DOS Ch-217 & 218

“What do you think has impacted the music industry the most in the last decade?”

Arlen Brock already had hundreds of points he could raise as soon as he heard the question. He was a seasoned music critic, after all—one of the greatest, in fact. But since his audience wasn’t as knowledgeable as he was, he decided to dumb it down a bit and keep it generic.

“Undoubtedly, sound mixing software that anyone can use,” he answered honestly before elaborating. “A decade or two ago, it was almost impossible for a solo artist to write songs, produce them, and sing them as well. It needed a team to bring it all together. But now, thanks to these emerging softwares, even a single artist like Troy Armitage can write and compose great songs on his own.”

The reporter in front of him, who was there for a candid interview, mulled over his words for a moment before asking, “There have been a lot of conspiracy theories going around the internet that Troy Armitage hires ghostwriters to write for him and then pays them off handsomely to keep quiet. What do you think of that?”

Arlen inclined his head in thought before saying, “It’s possible, of course, but I highly doubt it.”

“Why so?”

“For starters, he can play music masterfully,” Arlen argued. “I have attended multiple of his concerts, and he can play piano, guitar, and drums—almost to perfection. That’s your first sign of a guy who can compose his own music. Then there’s the fact that his songs are very personal. I was one of the lucky ones to meet him during one of his concerts, and I asked him about that. He confessed that most of the lyrics he chooses for his songs come from somewhere personal. Like [That’s Hilarious]. And if that wasn’t enough, there’s also this video he released earlier this year on YouTube.”

The woman in front of him leaned forward eagerly. “What video?”

Arlen turned back to his study and brought forward his laptop. “Check this out.”

He clicked play on the video, which showed Troy Armitage playing a few chords on his guitar. He finally stopped before looking over at the camera.

“Hi, everyone. A few of my dedicated fans wanted to know the process through which I make music, so I thought, why not give everyone a glimpse of the same? The first thing you need to do is select the genre of the song. Today, the song I’ll be creating will be an alt-rock song mixed with alt-pop. And I already have the beat for it in my mind. I know creating a new beat from scratch is difficult and not everyone’s cup of tea, so here I’ll be reworking an existing beat, just to show you that it is possible to create music like this as well.”

Saying that, Troy’s face was cropped down to the bottom left of the screen. The rest of the screen showed the interface of a music mixing software.

“The beat I’m working with today is Luis Bonfá’s ‘Seville.’” Saying that, Troy played the original version of the beat he was working with.

“Next, I’ll tweak it a bit, add some loops, maybe some layering. I’ll try a few different iterations until I get one that I like the most.”

The video was a long one where Troy kept tweaking the beat again and again until he finally had what he wanted. First, he filtered the beat, then put it on loop, and added a further layer of another piece of music on top—a nursery rhyme, no less—before he finally had another masterpiece in his hands.

“And here is the final version of the beat that I’ll be using in a song for my next album,” Troy announced. “This was a sneak peek for my fans and all the music lovers out there. I have bought permissions from the rightful owners to use the original beat, and now I am giving you free rein to use this modified beat in any of your student projects. The same goes for indie musicians and filmmakers—use this beat in any of your projects free of charge. Until then, keep making music.”

And then the video ended.

“That’s awfully nice of him,” the woman said thoughtfully. “I can see why you would feel that Troy makes his own music, and after watching that, even I am convinced. By the way, has he released a song for that beat?”

“He has. [Somebody That I Used to Know],” Arlen replied. “They released a music video for the song around last week. Let me pull it up. It’s my absolute favorite song right now. I just can’t hear it enough.”

Arlen pulled up the video, where Troy walks through an old abandoned house, touching objects lying around, like an old cracked photo frame that housed a photo of him with a girl—though the girl’s face was indistinguishable under accumulated dirt.

: Now and then, I think of when we were together
Like when you said you felt so happy you could die
Told myself that you were right for me
But felt so lonely in your company
But that was love, and it’s an ache I still remember :

Arlen could see that the woman wasn’t too impressed with the song at first. It started a little slow, even boring, but if you let the beat build, it became an absolute gem. As he expected, the song finally built up enough and tipped over into a musical tour de force by Troy Armitage.

