#Before Summerville II

[fandomlovingfreak]

Egon Spengler/F!Reader (2/3)

Before Summerville II

Ch1. Ch3.

Rating: General Audience

Trigger Warning: angst (reader is a single mother. I don’t know if that’s a trigger but if someone doesn’t want to read a story like this I want to warn!)

Word Count: 936

MasterList Link I AO3 Link I Wattpad Link

Summary: Congrats! You are Callie’s mother in this fic. Life after Egon left.

Disclaimer: I do not own the Ghostbusters (sad, I know). This work has not been created for profit or financial compensation, and is a transformative fair use work in accordance with Section 107 of the United States Copyright Act.

Notes: Accidentally became THREE parts! I’ll post the third and final installment tomorrow! This part isn’t as sad, but it has it’s sad moments. Also thank you to the anon who wanted more of this fic! I appreciate your interest in my stories!

Enjoy

***

Two Years Later...

"C'mon, you must eat, my darling." I try again to entice Callie to eat her dinner. My daughter turns her head away in disgust, pushing my arm away.

I put the spoon back down on the plate, "You know, you're quite picky, Callie Eden. Quite picky for such a big girl. You'd think a big girl like you would eat all of her dinner without a fuss. Maybe you're not a big girl after all?"

My teasing catches her attention, her brow furrowing in toddler rage, "I am a big girl!"

"I dunno... Big girls never push away their dinner." I give her a look. For a moment, I swear I'm looking into Egon's eyes as she stares silently with fury in her eyes. They are so similar in the strangest of ways. It startles me occasionally, which usually follows with intense sorrow. Even as I've gotten better the past two years, thanks to the guys' constant help and support, I'm only human.

Callie takes the plastic spoon from the plate, eating it without another word.

I smile, running my thumb against her cheek, "Always proving me wrong." How she would be three tomorrow, I don't know. Time flew so fast. I could swear we-- I was bringing her home as a newborn. 

Callie smiles, looking very pleased with herself.

***

"How's the rugrat?" Peter asks as I open the front door.

"A handful per usual," I tease back as the three of them walk through the door carrying colorfully wrapped gifts. "You didn't have to get her anything--"

Ray side-hugs me, "Not get Callie gifts on her birthday? You know us better than that."

I smile as Callie comes running into the room, shouting as she sees her three favorite uncles. 

"Cals!" Ray picks her up first. She sees the three of them on a pretty regular basis, but Ray is the one she has grown up seeing the most. In many ways, he's stepped and somewhat replaced Egon as Callie's surrogate father. It's nice to see her happy and talkative with him, but I secretly wish Egon was the one holding her, talking to her about how exciting it was that she was three now.

"You okay?" Winston seems to have noticed my zoning out, his hand on my shoulder in a comforting manner.

I nod, "Yeah. It's just hard sometimes, without him. The usual."

He looks at me with sympathy. None of the guys really understood why Egon up and left everything behind. They were angry with him, the angriest being Ray. 

None of us talked about it much, but I'm glad they all stuck around when Egon left. They had no obligation to be in Callie's life, but here they were at a three-year-old's birthday party.

"Is Dana coming with Oscar?" I turn towards Peter, hoping to get my mind off of the sad things in life.

Peter checks his watch, "She should be here soon. Oscar slept terribly last night. You know how it is."

I nod. I knew all too well what Peter meant. 

A week later...

"Thank you," I smile at the teenager who hands me my photos. I look through the photos from Callie's party as I walk back towards my apartment. Every photo turned out wonderful! Callie with her little friends, opening brightly colored gifts, Callie with her surrogate uncles.

But, the best photo is of Callie in front of her birthday cake. Her smile is so big, purple frosting smeared across her face and fingers. 

This is the photo.

I open the front door, setting down my purse on the kitchen table before gathering up an envelope and a pen. Quickly, I scribble down Callie, Age 3, Third birthday party.

I memorized the address immediately after Janine slipped it to me a few months after Egon left. Who knows if it's even his, it's not as if he ever sends me something back. I still have hope he gets the pictures.

Even though I still am angry with him, I want him to see her grow. He should know she's okay even if he's all the way in Summerville, and we're still here in New York.

A week later in Summerville...

The mail comes. I'm not expecting a letter; I wouldn't blame her if she decided three years of photos with no reply wasn't worth it any longer. 

The afternoon of Callie's third birthday was spent in the lab. I couldn't pull myself away from the slowly growing collection of photographs on the corkboard, leaving my work untouched. 

She's three. Where has the time gone? 

The week after Christmas, I received my last photograph. That picture stays with me at all times, tucked into my wallet. Callie beneath a tree, lights sparkling behind her.

(y/n)'s familiar penmanship catches my eyes immediately as I shuffle through the bills and junk mail. Throwing the rest of the bills and other letters on the counter, I rip into the letter to find a picture of Callie.

The tears spring to my eyes before I can stop them. Grief... or maybe its guilt, overcome me once again, and I'm left wondering if I'm doing the right thing. I could've prevented all of our sorrow. Could've been happy in New York with the woman I love and our child. I should be with them on holidays and birthdays... 

Tracing my finger against the picture, I turn it around to see what (y/n)'s written.

Callie, Age 3, Third birthday party.

It's all I really deserve after leaving her. A brief snapshot of what I could've been a part of.

[jazy3]

Ghostbusters: Afterlife Review

!!SPOILERS AHEAD!!

If you saw my ‘Favourite Movies this Year’ post, you’ll know that Ghostbusters: Afterlife was right up there! Free Guy was my favourite movie of 2021, but Ghostbusters was a close second! Initially my best friend was more excited for this movie than I was. We first saw the trailer for it back in 2019 and to be honest I’d pretty much forgotten about it before the trailer appeared again in 2021. But her enthusiasm was infectious, so I looked up the trailer again and wound up falling down a Wikipedia rabbit hole researching the movie and its production and from then on, I was hooked! In preparation we decided to re-watch the original Ghostbusters movie from 1984 and I recommend everyone else do the same if you’re interested in seeing this movie. It’s on Netflix and since the last time either of us had seen the movie was back when we were teenagers it was good to have the refresher and get into the spirit of it.

You can watch Ghostbusters II from 1989 or skip it. I looked up the plot on Wikipedia to jog my memory, but you don’t need to re-watch it to get Ghostbusters: Afterlife. You do however need to re-watch the original Ghostbusters movie if you haven’t seen it recently because there are a lot of references to it in the new one. While I think I would have still enjoyed the film if I hadn’t watched the original recently, I definitely think I enjoyed the new one way more because I did! Ghostbusters: Afterlife is the answer to the question, ‘What would the original Ghostbusters movie look like if it was made today with updated special effects and timeless humour?’ You may not have asked the question, but you got the answer and it’s great!

This movie is a riot from start to finish! It’s action packed, there are ghosts and ghouls galore, and the comedy is on point! Fan favourites Bill Murray, Dan Ackroyd, and Ernie Hudson are back as Dr. Peter Venkman, Ray Stantz, and Winston Zeddemore to clean up the town once again and the spirit of Egon Spengler and Harold Ramis are alive and well throughout the film. In this latest installment we are introduced to a new younger cast of characters for the audience to relate to. Finn Wolfhard of Stranger Things fame plays Spengler’s grandson Trevor, McKenna Grace from the Chilling Adventures of Sabrina plays his granddaughter Phoebe, and Carrie Coon of Avengers: Infinity War plays their mother and Spengler’s daughter Callie.

