#Jean-Luc Young

[shihlun]

Haruhiko Arai

- Body and Soul

1997

[myladyofmercy]

every time i see this shot of august in 1x02 i think he looks like captain picard from star trek next gen

[ijafterhours]

"After that, everything else is up to you. You ready?"

After a tense period of back and forth surrounding her mission, it's finally Lara's time to weasel her way into the not-so-deep state. Despite all her reservations, she knows she has a job to do, and she's damn sure she's going to do it, as far as her mom is concerned. But despite her dedication, distractions still come and go.. A lot of new characters this episode!! Enjoy!

[orsacchiotto-rugbista]

[xx-vergil-xx]

hi lovely ppl following along w hounds, just a brief update — still working away with love and Machinations, but i’ve got family staying in my house this week such that i can no longer do my usual late-night writing seasons which is when i’d usually get the most writing done and also post :/ so apologies expect delays on chs 37 and 38. just wanted to let y’all know <3

[albonium]

ah ah ah 🙂🔫

[intellectures]

Die lässig-weirde Poesie des Jim Jarmusch

Jim Jarmusch gilt als Erfinder des amerikanischen Autorenkinos, Filme wie »Stranger Than Paradise«, »Down By Law« und »Dead Man« sind längst Kult. Seit seinem 70. Geburtstag liegt eine vollständige Sammlung seines filmischen Schaffens vor. Continue reading Die lässig-weirde Poesie des Jim Jarmusch

[dutybcrne]

Dawn Winery Head!Kae during Luc’s absence make brain go brr

[sepublic]

The Owl House Timeline

-Millennia Ago; The Archivists encounter the Demon Realm and send the Collector to play with the young Titans; The Collector meets the Titan known as the Boiling Isles, and comes across King’s egg; The Archivists commence a war against the Titans, who resist their attempts to turn every living thing into scrolls; Due to Titan magic countering their own, the Archivists enlist the help of the local demons, Bill among them, and create the Titan Trappers; An Archivist transforms the Owl Beast into a scroll, only to lose it in the ocean; The Boiling Isles Titan hides King on a remote island, shielded from the view of Archivists, and appoints Jean-Luc as the guardian. 

-The Collector is imprisoned in the in-between by the Boiling Isles, who is the last Titan alive; Hooty comes into existence after this during a hunt; The Archivists disappear from the isles; The Titan blows out Bill’s eardrums in a final battle against the Titan Trappers; The Titan escapes to the other side of the planet and ‘dies’, but due to her heart still beating, lingers as a ghost watching from the in-between; Bill communicates with the Collector using one of the moon discs, worshipping them as the Grand Huntsman, only to lose contact when the disc is broken; The Titan Trappers find the Boiling Isles, but are unable to locate King’s egg to free the Collector; Bill’s generation eventually dies out until he is the only one left, leading new generations of wannabe Titan Trappers; Hooty leaves the Boiling Isles’ eye.

-Hecktaceous Period; A Stonesleeper is transported to the Titan’s skull and placed as guardian; Luz Noceda briefly visits through a time pool.

-Witches and demons evolve from the Titan’s corpse; They initially learn glyphs by communicating with the Titan’s spirit on her knee, but eventually rely on their bile sacs instead.

-Thousands of Years Ago; The Bat Queen is carved and abandoned by her owner, a giant, after being wounded; She begins looking after other mistreated palismen in solidarity.

-Circa 1600s; The Deadwardian Era begins.

-1613; Young orphans Philip and Caleb Wittebane arrive in Old Gravesfield.

-Evelyn Clawthorne and Flapjack enter the human realm using an archway powered by Titan’s blood, and befriend a teenage Caleb; Evelyn and Caleb communicate using hidden rebuses, and a vial of Titan’s blood is buried outside the archway in Gravesfield.

-As an adult, Caleb moves to the Boiling Isles’ right arm with Evelyn permanently, marrying her. Philip enters the Boiling Isles through Eclipse Lake, emerging at the Knee, and discovers the Ice glyph.

-Circa May 21st, 16XX; Philip begins writing a journal documenting his journey in the Demon Realm.

-Five years after his arrival, Philip returns to Eclipse Lake and retrieves Titan’s Blood to build a Portal back home, emerging the only survivor; Philip absorbs Palismen essence to gain an advantage over witches, beginning his curse and slowing his aging; Philip reunites with Caleb, killing him and being chased off by a pregnant Evelyn; Philip discovers the Plant and Fire glyphs.

-1635; New Gravesfield is founded, replacing the town’s older layout.

-1660-70; Years after entering the Demon Realm, Philip Wittebane encounters Luz Noceda and Lilith Clawthorne, who travel from the future to meet him; Luz teaches Philip the last glyph, Light; Philip meets the Collector, and encounters the Stonesleeper he will use to create his first Grimwalker of Caleb; A Portal is made using the Titan’s eye that leads to Philip and Caleb’s childhood home, but ends up buried next to Evelyn’s archway.

