#Jane Carr

[thishadoscarbuzz]

286 - Something for Everyone (w/ Chris Schleicher) (70s Spectacular - 1970)

It's time to kick off our May miniseries - the This Had Oscar Buzz: 70s Spectacular! For 1970, television writer Chris Schleicher joins us for a forgotten tale of wealth, deception, and Bavarian castles. The directorial debut of stage legend Hal Prince (and with a screenplay by his frequent collaborator Hugh Wheeler, from the novel The Cook by Harry Kressing), Something for Everyone starred a pre-Cabaret Michael York as a young man who weasel's his way into the good graces of a wealthy family in order to claim their family castle. As the family matriarch, Angela Lansbury earned a Golden Globe nomination that didn't translate to Oscar.

This episode, we talk about the 1970 Oscar year dominated by controversy surrounding George C. Scott's rejection of Oscar pomp and circumstance and this film's very obvious similarities to Saltburn. We also talk about Lansbury's Oscar and Tony run preceding the film, Michael York as canonical cinematic bisexual, and Prince's directorial failure adapting A Little Night Music.

Topics also include "It Goes Like It Goes," the supporting actresses of Five Easy Pieces, and our disdain for Love Story.

The 1970 Academy Awards

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[khakilike]

Willow S01E08 “Children of the Wyrm” (minor spoiler in the tags)

[reusedtvseriescostumes]

This Blue Dress is worn on Jane Carr as Fairy Godmother in Legends of Tomorrow: Witch Hunt 2018 and worn again later on Courtney Ford as Nora Darhk in Legends of Tomorrow: Terms of Service 2019

[tunglo]

Slowly reposting old blog stuff! The BBC started producing TV programming from the basement of broadcasting house in 1932 - above is Jane Carr in make-up for Baird's 30-line transmission system.

They didn't really keep records of broadcasts until it went full service (aka a few hours a day) in 1936 but, anyway, here's a post on UK TV programming for kids in the 1930s:

30 Kids' Shows of the 1930s (lifeinplasticminiatures.blogspot.com)

[modaonlinemagazalari]

https://www.modaonlinemagazalari.com/moda-markas/jane-carr/

Jane Carr

[sillysoraya]

Some pics from my Pleasantview-Bluewater Village hood :)

The two wearing orange are 'Tutorial Joe and Jane' Newbie!

...And that is Joe Carr who Coral Oldie is giving a backrub to - no, Herb isn't dead yet, but Coral is clearly done with him already👀

[rock-and-roll-hell]

He's been waiting here a 1000 years until I came along and he left He said he could never be with me, 'cause time will never change what he is And we never kiss because he can't resist temptation But who can turn away from a chance to taste salvation?

He's got a heart made out of stone He says I'm better off alone But my one desire is to feel that fire, I'm in love with a vampire

[letterboxd-loggd]

Seven Brides for Seven Brothers (1954) Stanley Donen

January 11th 2023

[lovevalley45]

brandon routh was so committed to kissing that old woman

[badmovieihave]

Bad movie I have Raising Helen 2004

[wolfnowl]

Last night we were privileged to see "Yes and Yesteryear": a one-of-a-kind improv performance based on a Jane Austen theme, played by Paper Street Theatre and given in front of Emily Carr House.

Bravo!!

[sidonius5]

