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Journey (Crossword clue)

We found 21 answers for “journey” ..

If you haven't solved the crossword clue Journey yet try to search our Crossword Dictionary by entering the letters you already know! (Enter a dot for each missing letters, e.g. “C.OSSI..” will find “CROSSING” and “C.UI..” will find “CRUISE”)

• Journey (21)
• Journey accompanier, often (1)
• Journey allowed three similar thi... (1)
• Journey axe slinger Neil (1)
• Journey axe-slinger Neil (1)
• Journey before the fall (1)
• Journey boat (1)
• Journey by air or water (1)
• Journey by sloop (1)
• Journey by wagon train (1)
• Journey cake (2)
• Journey doesn`t start for composer (1)
• Journey East to free the leader (1)
• Journey for a chocolate (1)
• Journey for caesar (1)
• Journey for cats (1)
• Journey for Cooper (1)
• Journey for Juvenal (1)
• Journey for kirk (1)
• Journey for pompey (1)
• Journey for Ringo (1)
• Journey for T.R (1)
• Journey for the Me Generation (1)
• Journey for the self-centered (1)
• Journey for the vain (1)
• Journey from place to place (1)
• Journey from the nest to the kitc... (1)
• Journey frontman Pineda (1)
• Journey guitarist Schon (1)
• Journey half a mile in one jump! (1)
• Journey hard (1)
• Journey hit of 1986 (1)
• Journey in a circuit (1)
• Journey in Juelich (1)
• Journey in search of adventure (1)
• Journey in the style of Captain K... (1)
• Journey interruption (2)
• Journey Into Fear author (1)
• Journey Into Fear author Eric (1)
• Journey Into Fear mystery novelis... (1)
• Journey Into Fear writer Ambler (1)
• Journey Into Healing author (1)
• Journey into new land (1)
• Journey keyboardist Jonathan (1)
• Journey like Captain Kirk`s (1)
• Journey like Kirk`s (1)
• Journey man (1)
• Journey mileage measurer (1)
• Journey of a sort (1)
• Journey of escape (1)
• Granted (7)
• River in grenoble (1)
• Lunchtime cheese partner (1)
• Tulsa daily, with `the` (1)
• Four-star (5)
• Shows irritation (1)
• Oatmeal`s kin (1)
• Remorseless (9)
• Waiters` takings (1)
• Wag the Dog co-star (1)
• Vegetable companion (1)
• Communal dining event (1)
• Slithery ocean burrowers (1)
• Decision-making flipper (1)
• London architect (1)

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Crossword Solver > Clues > Crossword-Clue: Journey

JOURNEY Crossword Clue

Synonyms for journey.

We found 72 Synonyms

• a journey (93.5%)
• Begin a Journey (78.83%)
• Arduous journey (78.83%)
• a journey Begin (78.83%)
• journey long (78.83%)
• break journey (78.83%)
• break in a journey (78.83%)
• journey by air (78.83%)
• journey Difficult (78.83%)
• ADVENTUROUS journey (78.83%)
• JOURNEY (L)
• '60s "journey"
• The ___ journey

Know another solution for crossword clues containing Journey ? Add your answer to the crossword database now.

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• Journey with 4 Letters
• Journey with 5 Letters
• Journey with 6 Letters
• Journey with 8 Letters
• Journey with 9 Letters

additional Letters

Synonyms [72]

• Crossword Tips

Clue: Journey for Juvenal

Referring crossword puzzle answers, likely related crossword puzzle clues.

• Brain passage
• Anatomical passage
• Anatomical duct
• Road for Cato
• Narrow passage
• Anatomical canal
• Old Roman road

Recent usage in crossword puzzles:

• New York Times - May 9, 1993
• New York Times - May 6, 1989
• New York Times - June 3, 1982
• New York Times - June 12, 1981
• New York Times - July 3, 1978

JOURNEY Crossword Clue

Synonyms for journey, popular today, popular crossword clues.

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Clue: Journey

We have 6 answers for the clue Journey . See the results below.

Possible Answers:

Related clues:.

• Quite a trip
• "Star ___"
• Hard journey
• Tough going
• Not just a trip across town
• Arduous journey

Last Seen In:

• USA Today - March 14, 2024
• LA Times - November 05, 2023
• USA Today - September 02, 2022
• LA Times - July 13, 2022
• USA Today - April 22, 2021
• New York Times - February 01, 2021
• USA Today - May 26, 2020
• Netword - May 24, 2019
• LA Times - May 06, 2019
• New York Times - September 10, 2018
• Netword - July 24, 2018
• Netword - May 07, 2018
• Universal - September 06, 2017
• King Syndicate - Eugene Sheffer - May 11, 2017
• Canadiana - April 10, 2017
• King Syndicate - Eugene Sheffer - March 15, 2017
• LA Times - January 18, 2017
• New York Times - December 13, 2016
• King Syndicate - Thomas Joseph - September 09, 2016
• Netword - May 31, 2016
• Netword - December 01, 2015
• King Syndicate - Eugene Sheffer - June 02, 2014
• LA Times - April 15, 2014
• Canadiana - April 07, 2014
• Canadiana - February 17, 2014
• King Syndicate - Thomas Joseph - September 02, 2013
• Netword - September 05, 2011
• Netword - June 28, 2011
• King Syndicate - Eugene Sheffer - December 18, 2010
• King Syndicate - Thomas Joseph - October 28, 2010
• LA Times - September 23, 2010
• Canadiana - September 20, 2010
• King Syndicate - Eugene Sheffer - June 25, 2010
• Canadiana - March 10, 2008
• King Syndicate - Premier Sunday - November 11, 2007

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Journey such as the one where 20-Across appears NYT Crossword Clue

Journey such as the one where 20 Across appears Crossword Clue Answers are listed below. Did you came up with a solution that did not solve the clue? No worries we keep a close eye on all the clues and update them regularly with the correct answers.

JOURNEY SUCH AS THE ONE WHERE 20 ACROSS APPEARS NYT

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Guided journey  Crossword Clue

While searching our database we found 1 possible solution for the:  Guided journey crossword clue.  This crossword clue was last seen on  April 10 2024 Wall Street Journal Crossword  puzzle . The solution we have for Guided journey has a total of 4 letters.

Verified Answer

Check the table below for more likely or similar clues and answers related to  Guided journey  crossword clue.

Recent Usage in Crossword Puzzles:

• Wall Street Journal Crossword, April 10 2024

What is the answer to Guided journey crossword clue

How many letters are in guided journey crossword clue, when was the crossword clue guided journey last seen.

• Wall Street Journal Crossword April 17 2024 Answers

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The Crossword Solver

Journey , 4 letters

Here you will find the answer to the Journey crossword clue with 4 letters that was last seen March 27 2024. The list below contains all the answers and solutions for "Journey" from the crosswords and other puzzles, sorted by rating.

