#Appletv+

[major-mads]

one more sleep...

[alishasboe]

Conchita Closson in 1.08 of The Buccaneers (2023-)

[i-padfootblack-things]

My Heart is Yours [Robert "Rosie" Rosenthal x reader]

Author's Note: Rosie Rosenthal has my whole heart, and I couldn't find any fics for him, so I decided to take matters into my own hands. This is based on the portrayal of actors in the Masters of the Air series on AppleTV+. I respect the referenced real life stories and people wholeheartedly. This is not meant to offend anyone.

Warnings: Reader is a nurse, Historical Inaccuracies, Injuries.

Hope you enjoy this little fic! My requests are open, so if you have any ideas, don't be shy!

Pilots are known to be cocky- I mean, I get it. They're pretty badass, if I can say so myself. But I have never in my life met such a down to earth pilot. Major Robert Rosenthal was, without exaggeration, perfect.

I was standing by the window, counting the planes that were appearing from the grey clouds, landing from their mission, silently praying Rosie was among them.

I exhaled in relief-- only one plane down from the fifteen that left. My heart was in my throat as I waited for the ambulances to bring in the injured men.

As if on cue, the doors flew open and several men on stretchers were placed on beds, in order of emergency. I went to the man in the worst shape, ensuring his airways were clear and then going over the burns that littered his whole body. It looked bad, and my heart ached for him-- he would never look the same as he did before.

"I can take over, you're needed elsewhere." I nodded as I gave another nurse my forceps. He was stable and I had to move on.

"Have you seen Rosi- Major Rosenthal?" She shook her head, a sad smile casting a shadow on her lips.

"He's not on the list." She said, referring to the list of injured men that had been brought in. I close my eyes, trying to calm myself. It didn't mean he was dead, although that's what it usually meant.

After going over every pilot and ensuring they got the right treatments, I allowed myself a break-- I needed some fresh air. I had no clue if Rosie's plane made it back, none of the pilots that flew with him had come in, and that is rare occurrence.

As I exited the building, leaving behind the pained screams of injured men, I made my way towards the bench Rosie and I always met at, still holding onto a sliver of hope that he was alright and he was going to come back to me. I was walking slower than usual, given how tired I was, taking the time to rub the back of my neck as a way of relieving the tension.

A deep voice called my name, making me freeze-- I could recognize it anytime. I raised my eyes to his face, and my knees couldn't take it anymore.

"Rosie," I whispered, as I fell to the ground. He was there in a second, grabbing me by my forearms and holding me to his chest. I could feel his heartbeat against my own.

"Woah, woah... Are you alright?" I nodded, my eyes going over every inch of his face, making sure he was okay.

"I just--" I couldn't keep calm, my tears spilled out as a sob escaped. "I thought you were gone, I didn't know if your plane made it back..."

"I promised you I'll always come back to you, didn't I?" He had the nerve to smile, as he raised his hands to my cheeks, wiping my tears away. I was still silent, trying to catch my breath. I was still so focused on his perfect face, and how he had not even a cut anywhere, but what brought me back to the moment was the feeling of his finger caressing the spot between my eyebrows.

"Why are you frowning, my love?"

"You're fine." I said it quietly, as if I couldn't believe it, but he was in front of me, fine as if he didn't just drop some bombs over Berlin. "You're fine. You're fine!" I laughed, realizing he was actually standing in front of me. Perfectly fine!

I raised my hands to his face, caressing his jaw, then his cheeks, his nose, and then forehead. I brushed them through his hair, wrapping them around his neck. He was watching me with his beautiful smile lighting his whole face ul.

"I'm fine, my love. See?" He gestured towards his body in a 'ta-da' motion, making me laugh.

He then closed the small distance between us, kissing me on the corner of my mouth.

"I will always, always come back to you, my love. My heart is yours." He whispered, before kissing me deeply.

"And mine is yours, Rosie."

[kieselguhrkid]

Good morning, James.

[dimetrodonz]

unknown, unknown, delaware, unknown, unknown.

[mccall-muffin]

Masters of the Air new Trailer just dropped!

OMFG I AM SO FUCKING EXCITED FOR THIS!

[fortheloveofbritishactors]

'Masters of the Air': Nate Mann and Anthony Boyle go behind the scenes o...

[disneytva]

Central Park has been cancelled after 3 seasons at Apple TV+ according to co-creator Josh Gad over the weekend.

The series has recieved many Emmy nominations and an NAACP Image Award nomination in the Outstanding Animated Series category.

[elibabette]

Apple Tv+ /Cmbyn parallels

[lennapo]

Appealing to Apple TV+ to save Warrior Nun and have it on their platform. Look how cool their logo looks with the OCS cross.

[mote-historie]

The New Look, TV Series, AppleTV+

This emotionally thrilling series reveals the shocking story of how fashion icon Christian Dior (Ben Mendelsohn) and his contemporaries, including Coco Chanel (Juliette Binoche), Pierre Balmain (Thomas Poitevin), Lucien Lelong (John Malkovich) and Cristóbal Balenciaga (Nuno Lopes), navigated the horrors of World War II and launched modern fashion.