In the music video, as the song progresses, the house itself starts falling apart around Troy: walls crumble, water drips from the ceiling, and vines creep through the cracks—representing how time and distance had decayed good memories with his ex, leaving just a cracked glass wall behind.

: You didn’t have to cut me off
Make out like it never happened and that we were nothin’
And I don’t even need your love
But you treat me like a stranger, and that feels so rough
No, you didn’t have to stoop so low
Have your friends collect your records and then change your number
Guess that I don’t need that, though
Now you’re just somebody that I used to know :

And then came Taylor Swift, standing on the other side of that cracked glass wall, beginning her part. Her vocals weren’t as good as Troy’s, but she was capable enough. Normal people wouldn’t notice it, but a critic like Arlen could sense that autotune had been used generously on her voice to bring her to the same level as Troy. It still sounded beautiful, but if she were to perform the song live anytime soon, people would notice.

As the song came to an end, Troy and Taylor were both out of the house, walking in different directions, just as the house crumbled behind them.

“Holy moly!” the reporter exclaimed. “How did I miss this song? This is so good.”

Arlen grinned happily and inclined his head in thanks. It always felt great when people liked his song suggestions.

“Do you think Troy’s all-time Grammy record is warranted?”

“Of course,” Arlen nodded immediately, defending his favorite artist of the 21st century. “There’s a reason he dominated the Grammys as blatantly as he did. You see, album sales are at an all-time low thanks to the internet and piracy. For people to still go out and buy his albums just proves how big of a disruption he has caused in the industry. If they didn’t award him despite him leaving such an impact, the Grammys would lose face. Mark my words, Troy Armitage is the type of artist who will go down in history as one of the greats. Even if he stops making music today, his first two albums have more than ensured that.”

(Break)

Patty was eagerly awaiting Troy’s next video to drop. She was constantly reloading her browser, hoping it would appear soon. Troy had posted an announcement on his official YouTube page that he would be posting a new video today. It was a new feature introduced by the website where a creator could add a sticky note to the top of their page.

“I don’t understand why you can’t wait a bit more,” Claire called out, finishing up her homework beside Patty. “It’s not like a movie being released in theaters that we have to see the first show. Why don’t you rewatch [The Nights]? That was a fun video. Man, Ryan Gosling and Michael B. Jordan are so lucky to have gone on that trip with Troy. And even his fourth friend, who’s also his assistant, has become a celebrity of sorts after that video hit YouTube.”

“I’m so jealous,” Patty added. “But then again, they live in a different world than us.”

She shook her head ruefully before reloading the browser again. Maybe Claire was right—it was better to do something productive with her time. With that thought in mind, Patty reloaded the page for what she intended to be the last time for a few hours.

This time, the browser took a few extra seconds before finally loading—and what appeared was even better than she had expected. There were two new videos in front of her.

“It’s here!” she shrieked, causing Claire to abandon her homework as Patty pulled up the first video.

[Rolling in the Deep – Adele]

The song started with Troy sitting in the middle of a dressing room on a chair, a melancholic expression on his face. Suddenly, he looked up at the camera with a fierce gaze, just as the upbeat music started.

: There’s a fire starting in my heart
Reaching a fever pitch and it’s bringing me out the dark
Finally, I can see you crystal clear
Go ahead and sell me out and I’ll lay your shit bare
See how I’ll leave with every piece of you
Don’t underestimate the things that I will do :

Troy left the dressing room and walked toward a stage, showing that the video was shot inside a theater. He kept singing as he walked, but no one was around him—no crew, no fans.

Finally, when he reached center stage where a mic had been placed, he began the chorus.

: We could’ve had it all
Rolling in the deep
You had my heart inside of your hand
And you played it to the beat :

The camera panned around to show that the theater was absolutely empty, red seats visible everywhere. But just as Troy hit a high note, one of the chairs blew up in a comical fashion. Another one fell forward, while one toppled backward.

It was utter chaos in the theater as, one after another, the seats kept getting destroyed, but Troy didn’t care at all. He kept singing his heart out. Dust fell from the roof onto the chairs. To an outsider, it would seem like a hurricane had passed through the theater.

When the song finally reached its end, only then did Troy look around comically at the destroyed theater.

As the video ended, Patty turned to Claire. “How likely is it that this song is about Rihanna?”