𝒯𝒽𝑒 1940'𝓈-1950'𝓈 𝓌𝑒𝓇𝑒 𝓉𝒽𝑒 𝒷𝑒𝓈𝓉 𝓉𝒾𝓂𝑒 𝒻𝑜𝓇 𝓂𝓊𝓈𝒾𝒸𝒶𝓁𝓈, 𝒶𝓃𝒹 ℐ 𝑜𝓃𝓁𝓎 𝒽𝒶𝓋𝑒 3 𝓂𝓊𝓈𝒾𝒸𝒶𝓁 𝒻𝒾𝓁𝓂𝓈 𝓉𝒽𝒶𝓉 𝓇𝑒𝒶𝓁𝓁𝓎 𝓈𝓉𝓇𝒾𝓀𝑒 𝓂𝓎 𝒻𝒶𝓃𝒸𝓎. 𝒯𝒽𝑒 𝒻𝒾𝓇𝓈𝓉 𝒻𝑜𝓇 𝓂𝑒 𝑜𝓃 𝓉𝒽𝑒 𝓁𝒾𝓈𝓉 𝒾𝓈 𝓢𝓮𝓿𝓮𝓷 𝓑𝓻𝓲𝓭𝓮𝓼 𝓯𝓸𝓻 𝓢𝓮𝓿𝓮𝓷 𝓑𝓻𝓸𝓽𝓱𝓮𝓻𝓼, 𝓉𝒽𝒾𝓈 𝒾𝓈 𝓉𝒽𝑒 𝒻𝒾𝓁𝓂 𝓉𝒽𝒶𝓉 𝓂𝒶𝒹𝑒 𝓂𝑒 𝑒𝓃𝓇𝑜𝓁𝓁 𝒾𝓃𝓉𝑜 𝒷𝒶𝓁𝓁𝑒𝓉. 𝒯𝒽𝑒 𝓈𝑜𝓃𝑔𝓈 𝓌𝑒𝓇𝑒 𝒷𝑒𝒶𝓊𝓉𝒾𝒻𝓊𝓁 𝒶𝓃𝒹 𝓉𝒽𝑒 𝒹𝒶𝓃𝒸𝑒𝓇𝓈 𝓌𝑒𝓇𝑒 𝑜𝒻 𝓅𝓊𝓇𝑒 𝓉𝒶𝓁𝑒𝓃𝓉 𝒶𝓃𝒹 𝑔𝓇𝒶𝒸𝑒𝒻𝓊𝓁𝓃𝑒𝓈𝓈, 𝒷𝓊𝓉 ℐ 𝒶𝒷𝓈𝑜𝓁𝓊𝓉𝑒𝓁𝓎 𝓁𝑜𝓋𝑒𝒹 𝓉𝒽𝑒 𝓅𝓁𝑜𝓉 𝑜𝒻 𝓉𝒽𝑒 𝓈𝓉𝑜𝓇𝓎. 