Related Clues for Journey

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• Hiker's hard journey
• Activate, as an alarm
• Word after "road" or "guilt"
• Vacation excursion
• Shorthand for Gene Roddenberry's sci-fi franchise
• Road ___ (vacation plan)
• Round ___ (to and fro)
• Thru-hike, say
• Star __, long-running sci-fi TV series

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Journey (6)

There are a few possibilities for this:

Which length description are you looking for?:

' journey ' is the definition. (I know that journey can be written as travel) This is all the clue.

(Other definitions for travel that I've seen before include "Move from one place to another" , "Go on a trip" , "Go from place to place" , "Varlet (anag.)" , "Tourism" .)

' journey ' is the definition. (I know that voyage is a type of journey) This is all the clue.

(Other definitions for voyage that I've seen before include "Ocean trip" , "Journey by air or water" , "tour" , "Long journey by sea or air" , "Journey by water or through space" .)

' journey ' is the definition. (I know that trip is a type of journey) This is all the clue.

(Other definitions for trip that I've seen before include "a result of drug-taking" , "Journey - miss one's footing" , "Err; journey" , "Catch one's foot" , "often occurring just before the fall" .)

' journey ' is the definition. (I know that trek is a type of journey) This is the entire clue.

(Other definitions for trek that I've seen before include "A long arduous march" , "Great journey" , "Expedition or difficult trip" , "Long and difficult journey" , "Long and difficult trip" .)

(Other definitions for tour that I've seen before include "Period of service" , "Trip, visit" , "Rout (anag.)" , "Extended journey" , "Spell of military duty" .)

' journey ' is the definition. (I've seen this before) This is the entire clue.

(Other definitions for route that I've seen before include "The way to go" , "Course of 7" , "Course taken" , "Established line of travel" , "Course, path" .)

' journey ' is the definition. (I know that transit is a type of journey) This is all the clue.

(Other definitions for transit that I've seen before include "Travel" , "The act of carrying from one place to another" , "Shipment from A to B" , "Passage of planet across the disc of the sun" , "In - - (en route)" .)

Crossword Clue: Journey

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Crossword Journey: Word Game 4+

A challenging word puzzle game.

• 4.9 • 4.6K Ratings
• Offers In-App Purchases

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Description.

A challenging word puzzle game. Relax your mind and train your brain every day! Welcome to Crossword Journey! Enjoy the beautiful scenery of various countries while solving word puzzles! Sharpen your mind while killing time in the wonderful word adventure game! EASY TO PLAY: - Connect the letters without lifting your finger. - Find all the hidden words in given letters on the board. - Collect more extra words to get rewards in the word game. BECOME A MASTER: - Concentrate on finding all the hidden words in this word hunt game. - Test your vocabulary by connecting letters, practice your spelling skills. - Challenge your brain, search and find the right words for each crossword puzzle. - Immerse yourself into the addicting word anagrams. - Improve your vocabulary and learn new words with this amazing word puzzle game. FEATURES: - Completely free word search game - Stunning landscape backgrounds and beautiful game design - Tons of puzzles - Take each level at your own pace with unlimited tries - No time limit - Difficult word puzzles for daily challenge - Simply fun and relaxation - Brain challenging and training word cross game - Suitable for all ages - Addictive for both starters and masters This word find game is easy to play but hard to master. Relax yourself and ease your mind in the word hunt game. You can play it anytime and anywhere. Begin your journey now!

Version 1.35

Add more levels.

Ratings and Reviews

4.6K Ratings

Enjoy the games but I hate it if I hit the wrong place & it changes tAnother puzzle

Thing & it changes puzzles I do this playing for a reason & It is helping.. I know you mix & match but it Gets crazy trying to f which one I playing. But it is fun. And when u fill in some the blocks all of A sudden a I picture of different things appear & why & what four Also what is the meaning of the gold Looking square? Appreciate some answers or @ least Lead me to instructions I have been flying blind Carolyn Renfroe

You need to put this on the same page as the puzzle, instead of the page after you complete said puzzle. It’s nice to know what the word means on the same page. Nov. 4, 2023 This is my second attempt to inform you that the dictionary should be on the same page as the puzzle.

No dictionary

I have a couple of this type of game, this one has no dictionary Sometimes I make words that I don’t know the definition of, so I miss being able to see what those words mean. Also on some puzzles the circle of letters covers the squares on the board. A good game, lots of ads but they aren’t too bad.

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The developer, Todd Lin , indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy .

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Information

• Special Offer $0.99
• Super Bundle $14.99
• Starter Bundle $1.99
• Special Gift2 $1.99
• Most Popular Pack $8.99
• 1800 Coins $4.99
• 1000 Coins $2.99
• 420 Coins $1.29
• Lucky Bundle $2.99
• Weekly Subscription $3.99
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Brightly Colored Rock

Amanda Winters makes her New York Times debut.

By Sam Corbin

Jump to: Today’s Theme | Tricky Clues

MONDAY PUZZLE — The origin of the phrase at the heart of Amanda Winters’s crossword theme rests in myth and is often attributed to Hermes Trismegistus (also called Thoth ), the Egyptian-Greek god whose Emerald Tablet is considered the founding text of alchemy . And although the puzzle describes this phrase as a “philosophical principle,” the interpretation varies widely. The maxim has been used by astrologers to describe the influence of planets on our lives; by culture writers to excuse flakiness during the holidays; and by Madonna to credit guardian angels for her survival after a dangerous fall.

This puzzle is Ms. Winters’s debut in The New York Times, and it seems apt to describe her beginning as auspicious. Have a crack at the grid and see how its philosophy squares with you. And if you struggle with any clues, you can blame the absence of guardian angels or planetary interference. Mercury is in retrograde , after all.

Today’s Theme

By filling in the grid, we see a cluster of letters repeated throughout the shaded areas: A-S-S-O. We don’t have an immediate indication of how the letters are meant to be read — and for a while I was convinced that the constructor was trying to name-drop a certain British online clothing company . Ms. Winters’s revealer provides us with much-needed guidance.

AS ABOVE, SO BELOW — the “philosophical principle in which Earth mirrors heaven” — is split between 39- and 41-Across. And just like that, the pattern emerges: AS appears in the top row of each shaded square, SO below that row. Should we struggle with any clues that cross these squares, we now know at least part of the answers: “Where sailors go” (15A) must be AS_ _, and the “Noise that accompanies a shock wave” (18A) is SO_ _ _ _ _ _ _. (ASEA and SONIC BOOM are the answers there.)

The alignment of these pairs of letters is no cosmic coincidence. Christina Iverson , a puzzle editor at The Times, said that the stacking of theme entries was “hard to pull off,” requiring from both the constructor and the editors “a lot of time tinkering to get the best fill around it all.”

Tricky Clues

27A. A “Puppy’s bark” could be a little “Arf!” Here it’s a littler YIP.

35A. Just when I think I’ve finally achieved textile literacy, a “Sleek fabric” called SATEEN comes along. SATEEN is made from cotton, which — counter to what those double E’s might suggest — does not make the fabric shiny (or sheeny). Silk-derived satin has more sheen.

44A. In somewhat loftier language, to “Wipe away” is to EFFACE. We tend to see the term most often in “self-effacing,” as in humor or behavior someone uses to appear modest.

