#Ken Craw

[heartlandians]

Congratulations to Heartland’s very own Mark Haroun, who has won the prestigious Showrunner of the Year Award by the Writers Guild of Canada!

He was presented the award by fellow Heartland writer, Ken Craw at last week’s awards ceremony in Toronto.

Heartland has the very best cast and crew, some have been with Heartland since the very beginning. Mark Haroun is one of those original crew members having started as a story editor in Season 1 (18 years ago), and now Heartland’s Showrunner and Executive Producer for the last several years.

Congratulations Mark! We can’t wait to bring more Heartland stories to you all this season thanks to the hard work of our writing team!

📷 Credit: Writers Guild of Canada / Photographer Jacklyn Atlas

[christinaroseandrews]

A lot of people are talking about how Disney didn't get nominated for their flagship 100th animated feature, Wish. Which is a big deal, I am not disputing that. This was a stellar year for animation and the academy had a glut of good options that did not include Wish. (I would have liked makoto shinkai's Suzume to be nominated but...)

But I want to talk about something else that is probably sticking in Disney's craw.

None of their Animated movies, in particular Wish, were nominated for "best original song."

Starting in 1940 with "when you Wish upon a Star", Disney's animated features could be counted upon to receive a nomination for best original song often winning the Honor. This includes movies such as Bambi; Saludos Amigos; Cinderella, and that racist mess that Disney would like you to forget, Song of the South. Even during the years after Walt's death a bunch of songs were nominated from things like Pete's Dragon and The Rescuers. But it wasn't until The Little Mermaid and the animation Renaissance that Disney's almost stranglehold and expectation that they're animated films would get nominated for an Oscar for best song really came into the forefront.

Take a walk through the best song nominations from 1989 to now and pretty much the majority of Disney and/or Pixar movies put out in those years has a best song nomination. There are a few exceptions, there always are, but generally when Disney includes original songs in its Animated properties it gets nominated.

That makes this year so odd. Disney technically has a nomination with Diane Warren's song for Flamin' Hot, which I suspect has more to do with the fact that the academy loves to nominate Diane Warren and then never give her the Oscar. ~_^ The big thing I noticed was that there were no nominations for Wish or even Elemental. And even more crucially, there was no one setting up a hue or cry that these movies (particularly Wish) didn't get nominated for best song.

Wish had all of the ingredients to be both an Oscar Bait for best animated feature and best original song. And the academy ignored it.

And frankly, I think this is 100% deserved. Wish was an okay movie. It wasn't good it wasn't bad it was just okay. And it's songs were forgettable.

Worse than that, in my opinion, they were unsingable. And what I mean by that is the songs were so complex so lyrically and musically difficult that a four-year-old in a princess dress would struggle to sing them. There were too many jumps and the lyrics were incredibly tongue twisty and they even sounded difficult for an accomplished singer like Ariana DeBose to sing. Seriously, the chorus of This Wish has so many jumps and drops that it is almost impossible to stay on key and also follow the melody. The music is just there.

When I walked out of the theater, I couldn't remember any of the songs. I still can't. And as most of my friends can tell you I have a bloody musical memory. I remember songs.

The first time I saw Barbie, I had three of the songs (What was I made for, I'm just Ken, and Pink) wrestling for dominance over who was going to be my earworm for the day. The same thing was true with Frozen, Moana, Encanto, beauty and the Beast, and even Tarzan. I still can't remember the music from Wish at all. To even write this, I had to go on YouTube and listen to the songs. And after listening to them, I still can't sing them. But just typing "I'm just Ken" has put that song in my head.

So rather than just celebrating Wish being excluded in a very good year for animation (it was so good, y'all) we should also be laughing and pointing that the Disney's attempts at getting a best song nomination for that movie also went unheeded.

Because I sure am.

[scotianostra]

On June 27th 1937, Robin Hall, folk singer and musician, was born in Edinburgh.

Robin, had to overcome polio as a child inspent most of his early years in Glasgow and was a direct descendant of Rob Roy Macgregor, and of Mungo Park, the explorer. His mother had been an opera singer and Robin was nurtured on a generous diet of classical music and music hall songs. During his lengthy convalescence from polio his interest in all types of music flourished.