𝒮𝑒𝓋𝑒𝓃 𝓂𝑜𝓊𝓃𝓉𝒶𝒾𝓃𝑜𝓊𝓈 𝒷𝓇𝑜𝓉𝒽𝑒𝓇𝓈 𝒷𝑜𝓇𝓃 𝑜𝒷𝓉𝒶𝒾𝓃𝒾𝓃𝑔 𝒷𝒾𝒷𝓁𝒾𝒸𝒶𝓁 𝓃𝒶𝓂𝑒𝓈 𝒻𝑒𝑒𝓁 𝓉𝒽𝑒 𝓃𝑒𝑒𝒹 𝒻𝑜𝓇 𝒸𝑜𝓂𝓅𝒶𝓃𝒾𝑜𝓃𝓈𝒽𝒾𝓅 𝒶𝓁𝓈𝑜 𝑔𝑜𝒾𝓃𝑔 𝓉𝑜 𝒶 𝒷𝒶𝓇𝓃 𝓇𝒶𝒾𝓈𝒾𝓃𝑔 𝒸𝑒𝓇𝑒𝓂𝑜𝓃𝓎 𝒶𝓃𝒹 𝑜𝒻 𝒸𝑜𝓊𝓇𝓈𝑒 𝒶𝒻𝓉𝑒𝓇 𝓉𝒽𝑒𝒾𝓇 𝑒𝓁𝒹𝑒𝓈𝓉 𝒷𝓇𝑜𝓉𝒽𝑒𝓇 𝑔𝑒𝓉𝓈 𝓂𝒶𝓇𝓇𝒾𝑒𝒹 𝒶𝓁𝓈𝑜. 𝒯𝒽𝑒𝓎'𝓇𝑒 𝒹𝑒𝓁𝒾𝑔𝒽𝓉𝑒𝒹 𝒷𝓎 𝓉𝒽𝑒 𝒸𝒽𝑒𝓂𝒾𝓈𝓉𝓇𝓎 𝓉𝒽𝑒𝓎 𝒻𝑒𝓁𝓉 𝒹𝓊𝓇𝒾𝓃𝑔 𝓉𝒽𝑒 𝒸𝑒𝓇𝑒𝓂𝑜𝓃𝓎 𝓌𝒾𝓉𝒽 𝓉𝒽𝑒 𝓎𝑜𝓊𝓃𝑔 𝓉𝑜𝓌𝓃𝓈𝓌𝑜𝓂𝑒𝓃, 𝒷𝓊𝓉 𝓉𝒽𝑒 𝒷𝓇𝑜𝓉𝒽𝑒𝓇𝓈 𝑔𝑜 𝒶 𝓁𝒾𝓉𝓉𝓁𝑒 𝓉𝑜𝑜 𝒻𝒶𝓇 𝒾𝓃 𝒽𝑜𝓌 𝓉𝑜 𝓌𝒾𝓃 𝓉𝒽𝑒 𝓁𝒶𝒹𝒾𝑒𝓈 𝒽𝑒𝒶𝓇𝓉𝓈. 𝒯𝒽𝒾𝓈 𝓂𝑜𝓋𝒾𝑒 𝓌𝒶𝓈 𝓌𝑜𝓃𝒹𝑒𝓇𝒻𝓊𝓁 𝓉𝑜 𝓌𝒶𝓉𝒸𝒽 𝓌𝒽𝑒𝓃 ℐ 𝓌𝒶𝓈 𝓁𝒾𝓉𝓉𝓁𝑒, 𝓅𝓁𝓊𝓈 ℐ 𝒶𝓁𝓇𝑒𝒶𝒹𝓎 𝒽𝒶𝒹 𝒶 𝓂𝒶𝒹 𝒸𝓇𝓊𝓈𝒽 𝑜𝓃 𝑜𝓃𝑒 𝑜𝒻 𝓉𝒽𝑒 𝒷𝓇𝑜𝓉𝒽𝑒𝓇𝓈 𝒾𝓃 