#IRVING i meant irving not burt

[aidenwaites]

The craziest thing about this first episode + not getting to see the outies is just the fact that like. Well obviously the Outies are, at least physically, okay. And we know they came back to work. And that's IT

[pikslasrce]

severance s2e2... hello .

[consultingfujoshi]

some thoughts wrt the two established "romances" in severance so far (burt/irving and helly/mark) inspired by @figmentof who pointed out how irving had to find out mark and helly kissed from the corporate video in s2 e1 and how he must have felt seeing his co-workers' love affair like portrayed like that, and how it ties into the queer narrative at play here which uses workplace dynamics and policies as very clear analogues for real-life prejudice against queer couples. I mean, just look at this:

it's not just documented, but celebrated. used as propaganda for how the conditions on the severance floor have improved. proof that the severed workers are happy. and how even though he is unaware of the sociopolitical meaning of all this, lumon is very not-subtly telling him that what he had with burt is inherently lower and less valuable than this.

irving doesn't even know homophobia exists and yet he is still affected by it, it still seeps into every corner of the way his and burt's romance progresses. burt is positioned as an unacceptable love interest from the jump. irv is actively discouraged at every turn from pursuing it. their friendship is viewed with disgust and apprehension from their coworkers. burt working in a different department that's hated by MDR. dylan himself not being homophobic in the sense he opposes their relationship because they're both men but his attempts to keep them apart still has a parallel sort of prejudice behind it and still ultimately has the same effect as if it WERE driven by homophobia. irving is made to feel perverse for wanting contact with burt. he's told this is for his own good.

and then, just as they manage to overcome that immediate resistance from their peers and escape to a place where they can explore this blossoming romance on their own terms, burt retires. for all it matters to irv, he's dead. and then irving is given the option to live the rest of his life with grief that will never heal, or kill himself too, because there is no reality where they get to be together. that's just the way things are. of course they wouldn't get to be together. he was unreasonable and childish for ever hoping that could happen. this is just the way it goes for innies. he's told to get ahold of himself and not make a scene.

but the thing is, the standards are not the same for all. a heterosexual romance gets upheld as the shining example of success and fulfilment for the severed employees, whilst a homosexual romance is ridiculed and invalidated, and written off as something that was simply never meant to be. and even more importantly to irving, a heterosexual romance is APPROVED OF by lumon, and by extension, by kier. irv held back from allowing himself to even call his and burt's relationship a romance, because his god had told him it was wrong, he followed the handbook, thinking this was what kier wanted, and then finding out after suffering the worst heartbreak imaginable because of it, that this WASN'T EVEN TRUE. it's simply just that someone like HIM doesn't get to have something like this. his love is not the kind of love god wants. he does not approve of irv's love. cynical and manipulative though that approval may be (even within the context of the corporate video, the helly/mark romance is only being celebrated to further the narrative that lumon care for their workers, but the point still remains that it was THEIR romance specifically used to suit this end), when your entire life has been in pursuit of that approval, it must be devastating to learn it was never on the cards for you.

he and burt even used the fact kier met and fell in love with his wife in the same circumstances as them to justify this to each other - and they were RIGHT, god does approve of falling in love with your coworkers - this simply just doesn't apply to them specifically. and if irving needed any more proof that he no longer has a place at lumon, that he's better off not existing at all than existing with this pain that cannot be remedied, pain that won't even be acknowledged for what it is, a symptom of a sickness which plagues the entire severance system, pain that he is simply expected to choke down and get over - this is that proof.

and that's the POINT. they're TELLING us that this is unjust, and there's a double standard. they're using the ways the innies experience romance and the difference in lumon's reaction (lumon being the collective of all the management we've seen, lumon as a singular entity) to burt/irving vs helly/mark to comment on how queer people are not afforded the same level of respect or validation IN REAL LIFE, for their attachments, their love, their pain, their suffering. it is NOT just incidental that irving's romance is with a man. it would not WORK if his love interest was a woman. the POINT is that they are both men and how that puts them at a disadvantage, even if they aren't aware of the prejudices of the outside world, even if they don't TECHNICALLY apply on the severance floor, there are very clear analogues which still end up oppressing them in equivalent ways that they would be suffering if this were a normal workplace in the outside world.

it genuinely sickens me to my stomach that even in a world so divorced from reality and the sensibilities of regular society, a queer couple is still made to suffer and feel inferior in a way that perfectly mirrors their real-life counterparts. how they will never, EVER be allowed to exist in a world where their love could thrive freely and uninhibited - they never get to taste the joy our world has to offer people like them, but they are still somehow subjected to all the pain it has to offer them regardless. it's such horrifically devastating writing. it makes my skin crawl. I can't stop thinking about it

[athetos]

Some thoughts from severance s2e3, and the season in general:

I 100% assumed the reason the goat people were asking to see their bellies was to see if they had belly buttons. Since the prevailing theory is that the goats are for cloning purposes, i figured they wanted to make sure they weren’t clones (clones not having belly buttons because they weren’t birthed/have need for an umbilical cord). If we take the pouches line at face value, I’d guess that they were told a rumor that MDR had pouches, to sow division and fear between the departments (like the fake uprising told to MDR about O&D, and vice versa).

The Export Floor. The fact that O&D used to deliver things there themselves, but then a courier was used. My theory is that someone saw something there they shouldn’t have. I don’t know how o!Irving knows about it, but I’m not here to discuss that right now. What I want to talk about is the name. The obvious one is exporting goods (or even ideas) to other countries, and this could simply mean it’s where stuff made by O&D gets sent up to the ‘outtie’ world. But there’s another possibility - export as in transferring data to another software/format. I think it’s this meaning that is critical, and has big implications for Gemma/Ms. Casey. They could be transferring the data MDR has refined to her chip, or in some way or another, working on “Cold Harbor.”

I am very firmly in the ‘that’s Helena’ camp now. I don’t think this is in character for Helly, as the extremely awkward conversation in the hall with Mark as well as telling Irving they ‘got him’ sealed it for me. I’m fairly certain that management knows it’s Helena; after all, they don’t activate her chip, although I won’t rule out she paid someone off/threatened them to do it. That said, I like to believe she compromised with the board to go down as herself, instead of as Helly. This would also mean that she can encourage Mark to go places that Lumon specifically wants him to see, instead of ones that are much more confidential. However, I think she’ll end up siding with the innies by the end, simply because the connections she will forge with them will be the only genuine and loving relationships in her life.

I didn’t mention this before, but i’m pretty sure Irving knows that Helena/Helly is lying, because he was the only innie who spent enough time outside to know that it was winter and she couldn’t have been gardening. He distrusts her, that’s why he only told Dylan about Burt.

Upon immediately seeing Dylan’s wife I assumed she was a hired actress. However it genuinely appears to be her (granted, I’m faceblind, but the voice sounded the same when she was with his outtie later in the episode). Lumon clearly thinks that this perk will keep i!Dylan in line, but I think it might backfire spectacularly, or at least cause significant drama - his wife is going to fall in love with his innie. Think about it, if their marriage is going through a rough patch, and she gets to spend time with a version of her husband who lacks all of the assumptions/grudges he has against her - basically starting all over… yeah, it’s gonna get strange. The way she talked about it to o!Dylan was like she was hiding it from him, almost like it’s the beginning of a potential affair…

(I also am still of the mind that either she or one of their children is terminally ill in some way, hence the benefits/insurance that Dylan is always looking after. He also complained a few times about having sore arms and jokes he works out. I feel this might be related somehow? But not sure…)

I stand by my theory that the board is actually the motherboard and is Kier’s (and his successors?) consciousness, or something of that ilk. The board was referred to as “it” in this episode (also “they”, but I believe that was meant as in plural, including Natalie). So I think we actually don’t have any proof that it’s multiple people or even people period. It will be like the export double meaning I mentioned earlier. Again, the board is hot on Mark staying and working because it wants him to finish Cold Harbor so it can begin the revival of Kier’s family (the rotation could potentially mean their minds being uploaded. Or something of that nature.)