3D. The “Yellow fruits that, despite their name, look more like apples” are ASIAN PEARS. They taste more like apples, too, retaining more snap and juiciness than buttery European pears like Bartlett and Bosc.

32D. What are the “Components of a green house?” The space between the last two words of this clue suggests not plant life but SOLAR PANELS, which tend to be found on top of eco-friendly (or “green”) homes.

56D. An unassuming debut sometimes makes for a tricky clue. The “Taiwanese tech company” ASUS never appeared in a Times Crossword until now — and may have stymied solvers who expected other frequently appearing four-letter tech giants like Acer.

Constructor Notes

Hello, fellow crossword lovers! I’m a data scientist currently based in Atlanta and originally from Portland, Ore. I’ve loved puzzles, wordplay and trivia for as long as I can remember. I’ve been an avid Times Crossword solver for years, and I finally took the leap into constructing last spring. This is my New York Times debut, which is an absolute dream come true. I had heard the phrase AS ABOVE, SO BELOW used in a philosophical context before starting to construct crosswords. A few months after I began, I came across the phrase again and saw it through a cruciverbalist lens, thinking, What if AS ABOVE, SO BELOW were taken literally? And voilà, the idea for this puzzle was born. There was a lot of trial and error involved in designing the grid and placing the theme squares, since I wanted to include as many as possible while ensuring that all of the entries that exceeded seven letters passed through a theme square. At the time, this challenge was quite frustrating, but in retrospect it made constructing this puzzle much more fun! Huge shout-out to my husband, Jordan, who has been my biggest cheerleader throughout my nascent crossword constructing journey; to my dad, who is always willing to be my sounding board for new theme ideas; and to the folks on Crosscord who provided invaluable feedback on this puzzle’s earlier drafts.

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Sam Corbin writes about language, wordplay and the daily crossword for The Times. More about Sam Corbin

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Take your puzzling skills in new directions..

WordleBot , our daily Wordle companion that tells you how skillful or lucky you are, is getting an upgrade. Here’s what to know .

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Read today’s Wordle Review , and get insights on the game from our columnists.

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Ready to play? Try Wordle , Spelling Bee  or The Crossword .

Journey such as the one where 20-Across appears NYT Crossword

We solved the clue 'Journey such as the one where 20-Across appears' which last appeared on April 17, 2024 in a N.Y.T crossword puzzle and had seven letters. The one solution we have is shown below.

Journey such as the one where 20 Across appears

The answer for this clue is

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Eugene Sheffer Crossword April 6 2024 Answers (4/6/24)

O ur Eugene Sheffer Crossword April 6, 2024 answers guide should help you finish today’s crossword if you’ve found yourself stuck on a crossword clue. The Eugene Sheffer Crossword is a daily puzzle that has been entertaining and challenging solvers for many years. Known for its simplicity and straightforward approach, the puzzle offers a satisfying and enjoyable solving experience for crossword fans of all levels. The clues are clear and concise, making it a great choice for those who are new to crosswords or just looking for a quick and easy puzzle to complete. Despite its straightforward nature, it still offers enough of a challenge to keep experienced solvers engaged and entertained.

Eugene Sheffer Crossword April 6, 2024 Answers

If you need help solving the Eugene Sheffer Crossword on 4/6/24, we’ve listed all of the crossword clues below so you can find the answer(s) you need. You can search for the clue and then select the appropriate clue to get the answer. We have done it this way so that if you’re just looking for a handful of clues, you won’t spoil other ones you’re working on!

Looking for answers to another Eugene Sheffer Crossword puzzle? Check out our archive of Eugene Sheffer Crossword Answers .

• Mexican snacks
• Mamas’ mates
• Recital piece
• Chef Lagasse
• Marley’s music
• $ dispenser
• Pricey violin
• Run after K
• Clark’s love
• Community gym sites
• Daughter of Lear
• Showbiz job
• Fleet-related
• Historic times
• Paris appellation
• “— Poetica”
• PC drive insert
• Breathing need
• Lacking vigor
• Lot vehicle
• Elevator name
• Shrimp recipe
• Streisand title role
• Cleaning cloth
• Heroic tales
• French painter Edgar
• A Bobbsey twin
• Diplomat Silas
• Cuba’s Fidel
• Neither mate
• Goddess of wisdom
• Made a cattle call
• Stallion-to-be
• The grid just went live, and we are still publishing the answers! If you’re not seeing the clue you need, check back in a couple of minutes!

Eugene Sheffer was an American journalist and crossword puzzle creator who is best known for his work in the field of crosswords. He was born on February 12, 1923, in Brooklyn, New York, and died on January 17, 1997.

Sheffer began his career as a journalist in the 1940s and worked for several newspapers, including the New York Post and the New York Daily News. In 1968, he began creating crossword puzzles for the New York Herald Tribune, and later worked for the New York Times, the Los Angeles Times, and other publications.

Sheffer was known for his creative and challenging crossword puzzles, which often featured puns and wordplay. His puzzles were also known for their cultural references and inclusion of a wide range of topics, from history and literature to popular culture.

If you’ve enjoyed this crossword, consider playing one of the other popular crosswords we cover, including: New York Times Crossword (and Mini ), Daily Themed Crossword (and Mini ), LA Times Crossword , and USA Today Crossword .

The post Eugene Sheffer Crossword April 6 2024 Answers (4/6/24) appeared first on Try Hard Guides .

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Maggie Rogers’s Journey from Viral Fame to Religious Studies

By Amanda Petrusich

In the fall of 2021, the singer and songwriter Maggie Rogers entered the graduate program at Harvard Divinity School. For anyone unacquainted with the particulars of the degree Rogers was pursuing—a master’s in religion and public life—it might have sounded as though she were abandoning burgeoning pop stardom to reinvent herself as a priest. “It’s a peace-and-justice program, it’s not a seminary,” Rogers told me over dinner in Cambridge, in early February. “I’m not from any particular religious tradition. I was not trained in any particular religious tradition.” Rogers, who is twenty-nine, was trying to make her life feel more useful and less surreal. “I woke up one day and I was famous,” she said. “I was really burnt out. I was diagnosed with chronic fatigue. I thought I wanted to quit music. A lot of what I came here to do was to think about how to create a more sustainable structure around a creative practice.” This spring, Rogers will release her third album, “Don’t Forget Me,” a breezy collection of pop-rock songs that she wrote in consecutive order, during five kinetic, bountiful days last winter. It is, in many ways, the loosest and most elemental music she’s made.