𝓉𝒽𝑒 𝒻𝒾𝓁𝓂, 𝒶𝓃𝒹 𝓉𝒽𝒶𝓉 𝒷𝓇𝑜𝓉𝒽𝑒𝓇 𝓌𝒶𝓈 𝓉𝒽𝑒 𝓎𝑜𝓊𝓃𝑔𝑒𝓈𝓉 𝑜𝓃𝑒 𝓀𝓃𝑜𝓌𝓃 𝒶𝓈 𝗚𝗶𝗱𝗲𝗼𝗻 𝒶𝓀𝒶 𝐑𝐮𝐬𝐬 𝐓𝐚𝐦𝐛𝐥𝐲𝐧. ℐ 𝓊𝓈𝑒𝒹 𝓉𝑜 𝓌𝒶𝓉𝒸𝒽 𝐌𝐫. 𝐓𝐚𝐦𝐛𝐥𝐲𝐧 𝒾𝓃 𝒻𝒾𝓁𝓂𝓈 𝓌𝒽𝑒𝓃 𝒽𝑒 𝓌𝒶𝓈 𝓂𝓊𝒸𝒽 𝓎𝑜𝓊𝓃𝑔𝑒𝓇 𝓉𝑜𝑜 𝒷𝓊𝓉 𝒽𝒾𝓈 𝒶𝓉𝒽𝓁𝑒𝓉𝒾𝒸𝒾𝓈𝓂 𝓅𝓁𝓊𝓈 𝒽𝒶𝓃𝒹𝓈𝑜𝓂𝑒𝓃𝑒𝓈𝓈 𝒷𝓇𝑜𝓊𝑔𝒽𝓉 𝓂𝑒 𝒾𝓃 𝓂𝑜𝓇𝑒. 𝒯𝒽𝑒𝓇𝑒 𝓌𝑒𝓇𝑒 𝒶 𝓁𝑜𝓉 𝑜𝒻 𝓅𝓇𝑜𝒻𝑒𝓈𝓈𝒾𝑜𝓃𝒶𝓁𝓎 𝓉𝓇𝒶𝒾𝓃𝑒𝒹 𝓈𝒾𝓃𝑔𝑒𝓇𝓈 𝒶𝓃𝒹 𝒹𝒶𝓃𝒸𝑒𝓇𝓈 𝒾𝓃 𝓉𝒽𝒾𝓈 𝒻𝒾𝓁𝓂 𝒶𝓃𝒹 𝒾𝓉 𝓂𝒶𝓀𝑒𝓈 𝓂𝑒 𝒽𝒶𝓅𝓅𝓎 𝑒𝓋𝑒𝓇𝓎 𝓉𝒾𝓂𝑒 ℐ 𝓋𝒾𝑒𝓌 𝒾𝓉. 𝓢𝓮𝓿𝓮𝓷 𝓑𝓻𝓲𝓭𝓮𝓼 𝓯𝓸𝓻 𝓢𝓮𝓿𝓮𝓷 𝓑𝓻𝓸𝓽𝓱𝓮𝓻𝓼 𝒾𝓈 𝒶 𝓂𝓊𝓈𝓉 𝓌𝒶𝓉𝒸𝒽 𝓂𝓊𝓈𝒾𝒸𝒶𝓁 ℐ 𝓀𝓃𝑜𝓌 𝓎𝑜𝓊'𝓁𝓁 𝑒𝓃𝒿𝑜𝓎. ❤︎