No big theories or details to chew on here, but things that got big reactions from me: the Black Kier portraits I was expecting but still not prepared for. I desperately want to see Natalie’s portraits that she received; were they all biracial, all women, or both? The idea of genderbent biracial Kier family is killing me. This is like Hamilton (I think). Cobel definitely was going to die if she went into the building, she made the right call, I was terrified that her car might explode as she left. Phew. Next episode is going to be a roller coaster, I can tell. Shocked that he’s starting reintegration so soon but I’m here for it. Worried that Devon is going to get murdered. And I’m waiting for Cobel to get hunted down by Mark or for her to willingly seek him out as she realizes this is her only chance left to… do whatever the fuck it is she wants to do.

[bugsongs]

it's interesting that burt and irving describe the "kier taming the four tempers" painting as calming, when it's dark and violent, and later when looking at the painting of kier standing atop a beautiful mountain vista it makes them nervous.

i think it says something about the way the severed floor is so violent and yet ordered in a way they can understand, whereas their innies have never actually seen nature and an open vista implies a kind of freedom and possibility they're never allowed to have, or even to contemplate, really.

irving says the mountain view makes him nervous because "[kier] could slip" and i think that's what it boils down to: lumon is so rules and protocol and punishment -oriented, and anything outside of lumon is unknown (and not meant to be known by innies) and thus is scary or unsettling to them.

[sweethangman]

i think it's so easy for irving to love. irving cares about people so much. he reaches out to helly during the ball game. he understands how she felt when she woke up, he felt the same. he connects with burt over talking about paintings and tote bags. he stays in part because dylan asked him to, because he knows that dylan wants him to. he tries to warn mark about helena, he tries to keep him safe. irving cares about the people he loves so much.

and it killed him. but i think he didn't mind that too much, if it meant getting helly back.

[gun-chucks]

losing my mind my mom started watching severance and she goes "im on the ep where the guys friend retired" and i go "oh petey" and she goes "no, the old guy" SHE MEANT BURT AND IRVING. FUCKING HELLO.

[redleavesinthewind]

hi pigeon so im watching severance and thinking abt your red colour post again and I'm specifically watching the version someone cut together of just the outie scenes and then just the innie scenes. and I realised that there's colouring of different scenes even outside of the work place that fit ur theory for example marks house, being a lumon funded estate, is very modernist and in the interior is quite cold with mostly whites blues and blacks. but Devon and rickens house is super warm with dark browns and oranges and stuff, showing how theyre like. Opposite Worlds and the life of ricken and devon is so different and alien to life at lumon but also marks own haunted grief-filled life. but also in the very first episode Mark goes to the "dinner with no food" wearing a red sweater when everyone else is in very muted blues or greys which I think is interesting considering he's the most out of place in that group. so the colour theory extends to the outie life as well. AND one last thing, Irvings paintings of the elevator is to the reprogramming floor I think? I can't remember what it's called but it's interesting that that's the only thing he can remember from his innie worklife and also the painting has a distinctive little red light above the elevator door. and that's the place that Ms casey is sent when she's made a huge mistake and is being "dismissed" or something, and presumably Irving has also been sent there so it's something that happens to you when you're EXTREMELY deviant and the break room isn't enough to punish you.... and it's got a little red light as an arrow pointing downwards and idk I may be overthinking it of course but it's all so interesting to me I love this show. Sorry for the uber long ask lol

aaahh don’t apologise for the long ask, but yes all of this!!! i didn’t catch mark’s red sweater, but sooo true he is out of place. but also speaking of colours i don’t think i ever told you, and i didn’t make a post about it, but i actually gave every colour that’s prominent in the show a meaning! so we have red which is of course out of place, blue which is lumon/work (their keycards, mrs. corbel wears blue, also, as you said, mark’s house is blue and it’s provided to him by lumon), green is unity/family (i associate devon with green, the macrodata refinement floor is green, burt and irv in the plant room), white is secerance (the hallways on the severed floor), and then there’s orange and brown, which are the most interesting ones, cause i think they stand for both rebellion and subjugation, which are two opposites that go hand in hand. like, you have ms. casey’s room, which is very brown and green, and i think that’s because lumon tries to force everyone to feel at ease there, but it is mainly used as a subjugation technique. same with the paintings on the severed floor, they’re meant to manipulate/keep everyone subjugated, and they’re very brown, however the one depicting the coup also has orange elements which is where rebellion comes in. also, of course, ricken’s book is orange, and his and devon’s house is more warmly brown than ms. casey’s room. (all of this is just what i remember from my first time watching it, it could be off because it’s been a while)

now, it’s funny that you mentioned the reprogramming room, cause what i assigned with black is the unknown. irv doesn’t know why he has black paint under his fingernails and doesn’t know why there’s black ooze in his dreams, and no one knows what’s in the reprogramming room, but i had a very interesting conversation with a friend of mine (hiii tim @dykebonny we’re talking severance) who’s a big cosmic horror fan, who raised the theory that there’s something otherworldly behind that door. now, i know that’s going into theory territory and i don’t even know if i like it (it’s fun to play around with though) and that gives a whole new potential for the red light cause what is there that’s more out of place in the world than something that isn’t from this world. but like i said this is wild speculation but it’s fun to think about

anyway yeah i might actually make a proper post about all of this when i’m rewatching severance before s2 comes out, but yeah. the use of colour in this show is just fascinating

[lumonrecycles]

Ok, after just starting the scene where Devon goes for coffee after a contraction and thinking about how very odd it all is, and trying to fit it with my theory that she is a babysitter. Maybe she’s a spy, she knows Ricken is an Eagan and is a sleeper agent and that’s why she is so into gabby and wants to go poking around over there. It still explains her being way over tolerant of Ricken being weird. Or maybe she’s being held hostage and wants info to help her and mark escape?

Her answer, during labor, to I think lumon might be up to something, from mark, is who have you been talking to?

And she exclaims during a contraction, why do people do this? Weird.

At the birth when mark is flashing back Ricken say she did so good, I’m gonna pass out. Who is he talking to? Alexa would know that, why tell her she’s the doula.

After hellys return from the hospital why is mark there? Why isn’t it someone more important and qualified if not that they are observing these guys reactions.

When asked why she sent ms Casey to monitor Helly she says the light of discovery shines truer upon a virgin meadow than a beaten path. I’m trying something new with Ms Casey. Bc Ms Casey’s innie is so young? Or bc this is a new tactic she’s using being someone mark knows on the liaise to his inside?

Now Ms Casey is wearing black/grey/white. She was wearing blue, and red.

How tf does Ms Casey know irv cares where Burt is?

Okokok. Burt telling of the joke theory that mdr have punches for their larval young, who will eventually eat and replace them?!? This is def alluding to the Eagans dusties lying dormant in at least in mdr. Maybe mdr are dusties and o and d are regulars? Dylan calls them duplicitous snakes to a one. Why would there be such beef between dusties and non dusties?

Is this Romeo and Juliet relationship meant to mirror this one more than just superficiallly?

Why is Ms Casey so scared mark and Helly got hurt on the mental health walk? Who has she lost before and what happened to them?

Upstairs wouldn’t look kindly on this, says graber to cobel, in the same convo where they make it apparent it is his job to surveil mdr. Which means, on top of them not knowing about the hanging, that nobody is watching these guys like they are watching mdr. Or, if they are, they are being just as secretive about it.