-1693; “Witches eating babies” -Eda

-Philip creates his first Grimwalker of Caleb; Philip assumes the identity of Belos and claims to speak on behalf of the Titan, espousing the coven system; Belos and his Grimwalkers stage false flag attacks in order to scare the populace into believing them; A city on the Knee is abandoned as a result of one of these incidents. 

-A teenage Hieronymous Bump destroys a rival school resembling Glandus with his fellow students; Hexside is built atop the ruins.

-Circa 1972; Belos becomes Emperor of the Boiling Isles.

-1970-75; Caleb and Evelyn’s descendant Lilith Clawthorne is born; Two years later, her younger sister Edalyn Clawthorne is born.

-Eda, Lilith, Alador, Odalia, Darius Deamonne, and Perry Porter attend Hexside, with Principal Faust in charge; Despite or because of his role in Hexside’s founding, Bump is Vice Principal; Faust breaks up with Terra Snapdragon, who takes their home, forcing Faust to live at Hexside.

-1990s; Cosmic Frontier is published.

-Circa 1992; Eda meets Raine Whispers and Terra at IFWOT; Raine transfers to Hexside; Bump replaces Faust as Principal of Hexside; Eda is cursed by Lilith using the Archivist’s Owl Beast scroll; Lilith joins the Emperor’s Coven, and Eda discovers the Portal, emerging in the Wittebane house at Gravesfield; Eda watches Dragonclaw Z in the human world; Petrifications ‘officially’ end as a means of capital punishment.

-Darius is mentored by the Golden Guard; Darius has a falling out with Alador and Odalia; Alador wins the Bonesborough Brawl; Coven sigils are introduced and mandated; Raine and Eda break up; Raine joins the Bard Coven, only to realize the system’s corruption, and begins a campaign against it from within; The Golden Guard dies, and Lilith is appointed as the Head Witch of the Emperor’s Coven when Belos realizes she will travel to the past to meet him; Alador and Odalia marry and found Blight Industries together.

-Circa 2006; Emira and Edric Blight are born.

-Circa 2007; Skara is born, followed by Willow Park; Vee is the fifth basilisk to be cloned by Belos.

-Circa 2008; Luz Noceda and Amity Blight are born.

-Circa 2010; Augustus Porter is born.

-King Clawthorne finally hatches from his egg.

-Circa 2014; King is found and adopted by Eda.

-The Nocedas move to Gravesfield.

-August 22nd, 20XX; Manny Noceda succumbs to his illness and dies, leaving Luz the first book in The Good Witch Azura series.

-Luz becomes obsessed with The Good Witch Azura.

-Amity is forced to sever ties with Willow during her birthday.

-Circa 2017; Alador has his last weekend off before Odalia forces him to work overtime.

-Willow meets and befriends Augustus Porter.

-Circa 2021; Tibbles finds The Good Witch Azura books washed ashore the Boiling Isles, and sells them to the Book Nook; Amity is the only one who buys them and becomes obsessed.

-Eda begins selling human garbage at Bonesborough as a side gig.

-Amity leaves the Hexside Banshees, quitting Grudgby entirely; Vee and Numbers Three and Four escape the Conformatorium.

-Summer 2022; Luz Noceda enters the Boiling Isles, while Vee enters the human world.

-Mason is promoted to Head Witch of the Construction Coven after the yearly Covention, in time for Luz to attend her first day at Hexside.

-Hunter is appointed the new Golden Guard by Belos.

-Scooter Crane retires; Raine Whispers is appointed as the new Head Witch of the Bard Coven; Tarak sees King’s video while visiting the Boiling Isles and mistakes him for another Titan Trapper’s estranged son, dropping off an invitation letter.

-Luz and Lilith travel through a time pool and encounter Philip Wittebane in the year 1660-70.

-August 22nd, 2022; Reaching Out takes place.

-The Day of Unity occurs; The Collector is freed by King and stops the draining spell; Luz and her friends (and Belos) are stranded in Gravesfield after the Portal is destroyed; The Collector turns the population into puppets, and builds a palace out of the Titan’s skull.

-October 29th, 2022; The Hexsquad discovers the rebus left behind by Caleb.

-October 30th, 2022; The Hexsquad locates Evelyn’s vial of Titan’s Blood; Belos infects Hunter’s body.

-October 31st, 2022; Belos kills Flapjack, and Luz and her friends return to the Boiling Isles.

-November 1st, 2022; For the Future takes place.

-November 2nd, 2022; Luz befriends the Collector and destroys Belos once and for all; The Titan passes on.

-2026; Luz graduates from high school and has her 18th birthday.

[from-memphis-with-love]

All In

Summary: It's the swinging '60s, baby, and Elvis Presley is the grooviest spy this side of the Rockies. He's in Monaco on a new mission, breaking hearts and breaking codes.

