, why does that feel so good when they go there? Oh, sh**!" you know, "Damn! So cool."
There's certain notes and certain runs of music that just kind of enrapture you. There's this performance that you did of "The Melting Of The Sun," and speaking of going back and giving a nod of appreciation to people--entertainers who've come before you--that's definitely something that goes on in that song.
But there is a line that really stuck out to me, "To tell the truth, I lied." There's been something in this last year, maybe it's because people are spending a lot more time at home, peeling back of the facade. Both in society in general with social uprisings and the #MeToo movement, but a lot of the musicians I've talked to, because they're not on tour, not doing the thing that really feeds them, it's been a year of a lot of vulnerability and kind of asking those questions of, "What am I doing, and who am I?" That line just sort of triggered that thought in my head. I'm curious what has been on your mind in the in the last year, while you've had some time to kind of pause and reflect?