I still can’t get over that line. I thought I was being trolled the first time I heard it. I was agog. Bonded by the spirit of industry, just like these two lovebirds.

Maybe it’s an Eagan by birth vs Eagan by revolving thing?

[pandemonium108]

THAT IS ONE OF THE BEST SEASONS OF TELEVISION I HAVE EVER WATCHED I FUCKING HATE IT HERE THAT WAS SOSOSOSOSO GOOD OHHHHHHH MY GOD AAAAAAAAAAAAAAAAAAAAAHHHHHHHH I DON'T HAVE ANY COHESIVE THOUGHTS YET BUT. IRVING IN-EVERY-FUCKING-UNIVERSE BAILIFF I LOVE HIM AND BURT SO MUCH IT MAKES ME SICK IT'S AWFUL IT'S SO FUCKING TRAGIC BUT IT ALL IS (LKKE DYLAN. OH MY GOD DYLAN. HE WAS SOSOSO RIGHT FOR BITING MILCHIK THAT ONE TKME OH MY GOD I ACTUALLY LOVE DYLAN SO MUCH) AMD HELLY?????? LIKE I FIGURED NOT KNOWING ANYTHING ABOUT HER OUTIE MEANT SHE WAS IMPORTANT BUT OH MY GODDDDD (I SHOULD'VE SEEN HELLY'S THING COMING TBH) BUT MY THING IS WHY DID MS. COBEL/SELVIG/WHOEVER PUT SO MUCH EMPHASIS ON MARK?? LIKE WITH HIS SISTER AND BEING HIS NEIGHBOUR N SHIT (COS THEY'RE IN LUMON HOUSING AND ALL THAT) LIKE I KNOW IT SEEMS LIKE HELLY'S ENDING UP BEING THE UBER CHOSEN ONE OF THE SERIES BUT IDKKKK (<- DELUSIONAL) ALSO I HATE MILCHIK WITH EVERY FIBER OF MY BEING I HATE HIM SOSOSOSOSO MUCH LIKE AT LEAST COBEL/SELVIG HAD SOME SORT OF TRAUMA OBSESSION SHIT WITH KIER THAT GAVE HER SOME SORT OF EXPLANATION FOR BEING A PIECE OF SHIT (EVEN IF IT ISN'T DEVELOPED YET REALLY) BUT MILCHIK????? LIKE HE LITERALLY HAS NO REASON TO BE SUCH A DICK BUT HE IS AAAUGHHH AND OH MY GOD IT WAS SO FUCKING DELICIOUS SEEING EVERYTHING CLICK INTO PLACE FOR MARK AT THE END OH MY GOD THAT WAS THE SMARTEST SEASON OF TELEVISION EVER THAT WAS FUCKING INSANE THAT WAS AAAAAAAAAAAAHHHH I NEED TO GO LIE DOWN

This is the most beautiful thing 💛

I’m DELIGHTED you enjoyed it. I need to rewatch it, it’s so unique and I have so many questions and I felt EXACTLY like this when I watched through it, it’s so good

[palamedes-top-nerd-facts]

@cassievanlauritzen

I'm just going to respond to you like this for the sake of convenience instead of splitting my response into separate replies. Anyway, here we go:

Of course!! I haven't been in the tag or interacted with the fandom, so I feel like I could be stating the obvious and stuff that everyone has already figured out since season 1, or I could just be overconfident and off, but basically the main mystery has been what the work they’re doing on the severed floor is, and I feel it’s been confirmed that it’s resurrection in some shape or form. I say in some shape or form because it’s possible that it’s not True Resurrection. One of the questions from season 1 was if Gemma had actually really died in the accident or not or if some other shenanigans were going on, but it was just seemingly confirmed in the last episode that she really had during Mark’s talk with his sister. I’m taking that confirmation at face value because the other question of season 1 was why Ms. Cobel was/is/was so fanatically dedicated to Lumon to a religious extent and what her deep fascination with Gemma and Mark's interactions was about. It’s midway through the first season when we first see a breathing tube at her Kier shrine with what appears to be her mother’s name on a medical tag attached to it, and we see it again when she’s clutching it in grief in the second last episode after being fired. She was so invested because she at least seems to strongly believe that Lumon is working on something with the capability to resurrect people, i.e., her mother. We now also know based on the very end of episode 1 and episode 2 that what Mark does in MDR is directly tied to the process of fully resurrecting Gemma and that's why he's the only one necessary for and so crucial to this project. The others are expendable and possibly only there to create a “normal” work environment so that Mark will continue to do this work. All of this is done on the severed floor to keep this knowledge from the general public. If it proves completely successful, it’s probably only meant for the Eagans so that they can maintain power and preserve their legacy, but I'm sure they've also promised it to a select few that are loyal to them, like Cobel, whether or not they actually intend to abide by that promise. I think the biggest mystery that remains to me is why Irving is investigating Lumon, how he’s seen the elevator that Gemma was on, and if it’s all related to his father. Was his father possibly an early failed test subject at Lumon or something along those lines? Also, while I’m rambling, when Mark eventually learns of this, will he be tempted by the idea of bringing Petey back? Either way, I think how they'll manage to reintegrate and deal with these revelations is the biggest question now. Other than the goats and what Optics and Design do. I think Burt might not be too far off when he said they're making supplies for the executive wing. And the laminated cards seem like they could be instructions on how to subdue someone… 

This is all to say, I think it would be funny if the resurrection process involves larva offspring eating and replacing their parent and that Burt's joke was actually foreshadowing and that’s also what the laminated cards are about.

Well, hope this was something.

I've said this elsewhere, but at first I was kind of surprised that they've already really revealed/confirmed most of the answers to the main mystery in Severance so early on in season 2 and that it's really now about how the characters will bring things to a resolution more than anything, but the more I thought about it, the more the pacing made perfect sense and felt right. We were already given more than enough to go off of by the end of season 1 that prolonging the mystery might have just ended up feeling tedious, and they're thankfully not just simply trying to reproduce what was effective in the first season.

[rescue-ram]

Name Meanings in Severance

Some of these are obvious, but I love name meanings and similar so posting for posterity...

Kier means dark and Eagan means fire, so if you were unsure if he was literally Satan before, be certain.

On a similar note, Lumon means light, Helena means shining light, and Lucifer means 'lightbearer'. On a related but hopefully less Luciferian note, Eleanor, the name of Devon's baby, is a variant form of Helena. Helly's (fake?) last name of Riggs evokes a "rigged system" or game to me.

Mark is named more for the sense of being the "target" of a scam or con, and his last name Scout is obviously evocative of investigation. I think his sister Devon was named more for the unisex tomboyish vibes then any deep meaning. Same with Ricken- his name has that too special/slightly fake quality that suits his vibes, though Hale can mean both "healthy" or "hollow".

Dylan and Irving were probably named more for vibes than meaning as well- Dylan has a very youthful vibe, especially when contrasted with an old fashioned name like Irving. But they do have interesting contrasts in their name meanings- Dylan relates to the Welsh god of the sea (hunting eels anyone?) while Irving means fresh water. Their last names, George and Bailiff, don't seem to have any special significance, meaning farmer and, well, bailiff/officer/manager.

Burt is another light themed name, meaning bright. His last name, Goodman, has an obvious meaning.

Harmony has an obvious meaning, that in context evokes balancing the four humors in the Kier cult. Cobel, meaning rock or famous, sounds very similar to the mythical creature called a kobold or kobalos, which is a sort of hobgoblin or household spirit with an ambivalent nature. Her fake last name of Selvig means seal-cove and evokes selkies, shapeshifting seals who can remove their skin to appear as a woman and marry.