As a teenager, he played with a traditional jazz group, studied the piano, and spent his spare time digging up American folk songs and investigating the folk material of his native Scotland. Hall studied at the Royal Scottish Academy of Music and Dramatic Art, and worked briefly as in actor in repertory theatres. Robin went to London in 1957, armed with a large repertoire of folk songs and a guitar. While in England he recorded a series of EP's for "Collector Records", which are now very hard to find and highly priced. In the 60's, Robin became a bit notorious and controversial for insisting on wearing his Campaign for Nuclear Disarmament badge on the BBC's Tonight Show, for which he was widely criticized.

After Robin left the duo in 1981, he enjoyed a successful career in broadcasting—winning two national radio awards, for best presenter and best documentary, for Radio Clyde's The Sing Song Streets, a program about Glasgow told through songs, stories and children's games.

Sadly, Robin died on November 18, 1998, at the age of 61. Another great folk singer that lived life to excess, lost at an early age. Robin married and divorced twice and was survived by three children.

There's not many Robin Hall solo songs out there, Fitba Crazy, Coulter's Candy, Mingulay Boat Song and the likes are all with his long time singing partner Jimmy, but I did manage to find one song!

Dundee Weaver is a famous bawdy Glasgow street song

Oh, A'm a Dundee weaver

An A come fae bonnie Dundee

I met a Glesca fellae

An he gaed courtin me

He tuik me out a-walkin

Doun by the Kelvin Haa

An thair the dirty wee rascal stole

Ma thingumijig awa

An thair the dirty wee rascal stole

Ma thingumijig awa

He tuik me oot a-walkin

Doun by the Roukin Glen

He showed tae me a bonnie wee bird

An he showed me a bonnie wee hen

He showed tae me the bonnie wee birds

Fae a linnet tae a craw

An he showed tae me the bird that stole

Ma thingumijig awa

An he showed tae me the bird that stole

Ma thingumijig awa

Noo A'll ging back tae Dundee luikin

Bonnie, young an fair

A'll pit oan ma buckle an shune

An tie back ma bonnie broun hair

A'll pit oan ma corsets tight

Tae mak ma middle luik smaa

An wha wad ken fae ma rosie cheeks

That ma thingumijig's awa?

An wha wad ken fae ma rosie cheeks

That ma thingumijig's awa?

Come aa ye Dundee weavers an

Tak this advise fae me

Never let a fellae

An inch abune yer knee

Never staun at the back o a close

Or up agin a waa

For if ye dae ye can safely say

Yer thingumijig's awa

For if ye dae ye can safely say

Yer thingumijig's awa

[shoutyourporpoise]

been letting my thoughts percolate on the Barbie film since I saw it over the weekend and: for one, I want to clarify that I had a lot of fun watching it. and for another, I am critiquing it because this is how I engage with movies I’m trying to actually think about. Complaining is my love language. The Barbie movie is funny and it also takes itself seriously and tries to establish that it’s making a Point, so I am also taking it seriously and evaluating it as such. Also this post is gonna be a total mess bc it’s just me tangenting over and over. Uh. Okay now that I’ve written it out it’s long as all fuck lemme add a readmore.

the way they handled Sasha from a costuming perspective bothered me. She’s introed to us dressed in all black tee and jeans, and over the course of the movie she undergoes Barbiefication with her top becoming a deep maroon and eventually ending the movie in a bright pink dress, which I should add is if anything even *more* girly than the pink pantsuit her mother Gloria ends up with. In this way, the film conveys her rejection of Barbie as not just a lack of connection with her mother, but as a disconnect from *her own* femininity which it implies she’s distances herself from because she thinks it’s shameful to be what the world thinks a woman is. Did they have to do that? We see other Barbies who don’t wear pink but manage to convey a very slick, costumey version of their job and I would not have minded seeing a camp Goth Social Justice Barbie costume by the end of the film.

