#Bobby Dunbar

[morbidology]

In 1912, four-year-old Bobby Dunbar vanished during a family outing to Swayze Lake in Louisiana, igniting a nationwide search. After eight months, a boy resembling Bobby was discovered in Mississippi with a traveling handyman named William Walters. Walters asserted that the child, who was named Bruce Anderson, was the son of Julia Anderson, a woman he worked for. He claimed that she had given him custody of the young boy. Despite Walters' and Julia Anderson’s claims, the Dunbar family insisted the boy was their missing Bobby.

The case took a dramatic turn when the court sided with the Dunbars, and the boy was handed over to them. Raised as Bobby Dunbar, he grew up in the Dunbar household, but questions about his true identity persisted for decades. These doubts were finally addressed in 2004, when a DNA test was conducted on Bobby Dunbar’s son, Bob Dunbar Jr., and a relative of the Dunbar family.

The results revealed no genetic match, confirming that the boy found in Mississippi was not Bobby Dunbar. The whereabouts of the real Bobby Dunbar remains a mystery today,

[theking-mustdie]

how it feels to be a teen wolf fan in the year of our lord 2024

[llavender]

Also, Bobby Dunbar's family was wealthy and influential

Bruce's mother, Julia Anderson, was poor and single. They essentially stole a poor child from his family to replace their own

This is so strange. Like they didn’t know their own child? 

[callmebrycelee]

I get having personal/religious beliefs, but Rockmond Dunbar leaving the show really deprived us of more Michael/David/Bobby team-up shenanigans. Imagine all the crime they could’ve fought together.

Athena’s Angels.

[fandominstability]

I hope ABC convinces Rockmond to come back, I miss him and Bobby being fucking idiots together, feat. David

[thatsojasminesworld]

13 years of teen wolf

[clementinecalls]

I need everyone to know that this is my favorite scene as of present

Corey having this impact on Liam, Coach being like “yeah I get it😏” ????????! The way Liam looks at Coach after he says it😭

[badmovieihave]

Bad movie I have Kiss Kiss Bang Bang 2005

[adoribullpavus]

teen wolf as text posts (21/?)

[ruleof3bobby]

MAGGIE MOORE (S) (2023) Grade: C

It didn't find it's footing, wasn't sure if it wanted to be a dark comedy, crime, or a rom-com. The cast is good & Jon Hamm & Tina Fey do have good chemistry from their 30 Rock scenes.

[wtfwhy]

SPOILERS!!!!!!! Unorganized Teen Wolf movie review basically

I actually... really liked it??? Like it's not that good but I enjoyed watching it! A lot of parts were genuinely funny and the plot was like passable! (Quite a few unanswered questions tho)

There were some things I found confusing or weird, like idk wtf Harris had against the pack (his reveal was funny af tho) and a few other things, but they were mostly just because of the lack of Stiles, Kira, and and Isaac

The Kira 'stand in' girl (I think her name was Hikari??) Was pretty cool, obviously sucks that Kira herself wasn't there but that's a whole different conversation 👀

Honestly, as a huge Stydia shipper I was hoping they wouldn't break them up and just have him like watching their kids or something (I think I saw a funny post of that once) but they way they broke them up? Not actually that bad? Like Lydia left him because she loved him and I was just worried that they wouldn't love each anymore so I'll take what I can get! Tho not expanding on the dreams she was having is a bit of a lost thread, but since it wasn't really apart of the main story, I'll let it slide lol.

I did not like how they just pretended Issac didn't exist, that was pretty fucked up. Like I predicted that Scott and Allison would get back together by the end, but damn rip Isaac for real 😔

Anyways, about Derek's death... Honestly, since I wasn't taking the movie that seriously in the first place, I didn't really feel anything about Derek dying? Like don't get me wrong, I love the man and if they killed him off in the actual show I'd be bawling, but the movie to me is just a silly little suggestion to canon than law. There's real canon, fanon, and the third secret canon that lives inside my brain ☺️

But like, I don't really care that he died in the movie, I was just surprised tbh. Rip king you deserved better 🙏 (I don't understand how he just like, disappeared, after being burnt?? Like maybe I didn't notice it but his body was gone like huh???)