I think Milchick is another vibe name. It just sounds like a substitute teacher or something. It means milk. Same with Graner- the name just sounds kind of scary.

Peter means rock, and Kilmer was a potter's surname, relating to kilns, but while Petey might be meant to evoke a foundation for the start of Mark's journey to the truth, I think Kilmer relates more to Petey being killed then anything else.

There's a few interesting meanings in the Eagan CEO names: Ambrose means honey or sweet. Myrtle is a tree sacred to Venus, sometimes identified with Lucifer as the morning star. Baird means poet. Gerhardt means brave. Phillip means lover of horses, while Pip mean a small seed, and is the name of several variants of apples. Leonora is another variant of Helena/Eleanor, and Jame is an unusual version of James meaning usurper.

Gemma means gem, something precious, and Casey means watchful.

Finally, Angelo obviously means angel, and his wife Gabriela was named for the angel Gabriel, meaning strength of God.

EDIT TO ADD: The closest meaning I could find for Reghabi is open minded and generous!

[vickiabelson]

Stories, stories, and more stories, one better than the next, all fantastical! Peter Riegert exceeded my high expectations and that’s an exceedingly tall order.

Somehow 2 hrs and 45 min flew by in an instant, yet at the same time, we got to know so much about Peter, his life, his work, his thoughts, his heart, and his art. 

From the Bronx boy playing stickball to marching with Martin, who had a dream, to an underachieving student, teacher, and waiter, Bella Abzug, to improv, War Babies to Peter’s first resume and headshot––hysterical story! From Off-Broadway, a Marx Brother, to Mamet, aligning lives and love with Bette Midler, Mash, Coma, to the game changer, Animal House, how he got it, so many stories from there to here… Bette, F. Murray Abraham, Tom Matheson, John Belushi,  Karen Allen, Mark Metcalf, Chilly Scenes of Winter, John Heard, an Academy Award nomination, Crossing Delancey, Amy Irving, the pickle man––a chick magnet, Local Hero, how that came to be, what it meant to him, crazy stories, one of which brought a tear or two to both our eyes. Burt Lancaster, with whom he shared a long ago historical memory, to Tony Soprano and how James Gandolfini allowed Peter a searingly horrifying yet graceful exit from The Sopranos to Succession and the Amazon crime drama he begins filming on Friday. 

We hit highlights of Peter’s work, dug deep into the man, and I hope, gained a new friend.  As accessible and fun as Animal House’s Boon, as charming and emotional as Crossing Delancey’s Sam, and as savvy, transformative, and thoughtful as Local Hero’s Mac, Peter Riegert is a warm, complex, fiercely talented human whom I’ve adored since first sight, and respect and appreciate even more now. This time with him was a gift. He's a mensch beyond measure. I so needed the laughs and the eggs. 

Peter Riegert Live on Game Changers With Vicki Abelson

Wednesday, 9/7/22, 5 pm PT, 8 pm ET

Streamed Live on my Facebook

Replay here: https://bit.ly/3QojuLN

[newstwitter-blog]

New Post has been published on News Twitter

New Post has been published on http://www.news-twitter.com/2017/02/23/cnn-oscars-host-jimmy-kimmel-talks-nerves-approach-to-politics-and-matt-damon-9/

CNN: Oscars host Jimmy Kimmel talks nerves, approach to politics, and Matt Damon

Oscar speeches that seized the moment

Harold Russell (1947) – “…I’d like to accept this trophy in the name of all those thousands of disabled veterans who are laying in hospitals all over the country.” — Actor Harold Russell, accepting a special award at the 19th Academy Awards on March 13,1947. Russell, a disabled veteran of World War II, won two awards that night — one for his performance in the 1946 movie ”The Best Years of Our Lives” and an honorary statue.

Oscar speeches that seized the moment

Sacheen Littlefeather (aka Marie Cruz), accepting on behalf of Marlon Brando (1973) – “Hello. My name is Sacheen Littlefeather. I’m Apache and I am president of the National Native American Affirmative Image Committee. I’m representing Marlon Brando this evening and he has asked me to tell you in a very long speech, which I cannot share with you presently because of time but I will be glad to share with the press afterwards, that he very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry … and on television in movie reruns, and also with recent happenings at Wounded Knee….” — Sacheen Littlefeather (aka Marie Cruz), declining the best actor award at the 45th Academy Awards on behalf of Marlon Brando on March 27, 1973 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Peter Davis and Burt Schneider (1975) – “…It is ironic that we are here at a time just before Vietnam is about to be liberated. I will now read a short wire that I have been asked to read by the Vietnamese people. It is sent by Ambassador Dinh Ba Thi, who is the chief of the Provisional Revolutionary Government’s delegation to Paris, the Paris political talks. It says: ‘Please transmit to all our friends in America our recognition of all that they have done on behalf of peace and for the application of the Paris Accords on Vietnam. These actions serve the legitimate interest of the American people and the Vietnamese people. Greetings of friendship to all the American people.’ Thank you very much.” — Burt Schneider (pictured, right), accepting the best documentary feature award for his work on “Hearts and Minds” at the 47th Academy Awards on April 8, 1975 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Vanessa Redgrave (1978) – “…Two, out of millions, who gave their lives and were prepared to sacrifice everything in the fight against fascist and racist Nazi Germany. And I salute you and I pay tribute to you and I think you should be very proud that in the last few weeks you’ve stood firm and you have refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression. And I salute that record, and I salute all of you for having stood firm and dealt a final blow against that period when Nixon and McCarthy launched a worldwide witch hunt against those who tried to express in their lives and their work the truth that they believed in. I salute you, and I thank you, and I pledge to you that I will continue to fight against anti-Semitism and fascism.” — Vanessa Redgrave, accepting the best supporting actress award for her role in “Julia” at the 50th Academy Awards on April 3, 1978 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Jane Fonda (1979) – “[Speaking simultaneously in sign language:] I’m so happy. I wanted to win very much because I’m so proud of “Coming Home,” and I want many people to see the movie. I’m signing part of what I’m saying tonight because, while we were making the movie, we all became more aware of the problems of the handicapped. Over 14 million people are deaf. They are the invisible handicapped and can’t share this evening, so this is my way of acknowledging them….” — Jane Fonda, accepting the best leading actress award for her role in “Coming Home” at the 51st Academy Awards on April 9, 1979 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Oliver Stone (1987) – “…I think that through this award you’re really acknowledging the Vietnam veteran. And I think what you’re saying is that for the first time, you really understand what happened over there. And I think what you’re saying is that it should never, ever in our lifetimes happen again. And if it does, then those American boys died over there for nothing, because America learned nothing from the Vietnam War.” — Oliver Stone, accepting the best director award for his work on “Platoon” at the 59th Academy Awards on March 30, 1987 at the Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Tom Hanks (1994) – “…I know that my work in this case is magnified by the fact that the streets of heaven are too crowded with angels. We know their names. They number a thousand for each one of the red ribbons that we wear here tonight. They finally rest in the warm embrace of the gracious creator of us all. A healing embrace that cools their fevers, that clears their skin, and allows their eyes to see the simple, self-evident, common sense truth that is made manifest by the benevolent creator of us all and was written down on paper by wise men, tolerant men, in the city of Philadelphia two hundred years ago. God bless you all. God have mercy on us all. And God bless America.” — Tom Hanks, accepting the best actor award for his role in “Philadelphia” at the 66th Academy Awards on March 21, 1994 at the Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Garda Weidmann Kleim, on stage with Kary Atholis (1996) – “…I have been in a place for six incredible years where winning meant a crust of bread and to live another day. Since the blessed day of my liberation I have asked the question, why am I here? I am no better. In my mind’s eye I see those years and days and those who never lived to see the magic of a boring evening at home. On their behalf I wish to thank you for honoring their memory, and you cannot do it in any better way than when you return to your homes tonight to realize that each of you who know the joy of freedom are winners.” — Garda Weidmann Kleim, the subject of documentary short winner “One Survivor Remembers.” She spoke on stage with winner Kary Atholis at the 68th Academy Awards on March 25, 1996 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