Paul Rudd plays high school science teacher and Callie’s love interest Mr. Grooberson and newcomers Logan Kim and Celeste O'Connor play Phoebe’s new friend Podcast and Trevor’s friend and love interest Lucky Domingo. In this long awaited sequel, set thirty-two years after the Ghostbusters first defeated Vigo the Carpathian in New York City we learn the fates of the original Ghostbusters and meet single mother Callie and her teenage son Trevor and eccentric daughter Phoebe. When Callie, who’s facing eviction, learns that her estranged father Ghostbuster Egon Spengler has died she moves her family to Summerville, Oklahoma and they take up residence in the old farmhouse Egon left them.

Once there Trevor gets a job at a local dinner after developing a crush on Lucky, one of the carhops, and Phoebe enrolls in summer school where she finds a kindred spirit in Mr. Grooberson the science teacher. While at summer school Phoebe befriends another student, who goes by Podcast, and as the movie progresses the kids learn that their grandfather was one of the infamous Ghostbusters and that something very strange is happening in Summerville.  The movie features lots of great call backs to the original film. We see Phoebe, Podcast, and Mr. Grooberson tamper with a ghost trap, the Muncher ghost reappears to wreak havoc on Summerville, and Ivo Shandor returns! We also see Phoebe restore the Ghostbusters’ original proton packs and Trevor finds a dilapidated Ecto-1 in the garage and fixes it up. It was previously thought that a third installment of the Ghostbusters franchise would never happen as Bill Murray and other original cast members had made it clear they were not interested and would not sign on.

However, after the death of Harold Ramis in 2014, Jason and Ivan Reitman reimagined the long furloughed sequel as a tribute to Ramis and his beloved character and approached Murry and the other original cast members about the project once more. This time everyone agreed, and the project moved forward. It’s worth noting that prior to Ghostbusters: Afterlife being made the rights to the franchise were renegotiated in a deal that made sure that the original cast and their families were taken care of and would not have to want for anything financially for the rest of their lives. This is what allowed that disastrous all female Ghostbusters reboot in 2016 to be made, but it also paved for Ghostbusters: Afterlife to be made following Ramis’ untimely death.

I think perhaps my favourite thing about this movie apart from the humour is that it’s a touching tribute to an actor and character that so many of us, and our parents, grew up with made by the people closest to him, his friends, and colleagues, and you can really see that in the film. The original actors aren’t acting when they mourn the loss of their friend. The characters mourn Egon as their actors mourn Harold. Something I really loved about the movie was how the ghosts and poltergeists our heroes fight throughout the film and the mission that they are on can all be seen as an allegory for battling disease and the loss of a loved one.

What’s most interesting to me is that this allegory that stuck out so strongly to me was likely unintended as the film was shot in 2019 and wrapped production the year before the COVID-19 Pandemic hit. Nevertheless, I couldn’t help but see the similarities. In the opening scene we see Egon Spengler running from a powerful ghost alone which he attempts to trap using an elaborate set up of ghost traps on his property only for the traps to fail when the power goes out. This leaves Egon defenceless, the ghost attacks him, and he suffers a fatal heart attack.

Watching this in the fall of 2021 two years into a global pandemic that had left over a million dead at that point I couldn’t help but see the similarities between the effects that ghosts, poltergeists, and similar entities in the Ghostbusters universe have on their victims and the way disease can ravage the body and leave those suffering feeling helpless. When a powerful disease takes over those suffering often feel alone and isolated and a heart attack or brain aneurism are common causes of death when someone dies after battling a disease.

In the wake of Egon’s death his daughter Callie and his grandchildren Phoebe and Trevor are left to pick up the pieces, pack up his house, and try to make sense of what he left behind. His friends and fellow Ghostbusters are left feeling remorse and regret for not keeping in touch, for not believing him, and they are left wishing they had more time. All of which will be familiar for anyone that’s lost a loved one to disease whether it was sudden or slow. I found this particularly poignant in the time of COVID-19 and it’s a heartfelt reminder of how fragile we all are and how precarious and precious the lives we lead truly are. While the filmmakers would have had no idea how close to home the movie’s portrayal of loss would be for so many us, I find it fascinating how good art can speak to things that haven’t even happened yet.

The filmmakers weren’t trying to speak to an audience that was living through a global pandemic and watching loved ones die they were simply expressing their own loss over the death of their friend. I think because this depiction came from a genuine place of love and grief for those involved I found it deeply moving and it’s one of the many reasons Ghostbusters: Afterlife will take its place on my list of favourite movies and comfort films that I’ll watch again and again for years to come.

On a lighter note, I have to say I really enjoyed how funny the film was! I thought the humour throughout the film was well timed and well played and the younger actors they cast did a great job of giving the film the levity it needed to make it fun and balance out the heavy themes of loss and regret. It’s fitting that they cast Mike from Stranger Things to play Trevor. Afterall, the show is largely responsible for the eighties’ classic coming back into the public consciousness. While the original movie never really fell out of public awareness the iconic Ghostbuster Halloween costumes from Season 2 of Stranger Things reawakened interest in the original movie and streaming rates skyrocketed as a result. The series is full of references to the franchise.

One of the first thoughts my friend and I had when we walked out of the theatre was that were probably Stranger Things references, we didn’t get yet because of the delayed release of both the movie and the new season. Ghostbusters: Afterlife and Season 4 of Stranger Things were both supposed to premiere within a few months of each other and since Finn Wolfhard appears in both it’s likely that tie ins were planned for both projects. But unfortunately, the release of the film and the actual filming of the show got delayed, pushed, and interrupted by the onset of the COVID-19 Pandemic.

To be honest having watched both the film and the new season of Stranger Things I expected there to be more references and tie ins than I was able to spot. However, this is likely because such references were most likely edited out as they no longer made sense or were never filmed because the release dates had been pushed back considerably and it was unknown when either project would be released for quite some time. For instance, in Ghostbusters: Afterlife you can tell that there’s a cut when the characters are looking at the dates on the tomb wall because of the movie’s release date being pushed from 2020 to 2021.

If you look closely you can also see that the writing on the tomb wall has been edited in post-production to match this as moving the release date to 2021 throws off the original timeline. In Season 4 Vol. 1 of Stranger Things when the Hawkins gang enters the Creel House and Dustin drops his backpack on the floor you can see an ‘I got slimed’ button with a picture of the Muncher ghost on it. I’d love to know what other references and tie ins were originally planned for both projects and if any other eagle eyed fans managed to catch references I didn’t.

Until next time!

[tocinephile]

T'was the night before the Oscars...

Here we are again. The final stab at a decent award show ceremony amidst a global pandemic. I'm not getting my hopes up after the Golden Globes and SAG zoom calls, in fact I've read very little about the upcoming ceremonies since they announced they would not be using zoom... and then promptly reversed that decision.