I never liked Scott and Malia together so I'm glad they broke up, but Malia and Parish was weird as hell and was just so random. I think that ever since Malia and Stiles broke up the writers just couldn't figure out what to do with her? Which is a total shame cause Malia is queen. But none of her relationships post stiles make sense or work out so rip (I do love me some stlia on the side ngl)

Jackson was GREAT, funny af and just like how I would imagine the redeemed adult version of the asshole from season 1, 10/10

Lots of missed opportunities for interactions, (like Liam and Mason) but it's only a 2h movie so I get it

I thought both Scott and Allison were great, tho I'm not sure how I feel about her staying alive afterwards. Plus I always shipped Scira more but you know 👀 love that Scott was the same great guy ☺️ when he hugged Chris I literally cried it was so cute 🥺

UNEXPECTED TWIST for me!!! I came into the movie, very lightly shipping Chris and Melissa, and came out of the movie shipping Chris, Melissa, and Peter 😳 I didn't expect that! But they were such a cute trio omg it was amazing

Eli was cute and I don't think that he was that much like stiles, but there obviously similarities

And Jackson and Lydia brotp??? Absolutely!!!

So that's basically it, I'll give this a solid 6/10

PS: saw some people legitimately mad that sterek didn't happen, fuck those people. You are not allowed near my blog...unless you want to send funny hate anon that I can roast

(like one person brought up the whole, sterek was "queerbaiting" thing, which is such bullshit. They literally never fucking liked each other, even platonically. I would say by the end of the show Derek just barely tolerates Stiles. The real queerbaiting was the writers being to scared to confirm that Stiles was Bi because it's ridiculous how many scenes pointed to that, especially in seasons 1-3 smh)

I might take about more later but it's bedtime!!!

[kitkatwinchester]

WHAT!! AN!!! ENDING!!!!

LET'S!!!

F*CKING!!!

GO!!!!!

THAT is what I'm TALKING ABOUT!!!

THAT is the McCall Pack we know and love!!!

THAT is the UNBEATABLE TRUE ALPHA THAT IS SCOTT MCCALL!!! <3 <3 <3 <3

SCOTT IS FREE!!!

DEREK IS ALIVE!!!

PETER GOT HIS COMEUPPANCE!!!

EVERYONE IS OKAY!!! <3 <3 <3 <3 <3 <3

I took a while to react, so order of events, shall we??

I mean, it means you're gonna get the really long babble about Scott and the McCall Pack first, but I DON'T CARE, because it was AMAZING!! <3

The WAY they BROUGHT SCOTT BACK!!

Look.

When Kira and Stiles first ran in, I was convinced that they were gonna try to hit that romantic cliche and have Kira be the one that brings him back, especially after Stiles tried and Scott immediately hit him down (which, ow, my heart).

But then, they went with platonic/familial again, and in the BEST WAY, because it was F*CKING LIAM!! (Because, don't get me wrong, I LOVED Stiles saving Scott in 3x6, and you know I always love me some Sciles, but doing that again would've been a little cliche, so to change it up like that was PERFECT! <3)

And with that AMAZING PARALLEL with that AMAZING LINE!!

"You're not a monster. You're a werewolf, like me."

And it F*CKING WORKED, because OF COURSE IT F*CKING DID!!

Because that's his BETA. His LITTLE BROTHER. His CHILD. And he is reciting back to him the exact same thing that Scott said to him all those episodes ago.

And it GETS THROUGH TO HIM!!!

Like, I don't think you understand how much I LOVE THAT!! There are sooooo few shows and movies out there that truly understand how important platonic relationships can be, and Teen Wolf freaking NAILS IT!!

And BECAUSE OF THAT, Scott gets out, and he immediately pegs Peter, because he just KNOWS.

And the way that Malia backs up, because if there's anything the McCall pack has taught her, it's loyalty, and THAT is a betrayal.

And everyone in the pack tries to come to his defense, to get at Peter before Peter can get at Scott (especially Kira <3), but he tells them all to back off, because this fight is between him and Peter, and they both know it.

And then the FIGHT SEQUENCE. Scott trying so desperately to pull his punches, but trying so hard to stay alive, all while Peter is telling him that if he wants to win, he's gonna have to kill him.

But he DOESN'T, because killing him would be EXACTLY what Peter has been asking for and trying to prove, and that's not who Scott is.