* Elvis doesn't like losing, but he's good at it. 

Losing isn't so bad when he has to, it’s just a role to play like any other. Winning, though—a victory lap or getting the girl—that's what Elvis loves. He’s too competitive, that's his problem. 

Usually. Today is different.

The sun slices through early-morning clouds, casting long shadows across the potted bougainvillea on his balcony. A lizard darts across the sun-warmed travertine. Elvis leans back in his chair, the white lacquered wicker creaking beneath his weight as he takes a sip of freshly-squeezed orange juice. It’s tart and tangy, made from Sicilian blood oranges flown in specially for hotel guests. He could get used to this, he thinks, even though anything would be better than his last job in Albuquerque.

The view from his room is breathtaking—a panorama of the glistening Mediterranean Sea, palm trees standing sentinel along the shore, and the winding streets of the principality. Above it all, both figuratively and literally, sits the Casino de Monte-Carlo, an opulent sugar cube of a gambling house that has seen countless fortunes won and lost. 

Elvis squints against the lettuce green sky, the warm breeze ruffling his jet-black hair. Crossing one long leg over another, his tailored trousers stretching over his lithe frame, Elvis savors the moment. At a perfect 6 feet tall, with piercing blue eyes and a marble-chiseled profile, he cuts a striking figure even in repose. 

It's a perfect August day, the kind that makes one forget there's always work to do, even in a paradise like this. 

A knock at the door interrupts his reverie. “Room service,” a muffled voice calls out.

Elvis rises and pads for the door, greeting the uniformed attendant with a warm smile. “Morning,” he says, stepping aside to let the man enter. 

The attendant wheels in a cart laden with covered dishes. “Where would you like me to set up, sir?” he asks.

“The terrace, please,” Elvis replies, watching as the man efficiently arranges the dishes on the table. “Thank you…?” He pauses, waiting for a name.

“Jean-Luc, sir,” the attendant supplies with a slight bow. 

“Thank you, Jean-Luc.” Elvis nods approvingly and hands the young man a few crisp bills, a generous tip reflecting his own working-class roots. He knows two things for sure: Jean-Luc works exceptionally hard for his money, and he probably knows more than he should about every hotel guest. He might prove useful. 

Jean-Luc's eyes widen slightly as he pockets the tip, his posture straightening imperceptibly. "If there's anything else you need, sir, please don't hesitate to ask." His tone carries a hint of conspiratorial understanding, a recognition of the unspoken agreement between them.

Elvis gives him a smile, equal parts charming and enigmatic. "I'll keep that in mind."

With a final nod, Jean-Luc takes his leave, the door closing softly behind him. Elvis settles back into his chair, his mind already racing with the possibilities of this new connection.

On the table before him, a sumptuous breakfast: buttery croissants, jam, slices of blackened bacon, and a variety of cheeses. The aroma of freshly brewed coffee mingles with the salty sea air. Elvis unfolds the crinkled newspaper, his sharp gaze scanning the headlines for anything of interest. He's expecting a message, a signal that will set today's events in motion. He knows Reginald would never let him down. 

As he turns the page, a small butterfly of a note flutters to the ground. Reaching down, his fingers trace the embossed CIA seal, the paper smooth and cool to the touch. 

Ah, there it is. 

Elvis' pulse quickens as scans the writing: 22 Avenue de la Costa. He turns the scrap of paper over in his fingers, searching for any additional clues, but the reverseis blank. The message is clear enough: whatever awaits him, it's not going to be a walk in the park. He’s been in the game long enough to know that when Reginald plays things close to the vest, it means the stakes are higher than ever.

His handler had been unusually tight-lipped during their briefing. But that’s just the way Elvis likes it. The bigger the risk, the bigger the reward. And such secrecy could only mean one thing–this job is tough. Dangerous. The kind of high-stakes operation that gets Elvis’ blood pumping. Let the games begin. 

Glancing at his watch, he notes the time: 9:58 AM. The casino won't open for hours, giving him plenty of time to plan his approach. He'll need to be cautious, though. The Duke and Duchess of Castellano, his well-connected friends, have arranged for him to join an exclusive poker game later that evening, one in which he will have to lose. Drawing attention to himself before then wouldn't be wise. 

Finishing his breakfast, he stands and stretches his limbs, muscles flexing beneath his shirt. Monaco is a playground for the glitterati, their perfect little jewel box on the Côte d'Azur. But beneath the surface, he knows, lurk secrets and dangers that most people never see. Dangers they could never even dream of. 

With practiced efficiency, he hurries across the suite, his mind already shifting into mission mode. He pulls a sleek black case from beneath the bed, his fingers dancing over the combination lock. Inside, an array of gadgets and weapons gleam in the morning light—tools of his trade, each one carefully chosen for maximum impact and minimum detectability.