It would seem no matter how late we delay the Oscars, I still find myself the night before the show scrambling to watch all the Best Picture nominees. It also hasn't slipped my mind all the promises I'd made to discuss my top films of 2020 and the things I would not have seen if not for this global catastrophe. Having had a number of conversations with fellow cinephiles, many have also found themselves very unenthused about award season contenders, dramatic pictures or anything with heavier content so to speak, or even movies in general. The struggle to concentrate is real.

I'm going to get right into my list of predictions with the caveats that I have yet to see Sound of Metal, and I have to watch the second half of Judas and the Black Messiah after I hit 'post' here. You will find as we go through, there's lots more I haven't seen.

Best Picture

“The Father”

“Judas and the Black Messiah”

“Mank”

“Minari”

“Nomadland” - Will win

“Promising Young Woman” - Should win (though I liked Nomadland very much as well)

“Sound of Metal”

“The Trial of the Chicago 7”

Best Director

Thomas Vinterberg (“Another Round”)

David Fincher (“Mank”) - excellent director but I actually don't think he left his mark on Mank as much as he did many of his other films, I've questioned previously whether he should have gotten the nomination

Lee Isaac Chung (“Minari”)

Chloé Zhao (“Nomadland”) - Will win/should win

Emerald Fennell (“Promising Young Woman”)

Best Actor in a Leading Role - very strong contenders all around in this category, every one of them (I'm sure I'll have the same reaction about Riz Ahmed) made me say "holy shit" in amazement out loud

Riz Ahmed (“Sound of Metal”)

Chadwick Boseman (“Ma Rainey’s Black Bottom”) - Will win/should win

Anthony Hopkins (“The Father”)

Gary Oldman (“Mank”)

Steven Yeun (“Minari”)

Best Actress in a Leading Role

Viola Davis (“Ma Rainey’s Black Bottom”) - I think if not Andra Day, then Viola will win it

Andra Day (“The United States v. Billie Holiday”) - Will win?/should win

Vanessa Kirby (“Pieces of a Woman”)

Frances McDormand (“Nomadland”)

Carey Mulligan (“Promising Young Woman”)

Best Actor in a Supporting Role

Sacha Baron Cohen (“The Trial of the Chicago 7”) - I think he's also got a decent shot in this category

Daniel Kaluuya (“Judas and the Black Messiah”) - Will win/should win

Leslie Odom Jr. (“One Night in Miami”)

Paul Raci (“Sound of Metal”)

Lakeith Stanfield (“Judas and the Black Messiah”)

Best Actress in a Supporting Role

Maria Bakalova (‘Borat Subsequent Moviefilm”) - truth be told I didn't think her performance was so great that she should get an Oscar nomination for it

Glenn Close (“Hillbilly Elegy”)

Olivia Colman (“The Father”) - another potentially unpopular comment... while I think Olivia Colman is one of the best actresses and most delightful people in existence, given her range and talent I don't she particularly excelled in The Father to make it an Oscar-worthy performance.

Amanda Seyfried (“Mank”)

Yuh-jung Youn (“Minari”) - Will win/should win

Best Animated Feature Film - I only saw one film so I have no basis for comparison

“Onward” (Pixar)

“Over the Moon” (Netflix)

“A Shaun the Sheep Movie: Farmageddon” (Netflix)

“Soul” (Pixar) - will win

“Wolfwalkers” (Apple TV Plus/GKIDS)

Best Adapted Screenplay

“Borat Subsequent Moviefilm.” Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, Lee Kern; Story by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Nina Pedrad

“The Father,” Christopher Hampton and Florian Zeller - should win...and will win?

“Nomadland,” Chloé Zhao

“One Night in Miami,” Kemp Powers - might also win?

“The White Tiger,” Ramin Bahrani

Best Original Screenplay

“Judas and the Black Messiah.” Screenplay by Will Berson, Shaka King; Story by Will Berson, Shaka King, Kenny Lucas, Keith Lucas

“Minari,” Lee Isaac Chung

“Promising Young Woman,” Emerald Fennell - 50/50 will win/definitely should win tho!

“Sound of Metal.” Screenplay by Darius Marder, Abraham Marder; Story by Darius Marder, Derek Cianfrance

“The Trial of the Chicago 7,” Aaron Sorkin - 50/50 will win... I really didn't get onboard this movie, but I will say the script was the best thing about it

Best Original Song - I'm not even going to venture a guess...

“Fight for You,” (“Judas and the Black Messiah”). Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas

“Hear My Voice,” (“The Trial of the Chicago 7”). Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite

“Húsavík,” (“Eurovision Song Contest”). Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson

“Io Si (Seen),” (“The Life Ahead”). Music by Diane Warren; Lyric by Diane Warren and Laura Pausini

“Speak Now,” (“One Night in Miami”). Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

Best Original Score - I actually didn't think much of any of the scores in any of the films I've seen in 2020...

“Da 5 Bloods,” Terence Blanchard

“Mank,” Trent Reznor, Atticus Ross

“Minari,” Emile Mosseri

“News of the World,” James Newton Howard

“Soul,” Trent Reznor, Atticus Ross, Jon Batiste - will win

Best Sound - I suspect it might be Sound of Metal but I haven't watched it yet. I've also not seen Greyhound.

“Greyhound,” Warren Shaw, Michael Minkler, Beau Borders and David Wyman

“Mank,” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin

“News of the World,” Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett

“Soul,” Ren Klyce, Coya Elliott and David Parker

“Sound of Metal,” Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh

Best Costume Design

“Emma,” Alexandra Byrne - will win

“Mank,” Trish Summerville

“Ma Rainey’s Black Bottom,” Ann Roth - should win

“Mulan,” Bina Daigeler - should also win

“Pinocchio,” Massimo Cantini Parrini

Best Animated Short Film - I didn't watch a single Oscar-nominated short this year

“Burrow” (Disney Plus/Pixar)

“Genius Loci” (Kazak Productions)

“If Anything Happens I Love You” (Netflix)

“Opera” (Beasts and Natives Alike)

“Yes-People” (CAOZ hf. Hólamói)

Best Live-Action Short Film - I didn't watch a single Oscar-nominated short this year

“Feeling Through”

“The Letter Room”

“The Present”

“Two Distant Strangers”

“White Eye”

Best Cinematography

“Judas and the Black Messiah,” Sean Bobbitt

“Mank,” Erik Messerschmidt - will win/should win

“News of the World,” Dariusz Wolski

“Nomadland,” Joshua James Richards

“The Trial of the Chicago 7,” Phedon Papamichael

Best Documentary Feature - I thought I watched a decent number of docs in 2020, but apparently not the right ones because I saw none of these.

