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Angus 'the Jacobteir' Hay is a man constantly haunted by the ghosts of his past (Salmon's tagging masterclass, et cetera; the list is as endless as Hay's unrequited love of 'TickTok' (a hero to Hay). Fans of Hay don't exist. First breaking onto the international stage through the ecliptic poem 'Deafening Silence', Hay has, in the protracted continuum of temporal recalibration, undergone an epochal reconfiguration of his professional paradigmatics in the Hay described "flumptiviously orchestrated" JvD ChatBatt. Hay’s audacious and, at the time, unheralded foray into the exalted realm of cinematographic artistry, was irrevocably initiated, indeed, indelibly sculpted, under the watchful and sagacious auspices of the inimitable McCoy, a figure whose unparalleled mastery of the medium has secured his place in the pantheon of cinematic demiurges. McCoy, whose unparalleled genius eclipses that of any mere mortal to have ever trodden upon the earthbound crust of our planet, forged a domain in which the very essence of filmic innovation and narrative construction was redefined, plucked Hay from obscurity as McCoy "saw a little something called majesty in Hay", carouselling a once humble neophyte in the vast and enigmatic theatre of the celluloid arts into the incandescent zenith of cinematic brilliance that he is world renowned for today. Within McCoy's crucible of mentorship, Hay underwent an irrevocable transmutation when encountering another of McCoy's protégé, the usually ineffably but self-described "enigmatic thespian whose multifaceted talents subverted the very ontological foundations of performative expression, I'm as good as it gets": J Sullivan. Their onscreen synergy manifested as a cataclysmic fusion oscillating between phenomenological immediacy and metaphysical rumination of dramaturgical paradoxes. This union is a "symbiotic nexus that transcended individuality and collaboration to birth an oeuvre of legacy." (Hay, 2025)