[disneybooklist]

Westward Ho The Wagons (1956)

Children Of The Covered Wagon by Mary Jane Carr (1934)

[billboard-hotties-tourney]

Okay, folks, the mini-tourney is inching closer to the finals, so I'm going to give a list of the competitors in the Miss Billboard Tourney in order to give everyone a chance to submit more propaganda. The nominees are:

Lale Andersen

Marian Anderson

Signe Toly Anderson

Julie Andrews

LaVerne Andrews

Maxene Andrews

Patty Andrews

Ann-Margret

Joan Armatrading

Dorothy Ashby

Joan Baez

Pearl Bailey

Belle Baker

Josephine Baker

LaVern Baker

Florence Ballard

Brigitte Bardot

Eileen Barton

Fontella Bass

Shirley Bassey

Maggie Bell

Lola Beltran

Ivy Benson

Gladys Bentley

Jane Birkin

Cilla Black

Ronee Blakley

Teresa Brewer

Anne Briggs

Ruth Brown

Joyce Bryant

Vashti Bunyan

Kate Bush

Montserrat Caballe

Maria Callas

Blanche Calloway

Wendy Carlos

Cathy Carr

Raffaella Carra

Diahann Carroll

Karen Carpenter

June Carter Cash

Charo

Cher

Meg Christian

Gigliola Cinquetti

Petula Clark

Merry Clayton

Patsy Cline

Rosemary Clooney

Natalie Cole

Judy Collins

Alice Coltrane

Betty Comden

Barbara Cook

Rita Coolidge

Gal Costa

Ida Cox

Karen Dalton

Marie-Louise Damien

Betty Davis

Jinx Dawson

Doris Day

Blossom Dearie

Kiki Dee

Lucienne Delyle

Sandy Denny

Jackie DeShannon

Gwen Dickey

Marlene Dietrich

Marie-France Dufour

Julie Driscoll

Yvonne Elliman

Cass Elliot

Maureen Evans

Agnetha Faeltskog

Marianne Faithfull

Mimi Farina

Max Feldman

Gracie Fields

Ella Fitzgerald

Roberta Flack

Lita Ford

Connie Francis

Aretha Franklin

France Gall

Judy Garland

Crystal Gayle

Gloria Gaynor

Bobbie Gentry

Astrud Gilberto

Donna Jean Godchaux

Lesley Gore

Eydie Gorme

Margo Guryan

Sheila Guyse

Nina Hagen

Francoise Hardy

Emmylou Harris

Debbie Harry

Annie Haslam

Billie Holiday

Mary Hopkin

Lena Horne

Helen Humes

Betty Hutton

Janis Ian

Mahalia Jackson

Wanda Jackson

Etta James

Joan Jett

Bessie Jones

Etta Jones

Gloria Jones

Grace Jones

Shirley Jones

Tamiko Jones

Janis Joplin

Barbara Keith

Carole King

Eartha Kitt

Chaka Khan

Hildegard Knef

Gladys Knight

Sonja Kristina

Patti Labelle

Cleo Laine

Nicolette Larson

Daliah Lavi

Vicky Leandros

Peggy Lee

Rita Lee

Alis Lesley

Barbara Lewis

Abbey Lincoln

Melba Liston

Julie London

Darlene Love

Lulu

Anni-Frid Lyngstad

Barbara Lynn

Loretta Lynn

Vera Lynn

Siw Malmkvist

Lata Mangeshkar

Linda McCartney

Kate McGarrigle

Christie McVie

Bette Midler

Jean Millington

June Millington

Liza Minnelli

Carmen Miranda

Joni Mitchell

Liz Mitchell

Marion Montgomery

Lee Morse

Nana Mouskouri

Anne Murray

Wenche Myhre

Holly Near

Olivia Newton-John

Stevie Nicks

Nico

Laura Nyro

Virginia O’Brien

Odetta

Yoko Ono

Shirley Owens

Patti Page

Dolly Parton

Freda Payne

Michelle Phillips

Edith Piaf

Ruth Pointer

Leontyne Price

Suzi Quatro

Gertrude Rainey

Bonnie Raitt

Carline Ray

Helen Reddy

Della Reese

Martha Reeves

June Richmond

Jeannie C. Riley

Minnie Riperton

Jean Ritchie

Chita Rivera

Clara Rockmore

Linda Ronstadt

Marianne Rosenberg

Diana Ross

Anna Russell

Melanie Safka

Buffy Sainte-Marie

Samantha Sang

Pattie Santos

Hazel Scott

Doreen Shaffer

Jackie Shane

Marlena Shaw

Sandie Shaw

Dinah Shore

Judee Sill

Carly Simon

Nina Simone

Nancy Sinatra

Siouxsie Sioux

Grace Slick

Bessie Smith

Mamie Smith

Patti Smith

Ethel Smyth

Mercedes Sosa

Ronnie Spector

Dusty Springfield

Mavis Staples

Candi Staton

Barbra Streisand

Poly Styrene

Maxine Sullivan

Donna Summer

Pat Suzuki

Norma Tanega

Tammi Terrell

Sister Rosetta Tharpe

Big Mama Thornton

Mary Travers

Moe Tucker

Tina Turner

Twiggy

Bonnie Tyler

Sylvia Tyson

Sarah Vaughan

Sylvie Vartan

Mariska Veres

Akiko Wada

Claire Waldoff

Jennifer Warnes

Dee Dee Warwick

Dionne Warwick

Dinah Washington

Ethel Waters

Elisabeth Welch

Kitty Wells

Mary Wells

Juliane Werding

Tina Weymouth

Cris Williamson

Ann Wilson

Mary Wilson

Nancy Wilson

Anna Mae Winburn

Syreeta Wright

Tammy Wynette

Nan Wynn

Those in italics have five or more pieces of usable visual, written, or audio propaganda already. If you have any visuals like photos or videos, or if you have something to say in words, submit it to this blog before round one begins on June 25th!