“Collective,” Alexander Nanau and Bianca Oana

“Crip Camp,” Nicole Newnham, Jim LeBrecht and Sara Bolder

“The Mole Agent,” Maite Alberdi and Marcela Santibáñez

“My Octopus Teacher,” Pippa Ehrlich, James Reed and Craig Foster

“Time,” Garrett Bradley, Lauren Domino and Kellen Quinn

Best Documentary Short Subject - I didn't watch a single Oscar-nominated short this year

“Colette,” Anthony Giacchino and Alice Doyard

“A Concerto Is a Conversation,” Ben Proudfoot and Kris Bowers

“Do Not Split,” Anders Hammer and Charlotte Cook

“Hunger Ward,” Skye Fitzgerald and Michael Scheuerman

“A Love Song for Latasha,” Sophia Nahli Allison and Janice Duncan

Best Film Editing

“The Father,” Yorgos Lamprinos - 50/50 will win/should win

“Nomadland,” Chloé Zhao

“Promising Young Woman,” Frédéric Thoraval

“Sound of Metal,” Mikkel E.G. Nielsen

“The Trial of the Chicago 7,” Alan Baumgarten - 50/50 will win

Best International Feature Film

“Another Round” (Denmark) - will win

“Better Days” (Hong Kong) - should win (yes, because I'm biased, plus it's also the only other film aside from Another Round that I've seen in this category and I liked it a lot better, but also, just because it's very fine film)

“Collective” (Romania)

“The Man Who Sold His Skin” (Tunisia)

“Quo Vadis, Aida?”(Bosnia and Herzegovina)

Best Makeup and Hairstyling

“Emma,” Marese Langan, Laura Allen, Claudia Stolze - will win

“Hillbilly Elegy,” Eryn Krueger Mekash, Patricia Dehaney, Matthew Mungle

“Ma Rainey’s Black Bottom,” Sergio Lopez-Rivera, Mia Neal, Jamika Wilson - should win

“Mank,” Kimberley Spiteri, Gigi Williams, Colleen LaBaff

“Pinocchio,” Mark Coulier, Dalia Colli, Francesco Pegoretti

Best Production Design

“The Father.” Production Design: Peter Francis; Set Decoration: Cathy Featherstone - I don't think this is the best Production Design but I do think it's underrated what they did and that it should be recognized a different kind of creativity went into designing the sets for this film.

“Ma Rainey’s Black Bottom.” Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton

“Mank.” Production Design: Donald Graham Burt; Set Decoration: Jan Pascale - will win? I do think the Production Design was spectacular...

“News of the World.” Production Design: David Crank; Set Decoration: Elizabeth Keenan

“Tenet.” Production Design: Nathan Crowley; Set Decoration: Kathy Lucas - should win

Best Visual Effects

“Love and Monsters,” Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox

“The Midnight Sky,” Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins

“Mulan,” Sean Faden, Anders Langlands, Seth Maury and Steve Ingram

“The One and Only Ivan,” Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez

“Tenet,” Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher - will win/should win... like why would it not win??

Ok, I wasn't very decisive in some of those categories and since I'm taking part in an Oscar pool I will have to make some choices and refine my selections before tomorrow. I will share my final Oscar pool pics, do my part bombarding everyone's twitter tomorrow evening, and review after the awards where it all went right/wrong.

[ghostbustershq]

Ghostbusters: Afterlife - Trailer A Breakdown

“Troy, wondering what you thought about that new Ghostbusters trailer?”

Well, I’ve waited thirty years for this moment. Something tells me that my long-winded and verbose writing sensibilities won’t be able to convey my thoughts in a text message or 140 characters on Twitter. Welcome anyone that I’ve pointed in this direction. I’ve been waiting an awful long time for this. And that’s not to be dismissive of the wonderful experience and entertaining film we received just three short years ago. This is something different. But the same. Something new, but also something familiar. In one word?

Wow.

Quite a bit to unpack in a trailer revealing the first details on what has otherwise been a very tight-lipped production. Needless to say, the first real look at Jason Reitman’s Ghostbusters: Afterlife blew me away. The direct sequel to Ghostbusters II looks to take some twists and turns, while incorporating the iconography and elements that made the original film and its sequel so popular in the 80’s. To be completely honest, it’s quite difficult to sit here and put into words my reaction to seeing a trailer for a movie I’ve been waiting 30 years to see. Excited doesn’t even begin to describe just how fun and exciting this trailer release has been. Not to mention just how special this film release will be.

But you’re not here for a review or my sentiments, you’re here for a breakdown to the trailer with a few comments and screen grabs.

Let’s do it, eh?

Hitting the Road

Right out of the gate, some stunning cinematography from Eric Steelberg on full-display here as a car full of teenage kids approach what appears to be an old mine elevator at the top of an incredible looking vista. Kids being kids, golden hour in full effect, it’s a lovely first introduction to the world in which this film will inhabit. Finn Wolfhard’s character Trevor answers a pointed question that his family has moved to Summerville because they’re completely broke. To the point that he’s getting a haircut at home by his own mother, Callie (played by Carrie Coon). We’re meeting a family on some hard times, forced to make a hard turn in their lives because of finances.

Grandpa’s “Creepy Old Farmhouse”

The family pulls up to a farmhouse and barn that looks like they’ve both seen better days. A giant barn with a collapsed roof and several silos surround a Gothic looking weather vein riddled house that may as well be out of the Addams Family. Dire circumstances have forced them to move to a family farm inherited from an, as of now, unknown grandfather. Phoebe (played by Mckenna Grace) gets out of the car with a look on her face that says it all. And those eyeglasses… well, we’ve all talked about who those look like they belong to at great length.

Something’s Amiss

Trevor’s tender moment with a new friend (Celeste O’Connor’s still as-of-yet-unrevealed character) is interrupted by the mine elevator they’re sitting on shakes violently and a green glow emanates from the mine below them. All is not picture-perfect Americana in Summerville as we’ve been led to believe. An entity explodes from the mine, escaping into the air and pushing the teenagers back in the process. That glimpse of our paranormal haunting kicks us into the studio and production company logos.

Bron Studios/Bron Media Logo

Interestingly, no Ghost Corps logo attached to the trailer. But there is a newcomer to both the trailer and the teaser poster released on Friday, Bron Studios. A Canadian company, Bron gets a logo right after Sony/Columbia possibly suggesting they’re a financial backer of the film or a large partner in some shape or form. A quick look at iMDB shows that Aaron L. Gilbert of Bron Media has been added as an Executive Producer to the film as well.

Earthquakes and Mr. Grooberson

Here’s our first real taste of how Paul Rudd’s character will factor into the film. He’s intrigued by Summerville’s seismic activities, given the fact that it doesn’t lie on a fault line, nor does it have any of the telltale signs of locations that should be moving and shaking. The protagonist family huddles under a table during a quake where we get a good taste of the film’s humor courtesy of Trevor with a quippy one-liner about the summer that they died under a table. So what is happening? Stay tuned. Also, admittedly I was too distracted by the beautiful lighting in the shot with Trevor to notice the symmetrical book stacking visual gag in the background until others pointed it out. Well played, set dec team. I’d expect there will be visual easter eggs like this throughout the entirety of the film.

Mystery Box Revealed

Following one of the quakes at their new home, Phoebe seemingly finds a loose floorboard and a sliding puzzle that has been left behind by their grandfather to hide the presence of a familiar ghost trap. Which Phoebe takes to school and shows off to her still unnamed friend, played by Logan Kim. The sight of a ghost trap tickles Mr. Grooberson, who connects it with the famed-Ghostbusters who saved New York City back in the 1980’s. The kids have no idea of the existence of ghosts, nor what occurred back in 1984 near Central Park. Grooberson is more than happy to educate them.