In 2016, Rogers was “discovered”—though the word almost feels too intentional—by the polymath hitmaker Pharrell Williams, while she was attending New York University. Williams visited one of Rogers’s classes at the Clive Davis Institute of Recorded Music, a program within the Tisch School of the Arts; he was an artist-in-residence there, and she was a senior. The institute is the sort of place where, say, Questlove might teach a seven-week course on the Beastie Boys, and the Beastie Boys might show up on the final day. During Williams’s visit, Rogers played him an early version of “Alaska,” a song she’d written after going to Berlin and having “a really spiritual experience” with dance music. “Club culture, for an N.Y.U. freshman or sophomore, always meant tight dresses, a certain amount of money, the meatpacking district,” Rogers said. “I didn’t have clothes for that.” The scene in Berlin was different—less preening, more raw. “They said I had to wear sneakers or I wouldn’t get in,” Rogers recalled. Meanwhile, she was learning more about how to produce and manipulate rhythm, using both analog and electronic elements (drums, bass, synthesizers, outboard gear, programming software). “I had always thought that singing was the oldest and most primal way to connect,” she said. “When I discovered the connection people can have through rhythm, something really changed.”

“Alaska” is a brittle meditation on interpersonal dissonance. “You and I, there’s air in between,” Rogers sings on the chorus. That tension is deftly mirrored in the song’s sound. There’s something earthy about Rogers’s presence (she was brought up in rural Maryland, and played the harp and the banjo as a teen-ager), yet the song’s production is spectral, icy, electronic. Rogers told me that she wrote “Alaska” in five minutes, which is how she often works: urgently and with deep focus, as though she were channelling a faint signal.

Williams’s meeting with the class was filmed. Rogers was wearing jeans, a thrifted L. L. Bean shirt, and a necklace made from two elk vertebrae strung on cooking twine. She told Williams that she had previously made only folk music. Her professor, the producer and engineer Bob Power, interrupted: “But kind of postmodern stuff, too. It was not just boom-chicka-boom-chicka.” She clarified her intentions for the track. “All I want to do is kind of combine that folk imagery and harmony and natural samples that I’ve been picking up while hiking over the last couple years with the sort of backbone and energy of dance music,” she said. “We’ll see if I’m successful.” As the song started to play, Rogers seemed a little unsure of where to direct her gaze. The video is endearing: a young artist presenting her work and nervously awaiting judgment. It soon becomes clear that Williams is feeling it. When the track ends, he tells her that he has “zero, zero, zero notes,” and then compares her individuality to that of the Wu-Tang Clan. “I can hear the journey,” Williams tells her. “I’ve never heard anything that sounds like that. . . . That’s a drug for me.”

The full thirty-minute clip of the class, including Williams’s responses to other students, was uploaded to his label’s YouTube channel in March of that year; in June, a fan posted Rogers’s portion to Reddit. It didn’t take long for the clip to go viral. One of Rogers’s childhood friends, Nora Neil, remembered Rogers calling to say that she was trending on Reddit. “I was at my grandmother’s house,” Neil recalled. “And I said, ‘I unfortunately do not know what that means.’ That first day, those first few hours, it was, like, ‘Whoa, what is this?’ . . . Her life really did change overnight.”

Rogers was one of the first pop stars to achieve fame by unintentionally captivating the Internet, and, strangely, she was also one of the last. These days, virality is not so much a lightning strike as a marketing scheme, reverse engineered by executives and masquerading as serendipity. A. & R. representatives often scout new talent by dissecting social-media numbers, as though music could be a “Moneyball”-style game of statistics. But in 2016 the online-to-IRL catapult was still unpredictable. It was exhilarating to watch the arc of its fling.

It helped that the distinctive sound of “Alaska”—a fusion of organic and synthesized—was beginning to take hold in independent music. For a brief moment, it seemed as though drum machine meets trail mix might be the next big vibe. A bidding war broke out among interested record labels. Rogers eventually signed with Capitol, where she was given her own imprint, Debay Sounds. In early 2017, she released an adventurous, genre-bending EP, “Now That the Light Is Fading,” which included an updated version of “Alaska.” She was invited to appear on the “Tonight Show” and “Saturday Night Live,” conspicuous bookings for an artist who had officially released only a handful of songs. Those early performances were magnetic. The first time I saw her live—in April, 2017, at Music Hall of Williamsburg, a six-hundred-and-fifty-person venue in Brooklyn—the room had the charged feel of a tent revival. Onstage, Rogers can be a little wild. Her movement is spontaneous, erratic; she can appear almost possessed. In the video for “Alaska,” she strides through a forest at dusk, wearing jeans and a baggy zippered sweatshirt, her hair down, no visible makeup, periodically twisting and jerking her body in a way that reminds me of both the best modern dancers and my toddler when she hears the Supremes.

Rogers told me that when she was in middle school she won an essay contest with a piece about watching other people have fun. “I fit in enough —I’ve always had amazing friends,” she said. “I don’t mean to self-aggrandize, like I’m some great weirdo. I think I’m a pretty normal dude.” She paused, and laughed. “But also, I’m pretty abnormal.” She described her favorite artists as “fearless freaks,” and said that she believes a little bit of estrangement can be a useful creative tool: “To make something real, sometimes it helps to know what it’s like to not be like everybody else.”

Rogers’s first full-length album, “Heard It in a Past Life,” came out in January, 2019, and débuted at No. 2 on the Billboard 200. The following year, she was up for Best New Artist at the Grammys. Speaking about it now, Rogers tends to emphasize that her time line was measured, nearly quaint by some standards—almost three years passed between her viral moment and the release of her first LP—but it’s clear that the pace and the scale of her success were nonetheless unnerving. On “Light On,” a single from “Heard It in a Past Life,” Rogers sings of feeling alienated, panicked:

Tried to slow it all down Crying in the bathroom, had to figure it out With everyone around me saying “You must be so happy now”

“I was so young, but I was also old compared with the age of people going through it now. I got to fully develop, go to college, fuck off, and think I was gonna be a journalist,” she told me. “I was in dumb bands playing in clubs and there’s no footage of it.” The experience of being thrust into celebrity meant, ironically, that she didn’t have time to make music. “I’d never been less of an artist than when I became a professional artist,” she said. “There was a really specific moment, in 2017 or 2018, where I was at camera blocking for what must have been my fourth or fifth or sixth late-night performance singing ‘Alaska.’ I had a massive panic attack. I was just, like, ‘What the fuck is my life?’ I felt like a show pony.”

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Rogers’s second album, “Surrender,” from 2022—a hungry, carnal pop record about yearning for transcendence—shares a title with her master’s thesis; her appearance at Coachella in April of that year fulfilled the degree’s public-presentation component. Rogers is now in the midst of a postgraduate fellowship, which will end in May. She’s using the time to adapt her thesis into a book, a process she has found similar, in one way, to songwriting. “You have to be specific about experience,” she said. The manuscript focusses on the idea of creativity as a form of religion, and stardom as a kind of default modern pulpit. “Early in my career, people were using religious language to describe my shows,” she said. “ Rolling Stone published a piece in 2019 with the headline ‘Maggie Rogers: Festival Healer.’ The BBC published one that said ‘Billie Eilish is my cult leader. . . . Maggie is my God.’ ”

Headlines are overblown by design, but her audience’s devotion—something akin to worship—was real. The tumult of the Trump Administration and the pandemic meant that Rogers’s fans, like everyone, were increasingly desperate for moral guidance. But Rogers was, too. “I was looking for answers, just the same as everybody else,” she said. “It was really jarring—people asking me for advice on suicide, or to perform marriages. I started to realize that there was this functional misalignment with the work that I had trained to do and the work that I was being asked to perform. I was put in this unconventional ministerial position without having undergone any of the training. Anyway, that’s how I made it to divinity school. What I ended up doing was developing a system for myself to hold these things. And then I went out and tested it.”