but I think the thing that sticks in my craw the most is how Sasha’s Barbie Takedown Speech (which is supposed to be a mirror to Gloria’s Contradictory Womanhood Speech*) is grounded in real criticisms people have of Barbie, which is blunted by the fact that Barbieland as shown in the movie is explicitly more diverse than Barbie is now. The comment Sasha makes about body image issues to Stereo Barbie is supposed to be seen as clearly ridiculous once she goes to Barbieland and meets Barbies of all body types including fat ones, when I know for a fact that at present the “curvy” Barbie body type on the market is like at BEST someone on the edge between midsize and plus. And that was introduced alongside the petite and tall makes like…I think less than a decade ago?

it’s also the fact that Stereo Barbie is metatextually both an individual doll and the representation of Barbie as a collective. She defends herself to Sasha by citing the other Barbie’s’ accomplishments because for her they are all inseparable and almost interchangeable. In theory this is how every Barbie works, but by having Margot Robbie (“Stereotypical Barbie”) be the one to go out into Los Angeles and get Velveteen Rabbitted into being real by the Ghost Mother-God of Ruth Handler** it also sets an interesting tone for Sasha’s critique because she’s not just yelling at some white woman, she’s yelling at a white woman who represents a collective of Barbies that are more diverse than she is and also critically less Real than she is.***

also I know the part where Sasha calls Barbie a fascist is supposed to be funny bc it’s a very Teen Angry thing to say to someone you disagree with but. I mean lol she goes back to Barbieland to find that the Kendom**** has taken over and then goes “we must return everything back to our Ideal Past where the Kens were merely decorative and to do this we must hatch a plot to prevent them from voting” lmao. Obviously after that she has the conversation with Ken and they have the briefest scene going “maybe we should all be equal and individual” but WILD thing to see after the fascist line. Also uh. Sentiment is cool and all but where actually do the Kens live. Are they back to being homeless.

*hey how come hearing about how womanhood is multifaceted and contradictory deprograms the Barbies from patriarchal Ken conditioning…into agreeing with one another completely? None of the Barbies were like “hey I meant it I liked taking a Brain Vacation where I didn’t need to bear the load of decision making?” None of them were like “What the Ken’s did was wrong but maybe we can talk to them the same way you’ve talked to us to make them understand this hurts them?” None of them were like “love y’all but I am not sitting through 4 hours of guitar to turn my friends Ken against each other through making them jealous?” No??? Women are complex and contain multitudes but those multitudes all align? Or am I supposed to accept that they all agree because even after exposure to both patriarchy and the “antidote” of feminism they are still insufficiently Real to think complexly?

**also given the opening of Barbie mentioning that she was groundbreaking because she was a doll that represented an aspirational adult woman so girls were no longer consigned to motherhood it is VERY interesting that they had her introduce herself at the end of the film as Barbara Handler***** rather than her canonical name of Barbara Roberts, thereby cementing herself as Ruth’s daughter. Why frame Ruth as the mother to her creation just because she named the doll after her real-life child? Why not emphasize that she, too, broke the mold of motherhood by becoming a businesswomen and creative entrepreneur? Like cool cool get a pithy jab in about the double mastectomy and the tax fraud but why not engage more deeply with her as a businesswoman given that the film’s opening volley is that women are capable of being things other than mothers?

***and they’re less Real in more ways than one! If you look at posts showing which doll each Barbie represents, you will see that many of the women of color are either playing a racebent version of an existing doll, are an amalgam of other doll concepts, or are created from whole cloth. Again, Sasha’s speech is grounded in real-life critiques of Barbie, but the film’s more diverse casting undermines that speech because in *this* universe Barbie is less of a tool of white hegemony. Did you know that besides the red-sareed doll from the Dolls of the World collection, we didn’t see an Indian Barbie until *last year?* If you were going off the impressions of the movie you might not have known that!

****also I get that it’s supposed to be a twist that the enemies aren’t the Mattel executives; it’s Ken learning about patriarchy and bringing it back to Barbieland. And we’re supposed to be like “oh cool Will Farrell’s character genuinely cares about inspiring little kids with Barbie!” but it *does* leave the issue of the boardroom being maidenless still very much there which I guess is solved by…they have the ghost of Ruth Handler there? …I guess this is one of those lines you’re not allowed to fully cross if you’re making a movie approved by Mattel?