John Irving (2000) – “…I want to thank the Academy for this honor to a film on the abortion subject and Miramax for having the courage to make this movie in the first place….and everyone at Planned Parenthood and the National Abortion Rights League.” — John Irving, accepting the best adapted screenplay award for his work on “The Cider House Rules” at the 72nd Academy Awards on March 26, 2000 at the Shrine Auditorium & Expo Center

Oscar speeches that seized the moment

Halle Berry (2002) – “…This moment is so much bigger than me. This moment is for Dorothy Dandridge, Lena Horne, Diahann Carroll. It’s for the women that stand beside me, Jada Pinkett, Angela Bassett, Vivica Fox. And it’s for every nameless, faceless woman of color that now has a chance because this door tonight has been opened…” — Halle Berry, accepting the best leading actress award for her work in “Monsters Ball” at the 74th Academy Awards on March 24, 2002 at the Kodak Theater

Oscar speeches that seized the moment

Michael Moore (2003) – “I’ve invited my fellow documentary nominees on the stage with us, and we would like to–they are here in solidarity with me because we like nonfiction. We like nonfiction and we live in fictitious times. We live in the time where we have fictitious election results that elects a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons, whether it’s the fiction of duct tape or the fictitious of orange alerts. We are against this war, Mr. Bush! Shame on you, Mr. Bush! Shame on you! And any time you’ve got the Pope and the Dixie Chicks against you, your time is up!” — Michael Moore, accepting the best documentary feature award for his work on “Bowlng for Columbine” at the 75th Academy Awards on March 23, 2003 at the Kodak Theatre

Oscar speeches that seized the moment

Sean Penn (2009) – “…For those who saw the signs of hatred as our cars drove in tonight, I think that it is a good time for those who voted for the ban against gay marriage to sit and reflect and anticipate their great shame and the shame in their grandchildren’s eyes if they continue that way of support. We’ve got to have equal rights for everyone.” — Sean Penn, accepting the best actor in a leading role award for his role in “Milk” at the 81st Academy Awards on February 22, 2009 at the Kodak Theater

Oscar speeches that seized the moment

‘The Cove’ (2010) – When Louie Psihoyos and Fisher Stevens won the best documentary feature award for “The Cove” at the 82nd Academy Awards on March 7, 2010, they were accompanied on stage by producer Paula DuPré Pesmen and film subject Ric O’Barry. O’Barry walked on stage carrying a sign that prompted the audience to text for more information on how to help curtail the dolphin slaughter depicted in the film.

Oscar speeches that seized the moment

Charles Ferguson (2011) – “I must start by pointing out that three years after a horrific financial crisis caused by massive fraud not a single financial executive has gone to jail, and that’s wrong….” — Charles Ferguson, accepting the best documentary feature award for his work on “Inside Job” at the 83rd Academy Awards on February 27, 2011 at the Kodak theater

Oscar speeches that seized the moment

Jared Leto (2014) – “…This is for the 36 million people who have lost the battle to AIDS. And to those of you out there who have ever felt injustice because of who you are or who you love, tonight I stand here in front of the world with you and for you.” — Jared Leto, accepting the best actor in a supporting role award for his role in “Dallas Buyers Club” at the 86th Academy Awards on March 2, 2014 at the Dolby Theater

Oscar speeches that seized the moment

Graham Moore (2015) – “…Alan Turing never got to stand on a stage like this and look out at all of these disconcertingly attractive faces, and I do. And that’s the most unfair thing I think I’ve ever heard. So, in this brief time here, what I want to use it to do is to say this: When I was sixteen years old I tried to kill myself, because I felt weird and I felt different and I felt like I did not belong. And now I’m standing here. And so I would like for this moment to be for that kid out there who feels like she’s weird or she’s different or she doesn’t fit in anywhere. Yes, you do. I promise you do. You do. Stay weird. Stay different. And then when it’s your turn and you are standing on this stage, please pass the same message to the next person who comes along.” — Graham Moore, accepting the best adapted screenplay award for his work on “The Imitation Game” at the 87th Academy Awards on February 22, 2015 at the Dolby Theatre

Oscar speeches that seized the moment

Patricia Arquette (2015) – “…To every woman who gave birth. To every taxpayer and citizen of this nation, we have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all and equal rights for women in the United States of America.” — Patricia Arquette, accepting the best supporting actress award for her role in “Boyhood” at the 87th Academy Awards on February 22, 2015 at Dolby Theater

Oscar speeches that seized the moment

“Nina Simone said it’s an artist’s duty to reflect the times in which we live. We wrote this song for a film that was based on events that were fifty years ago, but we say that ‘Selma’ is now because the struggle for justice is right now. We know that the Voting Rights Act that they fought for fifty years ago is being compromised right now in this country today. We know that right now the struggle for freedom and justice is real. We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850. When people are marching with our song, we want to tell you we are with you, we see you, we love you, and march on.” — John Legend, accepting the best original song award with Common for their work on “Selma” at the 87th Academy Awards on February 22, 2015 at the Dolby Theater

Oscar speeches that seized the moment

Julianne Moore (2015) – “…I’m so happy, I’m thrilled, actually, that we were able to hopefully shine a light on Alzheimer’s disease. So many people with this disease feel isolated and marginalized, and one of the wonderful things about movies is it makes us feel seen and not alone. And people with Alzheimer’s deserve to be seen, so that we can find a cure….” — Julianne Moore, accepting the best actress award for her role in “Still Alice” at the 87th Academy Awards on February 22, 2015 at the Dolby Theater

Oscar speeches that seized the moment

“…Climate change is real. It is happening right now. It is the most urgent threat facing our entire species and we need to work collectively together and stop procrastinating. We need to support leaders around the world who do not speak for the big polluters or the big corporations, but who speak for all of humanity. For the indigenous people of the world. For the billions and billions of underprivileged people who will be most affected by this. For our children’s children. And for those people out there whose voices have been drowned out by the politics of greed. I thank you all for this amazing award tonight. Let us not take this planet for granted. I do not take tonight for granted.” — Leonardo DiCaprio, accepting the best leading actor award for his role in “The Revenant” at the 88th Academy Awards on February 28, 2016 at the Dolby Theater

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[rescue-ram]

I posted 4,213 times in 2022

That's 1,569 more posts than 2021!

204 posts created (5%)

4,009 posts reblogged (95%)

Blogs I reblogged the most:

@autumngracy

@optimisticfruitcup

@szczypawice

@bigbaywindow

@itwoodbeprefect

I tagged 1,765 of my posts in 2022

#x men - 185 posts

#goncharov - 135 posts

#scott summers - 128 posts

#star trek - 107 posts

#succession - 91 posts

#les mis - 76 posts

#mash - 69 posts

#star wars - 64 posts

#batman - 57 posts

#ds9 - 55 posts

Longest Tag: 139 characters

#sorry for reblogging rather than replying but im still in tumblr timeout for sending too many dms last month and cant reply/send messages

My Top Posts in 2022:

#5

Name Meanings in Severance

Some of these are obvious, but I love name meanings and similar so posting for posterity...

Kier means dark and Eagan means fire, so if you were unsure if he was literally Satan before, be certain.