Jason Reitman Front and Center

After the ghost trap’s appearance, Jason Reitman (deservedly so) gets a card proclaiming the film coming from him as a writer-director hyphenate. The credit comes over an industrial space with a whole lot of Ridley Scott creep-factor going on. If I had one nit to pick with the trailer, it’s the producer in me that is concerned poor Jason’s credit never resolves with the “R” in Reitman not obstructed by the light blooming in the center of the frame.

A Free-Roaming… Something?

Right after Jason Reitman’s card, comes a panning shot across the same industrial space where a gelatinous blob is in the distance doing something. It’s tough to make out exactly what type of entity we’re looking at here, but it seems to appear (and move) like a microscopic organism or something found at the depths of the sea. Which I quite enjoy. A ghost that looks unlike anything we’ve ever seen before. Also worth noting that the movements feel practical - there is weight and almost a rubbery movement to it just like the creature designs from the shop in the 80’s. Love it.

New York Was Like the Walking Dead

Mr. Grooberson shows Phoebe and Logan Kim’s character archival footage from the 1980’s where he remembers seeing the ghost trap utilized as a kid. The Ghostbusters were a phenomenon 35 years ago, but have been forgotten. As history tends to move on and generations aren’t impacted by the events of their elders, they’re learning about who the Ghostbusters were. Phoebe comments that her mother has never spoken of the events that took place in New York and that their father isn’t in the picture.

Of note, these two shots are incredible angles that I don’t believe I’ve seen before. Perhaps the result of Jason Reitman and his post production team digging into the mines and finding the original dailies and negative from the 1984 film for use in Afterlife?

PKE Readings and “Does This Pole Still Work?”

Phoebe seems to have found other Ghostbusting equipment and uses it to trace readings back to a makeshift shed. Presumably a continuation of the scene based on the editing, Phoebe slides down a fire pole (!!!) to a subterranean hidden space. She continues to follow readings on the PKE Meter, finding equipment including the orange piece of machinery taken from the original Ghostbusters at Columbia University, a Betamax recorder in the far distance, an oscilloscope, and a whole lot of fungi growing in jars. The camera pans over sample dishes of spores, molds and fungus collections, (subtly cued with Phoebe talking about picking through the rubble of her grandfather’s life) and then continues past a proton pack in progress of assembly.

Admittedly, this was the first moment in the trailer where I could feel my heart doing backflips. We’re seeing the past through Phoebe’s eyes and everything looks, feels, and sounds like Ghostbusters. I love it. This movie is about discovery, as we’ve heard over and over. To me, it feels a bit like we’re (the viewer - the broader public outside of us fans) are rediscovering our love for what made these movies so popular.

The Shoe Drops

This is where any other trailer would take the opportunity to pepper in the bass drops, kick in the soft-breathy cover version of Ray Parker Jr.’s theme song, or some other overused trope. But Ghostbusters Afterlife takes a pretty bold stance and tries something different. And to me, it really works. When Mr. Grooberson discovers that the ghost trap isn’t a replica and is, in fact a real ghost trap (and may be occupied still), he questions who Phoebe is, as there’s a cut to Phoebe’s hand grazing over a rack of flight suits revealing the name tag, “Spengler” barely having enough time to resolve before a smash to black.

In what is absolutely a stroke of genius of whomever is responsible for this wonderful trailer, Bill Murray’s line for the original movie as Venkman and Stantz share a bottle of Apricot Brandy talking about going into business for themselves takes on a whole new meaning: “Call it fate, call it luck, call it karma. I believe everything happens for a reason,” is said while - - to my ear - - a new rendition of the same Elmer Bernstein cue that plays under the scene swells.

A Certified Genius or an Authentic Wacko

After a “Next Summer” sell card, another beautiful Americana (c/o Calgary) vista of the Shandor Mining Company. Interesting, perhaps Ivo Shandor from the original film fancied himself an entrepreneur at one point before he became an architect? Or perhaps this is a result of his interest in metallurgy mentioned by Stantz? Perhaps he mined his own supplies for projects? Either way, I’m starting to think that Sumeriaville… ahem… sorry… Summerville might be following in a classic trope of some of the best horror stories. A town with an incredibly horrible secret. Warning signs don’t matter to Phoebe and Logan Kim’s character as they trudge ahead.

Hello, Beautiful

Meanwhile, in the narrative of our trailer, Trevor follows in Phoebe’s footsteps into the fields of the farm and finds something of his own: a beautiful (but a little rusty) 1959 Miller-Meteor Cadillac as the ground shakes again, something shatters through a row of school buses seemingly attacking Phoebe, and the town goes into high-alert. Amid the chaos, there’s a striking 20 frames or so of Phoebe staring into a horrifying fire pit of arms - lost souls? Something else? And immediately after that, Mr. Grooberson frantically tries to escape from a snarling beast that slams a foot on the hood of his automobile. Trevor’s Ecto-1 adventure continues as he turns the key and an homage that would make Laszlo Kovacs proud reveals the familiar license plate and front grill emerging from the garage and into the field for a joy ride. The ol’ Ecto has a whole lotta horsepower left in the tank.

Damn Right, This Thing Has a Gunner’s Seat

And that’s when the trailer hits us. What can and should be the most amazing surprise in the trailer (if not unfortunately spoiled for you by a few self-interested rotten apples with horrible cell phone photos) - this isn’t the Ecto we’re familiar with. Perhaps an explanation as to why it’s the ol’ Ecto-1, or maybe the car was always being changed throughout the duration of the Ghostbusters’ longevity, THIS Ectomobile looks to have been heavily modified for field work. Phoebe, with a thrower in her hand, swivels out into an attack position and we’re off to the races. The Ecto-1, with Phoebe in the gunner position, looks to be chasing the microscopic entity seen earlier in the industrial space - though some people have speculated that might be Slimer, I don’t think that’s the case. Either way… Dear Hasbro, take my money now. My goodness, what an awesome set-piece (and toyetic moment) that looks like it will be.

Everything about this movie speaks to me. It’s playing with my nostalgia. It’s also giving us something new and the promise of the next generation discovering the Ghostbusters both on-screen and off. The fact that a main character is named Trevor for some reason immediately made me think of my amazing former boss and now guide to the next generation of comedy Trevor Albert, who was a long-time friend and colleague of Harold Ramis. Phoebe’s an intriguing character and the friendship that we saw Mckenna Grace and Logan Kim develop via social media throughout the course of the production seems to have carried over to their on-screen performances.

Of course, noticeably absent are any of the original cast members. But, as the theme of this trailer and seemingly the movie as a whole is discovery and things slowly unfolding, I can imagine that moment will be saved until the absolute very end of the marketing campaign. If the cast isn’t kept in secret similar to Mark Hamill in The Force Awakens completely. To be completely honest, I don’t want to see another frame until opening day of the film itself. And if this is the only trailer they release, that would be a wonderful mystery box. Particularly for this Ghostbusters podcast host who would have to break another TV spot or trailer down frame by frame. I get the sense that the less we know and see about this movie before the first viewing experience, the better.