He selects a few key items: a miniaturized camera, a set of lockpicks, a small vial of a clear liquid that definitely isn't water. Each one designed disappear into the hidden pockets of his suit jacket, concealed with a skill born of years of practice. Elvis learned long ago that preparation is key in this line of work—you never know what you might need until you need it.

It's time to become Anderson “Andy” Davis, a first-time Grand Prix entrant and new pet project of the Monegasque elite. He opens his closet and selects a lightweight blazer and a crisp white shirt—a smart, sensible choice that won't draw a second glance. Dressing quickly, his fingers deftly fasten the buttons, the silk smooth against his skin.

As he checks his reflection in the mirror, Elvis allows himself a small, secret smile. His handsome features, so often a liability in his line of work, are expertly disguised by the subtle changes in his posture and expression. With a final adjustment of his cufflinks, he grabs his room key and heads out the door, the steel heavy in his pocket. 

Ready or not, here comes Andy.

[stra-tek]

Big List of Universes in Star Trek:

Prime

Where most of Trek takes place. TOS, TNG, DS9, VOY, ENT, DSC, LWD, PRO, PIC, SNW etc. Gets a bit complicated in that the Temporal Wars from Enterprise have explicitly rewritten some events but for the most part it's all one enormous continuity. Just don't ask about the Eugenics Wars

Kelvin

Where the rebooted movies take place, essentially Prime until the day of Jim Kirk's birth, when a Romulan from the Prime future appears and begins wreaking havok, sending events on a familiar but different path with more running and explosions

Mirror

The morally inverted version of the Prime universe. Often the same people in the same place at the same time as Prime except under radically different circumstances. The Kelvin timeline has it's own mirror universe and the Coda books imply they're different sides of the same coin so perhaps every universe has it's mirror. Everyone dresses very slutty and all the women are at the very least bi. Almost as if it was written by men to appeal to teenage boys.

The First Splinter

Where the entire Star Trek novelverse takes place. Essentially Prime up until First Contact, although many events after that tie into ones hundreds of years before so it's all a bit complicated. Hundreds of stories exist here, as varied and amazing and sometimes awful as the TV shows and movies. Erased from history in 2387 but everyone you've loved and read about for years die horrible, horrible deaths first

Megas Tu

Accessed through a portal at the centre of our galaxy, a universe where magic is real and the source of many Earth myths and legends. Lucien is Satan but he's actually a pretty cool guy. Kirk and Spock learned to use magic there.

Parallels

300,000 universes converge, ranging from ones where Worf has a different painting in his quarters to him banging Troi to the Borg having conquered the Federation

Reverse

Black stars on a white void, ships fly backwards, at warp 36, the elderly grow young and live backwards and I'm afraid to ask how this reverse life ends

Second History

From the novel Killing Time. Super gay and angsty. Romulans alter history, leading to Spock being captain and Jim Kirk being a drug addict ensign on the V.S.S. ShiKahr

Renegades

A bootleg version of Star Trek in a fan film universe, altered on day two of filming after the Axanar drama began. It's Star Trek with the serial numbers just barely filed off. The Confederation instead of the Federation, Sector 6 instead of Section 31, Kovok instead of Tuvok, Jemison instead of Uhura, Rigillians instead of Romulans and so on. 2 novels were released which try to differentiate the universes more clearly, and the last Renegades film Ominara re-reboots the whole thing and features an Uhura-ish character and the Star Trek ish sets, but otherwise everything else is different.

Fascistverse

Created by Q to test Jean-Luc and friends in season 2 of Picard, this was along the lines of the Mirror universe but with a divergence point in 2024, if Trump wins the election if Picard's ancestor Renee goes into space or not.

Musical

A crossover with this universe in SNW "Subspace Rhapsody" leads to the quadrant singing uncontrollably, accompanied by music and with full choreography.

[pastafossa]

Matt Murdock likes Star Trek: The Next Generation

Stick with me.

Daredevil headcanon: young college!Matt drew some inspiration from Captain Jean-Luc Picard in Star Trek: The Next Generation when it comes to his legal style.

He'd never really been into Star Trek before this. He wasn't alive for the Original series, and never really got around to watching TNG before he lost his sight, and after that it just never really occurred to him to try to 'watch' it. He knew of it of course, but it wasn't until college and Foggy - who was himself a master of fandoms far and wide, Star Trek included - that he was pushed into giving it a chance.

He was reluctant, of course. How much could he actually get out of it? Most shows weren't great at audio descriptions, and there was just so much gd pressure and the weight of all these different Trek shows and history that he found himself digging in his heels.

But Foggy made him deal.

Watch (here Matt raises his brows and Foggy has to sigh and rephrase) just one episode.

Just one.

And if he didn't like it, Foggy will let it go.

Foggy selected...

The Measure of a Man.