And he's trying, and he's losing, and then it's F*CKING LIAM AGAIN!! Liam, stepping forward because his Alpha/Big Brother/Dad is in trouble, and Peter just RIPPING ONE at him to keep him at bay.

And the way that Scott and Liam LOOK AT EACH OTHER (there are so many meaningful glances in this episode I cannot <3 <3)!!! The way Liam looks so scared, but also so clearly angry and protective, and Scott sees that, and he gets back up, with a new strategy and new determination, because this isn't just about protecting himself--it's about protecting his pack.

It's about being an Alpha.

And then he's on the defense, and he's using his wits and strategizing until he can get the upper hand, and his pack is watching him in awe and pride, because THIS IS THE SCOTT MCCALL THAT EARNED HIS TRUE ALPHA STATUS!!!

And he WINS!!

Because he's SCOTT F*CKING MCCALL!!!

And then we get that LINE!!!

"You were never an Alpha, Peter. But you were always a monster."

And then that SHOT.

The lighting, the framing, the almost holiness--

You wanna know what's so special about Scott, Kate?

F*cking THAT!!

THAT RIGHT THERE is why Scott McCall is the best, and why no one can defeat the McCall Pack.

F*cking try us.

And then there's DEREK!

Derek, who we all thought was gonna die, who somehow...evolved?? And can turn into a FULL BLOWN WOLF now. JUST LIKE HIS MOM!!

Oh man, I can't WAIT to hear more about that, because that is so cool, and Derek's whole arc this season has had so many interesting moments, and I can't wait to see where they take that next.

And then there's PETER!

Peter, who finally gets the justice he f*cking deserves.

Not death.

Not Alpha status.

No.

F*cking prison.

F*cking EICHEN HOUSE.

With what we have now established as the worst person you would ever want to interact with in Eichen House for a cellmate.

He's not dead.

But he's gonna wish he were.

And THAT'S exactly how I like it.

F*ck you, Peter.

You f*cking deserve it.

And they did SUCH a good job of wrapping up all of the elements of Season 4 while still setting up for Season 5, and we got alllll these small little character moments and meaningful glances, and I am just HERE FOR IT!! <3 <3 <3

The Chris and Kate conversation about Allison, and what truly caused her death, and the fact that he still couldn't kill her, because it's still his sister, but he knows deep down, just like he said, that there's no more saving her.

The Chris and Scott conversation, where we find out Chris agreed to find and hunt down Kate with the Calaveras if it meant they would leave the pack alone, because he loves those kids, and he doesn't want anything to happen to them.

The little side hug and affectionate look between Scott and Kira, now that they're both finally safe and together again.

The meaningful look between Scott and Stiles, saying so much about how worried they both were, and how they know it's not the end of their struggles, but they're glad they're both okay and still here for each other, because that's what they do.

The way that Scott and Derek looked at each other in that silent conversation (also quick aside, LOVED Braeden's concern for Derek and excitement when he was alive), and with that little nod, acknowledged that they'll always have each other's backs, and they're both okay, and alive, and HERE, and they're grateful for it.

The hug between Stiles and Noah when Stiles and Malia finally make it back safely. The way Malia gets brought into the hug, even in all of her awkwardness. The fact that, as happy as Noah was to see both of them alive, he got the ultimate payback in the only way a Stilinski can by handcuffing his son to the desk. "Bring me back a slice?" XD

The fact that Kira GOT HER FIRST TAIL, and she got it from the obsidian that ultimately saved her life, and she's getting better and stronger and even more amazing by the second.

The reactions from absolutely everyone as Liam desperately tried to explain to Coach why they missed practice, with Coach not believing a single word they were saying, and Scott and Stiles dropping their heads down at the same time (I know where that gif is from now!!) because they wouldn't believe it either, but frankly, they don't have anything better.

The SMILES that Scott and Liam give each other (bonus points for Stiles's ever-present annoyance XD) when Coach tells them to make sure they look out for each other and have each other's backs, because YOU KNOW THEY DO!! ALWAYS AND FOREVER!!

And then last, but certainly not least, the fact that Lydia gave Parrish the Bestiary, and is gonna do everything she can to help him figure out what he is and what he can do.

Look. I said it before, but I am going to reiterate it.

With the writing, the storytelling, the acting, the cinematography, and just the general amazingness of that season, it is a VERY close second, and if it had just a FEW more Sciles moments that were higher on my "Best Sciles Moments” list, it would've won out as the favorite season, because holy sh*t was it AMAZING!