On a recent press tour in Britain, Rogers was reminded of how much more at ease she feels now. “I was being asked to do quippy promo stuff,” she said. “But that’s not who I am or what I do. The twenty-two-year-old version of me just wanted to be great at this thing. But I can’t improv with you—I can’t be the cool, funny girl.” She went on, “I wanted to have this life, and I was willing to do whatever I needed to do to support it. But then I learned that there had to be boundaries, because I’d walk away feeling like I’d betrayed myself.”

After our dinner, Rogers suggested that we visit the Emerson Chapel, a stately, wood-panelled room where she took a writing class with the author and conservationist Terry Tempest Williams. She zipped up a long parka, and we walked across Cambridge, propelled by a glacial wind. The campus was quiet. Rogers swiped us into the building. In 1838, the transcendentalist poet-philosopher Ralph Waldo Emerson delivered his Divinity School Address to a group of six graduates and their theology professors in the room. Emerson had resigned from his position as a Unitarian minister after growing frustrated by the way that Church doctrine cloistered the sacred and the profane. In his address, he suggested that God is present in everything. “He was basically, like, ‘What if the light outside was God?’ ” Rogers said. The room smelled of lemon oil. “I only feel ready for this now ,” she said, of her career. “I feel O.K. in the center of it. Finally.” We hung around, admiring the stained glass and the pipe organ, until a security guard appeared in the doorway and said that it was time to leave.

Rogers made “Don’t Forget Me” at Electric Lady, a recording studio on West Eighth Street, in Greenwich Village. One afternoon, she offered to give me a tour. The studio was built in 1970 for Jimi Hendrix, who died less than a month after it opened but remains its guiding spirit; in a portrait that hangs in a stairwell, he’s wearing some kind of exquisite jacket, four or five necklaces, a thin mustache. His eyes are cast downward. The air smells permanently of palo santo. On a coffee table were bowls of fresh fruit and jelly beans, and a copy of that morning’s Times . Rogers used to live on West Fourth Street. “I studied studios,” she said. “I would walk by every day and look at my reflection in the mirrored glass and be, like, ‘I wonder if I’ll ever get to record here.’ It was a place that I saw myself literally, physically reflected in, during a moment in my life where I was still really, really, really dreaming.”

Even though “Don’t Forget Me” wouldn’t be released for another month, Rogers was already working on songs for her next album. She speaks about songwriting as a full-body process. “When I’m writing, the first thing I do is take my shoes off. My hands get hot. It’s so fucking physical,” she said. The work also seems to require a kind of spiritual stillness. “It’s like a puzzle,” she said. “If you can keep your focus on it for long enough, it appears. It’s right there —but the second your brain moves it’s gone.” She often enters a kind of hyper-focussed state. “When I’m onstage, or when I’m making something, I’m not thinking about who I am or what I’m trying to do. Time gets really sinewy. It’s spidery and slow. There’s wonder. And it’s just special, and I’m in it , and my hands are up, and I’m figuring it out. And then I come out of it, and it doesn’t even ever feel like it was mine to begin with.”

Since “Heard It in a Past Life,” Rogers has mostly eschewed dance music for a fuller, more rock-and-roll-inflected sound. “Don’t Forget Me” reminds me of the mid-seventies output of Linda Ronstadt and Carole King—burly, coltish, tender, fun. Rogers is no longer reliant on confessional first-person writing. “I was picturing a girl in her twenties on a road trip,” she said. “In my brain, this record takes place within the span of twenty-four or forty-eight hours. It felt like writing a movie, scene by scene.” One track, “Never Going Home,” is a rollicking, propulsive recounting of a night out, part Shania Twain, part Sheryl Crow: “We get to talking, but those lips aren’t your lips / We lean together, those hips aren’t your hips,” Rogers sings. She told me, “I’ve never lived that story, but I can picture a version of my life where I was going through a breakup and a friend was, like, ‘Shut the fuck up, we’re going out,’ and took me dancing and made me make out with some guy.” Inhabiting different characters enabled Rogers to be goofier, friskier, more mischievous. “So Sick of Dreaming” contains a chatty spoken interlude about getting stood up at a steak house which ends with “I mean, what a loser!” I told Rogers that there was a giddiness to her delivery on this album that I hadn’t heard before. “My friends all said, ‘This is the side of you that we see,’ ” she said.

Rogers wrote most of the record with the producer Ian Fitchuk. They met in Los Angeles in 2019, when Fitchuk was there for the Grammy Awards. (He was a co-writer and co-producer on Kacey Musgraves’s “Golden Hour,” which won both Album of the Year and Best Country Album.) Rogers was having dinner with the writer Lizzy Goodman, who, years earlier, had hired Rogers as an intern and tasked her with transcribing many of the hundreds of hours of interviews that later made up “Meet Me in the Bathroom,” Goodman’s oral history of the post-9/11 downtown rock scene. After dinner, Rogers and Goodman were going to see the Strokes. “I scared her when I said hi and introduced myself,” Fitchuk recalled. In November, 2022, Rogers sent him a D.M. “We hopped on the phone, and he said, ‘You haven’t captured your live performance on a record yet.’ And I was, like, ‘Yeah, that’s completely true,’ ” she told me. “My record brain and my performance brain are binary. They’ve always felt like separate crafts to me, in a way. The spontaneity is the through line.”

She and Fitchuk booked studio time that December. “I didn’t have any songs written, there was no mood board, no color board, no feeling of ‘I need to document this thing in my life.’ Everything, everything , was a first take,” Rogers said. “I was playing instruments. Ian was playing instruments. I knew when something felt like me and when it didn’t. It was really instinctual.” She added, “We worked from ten to five. I went to dinner with my friends after.”

“Often, a song was fully formed in less than an hour, and then it was on to the next,” Fitchuk said. “I find that it’s easier to work with artists who have strong opinions,” he added. “It makes it easier to know when you’re on the right path.”

Despite the album’s effervescence, many of its tracks describe the protracted dissolution of a romantic relationship. “So much of this record is a breakup album,” Rogers said. “In the time since I made it, I actually have gone through a breakup.” That relationship, which Rogers said lasted five years, ended peacefully. “I’ve really grappled with that for the last couple months,” she said. “What does it mean? It wasn’t a premonition.” For now, Rogers described her heartache as falling in love backward. “You’re as on fire and awake to the world,” she said. “Music sounds better. Food sucks.” She added, “I’ve never been single, really. I’m in a grief season with it. But I also feel a sense of freedom.”