But most of all - - the iconography, the designs from Stephen Dane, Michael C. Gross, and so many other artists has carried over successfully and looks authentic. This is no replica, as the trailer blatantly tells us. This is the real deal.

[doomedandstoned]

Lexington’s FORREST Astound with Musical Wizardry in ‘Final Frontier’

~Doomed & Stoned Debuts~

Art by Brittani Fuller

For the past few weeks, Doomed & Stoned has been treating you to the sounds of 'Final Frontier' (2019), the new EP from Kentucky's proggy instrumental post-sludge quartet FORREST, and today we get to hear the record in its entirety. It's a clever, even inventive, and electrifying spin that finds Forrest wrangling a rambunctious, sprawling sound like a veteran rodeo cowboy.

Here we have five exciting numbers that can certainly stand up as self-contained tracks, but for full impact you can't beat taking them as five consecutive shots (though you might end up just a bit tipsy by the end). There's the hot-to-trot opener, "Bubba"; the monstrous "To Lose a Whale"; the grave, but persistent doomer, "The Final Frontier (Dan II)," featuring some very tight drumming; the punchy, proggy crooner "The Intensity of Frenchness"; the folksy jig-turned-dirge, "Specialman," complete with some surprisingly warm vintage rock moments; and the vigorous album closer, "Vacation (...Don't Ever Come Back), which feels like a solemn car ride full of aching heads and reflection after a night of solid debauchery.

Congrats to Riley Logan (lead guitar), Charlie Overman (rhythm guitar, synths), Jared McIntyre, and Josh Summerville (drums) on this bold and distinct entry into the ever crowding swamp of sludgy doom! If you're anything like me, you'll find yourself binge listening this one on the daily. Final Frontier by Forrest releases on Wednesday, July 17th.

Give ear...

Final Frontier by Forrest

Peeking Under The Hood with Forrest

Photographs by Nathan Hampton

'Final Frontier' is an incredible effort, guys. What are some of your roots, musically and technically speaking?

For influences, I'd say Melvins, Deftones, Yob, and Mastodon.

I'm always interested to hear different band's experiences recording an album, especially when it sounds this damned good. Walk us into studio, if you would, and describe the whole she-bang for.

The EP’s got its fair share of progginess, but even the least doomy tracks on the record were recorded through old Sunn stuff and driven mainly by boutique fuzz pedals built by our friend Eric over at frost giant electronics -- he’s also in the band Switchblade Jesus. The production and engineering side of things was done by our good friend Will Chewning at Springhurst Recording studio. The environment was super chill, and this was the second time we’ve worked with him. We love it there. The artwork was done by Brittani Fuller.

I think it would be cool to give our readers some insight into the songs on the new record. Do you mind walking us through it?

Alright, Billy, so in regards to background on the tracks:

Bubba -- As far as thematic tie-ins, it's named after the character Bubba from the movie Forrest Gump. In fact, as you'll see, most of this EP's songs are either Forrest Gump themed or Star Trek: The Next Generation themed.

To Lose a Whale -- This song was originally going to be added to the end of the EP as a bonus track. However, once the song was finished we timed it's length and discovered it was roughly three-and-a-half minutes long, so we decided to add it as its own track. With this second song, while it does have a rather different sound than the rest of the EP, it still follows a similar formula to many Forrest songs, "Bubba" and "The Intensity of Frenchness" in particular -- the pattern being a heavy/catchy intro riff, a high, spacey post-lead thingy in the middle, and then a return to that heavy/catchy riff. The song was in part inspired by Gojira, hence the name, "To Lose a Whale." On the song "Flying Whales" by Gojira, their vocalist at one point screams, "I have to find the whales!" Riley and I were listening to it once and he goes: "It'd have to be pretty fuckin hard to lose a whale!" Beyond the Gojira reference, the sample in the beginning is from a scene in Star Trek: The Next Generation in which Data attempts to do stand-up comedy.

The Final Frontier (Dan II) -- Half the title is obviously a Star Trek reference. However, the second half is the song's original title, very simply "Dan II." There's a song off of our first EP entitled "Dan," named after Lieutenant Dan from Forrest Gump. In "Dan II" we took the bridge riff from the original "Dan" and turned it into one of the song's main riffs. The bridge section in the middle of the song, over which Riley takes a solo, was probably bit off the album which we all spent the most time obsessing over. That bridge section was inspired primarily by Yob. I can say with confidence, I think it's one of the sweetest doom riffs around.

The Intensity of Frenchness -- This is a reference to Captain Jean Luc-Picard, the captain of the Enterprise on Star Trek: The Next Generation. The song opens with a sample from the show in which Picard delivers his famous one-liner: "Make it so." The intro riff is also inspired by a French progressive rock band called Totorro. This is the third song on the record after "Bubba" and "To Lose a Whale" that follows the formula of heavy/catchy intro to weird, spacey post-lead riff and then back to a heavy/catchy riff. In this song, and in Bubba's case, they return to the same riff as in the intro.

Specialman -- This one's named as such because Forrest Gump is a special man. Maybe that's insensitive or something, I don't know. Regardless, this one's inspiration is sort of all over the place. The only thing I can say for sure is that the bridge section with the jazzy chords was written in an attempt to weave a doo-wop chord progression into a metal song, and I'd say it was done successfully. The song reminds me of the Melvins, in many ways -- the last riff of the song, the tones, and the way things are played; you know, dynamics and all.

Vacation (...don't ever come back) -- After the recording was finished, Riley described it as John Baizley and Mike Scheidt merged into one big, pretty, doomy thing. Something along those lines. It was heavily inspired by the Baroness song "Grad," and while I can't say for certain, I'd say the flute popped into his head either from Zelda or from Jethro Tull. The song gets its title from another Forrest Gump reference, in which Forrest is talking about his Dad leaving his Mom and him as a boy, and his Mom describing it to him as a vacation. I think Forrest asks something like, "What's a vacation?" and she goes when you leave and never come back. Something along those lines.

What kind of instruments, amps, and gear did you use in the recording?

Just for context, our standard rigs are:

Charlie (rhythm guitar): Epiphone SG for C standard tuning, an Ibanez rg7421 for 7-string A standard tuning, Egnater Tweaker 40 amplifier head, Way huge electronics Green Rhino, Frost Giant Electronics Massif, a 300-watt 2x12 with an Eminence Tonker and an Eminence Legend 1218. I also turned on a nano chorus occasionally.

Riley (lead guitar): Gibson Les Paul Studio, occasionally a Fender Strat, both for C standard tuning, Ibanez rg7421 for 7-string A standard tuning, Jet City JCA20HV which is a head they made in part with the Soldano brand. He uses a Laney 2x12, also 300-watts with two Eminence Swamp Thangs in it. As far as pedals for him, he was using a Frost Giant Electronics Soma Fuzz, a Leviathan which is a custom one off pedal he had made by a guy here in Lexington, which is an octave fuzz and a JFet boost. He uses an ehx canyon for a ton of the ambient parts as well. Along with a delay and chorus here and there.