They had both heard the entire album hundreds of times, so they weren’t exactly surprised to hear the song.

“Do you even have to ask?” Claire said. “‘We could’ve had it all’ says it all. Even if it is about some other mysterious girl, everyone will assume it’s about Rihanna. But that doesn’t matter right now—we have another video to see.”

With that, Claire wrestled control of the mouse from her friend and played the next one.

[Let Her Go – Passenger]

This video began with Troy and a girl standing face to face, having a silent argument. Suddenly, she mouthed, It’s over! and walked away.

The music started then, and Troy was seen playing a guitar on a stage, with the same girl present among the crowd, listening to him.

: Well, you only need the light when it’s burning low
Only miss the sun when it starts to snow
Only know you love her when you let her go
Only know you’ve been high when you’re feeling low
Only hate the road when you’re missing home
Only know you love her when you let her go
And you let her go :

The video cut between stills of the two together, like them walking hand-in-hand, or sharing a kiss. But it always came back to the present, where he was singing the song for her. The crowd of listeners around the girl was jamming to the melody, but she was the only one who understood the real meaning of the words and the pain behind the music.

When the video reached the climax, the crowd erupted in applause, but there was no sound, as Troy and the girl kept looking at each other. Finally, she smiled a bitter smile before turning around and leaving, just as Troy sang one last note.

: And you let her go :

That’s when the video finally ended.

“Wow,” Claire let out. “That was so good.”

“I know!” Patty agreed. “Song-wise, [Rolling in the Deep] is much better, but the second video just touched the heart. It was that good.”

Claire then sat up straight as a realization hit her. “In a way, he kind of defended Rihanna as well by releasing those two songs together. One positive and one negative portrayal kind of balance it out, you know?”

Patty shook her head. “That’s not how it works, but sure.”

Not having anything else to do, she opened up Troy’s YouTube channel again, and seeing the sticky announcement on top made her freeze.

“My last two songs of the album [2006], [Love Yourself] and [Say Something], will be released as singles next month on the same day.”

“Damn,” Claire said as soon as she read it. “Did you notice he postponed releasing all the more damning songs for Rihanna as much as he could? [Rolling in the Deep], [Let Her Go], [Love Yourself], and [Say Something] are the last four songs to receive single release. All are about heartbreak, and arguably, they are his best ones.”

Patty shrugged. “He did say he regretted releasing [That’s Hilarious]. Maybe it’s something like that? He wrote them, then released the album as well, before regretting it.”

Claire could only shrug in response. This was one of thise mysteries that only Troy could answer.

(Break)

Following the unprecedented success of Echoes of You, expectations were sky-high for Troy Armitage’s second studio album, 2006—and somehow, he exceeded them all. Released amid a whirlwind of anticipation, 2006 immediately cemented its place as a cultural juggernaut, becoming the second-highest-selling album of the 21st century, trailing only behind Troy’s own debut.

Unlike Echoes of You, which was tied to a beloved movie, 2006 was a pure music project—a personal, genre-defying exploration of Troy’s growth as an artist. Without the boost of a blockbuster film, some skeptics wondered whether he could replicate his earlier success. Their doubts were put to rest within hours of the album’s release. Troy’s team had left no stone unturned in promoting the album, even providing early copies to a million fans—and it was astounding to see that all one million copies sold out within a few hours when the pre-sale opened.

Aside from the advance one million copies worldwide, 2006 sold 450,000 additional copies within the first 24 hours and crossed 3 million in its first week, making it the second-fastest-selling album of all time—only behind Echoes of You itself.

The album debuted at No. 1 on the Billboard 200, where it remained for a staggering 15 consecutive weeks, and is yet to come down. It also topped charts in over 20 countries, including the UK, Canada, Japan, Germany, and Australia. On the Billboard Hot 100, Troy achieved another historic feat: he simultaneously charted nine songs from 2006 within the Top 20. Leading the way was That’s Hilarious, which debuted at No. 1 and stayed there for ten consecutive weeks, followed closely by hits like We Are Young, Counting Stars, and Grenade.

By the end of its third month, 2006 had already sold over 11 million copies in the US alone and 20 million worldwide, making it a certified diamond. Its physical sales—across CDs, vinyl, and even cassettes—bucked the digital trend yet again, reaffirming Troy’s unique ability to bring fans back to tangible music. The deluxe vinyl edition, featuring an exclusive tracklist and handwritten notes from Troy, sold out in less than 48 hours and became a collector’s item overnight.