On a similar note, Lumon means light, Helena means shining light, and Lucifer means 'lightbearer'. On a related but hopefully less Luciferian note, Eleanor, the name of Devon's baby, is a variant form of Helena. Helly's (fake?) last name of Riggs evokes a "rigged system" or game to me.

Mark is named more for the sense of being the "target" of a scam or con, and his last name Scout is obviously evocative of investigation. I think his sister Devon was named more for the unisex tomboyish vibes then any deep meaning. Same with Ricken- his name has that too special/slightly fake quality that suits his vibes, though Hale can mean both "healthy" or "hollow".

Dylan and Irving were probably named more for vibes than meaning as well- Dylan has a very youthful vibe, especially when contrasted with an old fashioned name like Irving. But they do have interesting contrasts in their name meanings- Dylan relates to the Welsh god of the sea (hunting eels anyone?) while Irving means fresh water. Their last names, George and Bailiff, don't seem to have any special significance, meaning farmer and, well, bailiff/officer/manager.

Burt is another light themed name, meaning bright. His last name, Goodman, has an obvious meaning.

Harmony has an obvious meaning, that in context evokes balancing the four humors in the Kier cult. Cobel, meaning rock or famous, sounds very similar to the mythical creature called a kobold or kobalos, which is a sort of hobgoblin or household spirit with an ambivalent nature. Her fake last name of Selvig means seal-cove and evokes selkies, shapeshifting seals who can remove their skin to appear as a woman and marry.

I think Milchick is another vibe name. It just sounds like a substitute teacher or something. It means milk. Same with Graner- the name just sounds kind of scary.

Peter means rock, and Kilmer was a potter's surname, relating to kilns, but while Petey might be meant to evoke a foundation for the start of Mark's journey to the truth, I think Kilmer relates more to Petey being killed then anything else.

There's a few interesting meanings in the Eagan CEO names: Ambrose means honey or sweet. Myrtle is a tree sacred to Venus, sometimes identified with Lucifer as the morning star. Baird means poet. Gerhardt means brave. Phillip means lover of horses, while Pip mean a small seed, and is the name of several variants of apples. Leonora is another variant of Helena/Eleanor, and Jame is an unusual version of James meaning usurper.

Gemma means gem, something precious, and Casey means watchful.

Finally, Angelo obviously means angel, and his wife Gabriela was named for the angel Gabriel, meaning strength of God.

EDIT TO ADD: The closest meaning I could find for Reghabi is open minded and generous!

24 notes - Posted May 13, 2022

#4

Insane Thoughts About Les Mis Below

What I truly cannot get over is the absolute perfect blending of the universal and the specific. Like Hugo does this in a lot of his other works, notably Hunchback, but Les Mis is truly a masterpiece in that regard.

Because it is a profoundly universal story, whose theme resonate across time and culture! It's the story of souls seeking salvation, it's a question about what good and evil are, it's an exploration of morality and nurture vs. nature. You can retell it and readapt it easily because the core narrative around which everything hangs- a man is shown mercy upon his release from prison and tries to redeem himself for his past crimes but can never outrun them, and through his efforts causes a series of coincidences that deeply impact his life and the lives of those around him- that's a good story! If I fleshed out that one sentence summary with more plot points, you could still strip them down and reskin them while keeping the outline recognizable, you can shift the characters between context, because it's just a really strong narrative with compelling character conflicts! Further, it's rebuttal of the "great men of history" narrative is STILL one of the strongest- it so perfectly explores how characters are shaped by circumstance, rather than innate traits, and that circumstance likewise is not earned by goodness- but neither is it totally random- but is rather the sum total of many many decisions made by EVERYONE, and that even the smallest and most inconsequential lives can have huge impacts, and that you shouldn't judge others because you don't know their story.

But by that same token- it is SUCH a specific story!! There is a reason it was written at the time it was written and set in the decades of was set- the fact that Valjean went to prison during the reign of Louis XVI and came out AFTER the defeat of Napoleon- understanding just how much the world changed is critical to understanding his character! The unprecedented social mobility of the period is PLOT CRITICAL- multiple character make and lose fortunes multiple times in the span of two decades, the industrial revolution is both necessary for the plot and deeply symbolic (THE FUCKING JET MAKING PROCESS STILL MAKES ME INSANE), nevermind the climactic very specific political conflict at the end of the novel, nevermind the incredibly context specific jokes and references throughout the novel, nevermind the literal ESSAYS on Waterloo, convents, and sewers which are symbolic but also so so SO specific! Aah!! Screaming!!

Truly, you can adapt Les Mis endlessly, and I think it will be a story told for centuries- maybe even a millenia- because the characters and the core themes they are used to explore are so deeply resonant. But you can never completely "lift and shift" the story and characters to a new setting- you will ALWAYS lose nuance in the process- because they are so deeply entwined with the setting and it's history and with each other- and I think that's beautiful.

26 notes - Posted February 16, 2022

#3

Long Post of Marius Being Awesome and Respected by Les Amis and Generally Well Liked by Enjolras Because the Jokes Are Truly Getting Old By Now

Enjolras trusted Marius with Revolutionary Matters:

"At the Barrière du Maine there are marble-workers, painters, and journeymen in the studios of sculptors. They are an enthusiastic family, but liable to cool off... There is urgent need that some one should go and talk with them a little, but with firmness. They meet at Richefeu’s. They are to be found there between twelve and one o’clock. Those ashes must be fanned into a glow. For that errand I had counted on that abstracted Marius, who is a good fellow on the whole, but he no longer comes to us. I need some one for the Barrière du Maine. I have no one.”

Marius saves Courfeyrac and Gavroche with good marksmanship:

Before the bayonet had touched Gavroche, the gun slipped from the soldier’s grasp, a bullet had struck the municipal guardsman in the centre of the forehead, and he fell over on his back. A second bullet struck the other guard, who had assaulted Courfeyrac in the breast, and laid him low on the pavement.

This was the work of Marius, who had just entered the barricade.

Marius, still concealed in the turn of the Rue Mondétour, had witnessed, shuddering and irresolute, the first phase of the combat. But he had not long been able to resist that mysterious and sovereign vertigo which may be designated as the call of the abyss. In the presence of the imminence of the peril, in the presence of the death of M. Mabeuf, that melancholy enigma, in the presence of Bahorel killed, and Courfeyrac shouting: “Follow me!” of that child threatened, of his friends to succor or to avenge, all hesitation had vanished, and he had flung himself into the conflict, his two pistols in hand. With his first shot he had saved Gavroche, and with the second delivered Courfeyrac.

Marius saves the Barricade:

Marius had entered the tap-room, and had seized the barrel of powder, then he had taken advantage of the smoke, and the sort of obscure mist which filled the entrenched enclosure, to glide along the barricade as far as that cage of paving-stones where the torch was fixed. To tear it from the torch, to replace it by the barrel of powder, to thrust the pile of stones under the barrel, which was instantly staved in, with a sort of horrible obedience,—all this had cost Marius but the time necessary to stoop and rise again; and now all, National Guards, Municipal Guards, officers, soldiers, huddled at the other extremity of the barricade, gazed stupidly at him, as he stood with his foot on the stones, his torch in his hand, his haughty face illuminated by a fatal resolution, drooping the flame of the torch towards that redoubtable pile where they could make out the broken barrel of powder, and giving vent to that startling cry:—

“Be off with you, or I’ll blow up the barricade!”

Marius on that barricade after the octogenarian was the vision of the young revolution after the apparition of the old.

“Blow up the barricade!” said a sergeant, “and yourself with it!”

Marius retorted: “And myself also.”

And he dropped the torch towards the barrel of powder.

But there was no longer any one on the barrier. The assailants, abandoning their dead and wounded, flowed back pell-mell and in disorder towards the extremity of the street, and there were again lost in the night. It was a headlong flight.