In which the Enterprise's captain (played by Patrick Stewart) must defend in court their ship's resident android, Data, and his right to self-determination - his right to choose, his right to life - as a sentient being. The themes and ethics alone were a draw - all of these are questions the legal system did and is still reckoning with, something called out in the scene - and the courtroom setup was just as intriguing to him. But then the episode hit this part.

This was one of many key moments where Matt began to hone in on his own style - the slow build, the guidance of the witness to build to his point, the escalation of tone, the increased pressure, the cresting of that emotional wave before dropping into something softer. It's a masterfully done piece. On top of that, this scene solidified something he had believed about the courtroom for some time.

"Your honor, a courtroom is a crucible. In it, we burn away irrelevancies until we are left with a pure product - the truth, for all time."

Sound vaguely familiar?

These questions of good and evil, as important as they are, have no place in a court of law. Only the facts matter.

Matt Murdock is a Star Trek fan, thank you for coming to my TED talk.

[cantsayidont]

The thing I find most perplexing about the PICARD show — and I am going to say upfront here that I have not made any attempt to investigate any of the behind-the-scenes stuff or even paid any particular attention to the writing credits — is that judging by the end product, it really looks like there were significant differences between what was pitched, what was originally written, and what actually ended up on the screen. In fact, it seems like there were at least two, possibly three big changes in direction along the way.

@procrastinatorproject remarked (and I'm going to quote rather than reblog the reblog, to avoid making an unreadably long chain):

They spend a lot of time in the early episodes deconstructing Picard, the Great Captain. They make it abundantly clear that his typical MO of Giving A Great Speech and centering himself and his morality and his worth and self-sacrifice isn't a sustainable, useful way to solve problems. (See: threatening to resign in protest, tearing down the "No Humans" sign on Vashti and acting like he knows how to combat entranched racial divisions in a place he hasn't been to in almost 20 years, etc.) This is made clear repeatedly and I thought it was a really interesting and brave deconstruction of this Great Captain Narrative that we got especially in TNG (with the occasional nuance, yes, but still this at its core). And then they drop the ball on that when in the final episode, Picard saves the day by Making A Great Speech and cerntering himself by offering to sacrifice his life.

I'll go a step further than this: The strong impression I got from the first seven or eight episodes of PICARD S1 is that the first season was likely intended as a miniseries, and that it was originally pitched not simply as a deconstruction of the character, but as "The Death of Jean-Luc Picard." PICARD-era Picard is not a particularly young man even for the 24th century (he's 94 years old), and we're told early on that he's dying of a rare degenerative disease for which there is no cure. His choices have had serious consequences: He's burned bridges with most of his friends and colleagues, his last Grand Gesture was a disaster that cost him the last of his credibility with Starfleet (and destroyed Raffi's career, something the show never really has Picard even acknowledge), and he's isolated himself in bitter disillusionment. His former shipmates are no longer around to help him, and the people he recruits are not nearly so tolerant of his bullshit. The entire premise of the show suggests that this is Picard's last chance and his last ride — and I think probably the final curtain for the TNG cast as well. (The fact that the first season is set in the last year of the 24th century also seems significant in this respect.)

I also suspect that this was what lured Patrick Stewart back to the role; I think they probably told him, "Look, this is going to be Picard's King Lear — it's not going to be just another sci-fi action potboiler, it'll be a big Shakespearean tragedy that will really let you go out with some gravitas." (What actor would say no to that?)

The problem, of course, is that while this is interesting, it makes for a pretty bitter pill for the audience. I've never particularly liked TNG, and my emotional attachment to the characters is limited, but I can't see that this is what most fans would have hoped to see for Picard: He's all alone, sulking on his family estate with his Romulan servants (another pseudo-Shakespearean gesture, I thought, though incongruous for STAR TREK's alleged post-scarcity socialist utopia); Beverly is ominously MIA; he hasn't talked to Will and Deanna in so long he doesn't know they have a 12-year-old daughter (and when he finally goes to see them in Ep. 7, by far the best of the series, Deanna very justifiably reads him for filth); and his relationship with Geordi and Worf is apparently cordial but distant. He's a sour, unhappy old man whom Starfleet Command sees as a self-righteous crank who's outlived any usefulness or relevance. Even without getting into the other ways the story takes Picard apart, that's pretty grim, and when he sets out with the other new characters on what's clearly suggested as his final quest, it's plain that he's probably not going home again.

The way the final episodes of S1 try to dial this back is SO jarring and so unsatisfying that it really doesn't seem like it was the way it was intended to end at all. What it feels like is like someone higher up at CBS came in after the show was already well along in production and said, "Wait, what are you doing? You can't kill off Picard! How are we supposed to have a Season 2? And where are all the other iconic STAR TREK characters?" There's every indication that the finale was hastily rewritten very late in the game, after much of the shooting was either underway or already completed.