I told Rogers that I’d noticed a theme in her lyrics: the possibility of loving someone without possessiveness or panic. “Oh,” she said. “That’s cool. That’s how I feel about love.” She paused. “I think, in choosing someone, I want to be chosen back. You know? So much of this record is about mutual culpability.” She continued, “The art that means the most to me has some friction. To me, living a beautiful life is so much about devotion, and devotion to art is about telling the truth. That’s not always an easy story to tell, especially when it points back to ‘I’m fucked up, too.’ ”

In late February, Rogers performed at Carnegie Hall, as part of a benefit concert for Tibet House, a nonprofit created at the behest of the Dalai Lama, to protect Tibetan culture under Chinese occupation. The composer Philip Glass, a co-founder of the U.S. iteration of the organization, had sent Rogers a handwritten letter inviting her to participate. “I think you would enjoy it,” he had said.

Rogers told me that she was thinking about dressing “like Beethoven” for the event, and pulled up a selfie in which she was wearing black suit trousers paired with a white ruffled shirt, not unlike the infamous frilly blouse featured in the “Seinfeld” episode “The Puffy Shirt.” “I love clothes,” she told me later. “I love the world-building. That’s the childlike part of me. It’s also an environmental factor that helps me switch between my different brains. Putting the uniform on.” When she performed on the “Today” show shortly after “Heard It in a Past Life” came out, she wore a vintage T-shirt with a picture of Eleanor Roosevelt on it, tucked into high-waisted silk pants. “I was so terrified of being sexualized in any way that I kind of crushed my own sexuality in an effort to protect myself,” she said. Now her look alternates between vaguely professorial and something more glamorous. She has adopted a different hair style for each record, including long, surfer-girl waves for “Heard It in a Past Life” and a dramatic pixie cut for “Surrender.” These days, she wears her hair golden and shoulder-length. “It’s not, like, a pop-star thing,” she said, of the changes. “Anyone who’s known me for ten-plus years is, like, ‘Oh, we’re doing this again?’ I had a pixie cut in the sixth grade, in the eleventh grade, and my sophomore year of college.” I brought up a line from “Alaska.” (“Cut my hair so I could rock back and forth / Without thinking of you.”) “Thank you!” she said, laughing. “I have receipts! To me, it’s about the externalization of an internal transition. It’s sort of the same way I’m not good at hiding the way I feel. I’ll tell you. Or you can just check out my haircut.”

At rehearsals the day before the Carnegie Hall show, Rogers met Joan Baez, who was also scheduled to perform. Rogers told me that she had long admired Baez and her “writer-bohemian” contemporaries, such as Patti Smith and Joni Mitchell. “That’s the lineage that I want to write into,” Rogers said. While the rock band Gogol Bordello ran through its set, Rogers, Baez, and the avant-garde musician Laurie Anderson danced wildly on the side of the stage. Baez was doing a kind of euphoric jig; Anderson launched into a “Saturday Night Fever”-style arm roll. Rogers moved freely, lightly up and down, a blissful bounce that looked more like levitation.

Later that afternoon, Rogers and Baez decided to sing Bob Dylan’s “Don’t Think Twice, It’s All Right” together onstage. Dylan wrote the song in 1962. It’s the most treacherous kind of breakup tune, a little bitter, a little devastated: “I’m a-thinking and a-wonderin’ walking down the road / I once loved a woman, a child, I’m told / I give her my heart but she wanted my soul / But don’t think twice, it’s all right.” Rogers called her parents and encouraged them to come up from Maryland for the concert.

The next evening began with a chanted prayer by Tibetan monks, followed by Anderson performing a version of her song “Walk the Dog,” infused with spoken koans: “We don’t know where we come from,” she intoned. “We don’t know what we are.” What followed was appealingly loose. There were some sound problems—at one point, Michael Riesman, of the Philip Glass Ensemble, performing a section of “Music in Twelve Parts,” abruptly stood up from his keyboard and strode toward the sound board, looking pissed—but the energy was pure. “I am here to read an Allen Ginsberg poem while wearing Fenty Beauty concealer,” the comedian Bowen Yang announced, before reciting “Who Be Kind To,” a lusty and ecstatic piece from 1965. (“Desire given with meat hand and cock, desire taken with / mouth and ass, desire returned.”)

Rogers had nixed the Beethoven ensemble and was wearing a less aggressively collared shirt. She ran through an acoustic version of “Alaska,” backed by the Scorchio Quartet. It was followed by “Don’t Forget Me,” accompanied by the Patti Smith Band. Rogers’s voice gets a little raw on the chorus:

So close the door and change the channel Give me something I can handle A good lover, or someone who’s nice to me Take my money, wreck my Sundays Love me til your next somebody Oh, but promise me that when it’s time to leave Don’t forget me

Soon after that, it was time for the duet. Dylan likely didn’t write “Don’t Think Twice” about Baez, though they were involved in the early sixties, breaking up for good in 1965, as Dylan’s career was taking off. “I think about her and Bob Dylan—it just makes me want to fucking wreck that dude,” Rogers told me. “That song—the more I play it, the more I’m, like, ‘This shit’s fucking sad.’ ‘Don’t Forget Me,’ too. Both are sad as shit. The idea that the baseline is just someone to be nice to me—fuck, man.” Baez’s voice is lower, heavier, and grittier these days; when Rogers joined in for harmonies, it felt like a butterfly landing on a tree branch. They swapped the song’s pronouns (“I once loved a boy, a child, I’m told,” they bellowed), which gave it a pleasantly vengeful feel. The crowd went nuts. Later on, offstage, Baez told Rogers, “You sang all the notes I would have sung.”

Beginning when she was nine, Rogers spent her summers at Wohelo, an all-girls camp founded in 1907, on Sebago Lake, in Maine. There is no electricity or running water in the cabins. One morning, she texted me some old, sepia-toned photos of the place: girls in modest bathing costumes, rowing canoes. “I learned to write letters,” she said. “There were limits on technology in my life growing up that kept my inner kid safe for a long time.” For high school, she attended St. Andrew’s, a boarding school situated on more than two thousand bucolic, wooded acres in Middletown, Delaware. These traditional institutions—including, more recently, Harvard—are steeped in a sense of stoicism, seriousness, and erudition. They have had an undeniable aesthetic and spiritual influence on her. “It wasn’t until I saw ‘The Holdovers’ that I was, like, ‘I am deeply the product of this environment,’ ” Rogers told me. “I’m so obsessed with creating something that feels timeless but modern.”

Rogers, by her own admission, can be intense. “I’m so fucking headstrong,” she told me one morning. We were eating fried eggs at Washington Square Diner, an old-school breakfast joint near N.Y.U. “I’m not wishy-washy in any way. People get scared of me. But the right people aren’t scared.” In conversation, Rogers is open, generous, and cerebral. But she is not prone to abiding inanity. (Once, when I was pestering her to describe her childhood, she stopped me, suggested that I could probably find most of the information I was looking for online, and then said, “This is a little bit like fact-check-y speed dating,” which did not feel like a celebration of my reportorial prowess.) “I’m fundamentally in the business of selling my own emotions,” she said. “There has to be some real humanity kept sacred.”