The barricade was free.

Everyone likes Marius, he's respected as a leader:

All flocked around Marius. Courfeyrac flung himself on his neck.

“Here you are!”

“What luck!” said Combeferre.

“You came in opportunely!” ejaculated Bossuet.

“If it had not been for you, I should have been dead!” began Courfeyrac again.

“If it had not been for you, I should have been gobbled up!” added Gavroche.

Marius asked:—

“Where is the chief?”

“You are he!” said Enjolras.

Marius is considered a leader:

Marius, fasting, fevered, having emerged in succession from all hope, and having been stranded in grief, the most sombre of shipwrecks, and saturated with violent emotions and conscious that the end was near, had plunged deeper and deeper into that visionary stupor which always precedes the fatal hour voluntarily accepted.

...He looked on at everything as from without; as we have said, things which passed before him seemed far away; he made out the whole, but did not perceive the details. He beheld men going and coming as through a flame. He heard voices speaking as at the bottom of an abyss.

But this moved him. There was in this scene a point which pierced and roused even him. He had but one idea now, to die; and he did not wish to be turned aside from it, but he reflected, in his gloomy somnambulism, that while destroying himself, he was not prohibited from saving some one else.

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33 notes - Posted February 17, 2022

#2

God House and Wilson really were "It's rotten work" "Not to me. Not if it's you" AND "It's rotten work" "Especially for me. Especially if it's you" simultaneously.

56 notes - Posted September 5, 2022

My #1 post of 2022

HAVE YOU READ THIS BOOK??

Saw a post about "formative gay books from your youth" which set off my third fruitless quest for a YA novel I read once when I was like 12 and has lived rent free in my head ever since. Objectively, as an adult, when I reflect on the scenes it burned into my neurons, I acknowledge it was probably not that great. But it made 12 year old me have insanely complicated feelings and it's MADDENING I can find no trace of this novel.

I've searched several times over the years, and just tonight spent an hour going through Amazon, WorldCat, Google Books, Goodreads, and like three other book search databases to no avail. My last hope is that someone on Tumblr has also read this novel and recognizes it.

If any of the below ring a bell, PLEASE let me know!

Young adult novel published prior to 2008

Set in a Houston art school. I might be having false memories that it was specifically the High School for the Performing and Visual Arts.

Centered around two boys- an extremely shy visual artist and a very confident but secretly depressed writer.

Very shy boy might've had selective mutism? Definitely had a strained relationship with his family

At the beginning of the novel, shy boy has to submit a portrait for admission to school. He initially draws a caricature of himself wearing art like armor, but his mom laughs at him and tells him he misunderstood the instructions and he was supposed to write a personal essay. Shy boy struggles with this.

There was a weirdly vivid metaphor about social anxiety being like being eaten by wolves? There was also a very vivid description of being a puppet or marionette.

There was a conflict over shy boy wanting to do cartooning but having to learn painting instead?

He was initially intimidated by confident boy, but confident boy sees his cartoons and really likes them

As they get closer confident boy opens up about feeling crushed by pressure and expectations of others, conflict with his family as well? He may have been self-harming?

They keep their friendship a secret and it's either extremely homoerotic or confident boy was explicitly gay. I do not remember clearly. It gets very intense and shy boy is conflicted and uncomfortable about the secrets he's keeping.

At the end of the book, confident boy kills himself in a way that looks like a tragic accident. He intentionally overdoses on medication that induces a heart attack, but injects into a healing injury on his arm so there's no puncture marks. He leaves a suicide note for shy boy, encouraging him to be himself and be a great artist, but to tell no one confident boy killed himself because he doesn't want his family to be upset?

Shy boy is traumatized and initially keeps the secret, but at the end of the book opens up to... Someone. One of the teachers? It ends on a bittersweet but hopeful note that now shy boy is opening up and is forming healthier relationships.

As an adult, this summary sounds rather maudlin, but I remember being really struck by the writing style as a kid, especially the imagery and descriptions. I just feel crazy that this book really affected middle school me and then seemingly disappeared into the ether. If you have any idea what I'm talking about, PLEASE let me know!

150 notes - Posted July 1, 2022

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Oscar speeches that seized the moment

Harold Russell (1947) – “…I’d like to accept this trophy in the name of all those thousands of disabled veterans who are laying in hospitals all over the country.” — Actor Harold Russell, accepting a special award at the 19th Academy Awards on March 13,1947. Russell, a disabled veteran of World War II, won two awards that night — one for his performance in the 1946 movie ”The Best Years of Our Lives” and an honorary statue.

Oscar speeches that seized the moment

Sacheen Littlefeather (aka Marie Cruz), accepting on behalf of Marlon Brando (1973) – “Hello. My name is Sacheen Littlefeather. I’m Apache and I am president of the National Native American Affirmative Image Committee. I’m representing Marlon Brando this evening and he has asked me to tell you in a very long speech, which I cannot share with you presently because of time but I will be glad to share with the press afterwards, that he very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry … and on television in movie reruns, and also with recent happenings at Wounded Knee….” — Sacheen Littlefeather (aka Marie Cruz), declining the best actor award at the 45th Academy Awards on behalf of Marlon Brando on March 27, 1973 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Peter Davis and Burt Schneider (1975) – “…It is ironic that we are here at a time just before Vietnam is about to be liberated. I will now read a short wire that I have been asked to read by the Vietnamese people. It is sent by Ambassador Dinh Ba Thi, who is the chief of the Provisional Revolutionary Government’s delegation to Paris, the Paris political talks. It says: ‘Please transmit to all our friends in America our recognition of all that they have done on behalf of peace and for the application of the Paris Accords on Vietnam. These actions serve the legitimate interest of the American people and the Vietnamese people. Greetings of friendship to all the American people.’ Thank you very much.” — Burt Schneider (pictured, right), accepting the best documentary feature award for his work on “Hearts and Minds” at the 47th Academy Awards on April 8, 1975 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Vanessa Redgrave (1978) – “…Two, out of millions, who gave their lives and were prepared to sacrifice everything in the fight against fascist and racist Nazi Germany. And I salute you and I pay tribute to you and I think you should be very proud that in the last few weeks you’ve stood firm and you have refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression. And I salute that record, and I salute all of you for having stood firm and dealt a final blow against that period when Nixon and McCarthy launched a worldwide witch hunt against those who tried to express in their lives and their work the truth that they believed in. I salute you, and I thank you, and I pledge to you that I will continue to fight against anti-Semitism and fascism.” — Vanessa Redgrave, accepting the best supporting actress award for her role in “Julia” at the 50th Academy Awards on April 3, 1978 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Jane Fonda (1979) – “[Speaking simultaneously in sign language:] I’m so happy. I wanted to win very much because I’m so proud of “Coming Home,” and I want many people to see the movie. I’m signing part of what I’m saying tonight because, while we were making the movie, we all became more aware of the problems of the handicapped. Over 14 million people are deaf. They are the invisible handicapped and can’t share this evening, so this is my way of acknowledging them….” — Jane Fonda, accepting the best leading actress award for her role in “Coming Home” at the 51st Academy Awards on April 9, 1979 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Oliver Stone (1987) – “…I think that through this award you’re really acknowledging the Vietnam veteran. And I think what you’re saying is that for the first time, you really understand what happened over there. And I think what you’re saying is that it should never, ever in our lifetimes happen again. And if it does, then those American boys died over there for nothing, because America learned nothing from the Vietnam War.” — Oliver Stone, accepting the best director award for his work on “Platoon” at the 59th Academy Awards on March 30, 1987 at the Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Tom Hanks (1994) – “…I know that my work in this case is magnified by the fact that the streets of heaven are too crowded with angels. We know their names. They number a thousand for each one of the red ribbons that we wear here tonight. They finally rest in the warm embrace of the gracious creator of us all. A healing embrace that cools their fevers, that clears their skin, and allows their eyes to see the simple, self-evident, common sense truth that is made manifest by the benevolent creator of us all and was written down on paper by wise men, tolerant men, in the city of Philadelphia two hundred years ago. God bless you all. God have mercy on us all. And God bless America.” — Tom Hanks, accepting the best actor award for his role in “Philadelphia” at the 66th Academy Awards on March 21, 1994 at the Dorothy Chandler Pavilion