[awardswatcherik]

Interview: In season 3 of 'Ted Lasso,' Phil Dunster is stepping up to the head of the class

[dailydris]

Hijack

Premieres June 28th on AppleTV+

[princess-unipeg]

Baking a Cake

[kieselguhrkid]

Black Bird | 1.05

[theladyfromplanetx]

(Because if you try to read the original, you'll get hit with a paywall. This article was originally published in 2021.)

By Paul Krugman

The blogger John Rogers once noted that there are two novels that can shape the lives of bookish 14-year-olds: "Atlas Shrugged" and "The Lord of the Rings". One of these novels, he asserted, is a childish fantasy that can leave you emotionally stunted; the other involves orcs.

Well I was a bookish 14-year-old, but my touchstones were two different novels:

Isaac Asimov’s “Foundation” and Frank Herbert’s “Dune.”

Many social scientists, it turns out, are science fiction readers. For example, quite a few experts on international relations who I know are fanatics about the TV version of “The Expanse.” I think it’s because good science fiction involves building imaginary worlds that are different from the world we know, but in interesting ways that relate to the attempt to understand why society is the way it is.

Anyway, that’s my excuse for devoting today’s newsletter not to the latest scary developments in politics and economics but to a much happier event: the U.S. release of a wonderful, satisfying film version of “Dune” — the first movie I’ve seen in a theater since the pandemic began.

Before I get there, however, a word about the new “Foundation” TV series, which is being released one episode a week on Apple TV.

The “Foundation” trilogy had a huge impact on my teenage self. For those who’ve never read it, it’s about social scientists who use their knowledge to save galactic civilization. I wanted to be Hari Seldon, the brilliant mathematician who leads the effort; this economics thing was as close as I could get.

“Foundation” might seem unfilmable. It mostly involves people talking, and its narrative inverts the hero-saves-the-universe theme that burns many acres of CGI every year. The story spans centuries; in each episode everything appears to be on the brink, and it seems as if only desperate efforts by the protagonists can save the day. But after each crisis, Seldon’s prerecorded hologram appears to explain to everyone what just happened and why the successful resolution was inevitable given the laws of history.

So how does the Apple TV series turn this into a visually compelling tale? It doesn’t. What it does instead is remake “Star Wars” under another name. There are indispensable heroes, mystical powers, even a Death Star. These aren’t necessarily bad things to include in a TV series, but they’re completely antithetical to the spirit of Asimov’s writing. Pretending that this series has anything to do with the “Foundation” novels is fraudulent marketing, and I’ve stopped watching.

Now on to “Dune.” The book is everything “Foundation” isn’t: There’s a glittering, hierarchical society wracked by intrigue and warfare, a young hero of noble birth who may be a prophesied Messiah, a sinister but alluring sisterhood of witches, fierce desert warriors and, of course, giant worms.

And yes, it’s fun. When I was a teenager, my friends and I would engage in mock combat in which the killing blow had to be delivered slowly to penetrate your opponent’s shield — which will make sense if you read the book or watch the movie.

Now on to “Dune.” The book is everything “Foundation” isn’t: There’s a glittering, hierarchical society wracked by intrigue and warfare, a young hero of noble birth who may be a prophesied Messiah, a sinister but alluring sisterhood of witches, fierce desert warriors and, of course, giant worms.

And yes, it’s fun. When I was a teenager, my friends and I would engage in mock combat in which the killing blow had to be delivered slowly to penetrate your opponent’s shield — which will make sense if you read the book or watch the movie.

What makes “Dune” more than an ordinary space opera are two things: its subtlety and the richness of its world-building.

Thus, the Bene Gesserit derive their power not from magic but from deep self-control, awareness and understanding of human psychology. The journey of Paul Atreides is heroic but morally ambiguous; he knows that if he succeeds, war and vast slaughter will follow.

And the world Herbert created is given depth by layers of cultural references. He borrowed from Islamic and Ayurvedic traditions, from European feudalism and more — “Dune” represents cultural appropriation on a, well, interstellar scale. It’s also deeply steeped in fairly serious ecological thinking.

So why was the 1984 film a disaster? Because the director — yes, David Lynch — either didn’t grasp the subtlety and richness or decided that audiences couldn’t handle it. That is, he did to “Dune” what Apple TV has done to “Foundation.” For example, in the book there’s the “weirding way of battle,” which is about using psychology and deception to overcome foes; in Lynch’s film this was replaced with some kind of gadget.

The great thing about Denis Villeneuve’s “Dune: Part I” is that he respects the audience enough to retain the book’s spirit. He trimmed the narrative to reduce it to filmable size — and even so, his two and a half hours cover only the first half of the book — but he didn’t dumb it down. Instead, he relies on spectacle and spine-tingling action to hold our attention despite the density of the story. In so doing he made a film worthy of the source material.

I wouldn’t say that this “Dune” matches the vision I had when reading the book. It’s better. The visuals surpass my imagination — those ornithopters! The actors give the characters more depth than the book’s author previously had in my mind.

Will this labor of love sell to a mass audience (and allow Villeneuve to finish his story)? The early box office looks good, and this does seem like the kind of film people will see twice — I did — so sales may hold up longer than usual. But I guess we’ll find out.

In any case, all of us former bookish 14-year-olds finally have the “Dune” movie we always wanted to see. Sometimes, things actually do go right.