As terrified as I am for Season 5, because I KNOW the pack gets split up, and I DON'T WANT THAT GOSH DARNAT, I am also VERY excited to see all those little character moments and storylines and writing and acting and beautifulness develop even further--even if I have to get through a LOT of whump and angst to get there.

What a season.

What a ride.

Season 5, here we come (but...after I get some sleep lol).

As many gifs as I can fit, because there was soooo much beauty there and I want to express ALL OF IT!! <3 <3 <3 <3

(GOD I LOVE THEM ALL SO MUCH!!! THAT SEASON WAS SERIOUSLY SOOOO AMAZING, AND SOOOO WORTH THE THREE HOURS OF SLEEP I'M GONNA GET. XD <3 <3 <3 <3 <3)

P.S. This is a super random aside, but can we just appreciate that neither Scott nor Liam has seen Star Wars?? Oh boys. I love you both so much. 😂❤️

[nothingunrealistic]

“Billions” ends not with one man reigning supreme, but two titans shaking hands. Chuck (Paul Giamatti) and Axe (Damian Lewis) joined forces early in Season 7 and — despite a history filled with trickery and betrayal — remain loyal to the very end. Along with their devout team of stock traders and political savants, the duo takes down Mike Prince (Corey Stoll) and his bid for the presidency, before parting ways as friends. Chuck will continue working for the state of New York, while Axe is back behind the soon-to-be sleek desk of his hedge fund. For a series that began with promises by both men to utterly destroy the other, some fans may be miffed that neither star is crowned as champion. But for showrunners Brian Koppelman and David Levien, the “Billions” series finale isn’t all sunshine and rainbows. It’s an embodiment of what the series has been all along: a massively entertaining reflection of the way the world works. For every cheery, satisfied smile, there’s deeper meaning tucked within the folds. So IndieWire dialed up the co-creators to break down the ending, the final season’s big swings, and how they managed to fill “Billions” with so much beautiful music.

IndieWire: For the final season, when and why did you decide it would be best for Chuck and Axe to team up, rather than go after each other? David Levien: We felt like the real mano-a-mano thing between Chuck and Axe reached its fullness during the end of Season 5, where neither guy lost completely, but neither guy won completely. It was like pure victories and standoffs and grudging respect for the opponent who played you to your very end. Then over the course of the sixth season, as Mike Prince started to reveal the darker hues of his character and how he could be a danger, we realized we had a formidable enough foe that these others could team up against him. In a certain way, that’s the most fun because the barbing is still there, but they have a common cause. What did you hope fans would be left thinking about? Brian Koppelman: Probably in that Wendy [Maggie Siff] and Taylor [Asia Kate Dillon] leave, and Rian [Eva Victor] leaves. It seems to me we feel pretty good about the fact that they leave, and that Sacker [Dola Rashad] understands where Sacker needs to be. Scooter is a very important character to us. Daniel Breaker’s a genius, and Scooter says what he says to Prince [quitting to consider when and how their moral compass went awry], and he is going to do what he’s going to do. To us, we tried to get each of them a moment where the audience can think about what it means for their trajectory from this moment forward.