Critics praised 2006 for its ambitious range, blending pop, indie rock, synthwave, and acoustic ballads with effortless maturity. Reviewers hailed Troy’s lyrical vulnerability, noting that the album painted a vivid portrait of youth, nostalgia, heartbreak, and hope—aptly capturing the spirit of its namesake year.

Unlike the cinematic narrative that helped fuel Echoes of You, the power of 2006 rested solely on its music—and that made its triumph all the more remarkable. It proved Troy Armitage wasn’t just a once-in-a-generation movie star or a flash-in-the-pan musician; he was an unstoppable cultural force, capable of commanding the world’s attention with nothing but a guitar, a microphone, and his own story.

The album’s unprecedented success also positioned Troy as a dominant contender for the 2008 Grammys, with critics already predicting major wins in categories like Album of the Year, Record of the Year, and Best Pop Vocal Album.

In an era increasingly dominated by singles and playlists, 2006 revived the concept of the album as a complete, cohesive work of art—an experience to be listened to from start to finish, not just shuffled through. It was more than just a follow-up to Echoes of You; it was a declaration: Troy Armitage was here to stay.

(Break)

Rolling Stone
“Troy Armitage’s 2006 is a masterclass in emotional storytelling and genre fusion. Each track feels like a snapshot of a different era, yet the album flows seamlessly from start to finish. ‘Golden Hour’ and ‘The Nights’ are pure anthems of hope and freedom, while ballads like ‘Say Something’ and ‘Arcade’ showcase a raw, vulnerable side of Troy we’ve never seen before. It’s not just an album—it’s a time capsule.”

Billboard
“With 2006, Troy Armitage cements his legacy as one of the defining artists of his generation. He moves effortlessly from the soaring pop of ‘Counting Stars’ to the heartbreak of ‘Let Her Go’ and the fiery power of ‘Rolling in the Deep.’ This isn’t just a collection of hits—it’s a complete emotional journey. Every song leaves you wanting more. If Troy doesn’t release every one of these gems as singles, I might just sue him for sabotaging his own career.”

The Guardian
“Troy Armitage proves he’s in a league of his own with 2006. His cover of ‘Somebody That I Used to Know’ strips the song down to its aching core, while tracks like ‘Arcade’ and ‘Love Yourself’ sparkle with lyrical sharpness and haunting production. The best thing about Troy’s music is its raw emotional honesty—everyone can see a piece of themselves in his songs. Few artists today can deliver both radio-ready hits and soul-searching ballads with such authenticity, but Armitage does it with ease.”

NME
“Rarely does a pop album feel this personal and this universal all at once. 2006 captures the bittersweet pulse of youth—its triumphs, its heartbreaks, its invincibility. It would be a travesty to single out one song when Troy’s tracks feel like they’re fighting each other for the top spot. But if we had to, ‘That’s Hilarious’ stands out for its bold, cutting lyrics. Similarly, ‘Lonely’ hits like a gut punch, laying bare the cost of fame. In the end, Troy Armitage hasn’t just outdone himself—he’s raised the bar for everyone else.”

Pitchfork
“An emotionally resonant triumph. On 2006, Troy Armitage pairs top-notch production with deeply introspective lyrics, creating an album that feels massive in sound yet intimate in spirit. It’s the closest thing to an eargasm you’ll get in recent memory. While every track impresses, ‘If You Could See Me Now’ stands out—a heart-wrenching anthem about losing a parent that’s impossible to listen to just once a day.”

Variety
“Troy Armitage’s 2006 is an instant classic. His transition from the euphoric highs of ‘We Are Young’ to the crushing introspection of ‘Lonely’ is nothing short of masterful. Every song has a purpose; every lyric lands with precision. It’s rare to see an artist everyone had pegged as a one-hit wonder just a month ago completely redefine the conversation. Now, no one can question his staying power. I’m already counting down the days to the 2008 Grammys.”

(Break)

“Frank,” Gary called out, just as I was about to go back to my trailer.