So, rather than bringing the tragedy to an organic conclusion, we get an incredibly stupid cop-out finale that's still a downer without even offering a satisfying resolution. It's hard to say which part is more frustrating: Picard's big death scene surrounded by people who barely know him (and who up to that point didn't even like him that much); the incongruous arrival of the Starfleet "cavalry," riding to the rescue in a way we were previously shown (repeatedly!) wasn't going to happen; immediately undoing Picard's death in a very uneasy way (making him a synth, something the rest of the series then has to tiptoe around); or attempting to contrive an emotional climax with Data arguing for his right to die — despite the fact that the character had in fact been dead for 20 years. While we're keeping score, I was also irritated by the way the finale vilified the Romulans; the Romulans' response to the situation was a little heavy-handed, but the thing they were afraid of was very real, and the only reason it was averted was that the synths at least temporarily decided to table the impending "intergalactic robot genocide" they were preparing to kick off.

How the season — and, perhaps, the show — was originally supposed to end, or whether whatever was originally planned would have been any better, I don't claim to know, but I really suspect it was supposed to be different. (To @procrastinatorproject's other point, I don't know that the critiques the earlier episodes made of Starfleet and the Federation necessarily had any resolution or direction in mind; if PICARD was really intended to bring down the curtain on the TNG era, a lot of it might well have been left unresolved with the expectation that subsequent projects were going to move on to later eras, like the "post-Burn" future of DISCOVERY, where what happened with the late 24th century Federation could either be shrugged off as no longer relevant or used to set up other plot developments, as seemed most useful.)

I actually liked S2 much better overall: The stuff with Picard's mother is extremely clunky and never lands emotionally, the attempt to suggest a Picard-Laris romance is just uncomfortable (poor Orla Brady!), and there are aspects of the plot that aren't very satisfying, but there's also a lot that's fun. It has some nice moments for Jeri Ryan ("I am NOT the worst driver here!"), the scenes with Seven and Raffi are great, Agnes' ill-fated hookup with the Borg Queen actually breaks some new ground with STAR TREK's dullest villains (which S3 then walked back), tying up Picard's friendship with Guinan was nice, and I didn't even mind the unexpected Wesley Crusher cameo. Its biggest problems are that it doesn't really fit: The tonal shifts from S1 are jarring; it doesn't bother to resolve any of the critiques or dangling story threads from the first season; and for all its attempts to tie in more STAR TREK lore, the obvious question, from viewers as well as probably CBS, remains, "Why is Picard still hanging around with these (mostly) new characters he barely knows rather than the other beloved TNG characters?"

So, S3 changes course again, finally doing the "getting the gang back together" nostalgia plot that the network and a lot of fans expected in the first place. That by itself might have been fine, but it has to go out of its way to reverse a lot of the major developments of the first two seasons (resurrecting Data to kill him off and then having to contrive a way to resurrect him again really beggars the word "clumsy"), and the plot rambles and wanders in the middle in incoherent ways that left me unsure if it's just badly written or there was ANOTHER word-from-on-high change in direction during production. The hilariously stupid Big Rock Finish isn't even much of a finale, since they obviously decided they didn't want to completely close the door on Picard and company after all.

There's evidence of this kind of thing in the other shows as well. LOWER DECKS, for instance, sets up several new characters at the end of S2, but then basically abandons all of its ongoing character threads for the entirety of the very weak S3, which is full of pointless guest appearances and cameos that don't amount to anything even on a sitcom level, before trying to pick up the abandoned story threads in S4. DISCOVERY, of course, then does its big and rather jarring era shift after setting up STRANGE NEW WORLDS as a spinoff. The idea of establishing a new era chronologically later than TNG makes sense, and would have been a natural step if PICARD had really been the finale of the TNG era, but going from "It's a TOS prequel!" to "It's set 900 years after TNG!" in midstream is weird, and I have to wonder if that's what they originally intended.

Obviously, one doesn't have to strain too hard to see why CBS has decided that it's safer to lean on nostalgia, but the disjointed progression of it makes me think that there were more creatively ambitious (not to say necessarily better) plans that have repeatedly changed, and how each of these shows has wrapped up seems to be materially different from how they began, in ways that are often very odd as well as unsatisfying.

[velocitysedge-if]

"Velocity's Edge" dives into the riveting world of Formula 1, following the journey of you ,an enigmatic young driver, as they navigate the twists and turns of the racing circuit. Fueled by a mysterious past and an insatiable desire for victory, your rise to prominence is punctuated by intense rivalries, unexpected alliances, and a series of heart-pounding races that push both the limits of the track and the depths of your own character.

As the adrenaline-soaked story unfolds, secrets are unveiled, loyalties are tested, and the pursuit of the checkered flag takes on a life of its own, propelling the characters toward the finish line which is only the beginning of the ultimate race.

⚐ Customizable MC: choose your name, nickname, appearance, gender, and pronouns.

⚐ Romance: 5 males, 4 female, and 2 possible poly route.