It’s easy to be skeptical of artists who suggest that no, really, they can take it or leave it—celebrity requires constant and effortful maintenance, after all—but I came to believe Rogers when she said that she was more interested in the process of making things than in whatever happens afterward. For years, I heard the single “Light On” as about love doomed by bad timing—a person asking, earnestly, What if there was a way for us to hold and care for one another, beyond the sometimes impossible confines of a traditional relationship? The chorus presents a kind of compromise:

If you keep reaching out Then I’ll keep coming back If you’re gone for good Then I’m okay with that If you leave the light on Then I’ll leave the light on

During my time with Rogers, I started to hear the song as a rejoinder to fame. The sort of attention that she commanded at the start of her career has been supplanted by a quieter, steadier sort of stardom, and she is now focussed, she said, on recognizing “that the cup is full, and not overflowing, and how nice that is.” Buttering a triangle of toast, she continued, “That’s even better—there’s no mess. I’m trying to have a good time, and make shit that I love with people I love. If that works, if it communicates or connects, awesome. If it doesn’t, eighty thousand other records came out that day. It’s O.K.!” She went on, “On ‘Heard It in a Past Life,’ I was very commercially ambitious. On ‘Surrender,’ I was very artistically ambitious. Now I’m in this era where it feels very personally ambitious, in the sense that I’m just trying to have the best time while I’m here.”

Musically, a focus on pleasure seems to suit her. The songs on “Don’t Forget Me” aren’t quite as tonally striking as “Alaska,” but they have an intoxicating ease: Rogers sounds unhurried, languid, free. I hear the single “So Sick of Dreaming” as a kind of modern companion piece to Linda Ronstadt’s “When Will I Be Loved,” a No. 1 country hit in 1975, written by the Everly Brothers. Both are refutations of selfish lovers, though “So Sick of Dreaming” contains a bolder declaration of independence. “I’m so sick of dreaming,” Rogers sings. “Oh, I’m all that I’m needing.”

I asked Rogers if she ever wished that her rise to fame had come about differently. She thought for a moment. “I wish that I had uploaded ‘Alaska’ myself,” she said. “But, because of the way it happened, this deeply unguarded version of myself as a student is the version people first saw. My authenticity was full and center. I didn’t have the chance to put on the mask.” She has also had to contend with another very famous person being an inextricable piece of her origin story. “I was being asked about him every single day, and had to be, like, ‘I don’t know him. You’ve seen everything,’ ” she said. More recently, she and Williams have reconnected. “Pharrell and I are friends now. He’s so cool—duh.”

The experience of performing “Alaska” at Carnegie Hall, in front of people culled from various corners of her life—her parents, classmates from Harvard, old professors, her musical peers, Joan Baez—felt like an apotheosis. “I’m gonna get emotional talking about it,” Rogers said, her eyes slowly filling with tears. “It’s been almost ten years since I wrote that song. I was thinking about the person who I was when I wrote it, and thinking about where I am now. I think the girl who wrote that song would be really proud.” She has been experiencing a lot of moments like this lately. In late March, she performed with Bruce Springsteen and the country singer Zach Bryan at the Barclays Center. “Craziest shit in the entire world,” she said the next morning. “My hand is purple. I overenthusiastically tambourined and gave myself a bruise.”

Rogers recently bought an apartment in New York. It was on a list of three things (find an apartment, release a new album, finish the book) that she wants to do before she turns thirty, at the end of April. One afternoon, she and I decided to visit the Dream House, a site-specific “sound and light environment” conceived in the nineteen-sixties by the minimalist composer La Monte Young and his wife, the multimedia artist Marian Zazeela. The Dream House has been situated in a two-room, third-floor space in Tribeca since 1993. (Young, who is eighty-eight, lives downstairs; Zazeela died last month.) Inside, two atonal compositions (one by Young and one by the artist Jung Hee Choi) play on large speakers. Neither of the pieces gestures toward melody or rhythm, and, because of the way that the speakers are arranged, every movement, however slight—a breath, a blink—changes the shape of the sound. Zazeela’s lights give the room a cool, pinkish-purplish glow. If you’ve ever walked by a buzzing neon sign late at night and wondered what it would be like if you could squeeze your entire body inside and slowly dissociate from time and space—welcome to the Dream House.

Shoes are not allowed, and, given the volume, talking isn’t possible. If you arrive with a companion, you will have to figure out a subtle little gesture to indicate to each other that your insides have been rearranged and you are ready to depart. The space features thick white carpeting. A stick of incense is perpetually crumbling to ash. After a while, Rogers and I sort of loonily nodded at each other, and stumbled back onto the street. She asked me if I knew how long we’d been inside. Time felt elastic. I guessed that it had been fifteen minutes—thirty, tops—though it had actually been an hour. “Dude,” Rogers said.

Outside, it was bracingly cold. We wandered around until we found a tiny champagne bar, which felt like an appropriate coda. Inside, we toasted to the Dream House, to dreams, to dreaming. Rogers said she’s trying to inch further away from the isolation of what she refers to as “first name, last name” pop stardom. It has been helpful to focus on music as an inherently communal practice, shared with her collaborators and her fans. “I had all these moments in the early years where I felt really alone,” she said. “I was putting so much of it onto one leg. Now it’s a tripod, and it’s so much more sturdy.” ♦

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By Kelefa Sanneh

By Justin Taylor

Championship-or-bust Celtics will prepare for the unknown while waiting on first-round playoff opponent

The regular-season journey is finally over for the Celtics and it was mission accomplished as they finished healthy and rested as the reserves coasted to another win Sunday .

The bad news for the Celtics is they will prepare this week for an unknown playoff opponent. Because they will play the eighth seed in a first-round Eastern Conference series, they’ll have to wait until late Friday when that team is determined.

The unfortunate aspect of the play-in tournament for the top two seeds is the multi-day wait for the opponent. The third through six seeds all know who they’re playing.

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The Celtics and Knicks, who earned the No. 2 seed, will wait.

And that first-round opponent won’t be easy, with the Heat and 76ers each earning a play-in berth. They will play Wednesday in Philadelphia. The winner plays the Knicks, the loser hosts the Hawks- Bulls winner Friday.

Not that the Celtics need any incentive, but they should be plenty motivated for their first-round series, considering how they allowed the Hawks to hang around last year for six games. And this year’s opponent — especially if it’s Miami or Philadelphia — will unquestionably be better than Atlanta.

But what we do know is if the Celtics get past their first-round opponent, they won’t have to play the Bucks, Knicks, Pacers, or the seventh seed until the conference finals. The Cavaliers wasted a chance to get the second or third seed by losing Sunday to the lowly Hornets at home and fell to fourth. Meanwhile, the Magic dominated the Bucks and earned the fifth seed, meaning Boston will face the Cavaliers-Magic winner in the second round.

That’s an advantageous draw.

Yet, the Celtics are determined to ensure they are locked in enough, prepared and focused enough, to prosper regardless of the opponent, because they did win the East by 14 games and finished with the league’s best record (64-18).

Ten weeks ago, after a practice session in Miami, Celtics coach Joe Mazzulla was asked about the conference competitors making moves such as the Heat’s acquisition of Terry Rozier and the Bucks trading for Patrick Beverley to keep up with his team. Mazzulla said Boston hasn’t won anything to be considered the standard for the Eastern Conference. In other words, the Celtics should be hungrier than their competitors because they have fallen short so many times.