Oscar speeches that seized the moment

Garda Weidmann Kleim, on stage with Kary Atholis (1996) – “…I have been in a place for six incredible years where winning meant a crust of bread and to live another day. Since the blessed day of my liberation I have asked the question, why am I here? I am no better. In my mind’s eye I see those years and days and those who never lived to see the magic of a boring evening at home. On their behalf I wish to thank you for honoring their memory, and you cannot do it in any better way than when you return to your homes tonight to realize that each of you who know the joy of freedom are winners.” — Garda Weidmann Kleim, the subject of documentary short winner “One Survivor Remembers.” She spoke on stage with winner Kary Atholis at the 68th Academy Awards on March 25, 1996 at Dorothy Chandler Pavilion

Oscar speeches that seized the moment

John Irving (2000) – “…I want to thank the Academy for this honor to a film on the abortion subject and Miramax for having the courage to make this movie in the first place….and everyone at Planned Parenthood and the National Abortion Rights League.” — John Irving, accepting the best adapted screenplay award for his work on “The Cider House Rules” at the 72nd Academy Awards on March 26, 2000 at the Shrine Auditorium & Expo Center

Oscar speeches that seized the moment

Halle Berry (2002) – “…This moment is so much bigger than me. This moment is for Dorothy Dandridge, Lena Horne, Diahann Carroll. It’s for the women that stand beside me, Jada Pinkett, Angela Bassett, Vivica Fox. And it’s for every nameless, faceless woman of color that now has a chance because this door tonight has been opened…” — Halle Berry, accepting the best leading actress award for her work in “Monsters Ball” at the 74th Academy Awards on March 24, 2002 at the Kodak Theater

Oscar speeches that seized the moment

Michael Moore (2003) – “I’ve invited my fellow documentary nominees on the stage with us, and we would like to–they are here in solidarity with me because we like nonfiction. We like nonfiction and we live in fictitious times. We live in the time where we have fictitious election results that elects a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons, whether it’s the fiction of duct tape or the fictitious of orange alerts. We are against this war, Mr. Bush! Shame on you, Mr. Bush! Shame on you! And any time you’ve got the Pope and the Dixie Chicks against you, your time is up!” — Michael Moore, accepting the best documentary feature award for his work on “Bowlng for Columbine” at the 75th Academy Awards on March 23, 2003 at the Kodak Theatre

Oscar speeches that seized the moment

Sean Penn (2009) – “…For those who saw the signs of hatred as our cars drove in tonight, I think that it is a good time for those who voted for the ban against gay marriage to sit and reflect and anticipate their great shame and the shame in their grandchildren’s eyes if they continue that way of support. We’ve got to have equal rights for everyone.” — Sean Penn, accepting the best actor in a leading role award for his role in “Milk” at the 81st Academy Awards on February 22, 2009 at the Kodak Theater

Oscar speeches that seized the moment

‘The Cove’ (2010) – When Louie Psihoyos and Fisher Stevens won the best documentary feature award for “The Cove” at the 82nd Academy Awards on March 7, 2010, they were accompanied on stage by producer Paula DuPré Pesmen and film subject Ric O’Barry. O’Barry walked on stage carrying a sign that prompted the audience to text for more information on how to help curtail the dolphin slaughter depicted in the film.

Oscar speeches that seized the moment

Charles Ferguson (2011) – “I must start by pointing out that three years after a horrific financial crisis caused by massive fraud not a single financial executive has gone to jail, and that’s wrong….” — Charles Ferguson, accepting the best documentary feature award for his work on “Inside Job” at the 83rd Academy Awards on February 27, 2011 at the Kodak theater

Oscar speeches that seized the moment

Jared Leto (2014) – “…This is for the 36 million people who have lost the battle to AIDS. And to those of you out there who have ever felt injustice because of who you are or who you love, tonight I stand here in front of the world with you and for you.” — Jared Leto, accepting the best actor in a supporting role award for his role in “Dallas Buyers Club” at the 86th Academy Awards on March 2, 2014 at the Dolby Theater

Oscar speeches that seized the moment

Graham Moore (2015) – “…Alan Turing never got to stand on a stage like this and look out at all of these disconcertingly attractive faces, and I do. And that’s the most unfair thing I think I’ve ever heard. So, in this brief time here, what I want to use it to do is to say this: When I was sixteen years old I tried to kill myself, because I felt weird and I felt different and I felt like I did not belong. And now I’m standing here. And so I would like for this moment to be for that kid out there who feels like she’s weird or she’s different or she doesn’t fit in anywhere. Yes, you do. I promise you do. You do. Stay weird. Stay different. And then when it’s your turn and you are standing on this stage, please pass the same message to the next person who comes along.” — Graham Moore, accepting the best adapted screenplay award for his work on “The Imitation Game” at the 87th Academy Awards on February 22, 2015 at the Dolby Theatre

Oscar speeches that seized the moment

Patricia Arquette (2015) – “…To every woman who gave birth. To every taxpayer and citizen of this nation, we have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all and equal rights for women in the United States of America.” — Patricia Arquette, accepting the best supporting actress award for her role in “Boyhood” at the 87th Academy Awards on February 22, 2015 at Dolby Theater

Oscar speeches that seized the moment

“Nina Simone said it’s an artist’s duty to reflect the times in which we live. We wrote this song for a film that was based on events that were fifty years ago, but we say that ‘Selma’ is now because the struggle for justice is right now. We know that the Voting Rights Act that they fought for fifty years ago is being compromised right now in this country today. We know that right now the struggle for freedom and justice is real. We live in the most incarcerated country in the world. There are more black men under correctional control today than were under slavery in 1850. When people are marching with our song, we want to tell you we are with you, we see you, we love you, and march on.” — John Legend, accepting the best original song award with Common for their work on “Selma” at the 87th Academy Awards on February 22, 2015 at the Dolby Theater

Oscar speeches that seized the moment

Julianne Moore (2015) – “…I’m so happy, I’m thrilled, actually, that we were able to hopefully shine a light on Alzheimer’s disease. So many people with this disease feel isolated and marginalized, and one of the wonderful things about movies is it makes us feel seen and not alone. And people with Alzheimer’s deserve to be seen, so that we can find a cure….” — Julianne Moore, accepting the best actress award for her role in “Still Alice” at the 87th Academy Awards on February 22, 2015 at the Dolby Theater

Oscar speeches that seized the moment

“…Climate change is real. It is happening right now. It is the most urgent threat facing our entire species and we need to work collectively together and stop procrastinating. We need to support leaders around the world who do not speak for the big polluters or the big corporations, but who speak for all of humanity. For the indigenous people of the world. For the billions and billions of underprivileged people who will be most affected by this. For our children’s children. And for those people out there whose voices have been drowned out by the politics of greed. I thank you all for this amazing award tonight. Let us not take this planet for granted. I do not take tonight for granted.” — Leonardo DiCaprio, accepting the best leading actor award for his role in “The Revenant” at the 88th Academy Awards on February 28, 2016 at the Dolby Theater

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