From the jump, the last episode leaves little doubt that Chuck and Axe are going to win. How did you decide on that approach, that tone, for the finale, rather than teeing up a big reversal or twist as in past seasons? Levien: If it were a season finale and we were doing this, then we could have dedicated half of the real estate toward the Prince side of the reversals, but we had to devote the other half of the real estate to the valedictories and the goodbyes. So we made the conscious decision for them to have this attitude, right from the beginning, that the outcome’s not in doubt. Basically, once they securely got Prince into Camp David without his phone, with no contact to the outside world, they knew how the rest of the dance steps were going to unfold. We didn’t want to drag that out and then have all these characters that we’d been with for seven seasons not get to have resolution on a character level. Koppelman: Two things: 1. If you’re watching the show, you know Prince ain’t winning. So to [make it appear otherwise] felt disingenuous to the audience. Between the penultimate and ultimate episodes each season, we could fuck with it, but this is the end, so they’re going to win. 2. I would say this, Ben: On a plot level, 100 percent, you’re right. We made the decision to let you know who the winners and losers are going to be. But there’s something else that’s been going on the whole time. The show has a lot of morality questions underpinning it, and so their souls are in peril for a lot of this episode. This is one of the tricks about the show, right? From Season 1, people viscerally bonded with this guy, Axe, because of his backstory and because of the corrupt forces that were after him. So viscerally, they hung with him, even though he let Donnie die and all this stuff. What we hope happens is that one asks oneself, “Why do I feel this way about this guy? What does that say about the world we’re living in? And about the value system we speak versus the value system that we actually feel and live? So Bobby Axelrod, for all this talk about freedom, where’s he end up and what does he say as his final line? [Axe ends up running Axe Capital again, and his final line is to his employees: “Let’s make some fucking money.”] So it’s working on this level, but it’s also working on that level. We have this thing about our work: People often misread it early on, but we’ve had a long enough run that eventually it lands. So, some people had to review “Super Pumped” on only five episodes, but if they watched the last two episodes, they would know that it was about something else. We accept all that. What we write is entertaining and some people want to indict us for it being entertaining, but we are interested in these moral questions. It’s in our work. It’s in everything from “Rounders” to “Knockaround Guys” to “Solitary Man” to “Billions,” even to “Tilt.” It’s just in there. Ultimately, we think people will figure it out, but we want to entertain, too. It’s important to us that it’s entertaining and that it’s not work.

These days, there’s so much to watch and so much emphasis on trying to get through everything. You kind of have to hope everybody processes not just what happens, but what it could mean, before auto-play pulls up the next show in their queue. We all need time to let stuff settle in, and the “too much TV” era doesn’t always encourage that kind of contemplation. Koppelman: It takes time. In doing this, you have a choice between spoon-feeding [points] to the audience and just choosing to trust they’ll appreciate them over time. The immediate moment we live in makes it hard. It makes it really hard. But I go back and watch shows all the time, and so does he, and so do our friends, and so do you. We all do it. Then, five years later, you notice something new and go, “Oh fuck.” That’s a great thing, and we’re comfortable [with it.] We made indie movies for a lot of our careers, so to us, the fact that we’ve developed an audience that’ll watch this shit is amazing and thrilling. Yeah, the plot is one thing, but the other stuff at stake matters as much to us, and we hope eventually it does to everyone else, too. Levien: There’s also just the mechanics thing of the audience learning how it happened. It should be very satisfying for them, even if they have a lean on which way it may work out. That’s something that we came to understand heavily when we were writing “Oceans 13” and working on it with [Steven] Soderbergh. Because that’s not a movie where you’re wondering if George [Clooney], Brad [Pitt], and Matt [Damon] are going to win or lose. They’re probably going to pull it off. But it’s like, “How are you going to get there? How are you going to turn the cards over to delight the audience?” Koppelman: That scene in “Oceans 13” when the guys are by the Bellagio Fountains — early in it, not the end — I remember George really talking about finding these little moments where you understood why it mattered to these guys. It was great. Hearing George talk out the way he thought about character has stayed with us for a long time. Within these entertaining things, you can find ways to land something significant — you hope.

Given the significance of music in “Billions,” how long have you known your final song was going to be “Take the Money and Run”? Koppelman: Did it work for you? It did. I thought it matched the vibe of the episode and leaves the audience on the upswing. Koppelman: That’s what we think, too. We think a lot about the music, and we wrote the song into the script. The two of us are sending songs and playlists back and forth all the time, and we’ve been like brothers since we were 15, so the resonance the songs have are similar for the two of us. It’s not that we thought of it so long ago, but when we thought of this song, the moment one of us said it to the other, it was like, 100 percent. There was no doubt. Levien: We can’t say we thought of it when we were making the pilot. It’d be very cool if we had, but we weren’t driving toward this the entire time. Koppelman: But it is always satisfying when you write them into the script and then it works as well as you hoped. It goes to the heart of this final season. We really were thinking about “Billions” obsessive fans this season. We decided that that’s who we are, and we wanted to make the show for folks who cared a lot about the characters, the world of the show, the language of the show. The show exists in a slightly canted world — even though we never cant the camera — and that song exists in that kind of space, too. So it all kind of felt like it worked together.