But they also hold the mentality of a team that’s sliced through the rest of the NBA this season , never losing more than two games in a row. They finished fifth all-time in point differential at 11.34 and were the league’s only 60-plus win team.

“I think you have to have the balance of knowing you’re a really good team,” Mazzulla said. “And the humility of understanding that you could lose at any time. I think guys have carried that perspective the entire season. We aren’t going to go in [to the playoffs] talking ourselves down, but at the same time we want to have a level of humility. So you want to understand what you’re really good at and you understand you could lose any time if you don’t do x, y, or z. We have to focus on having that balance, which I think the guys have done the entire year.”

The primary plan for the Celtics was to get Kristaps Porzingis to the regular-season finish line healthy, and he avoided any serious injury issues. Jaylen Brown was battling a sore left hand but played through his injury with no setbacks, and then got the weekend off.

The Celtics’ starting core will enter Game 1 next Sunday having 10 days off. Mazzulla also gave the players three days off last week, meaning rest won’t be an issue. Of course, inactivity may affect sharpness but Mazzulla said he trusts his players to be prepared because they have been all season.

This is the only way for the Celtics to prove they are not last year’s team that stumbled through the playoffs. This year’s team is different because of the acquisitions of Porzingis and Jrue Holiday, but also an improved bench that used the past two wins over the Hornets and Wizards to gain even more confidence.

Payton Pritchard scored a career-high 38 points Sunday and was one rebound from a triple-double. The advancement of Pritchard, Sam Hauser, and Luke Kornet, and the addition of Xavier Tillman, provide even a better argument that this team is different.

“Just be us,” Pritchard said when asked what the Celtics need to do to be ready next Sunday. “Mentally get prepared, but we’re going to be all right. We’re going to be ready for it. Everybody has one thing on their mind and that’s to do for this championship and that’s to take care of business, Round 1. We’re going to do that.

“I always knew I could [produce like this] on a nightly basis but when you have a team with as much talent as we have, you have to do other things to help win. Ultimately I’m here to win a championship and whatever that’s asked of me, I will do that.”

The regular season is over, finally. And the Celtics have put themselves in the optimal position to conquer banner No. 18. Now the real journey begins.

Gary Washburn is a Globe columnist. He can be reached at [email protected] . Follow him @GwashburnGlobe .

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Who is Miquella in Elden Ring anyway?

Shadow of the Erdtree will explore the mysterious demigod

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Elden Ring: Shadow of the Erdtree will send players on a new journey this summer to the Land of Shadow, where they will learn more about one of the game’s most mysterious demigods, Miquella of the Haligtree.

Game director Hidetaka Miyazaki says that players will track Miquella on their journey through the Land of Shadow, “tracing his path and following in his footsteps, trying to see what he’s going to do there,” similar to how players followed the light of grace in the base game. Players will also discover what compelled Queen Marika, who shattered the Elden Ring in the game’s story, to visit the Land of Shadow.

Elden Ring players who haven’t pored over the bits of lore scattered throughout the game’s dialogue and item descriptions may not know much about Miquella, and about his role in the game’s story. We’re here to tell you what you need to know so you don’t have to watch an hourlong lore video that unpacks it all.

Who is Miquella in Elden Ring?

Miquella of the Haligtree is a demigod in the world of Elden Ring and a being known as an Empyrean. That means he is a candidate to succeed Queen Marika as the vessel for the Elden Ring.

We don’t really see Miquella in the game, but he’s the older twin brother of Malenia, the fearsome, rot-afflicted boss who resides at the base of the Haligtree. An offspring of the game’s penultimate boss, Radagon, and Marika (who are, uh, the same person), Miquella only appears in withered cocoon form in the main game’s story. As teased in Shadow of the Erdtree ’s reveal trailer, Miquella’s cocoon will be the doorway to the Land of Shadow when the DLC launches.

Malenia and Miquella were both born with terrible afflictions: Malenia with rot that would consume her limbs and sight, and Miquella with eternal childhood. Statues of the brother-sister duo are scattered throughout the Haligtree, showing full-grown Malenia embracing her twin, who is stuck in the body of a young boy. Other statues show the twins at a younger age being embraced by their older sibling, Godwyn the Golden.

Malenia calls Miqeulla “the most fearsome Empyrean of all,” with the wisdom and the allure of a god. Miquella is also said to be beloved by many, and can compel the affections of others.

What’s Miquella’s relationship to Malenia? And Mohg?

Malenia and Miquella were close. The former fought to protect her brother, earning her the name Malenia, Blade of Miquella. Miquella was similarly protective, and worked unsuccessfully to develop a remedy for Malenia’s rot affliction. One of Miquella’s inventions was an unalloyed golden needle, which players can use to undo the Flame of Frenzy. (Miquella strived to “ward away the meddling of Outer Gods,” according to the description of Miquella’s Needle; an Outer God appears to be responsible for the spread of rot, too.)

As part of his work to cure his sister and after leaving the faith known as the Golden Order, Miquella sought to create a new Erdtree, nurturing a sapling with his own blood. This endeavor would fail and produce the Haligtree, which would become a haven for the meek and afflicted. Miquella ultimately embedded himself within the Haligtree to grow it, residing in the cocoon, but he was kidnapped by Mohg, the Lord of Blood, who sought to become Miquella’s consort.

That’s why Mohg has Miquella’s cocoon in his chambers. Mohg essentially stole Miquella from his Haligtree womb, in which the Empyrean now appears to have grown older compared to his previous boylike form.

If Miquella’s stuck in that cocoon, how is he also in the Land of Shadow?

Miquella is said to have “divest[ed] himself of his flesh, his strength, and his lineage,” according to Shadow of the Erdtree ’s official description . Miquella may not be a purely physical being in the DLC, and the Land of Shadow may not be a purely physical space; FromSoftware has a history of sending players to alternate time periods and dreamlike spaces in its expansions for games like Dark Souls and Bloodborne .

Furthermore, there’s well-supported speculation that Miquella is connected to a character named St. Trina, who is also unseen in Elden Ring . Trina is said to be a mysterious character of ambiguous gender who has close associations with sleep and dreams, according to a few in-game item descriptions. Followers of St. Trina are said to look for her while they sleep, and we know that Miquella has been slumbering for some time.

Both Trina and Miquella are also associated with nearly identical in-game items — Trina’s Lily and Miquella’s Lilly — that may connect them in still-unclear ways. However, in content that was discovered to have been cut from Elden Ring , it’s hinted that Miquella and St. Trina are actually the same person . That connection could be explained or confirmed in Shadow of the Erdtree , insofar as things ever get “explained” in FromSoftware games.

Elden Ring: Shadow of the Erdtree will be released on June 20 . Until then, there are plenty of deeper dives into Miquella lore to enjoy from creators like VaatiVidya , Smoughtown , and Arlun Grim if you want to be fully prepared for Elden Ring ’s DLC .

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