⚐ If you don’t want romance, you could just make friends with everyone, or the opposite.

⚐ Win the race...that's all that matters.

Kieran "Kie" Patel

- Age: 27

- Nationality: British-Indian

- Role: Data Analyst

- Description: Kieran Patel is a brilliant British-Indian data analyst who plays a crucial role in analyzing race data and optimizing strategy for your racing team. His expertise lies in deciphering complex telemetry data and providing real-time insights to help the team make informed decisions during races. Kieran's calm demeanor and analytical mindset make him an asset in high-pressure situations. His unique perspective as a data-driven thinker often leads to innovative strategies that give his team a competitive edge.

Elena "El" Petrova

- Age: 25

- Nationality: Russian

- Role: Motorsport Journalist

- Description: Elena Petrova is a passionate and determined Russian motorsport journalist who covers Formula 1 races for a popular international publication. Armed with a deep knowledge of the sport and an insatiable curiosity, Elena strives to capture the human stories behind the races. She's always on the lookout for exclusive interviews and behind-the-scenes glimpses that provide fans with a deeper understanding of the drivers and the sport. Elena's engaging storytelling style and dedication to her craft make her a respected voice in the motorsport journalism community.

Diego "Flash" Ramirez

- Age: 28

- Nationality: Brazilian

- Role: Social Media Manager

- Description: Diego Ramirez is an energetic and creative Brazilian social media manager who handles the online presence of your racing team. He's a master of crafting engaging social media content that connects with fans on a personal level. Diego's enthusiasm and knack for viral marketing campaigns have significantly increased the team's online following. He's known for his quick wit, pop culture references, and ability to turn even the most mundane moments into captivating social media stories. Diego plays a vital role in shaping the team's image and engaging with fans worldwide.

Mia "Pitstop" Reynolds

- Age: 29

- Nationality: American

- Role: Chief Mechanic

- Description: Mia Reynolds is a skilled and resourceful American chief mechanic who oversees the pit crew for your racing team. She's known for her lightning-fast pit stops and impeccable attention to detail. Mia's journey to becoming a chief mechanic was marked by overcoming gender stereotypes and proving herself in a male-dominated environment. She has a no-nonsense attitude, a strong work ethic, and a deep passion for getting the team's cars back on track as quickly as possible during races.

Jean-Luc "JL" Dubois

- Age: 45

- Nationality: French

- Role: Veteran Commentator

- Description: Jean-Luc Dubois, commonly referred to as "JL," is a charismatic and knowledgeable French commentator who has been covering Formula 1 races for decades. With a distinctive voice and a knack for providing insightful analysis, JL has become a beloved figure among fans worldwide. He's known for his catchphrases and colorful storytelling that bring the excitement of the race to life. JL's passion for the sport is infectious, and his commentating style adds an extra layer of excitement and engagement for viewers tuning in to the races.

Alex "Ace" Walker

- Age: 28

- Nationality: British

- Role: Formula 1 Driver

- Description: Alex Walker is a talented and charismatic British Formula 1 driver known for his incredible racing instincts and daring overtakes. He comes from a modest background and had to fight his way up through the ranks to reach Formula 1. He's known for his quick wit, sense of humor, and unbreakable determination. Ace is deeply passionate about racing, always seeking the thrill of competition and constantly pushing his limits on the track. His signature move is a fearless dive into the inside line during tight corners, earning him the nickname "Ace" among fans and fellow racers.

Sofia "Slick" Martínez

- Age: 26

- Nationality: Spanish

- Role: Rival Formula 1 Driver

- Description: Sofia Martínez is a fierce and calculating Spanish driver who is considered one of the main rivals to Alex "Ace" Walker. She's known for her strategic racing style, which involves preserving tires and fuel to make a late-race surge. Slick comes from a family with a rich motorsport history, and she's determined to continue their legacy. Her quiet confidence and ability to remain composed under pressure often unnerve her competitors. While her relationship with Ace starts as a rivalry, it evolves into a complex dynamic as they gradually gain respect for each other's skills and determination.

Max "Maxy" Nguyen

- Age: 24

- Nationality: Vietnamese-American

- Role: Up-and-Coming Rookie Driver

- Description: Max Nguyen is a young and enthusiastic Vietnamese-American driver making his debut in the Formula 1 scene. He's known for his fearless approach to racing, often pushing the limits of his car's capabilities. His eagerness sometimes leads to impulsive decisions on the track, but his raw talent is undeniable. Nitro's bubbly personality and infectious energy make him a favorite among fans and media, and he quickly becomes a rising star in the sport.

Isabella "Izzy" Williams

- Age: 32

- Nationality: Australian

- Role: Team Principal

- Description: Isabella Williams is a former Formula 1 driver from Australia who retired due to a career-ending injury. After her retirement, she founded her own racing team, determined to lead it to victory. That team is yours. Izzy is known for her strategic thinking, meticulous attention to detail, and unyielding dedication to her team. She's a respected figure in the paddock, often navigating the challenges of team management in a male-dominated industry. Her strong leadership inspires her team to constantly strive for excellence.