If you don't see a name you submitted here, it's because most or all of their career was as a child/they were too young for the cutoff, their career was almost entirely after 1979, or music was something they only dabbled in and are hardly known for. There are quite a few ladies on the list whose primary career wasn't "recording artist" or "live musician," but released several albums or were in musical theater, so they've been accepted.

[chick-with-wifi]

Theory: Root is alive

The Machine faked Root's death, knowing it was the only way to protect Root and motivate Finch to do what was needed to defeat Samaritan.

5x10

The Machine is unable to see the sniper because Samaritan's operatives work in the shadows, but sees Root get shot and sends the police to their location, as it is the fastest way to get medical attention for Root and Finch into custody where Samaritan would be less likely to have another opportunity to target him.

Root is then taken to hospital where Dr Madeleine Enright performs surgery to save her. The Machine summoned her because She needed a skilled surgeon who was trustworthy and wouldn't ask too many questions, and it is mentioned in 4x13 that Dr Enright is among the past numbers who have been helping the team ("Dr. Enright is keeping an eye on Delia at the safe house.").

Once Root is stable, this is the point where the Machine decides to fake her death. As she is injured, Root wouldn't be able to defend herself when Samaritan comes to finish the job, so her only chance is for the Machine to make sure they aren't looking for her. Or rather, they aren't looking for her alive.

Dr Enright injects her with aconite (like Shaw in 2x16) to make her appear deceased long enough to be pronounced dead and for Fusco to identify her body as a Jane Doe, then revives her with atropine.

Meanwhile, the Machine had also summoned Dr Farouk Madani, another previous ally of the team who used to work in a morgue and still owes Finch a favor as mentioned in 3x05. He locates a body matching Root's description and handles the necessary paperwork. And Dr Carr, the otolaryngologist who gave Root her cochlear implant in 3x17, removes her implant and puts it in the new body (more on this later), which is then sent to be buried in Root's place.

During the chaos of inmates being freed at the prison, Daizo, Jason and Daniel are able to get Root out of the hospital and go into hiding. The Machine chose them for this task because they were shielded from Samaritan at the end of season 3, giving them more room to maneuver freely, and Root already knows and trusts them.

The reason the Machine doesn't tell the team about faking Root's death is because Samaritan has eyes everywhere and She can't risk them finding out. She also heard Finch and Root's conversations about him needing to take a more active role in the fight against Samaritan and all the people he's lost, and knows that having him believe he's lost another friend is the only way to push him into doing what it takes to win the war.

The Machine then chooses to use Root's voice for multiple reasons: 1) to sell the story that Root is really dead. 2) She needs to be able to communicate clearly and quickly so Her usual spliced-together recordings wouldn't work. 3) This is the first time She will have prolonged contact with someone other than Root and She is on her own, so using Root's voice is a way to have part of Her interface with Her still.

When the Machine calls Finch from the hospital, he asks, "Root?". The Machine replies, "No, Harold. I chose a voice." She does not tell him Root is dead, but rather allows him to come to that conclusion based on the state in which he last saw her and the fact that She is now using her voice.

5x11

When the Machine talks to Finch about Root being dead, this is the only time She uses a name Root no longer identifies with. Therefore, when She says "I watched her die 12,483 times in the seconds before she expired. I couldn't save her, but I kept trying.", She is actually talking about accessing old footage of young!Root, watching her become the Root we know and running simulations to see whether things could have happened differently ("You taught me to see everything, see everyone, and I do. But I see thousands of versions of them: what they were, what they are, what they could be."). The Machine couldn't save her because this happened before She was built.

Much like how She went behind the team's back to protect Root by faking her death with the help of past numbers, in this episode the Machine goes behind the team's back to protect Reese by giving his number to the DC Team made up of past numbers.

5x12

The Machine says, "You know I can't lie to you, Harold." As we've seen, She can withhold information or choose to phrase things a particular way, but can't say an outright lie. At no point does she ever explicitly say Root is dead.

The Machine also says that in a world where She didn't exist, Shaw "never would have met Root." Finch adds, "Or lost her." The Machine does not address this comment at all.