The scene had finished already, and I wanted to go back to my solitude. On any other film set, I would love to spend as much time as I could on the set proper, socializing with different cast and crew members, but not here. I didn’t want anyone to get too comfortable with my presence. I was not a hero this time around.

So when Gary called my name, I was more than a little confused to know what he had to say. I had seen him giving me those irritated and, dare I say, borderline hostile looks whenever he thought I wasn’t looking. A part of me hated the fact that an actor I had gotten along with so well on [Harry Potter] had grown to dislike me in this film. But another part knew that it was only temporary. Gary was a reasonable man who had dabbled in method acting himself from time to time, so he would understand.

“Yes?” I asked the man in my Joker voice. I had gotten so used to using it by now that it was a chore to go back to my normal voice.

“Tell me honestly,” he began slowly, “did Steve allow you to do this role, or is this some sort of teenage rebellion?”

I froze in my place as soon as I heard that.

“What?” I asked intelligently before looking around to see if anyone else had overheard this conversation.

“Don’t give me that,” Gary chided me. “If you don’t want to talk here, we can move to one of our trailers, but don’t play dumb with me.”

Sighing internally, I motioned for him to follow me, which he did silently, until we were in my trailer. It was only a matter of time before someone recognized me. It would make sense that it’s him when we worked closely together on two films. When I opened the door, two more Jokers were already sitting there, fully decked in make-up, just like me.

“Give me the room, guys,” I motioned for them to go the other two similar trailers that had been parked beside mine.

The two nodded before leaving me alone with Gary, who looked more and more confused about their presence.

“They are my body doubles and Joker decoys,” I explained. “They are here to make sure the crew remained confused about who’s real and who’s not. That’s why we have three identical trailers set up right next to each other. All of us do our own makeup, and the costume guys are told not to linger. Besides those two and Chris, no one here knows who I truly am.”

Then I paused as I took him in, “Well, except you now, I guess.”

“Can you drop the voice, Troy?” Gary asked all of a sudden. “It is just us now.”

I closed my eyes for a moment before clearing my throat. “Better?” I asked as normally as I could, though it still came out a bit raspy. “Haven’t spoken to anyone using this voice for months.”

I chuckled as realization hit me. “I think I’ll have to go into speech therapy when this is over.”

“I think you should go to therapy,” Gary said seriously. “But one meant for your psyche.” At my silence, he prodded, “You didn’t answer my first question: did Steve agree to you taking this role?”

I shook my head, “My parents don’t even know where I am right now.”

Gary tilted his head in confusion, “And they are okay with it? To not know if their son is safe and sound?”

“My security team keeps them updated about my well-being,” I replied. Seeing the determined expression on his face, I had to make one thing clear: “You cannot disclose this to anyone. It’s in your contract, remember?”

Gary sighed out loud before saying bluntly, “You are being stupid. You are 18, for God’s sake. It is time for you to go out, party, have wild orgies, and the likes. Not… this.” He motioned towards my Joker attire.

Then he shook his head, “I want to take you to your parents’ place and drop you there, but I have a feeling you won’t agree to it.”

I nodded in agreement.

“So here’s what we’ll do,” he continued, “Remove your make-up, get dressed in some normal clothes, and come to my place. Until the shooting is over here in London, you’ll stay with me.”

“You can’t force me,” I said weakly.

“I am not,” he emphasized. “But you need someone to show you the reality. What you’re doing is not healthy, and I won’t forgive myself if I don’t help you right now. Come with me. My sons love you. Take a break from this…character.”

When I didn’t say anything for a few moments, he stepped forward and grabbed my shoulder. “Listen, Troy, I have been where you are right now. It’s so easy to lose yourself in a character, but it’s doubly difficult to come back from there. When I played Dracula, I wish someone had pulled me back in time. So that’s what I’m doing for you.”

I wanted to argue that I knew better, but the truth was that I didn’t. These last three months had been some of the most miserable of my life. I had no one to talk to around me, be it on set or at home. So when Gary gave me the out I needed but was too proud to admit that I did, I simply nodded.

There was also the fact that I didn’t have any more scenes for a week. Mine was just a supporting role, after all.

“Good,” Gary nodded before taking a step towards the door. “Come out whenever you’re ready. If you are adamant about hiding your identity from the others, use that face mask.”