Luca Moretti

- Age: 50

- Nationality: Italian

- Role: Veteran Race Engineer

- Description: Luca Moretti is a seasoned Italian race engineer with decades of experience in Formula 1. He's known for his encyclopedic knowledge of race tracks and car mechanics. His calm demeanor and deep understanding of the sport make him a highly sought-after engineer. Luca has worked with numerous legendary drivers over the years and now finds himself mentoring Max "Maxy" Nguyen as the young rookie's race engineer. He often provides valuable guidance and insights both on and off the track.

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ASKS WELCOME

[brunettedelulu]

The French New Wave: A Cinematic Revolution.

Introduction

The French New Wave, or Nouvelle Vague, is a cinematic movement that revolutionized French cinema and, by extension, global cinema. Emerging in the late 1950s, it marked a decisive break from the conventions of traditional filmmaking. This movement not only redefined the rules of directing but also spotlighted new talents who would go on to influence generations of filmmakers.

Origins of the French New Wave

The movement was born out of criticism, particularly through journals like Cahiers du cinéma, where young cinephiles such as François Truffaut, Jean-Luc Godard, and Éric Rohmer began expressing their dissatisfaction with the rigidity of French cinema at the time. These critics soon transitioned behind the camera to materialize their innovative ideas.

Characteristics of the French New Wave

- Narrative Freedom : Films of the New Wave are characterized by non-linear storytelling and a liberated approach to narrative structure. Plot often takes a back seat, with emphasis placed on emotion and the moment.

- On-location Filming : Unlike traditional cinema, which predominantly relied on studio settings, New Wave directors favored natural locations, lending their films a more realistic and immediate feel.

- Innovative Camera Techniques : The directors experimented with groundbreaking camera techniques such as handheld shots, long takes, and rapid editing. This dynamic approach contributed to a unique aesthetic that often blurred the lines between fiction and documentary.

- Non-professional Actors and Improvised Dialogues : To enhance realism, many New Wave filmmakers cast non-professional actors and encouraged improvisation, resulting in more natural and spontaneous dialogue.

Pioneering Figures

- Jean-Luc Godard : With films like Breathless (À bout de souffle, 1960), Godard introduced a bold and provocative style, challenging conventional editing and narrative techniques.

- François Truffaut : In The 400 Blows (Les 400 Coups, 1959), Truffaut explored autobiographical themes with a new sensibility, deeply resonating with audiences.

- Agnès Varda : Although sometimes considered on the periphery of the movement, Varda contributed significantly with works like Cléo from 5 to 7 (Cléo de 5 à 7, 1962), enriching the New Wave with a feminine and introspective perspective.

Three Must-See Films of the French New Wave

1. Breathless (1960) - Jean-Luc Godard

One of the cornerstones of the French New Wave, Breathless tells the story of Michel Poiccard, a petty criminal on the run, and his love for a young American, Patricia. The film is renowned for its innovative editing style, with abrupt cuts and a frenetic pace. Godard disrupted traditional cinematic conventions, delivering a daring work that perfectly embodies the rebellious spirit of the movement.

2. The 400 Blows (1959) - François Truffaut

Truffaut’s debut feature is an autobiographical masterpiece that follows the misadventures of Antoine Doinel, a young boy rebelling against authority. The 400 Blows is a poignant film that explores childhood, the misunderstanding of adults, and the quest for freedom. The film is distinguished by its realism and sensitivity, hallmarks of the New Wave.

3. Cléo from 5 to 7 (1962) - Agnès Varda

Often referred to as the "grandmother" of the New Wave, Agnès Varda offers an introspective and feminist perspective with Cléo from 5 to 7. The film follows Cléo, a singer awaiting potentially grave medical test results. Over the course of two hours, we watch her traverse Paris, encountering various characters. The film is remarkable for its exploration of time, mortality, and identity, while also capturing the essence of Parisian life.

The Impact of the French New Wave

The French New Wave profoundly influenced global cinema, paving the way for a new generation of directors willing to break conventions, both in Europe and in the United States. Filmmakers like Martin Scorsese, Quentin Tarantino, and Wong Kar-wai have frequently cited the New Wave as a major source of inspiration.

Conclusion

The French New Wave remains a pivotal movement in the history of cinema. By breaking with tradition and innovating both in form and content, these directors redefined what cinema could be. Even today, their influence is felt, proving that the New Wave has left an indelible mark on the art of filmmaking.

(yes it is)

[soon-palestine]

“Be brave and say, that your generation, will not be complicit like the previous ones, who ignored the genocide.”Former French presidential candidate Jean-Luc Melenchon encouraged young people to protest the “genocide” in Gaza during a pro-Palestine protest in Paris.