Jared (bass): Squier Jazz bass for C standard, Epiphone Thunderbird bass for A standard. We tracked Jared through a DI, and then reamped him through an old Sunn Sorado head. We also used that head all over the record for guitar overdubs. For some parts Jared would use an old 90s Black Russian Big Muff as well as an EHX POG. I believe we ran him through an ampeg speaker cab, but I can't remember specifically. If you'd really like to know I can find out.

Josh (drums): Josh switches up his rig constantly, but at the time of recording he was using a drum kit with evans drum heads, and a mix of meinl, and Zildjian cymbals. He used Vic Firth sticks as well I'm pretty sure.

With the standard rigs out of the way, for the individual songs some little extra pieces of gear are:

For the song Bubba, we used pretty much only our standard rigs on this song, not really many overdubs. However, the spacey post lead section in the middle, Riley used an MXR Blue Box, an octave fuzz, to really thicken up those leads and add an extra layer to everything.

While it's probably one of the songs that strays most from doom in the traditional sense, much of To Lose a Whale was recorded through that old Sunn Sorado head guitars and bass included, along with the standard rigs of course. Josh also used some bongos on this track.

Mostly standard rigs were used for the bones of The Final Frontier (Dan II), however, we did lots of overdubs with the old Sunn head through an Emperor 4x12 loaded with Ted Webers. For this song I'd say it's also important to note we used exclusively dirt sounds from the amps for crunchy stuff and our Frost Giant Electronics fuzzes for the big fuzzy bits, i.e. most of the song. (laughs) Nothing in between, though. For this one, I put a Korg Ms-20 mini synthesizer with a bit of analog tape echo added over top of the very beginning of the song to thicken it up even more. It was a patch I'd been working on for a while, and I was glad to get to use it. Riley used his canyon pedal lots on this track, as well.

Once we transition into the clean bit right before the super heavy middle section with the same melody, Riley's tone there is his Frost Giant Electronics Soma turned on with the volume on his guitar rolled off, I think it sounds particularly amazing right there. When that riff gets giant and fuzzy over top of the fuzziness there's a Hammond organ droning and following the melody of that riff. When it goes back into the crunchy riff that was taken from the original Dan, we used that old Black Russian Big Muff for guitar overdubs when the whole band kicks in.

We used standard rigs for both Specialman and The Intensity of Frenchness, plus a banjo overdub on the middle section of the latter.

For the final track, Vacation (...don't ever come back), Riley used his standard guitar rig and his Leviathan for pretty much all the dirt. I didn't play guitar on this track and instead just did some droning on the Korg MS-20 mini synthesizer, as well as a Roland Juno-6 synthesizer. There's also a flute.

The Great Forrest Giveaway!

Forrest has some Bandcamp download codes for y'all and I do mean they have dropped the motherlode! Get 'Final Frontier' (2019) por nada while you can (redeem here).

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[frankgiunta]

Gwinnett Jury Awards $1.3M to Woman Over Bedsores While Hospitalized

https://frankgiunta.com/gwinnett-jury-awards-1-3m-to-woman-over-bedsores-while-hospitalized/

Gwinnett Jury Awards $1.3M to Woman Over Bedsores While Hospitalized

Richard Mitchell, Mitchell & Shapiro, Atlanta. (Photo: John Disney/ALM)

Gwinnett Jury Awards $1.3M to Woman Over Bedsores While Hospitalized

The defendant, acute medical care center Landmark Hospital of Athens, passed on a $600,000 settlement offer prior to trial.

By Greg Land | From Law.com | September 20, 2019 at 02:58 PM

A Gwinnett County jury awarded $1.3 million to an elderly woman who developed serious bedsores while hospitalized for an extended period after a wreck.

Plaintiffs attorney Richard Mitchell said Athens’ 42-bed Landmark Hospital did not respond to an offer to settle the case for $600,000. Mitchell added that his client, Elizabeth Dickenson, is still dealing with the effects of the injury she suffered in 2015.

“The wound has closed, but it still bothers her; she still has to be careful not to sit in one position for a long time,” he said. “She was actually unable to attend the trial; she’s in New York now.”

Dickenson instead testified via video deposition.

“That was obviously a challenge, but we asked the potential jurors during voir dire whether it would bother them, and they said no,” said Mitchell, who tried the case with Mitchell & Shapiro associate Zack Greenamyre and Summerville Firm principal Darren Summerville.

Landmark is represented by Hall Booth Smith partner Terrell “Chip” Benton and associate Mary Battey. In an email, Benton said his team was evaluating their options regarding an appeal or other post-trial litigation.

According to Mitchell and court filings, Dickenson’s case began when she was in a serious wreck in 2015 and hospitalized at Grady Memorial Hospital with a lacerated colon, fractured ankle, respiratory failure and hemorrhagic shock.

Then 74 years old, Dickenson was morbidly obese and had a medical history that included diabetes, breast cancer, hypertension and hyperthyroidism, among other ailments.

She was intubated and placed on a ventilator while at Grady, which she remained on while there for about three weeks.

Dickenson was transferred from Grady to Landmark, which bills itself as an acute medical care facility for patients who are discharged from a hospital but still require a high level of care, so that she could be weaned from the ventilator.

While at Grady, she was noted to have a Stage II pressure ulcer on her buttock. On her second day at Landmark, a wound care nurse diagnosed her with a suspected deep tissue pressure wound on one buttock and Stage II on the other, Mitchell said.

Dickenson remained at Landmark for nearly two months, during which time she was supposed to be turned every two hours to allow the bedsores to heal. She was never weaned from the ventilator and was eventually returned to Grady following what a defense filing said were “bouts of vomiting and what appeared to be urine in her colostomy bag.”

When she returned to Grady, Dickenson was diagnosed with Stage IV deep tissue pressure wounds on each buttock, Mitchell said.

“Our view of the case was that Landmark didn’t follow the orders to turn her,” Mitchell said.

Records designated whether she was turned on her left, right or “other” were incomplete, “and there were huge gaps in the records,” he said. “Hour after hour they would say ‘other.’ Our theory was that for hours they relied on the turn bed,” a mattress that inflates and deflates at various points to turn a patient mechanically.

Her wounds got so bad that she required multiple surgical debridements to remove dead tissue, her filings said.

The defense portion of pretrial order said Dickenson received “regular wound care treatment and was regularly repositioned, despite the difficulties posed by her complex medical history, traumatic injuries from the motor vehicle accident and lack of mobility” while at Landmark.

In 2017, Dickenson and her husband sued Landmark in Gwinnett County State Court for negligence and loss of consortium.

Mitchell said the Dickensons were “very unhappy with the care she got, and she and her husband wanted to make sure this didn’t happen to anybody else.”

Mitchell said he didn’t make a presuit settlement demand but in January 2018 made a $600,000 offer, to which there was no counteroffer.

“As we got closer to mediation we felt our case had improved,” said Mitchell, whose side wanted $800,00 o $900,000 to settle, while the defense stuck at about $150,000 or $200,000.

During the pendency of the case, Dickenson’s husband passed away, and his executor assumed his place as co-plaintiff.

During a four-day trial before judge Shawn Bratton, Mitchell said the defense argument was “primarily that this happened at Grady, and they couldn’t tell how bad it was when she got to Landmark because it was a deep-tissue wound. They also said it was inevitable because of all the injuries and co-morbidities she had.”