He pointed towards a rack in the corner, where the same plastic face mask was placed that I had used in the opening bank robbery sequence of the film.

“Okay,” I acquiesced.

(Break)

“Daddy!” Two young boys ran up to Gary the moment we stepped inside his house. The older man bent down in expectation and scooped the boys up in his arms.

“How’re my two boys?” Gary effortlessly lifted them each in his arms, which might not be as easy as he made it look, at least not for a man his age. After all, the boys were 8 and 10-year-olds, so not entirely little.

The older boy, Gulliver, turned to me and asked, “Who are you?”

“I–” I began before realizing that I had unconsciously switched back to my Joker voice. I cleared my throat and said in my usual voice, “I am Troy. We met last year, you forgot already?”

The boy squinted his eyes, as if trying to remember me, before a metaphorical light bulb lit up in his head. “You’re Harry Potter!”

As soon as his younger brother, Charlie, heard my character name, he left Gary and ran up to me. “Can you do a magic trick for me, Harry?”

“Now, now, kids,” Gary interrupted, “Troy will be staying with us for a few days, so behave, and remember what I told you about acting: It’s not real. So he’s Troy, not Harry.”

I gasped before turning to the man with a grin, “You are a bad man for saying that to kids and destroying the magic of cinema.”

Little Charlie stepped forward and punched me in the knee. I barely felt it, but it’s the principle of the matter. “Take that back,” he said hotly. “Daddy is not bad. Mummy is.”

I turned towards Gary in confusion, who sighed and shook his head. Then he crouched to Charlie’s level and said, “Charlie, what did I tell you about hitting others?”

“To not to?” Charlie piped in cutely before pointing at me. “But he called you bad, just like that TV show you told me not to watch.”

I got an idea of what was happening. Gary’s ex-wife had filed a number of false cases against him, alleging that he abused her and the kids. Anyone who spent even an hour with him and the kids could see how much he loved them, and vice versa. He had won the case, but as usual, the media had come forth as the villains, taking the woman’s side without even listening to what Gary had to say.

Seeing the tense mood, I decided to change the topic and lighten things up a bit.

“Gulliver, Charlie,” I called them out. “Would you like to watch the first [Harry Potter] film with me?”

Gulliver looked more than enthused about it and nodded eagerly. “Yes! I want to!”

Charlie got excited by his brother’s actions and nodded as well. I turned to Gary to ask for his permission. He made an exaggerated thinking face, rubbing his chin, before adding, “You can watch it, but only if you guys finish your homework first.”

“Awww!” The two boys groaned in disappointment. “We can do homework later.”

“No,” Gary said firmly. “Come on. I’ll help you.”

“Let me help them today,” I volunteered.

“Are you sure about it?” Gary asked me. “You don’t have to.”

“I want to,” I insisted. “I’ve always wanted little siblings. I guess this is the closest I’ll get to the experience.”

Gary gave me a scrutinizing look before turning to the two, “You heard him, boys. Get to your room and get out your books. The sooner you finish the work, the sooner you can watch the movie.”

The boys shared a look before running towards their room.

(Break)

My week with the Oldman family was a lot of fun. I hadn’t even realized how much I needed to let loose. I guess a part of me resented myself for not being a proper kid, so I enjoyed playing with the ones who were doing it right.

I realized I had gotten a little greedy for playing an iconic role, and because of that, I was ignoring my mental health. After more than three months of isolation, I had gotten enough of a grasp on the Joker that I didn’t need to torment myself any longer.

I was half-tempted to go back to my parents’ place while shooting—after all, I was in London—but in the end, I chose not to. I knew they would be mad at me, so I decided to postpone that until I absolutely had to. Instead, I returned to finish my scenes as the Joker, which were done in another two weeks. At least most of them.

Initially, I had planned to make a major health excuse to Paramount about not promoting [Superbad], but now that Gary had helped me accept reality, I knew that I had to. If for some reason the film didn’t perform as good as the original timeline, I would feel very guilty.

Also, only a few of my scenes as the Joker were left, which would be shot in September, after the rest of the cast and crew finished the Hong Kong part of the shoot where I didn’t have any scenes. Chris had also warned me in advance that he does a lot of pick-up shots at the end because he’s a perfectionist.

With all that said and done, I decided to focus on what was in front of me: the promotions for [Superbad].