5x13

When Shaw visits Root's grave and discovers the soil disturbed, the Machine comments that it "looks like they dug her up. Guessing they got to her cochlear implant. I should have had her cremated, but I just didn't have the heart. My bad." The Machine is only stating what it 'looks like', not what actually happened. And it is very suspicious that the Machine, who was created to predict human behavior and watched Samaritan try to cut the cochlear implant out of Root's head while she was alive, would fail to predict them going grave robbing for it.

Unless, after deciding to fake Root's death, She knew they wouldn't stop until they found it so lets them have it on Her terms. (As previously mentioned, the cochlear implant had been inserted into a body matching Root's description that was buried in her place. Having her cremated, and by extension destroying the cochlear implant beyond use, would have prevented an innocent person's body from being desecrated, but She couldn't give up a chance to defeat Samaritan.) 

Once Samaritan scans the implant to access the location data, the Machine is also able to access more information on Samaritan which She then integrates into the copy of Her core code made by Shaw. This, along with the greater defensive capabilities created by Root and activated by Finch, allows her to beat Samaritan in the satellite, when She couldn't win any of the simulated fights.

The Machine knew that this would lead them to the team's frequent locations, so She arranges to protect them by stationing a sniper near the precinct ("It seems Thornhill Industries has been on a hiring spree.") and instructing Shaw to blow a hole in the wall of the subway station that allows them to escape.

Later, when Shaw asks "Is this the guy who killed you? Killed her, I mean.", the Machine changes the subject. This is because She can't lie and couldn't risk telling the truth when Samaritan might find out. Although they don't have much time, it wouldn't have taken long to confirm what Shaw already suspects and she has never been the type to let a desire for revenge interfere with completing the mission since "a good soldier does both" (2x16).

When the Machine directs Finch onto the rooftop, he asks, "Wait, are you sure this is the right place?" and She replies, "Yes. This is where you're supposed to be." It is then revealed that She secretly made a deal with Reese allowing him to sacrifice himself in Finch's place. This shows once again that She will go behind Her assets' backs to protect them and uses careful phrasing to misdirect them without lying.

After defeating Samaritan, the duplicate Machine downloads Herself to the subway station computers and declares 'mission unknown. Awaiting instructions…'. The message left by Her predecessor then begins playing and tells Her about Her assets ("let me tell you who we were") and Her mission ("let me tell you who you are").

As the next scene is Her calling the payphone by Shaw, She must have been given instructions to contact any surviving assets. Shaw answers and it is unlikely the Machine gives her a new number, because She had only just gotten back online and the last time She was reduced to Her core code in order to fit in the briefcase, it took Her a while to start operating normally. We also see that She only begins to scan the crowd after Shaw hangs up.

It can't be Her signature 'can you hear me?' because Shaw doesn't reply. Instead, it must be a message Her predecessor told Her to relay - that She survived, Samaritan is gone for good and it's time to get back to work, followed by a set of coordinates that lead to Root's location as she is both a surviving asset and someone who can help Her get back up and running.

It is doubtful the Machine tells Shaw Root is alive in that moment, because she would have reacted with more shock and betrayal than we saw, and likely demanded an explanation immediately. Instead, she is smiling because they won the war and she can continue saving people.

Shaw then goes to the location, which is a new safehouse where Daizo, Jason and Daniel have been looking after Root, who is still unconscious but recovering. The building has been set up as their new base of operations, since the subway was somewhat destroyed during the final battle.

When Root soon wakes up, she and Shaw are very happy to be reunited and promise never to leave each other again. The Machine moves Herself to the computer equipment in the new safehouse and Root helps Her get recalibrated, as we saw in 5x02 and the flashbacks in 4x05. "There we go. Now, can you see me? Excellent. Next question, who am I? That's my girl." Root becomes both Admin and Analog Interface and Shaw is the Primary Asset.

Together, Root, Shaw, the Machine and Bear get back to working the numbers, with help from their friends and allies.