Landmark also argued that it had just set up a new record-keeping system when Dickenson was admitted, and not all the staff knew how to properly log entries.

“Our response was that, up until she was discharged from Grady, her injury was stable and only progressed after she got there,” Mitchell said.

The key plaintiffs’ expert was primary care specialist David Seignious of Johns Island, South Carolina, while the defense put up testimony from Philadelphia vascular surgeon Aaron Blom.

During closing arguments, Mitchell said he suggested $2 million in damages, solely for Dickenson’s pain and suffering, and $50,000 for her husband’s claim.

On Thursday, he said the jury took about two hours to award $1.3 million to Dickenson and nothing for the loss of consortium.

In conversation afterward, he said jurors told him they’d been 11-to-1 for the plaintiff, and the majority of the deliberations involved deciding damages.

Landmark’s lawyers Benton and Battey were “fantastic to work with; they tried a great case and were very professional,” said Mitchell. “We were scared to death until the jury came back.”

Doctor & Hospital Negligence

When we seek medical assistance for ourselves or a family member, we expect the doctor, nurse or other medical professional to take the best reasonable precautions to protect our health and our lives.  When medical professionals fail to exercise reasonable care in the performance of their duties, people get hurt and even die.

No person should be harmed as a result of medical negligence or professional negligence by hospital clinics, doctors, nurses, dentists, and other medical professionals.  If you or a family member or a loved one has been injured as a result of medical malpractice or medical negligence, our team can help.  Having an experienced medical malpractice lawyer who knows how to best discover evidence and ask the right questions is essential to recovery in any medical malpractice case.

If you or a loved one has been injured due to the negligence of a medical practitioner, contact Giunta Law today!

[fandomlovingfreak]

Ghostbusters Masterlist - FandomLovingFreak

*Lemon chapters BOLDED*

Series:

Before Summerville / Summerville (3/3 chapters completed)

(Search “ #BeforeSummerville ” or “ #Summerville ” in my profile)

Before Summerville, Before Summerville II, Summerville

- If He Never Left ** (in progress)

(Search “ #If He Never Left ” in my profile)

Ch1. Ch2. Ch3. Ch4.

- The Sun The Moon and The Truth (in progress)

(Search “ # the sun the moon and the truth  “ ,  “ # the sun the moon and the truth series  “ , “ # chicken soup & saltines “ ... )

The Sun The Moon and The Truth, Chicken Soup & Saltines, Old-Fashioned Names are the Best and Sweetest

- It was Written on Their Wrists in Stars (in progress)

(Search “ # It Was Written on Their Wrists in Stars “ and “ soulmate fic ” in my profile)

Ch1. Ch2. Ch3. Ch4. Ch5. Ch6. Ch7. Ch8. Ch9. Ch10. Ch11. Ch12. Ch13. Ch14. Ch15.

one shots:

Whatever You Want to do is All Right With Me (Eloping fic)

He’s Not the Jealous Type (Fake Dating Fic, Peter x Reader Platonic)

I’ve Got a Crush On You (Fake Ghost to catch the Hot Ghostbuster Fic)

Series:

— Instant Dad (in progress)

Ch1.

one shots:

Please, Universe (Getting together fic)

The Perfect Man for Me (Taking SO to a Family Event Fic)

When I See Your Face, I See My Future (proposal fic)

[fandomlovingfreak]

FandomLovingFreak’s Masterlist

**Former username WeasleyTwinsandDraco**

AO3 Link I WattPad Link I TikTok

Lemon chapters and one shots are bolded

***

I do not give permission for my work or any of its included components to be copied, translated, or reposted - even with credit.

***

George Weasley

Series:

( search “ #You Can’t Marry a Malfoy ” or “ #Mrs Weasley Dear ” in my profile)

- You Can’t Marry A Malfoy ** (12/12 chapters, Completed)

Ch1. Ch2. Ch3. Ch4. Ch5. Ch6. Ch7. Ch8. Ch9. Ch10. Ch11. Ch12.

- You Can’t Marry A Malfoy: Alternate Story * (1/1 chapters, Completed)

- Mrs. Weasley, Dear (sequel to You Can’t Marry a Malfoy) ** (in progress)

Ch1. Ch2. Ch3. Ch4. Ch5. Ch6. Ch7. Ch8. Ch9. Ch10. Ch11. Ch12. Ch13.

One Shots:

- Shaking Letters (Proposal Fic)

- Toy Broomstick (Dad!George Weasley)

- He Got Better, I Swear 

Fred Weasley

Series:

- Take Two **(in progress)

Ch1. Ch2. Ch3.

One Shots:

- When The War Ends

Charlie Weasley

Series:

(Search “ #Incidentally In Love ” in my profile)

- Incidentally In Love ** (in progress)

Ch1. Ch2. Ch3. Ch4. Ch5. Ch6. Ch7. Ch8. Ch9. Ch10. Ch11. Ch12.

Bill Weasley

One Shots:

- Fang Earring

Remus Lupin

Series:

(Search “ #Healing His Heart “ in my profile)

- Healing His Heart ** (in progress)

Ch1. Ch2. Ch3. Ch4. Ch5. Ch6. Ch7. Ch8. Ch9. Ch10. Ch11. Ch12. Ch13. Ch14. Ch15. Ch16. Ch17. Ch18. Ch19.

Regulus Black

Series:

(Search “ #Glacial Passion ” in my profile)

- Glacial Passion ** (in progress)

Ch1. Ch2. Ch3. Ch4. Ch5. Ch6. Ch7. Ch8. Ch9. Ch10. Ch11. Ch12. Ch13.

Sirius Black

Series:

(Search “ #Christmas with the Marauders “ in my profile)

Merry Christmas, Baby

Sebastian de Poitiers

Series:

(Search “ #Summoned ” in my profile)

- Summoned ** (in progress)

Ch1. Summoned Ch2. Under the Eye’s of God

Egon Spengler

Series:

Before Summerville / Summerville (3/3 chapters completed)

(Search “ #BeforeSummerville ” or “ #Summerville ” in my profile)

Before Summerville, Before Summerville II, Summerville

- If He Never Left ** (in progress)

(Search “ #If He Never Left ” in my profile)

Ch1. Ch2. Ch3. Ch4.

The Sun The Moon and The Truth (in progress)

(Search “ # the sun the moon and the truth  “ ,  “ # the sun the moon and the truth series  “ , “ # chicken soup & saltines “ ... )

The Sun The Moon and The Truth, Chicken Soup & Saltines, Old-Fashioned Names are the Best and Sweetest

It was Written on Their Wrists in Stars (in progress)

(Search “ # It Was Written on Their Wrists in Stars “ in my profile)

Ch1. Ch2. Ch3.

one shots:

Whatever You Want to do is All Right With Me (Eloping fic)

He’s Not the Jealous Type (Fake Dating Fic, Peter x Reader Platonic)

I’ve Got a Crush On You (Fake Ghost to catch the Hot Ghostbuster Fic)

Ray Stantz

one shots:

Please, Universe (Getting together fic)

The Perfect Man for Me (Taking SO to a Family Event Fic)

When I See Your Face, I See My Future (proposal fic)