This may be a question just for me, but how often were you able to write songs into the script and actually get the music? Because the licensing, the budgets, all of that can be such a pain in the ass. Levien: We didn’t run into that problem. Maybe it was just an instinct thing, but we would write some big ticket songs into the scripts and then sometimes they’d be very obscure songs, so it tended to balance out. Koppelman: But also I would say right from the very beginning, we went to Showtime and said, “Look, we’re going to use music in a certain way. Let’s know going in how important the music’s going to be. Let’s have a music budget that allows us to take those shots during the year. We’ll manage it. If we’re going to hit the hard ceiling, we’ll call you way in advance.” And then they did a really cool thing. Not every network does this, but Showtime came to us and they said, “Any product placements you do on the show, we, Showtime, won’t take that money. You can use that money for songs.” Oh, wow. Levien: They said, “You can apply it to your show budget.” Koppelman: So if you saw a car on the show and were like, “That seems like a product placement.” Well, that’s the money that got “In the Evening” by Led Zeppelin in the show. So our post-supervisor would tally [the budget] and go, “Here’s where we are. Here’s what the product placements are covering. OK, it’s going to be really easy to use that U2 song.” Dave and I picked every song, so [our music supervisor] Jim Black didn’t have to worry about that, but what he was amazing at was the clearances. He built relationships over a long career and he expressed to people what music lovers we were. Then Jim would say to us, “Hey, to get this Neil Young song, if you really want ‘Old Man,’ you should write Neil Young a letter and I’ll get it to him. So we would write letters and they were earnest because we meant it. Levien: We were putting [these songs] in because they mattered to us, so it was easy to express that to the artist. Koppelman: We could describe to Neil Young, “Here’s what’s playing, here’s what’s at stake in this scene, here’s why we’re using the song. We think [our scene is] in the spirit of the song.” I remember doing that, and the next day they cleared the song for a very reasonable price. Then the music business noticed that when we would feature a song in a certain way, that song did well that week. Then some artists became fans, or their managers did. “Atlantic City” was the first Bruce Springsteen song we [asked for], and we heard that he was reading the script on vacation. He went outside his place, and he was reading it. Obviously, that’s nerve wracking, but then we got word back [that we could use it], and when I met him a couple years later, he told us that he and Patti watched the show on Sunday nights.

Among the big swings in the final season, the restaurant montage at the start of Episode 9 stands out. What were the origins of that? Koppelman: We had a suspicion that people might be moved by it, but it was beyond what I thought. That [montage] was written into the script. That song [“I’ve Loved These Days” by Billy Joel] was written into the script. Look, let me start from the fact that we’re two Long Island kids growing up, so that creates a certain association with Billy Joel and the way Billy Joel saw New York. We’d had that song saved for a while, for the last season, and Patsy’s is an incredibly important restaurant to us, so it’s got to start there. My dad started taking me to Patsy’s. My dad, who we dedicated the first episode of the season to, he passed away between Seasons 6 and 7. So Patsy’s matters a lot to us and what it means in New York. There are amazing stories about Sinatra and Patsy’s that are just mind-blowing. Levien: So we were intending to use it in a meaningful way, and we were saving it. Koppelman: It led us to think, “OK, this is a moment to just give a hug to everybody, to say goodbye to the show together.” That’s what it felt like, and that’s what that restaurant kind of feels like. While writing that episode, one of my son’s friends, his dad had just passed away very close in time to mine, and I went to this kid’s dad’s funeral. Then on the way home I was alone, and I went to Patsy’s and I just sat at one of these tables by myself and texted Dave from there. If you write something like [“Billions,”] it’s a part of you for so long. When he was writing this first novel years ago, before I was a writer, David said to me, “When you’re in a really good one, where it really feels like you’re connected to it, everything that happens in your life finds its way into the work in some way.”

[callmebrycelee]

HAPPY FATHER’S DAY!!!

[loudlylovingreview]

David Kirby: Whatever Happened to Bobby Dunbar?

He disappeared at the age of four on August 23, 1912 when he was on a fishing trip with his family near Opelousas and found eight months later in Mississippi in the hands of one William Cantwell Waltersand reunited, as the newspapers said, with his happy family. Well, some of the newspapers. One paper said the boy shouted “Mother!” when he saw Lessie Dunbar and the two embraced, while another…

[oh-great-authoress]

(Tags via @theasexualscorpio)

Wow.

🚒 911 rewatch 🚒