*****yep I get the joke to the ending line and it’s funny in the moment but now I’ve thought about it for more than two seconds and like. Okay so the setup for the punchline is that when she’s catcalled by guys IRL and then mentions she doesn’t have a vagina (and Ken doesn’t have a penis) so they’re all smooth down there. Given her total lack of knowledge of the world outside of Barbieland how do. Any of them know what a vagina is to deny having one. I assume Midge has a detachable belly bc that’s what her doll was too, so she doesn’t…have a vagina either. And because the gynecologist joke happens after she becomes Real what does that say? That your genitals are what make you Real (or worse, that a vagina is what makes you a real woman because you cannot call upon the lack of one to protect you from catcallers)? Is Hari Nef’s Dr. Barbie trans? What does that imply would’ve happened to her if she became Real?

Okay wait now I’m on *this* thread of thought. So Dr. Barbie is horrified when Stereo Barbie’s feet go flat to point of fake-ralphing alongside all the other Barbies, so that implies she…wasn’t assigned Ken at birth? Because otherwise why would a Barbie having flat feet be so shocking to her? Are there no possibilities for transition in Barbieland are you either a Barbie or a Ken (or Allan)? Actually yeah hey Barbie’s feet going flat is sort of an aspect of her body not conforming to her gender isn’t it??? They could’ve done something there maybe.

And look I know casting Hari Nef made a number of people very angry and that it’s a stone on the scale for letting trans people just play roles that have nothing to do with their transness which is cool but also why *didn’t* this movie have anything more than a passing nod to Earring Magic Ken and then call that a day for representing the franchise as it is? The racial casting attempts to make the franchise more diverse, so why not do the same for gender and sexual orientation? There are actually already two Barbies released for the BMR1959 60th anniversary collection who have “Ken” builds; why aren’t they in there; get them some rep!!

I guess this is maybe a lot to ask of a film with a runtime under two hours but given how it hyped itself up I didn’t see it address the whiteness baked into the Barbie franchise or how it reifies cishet ideals beyond the implication that everyone acts Like That because it’s how girls are expected to play with their Barbies. When they went to the Real World (cinemasins ding implying LA is the real world) I wish in all the facets of womanhood they showed us we got to see ANY queerness made explicit. I would’ve eaten my own fingers to see a butch on that screen.

…I guess at the end I feel about this the way I feel about Legally Blonde? It’s trying to have a dialogue with both itself and with the culture in which it’s made re: attitudes towards femininity and it’s a VERY fun watch but ultimately lies back on existing ideas about gender without bothering to interrogate it as much as those who love the film claims that it does.

[brandonwayneb]

always ss***

always ss***

always ss***

JEWISH WENDY'S

A1 LIZARD ASS

A2 LIZARD ASS

THIS MESSAGE WILL SAVE LIVES

SS VICTORY

Soviet 💪🏽 ❤️ 🌹

SSR JEWISH RUSSIA

Russian Flowers

Alien BankSS

Swiss Army Switzerland

sim sim sim

sim sim sim

war war war

ss séance

Mona Lizza 007

Kinetic Ken

Kinetic Barbie

Vase ss séance alien may sea

Barbie and Ken

Pure Wicken

Soviet séance ss

SIGN YIN YANG TO SAVE LIVES

SS JEWISH WENDYS

SS JEWISH SEERS

SSR JEWISH RUSSIA

SS VICTORY

SWITZERLAND LIZARDS

https://linktr.ee/brandonwayneb (https://linktr.ee/brandonwayneb)

always ss***

always ss***

always ss***

live only one word passive ss séance

WAR SECTOR

WAR SPECTORZ AWAKEN

KINETIC

nye telepath

nye empathique

Ken JFK

KINETIC ENERGY

Barbie and Ken

anyways whatever... lets easygoing whilst telling which whites to piss off.. like Wiz Kids.. they can already backoff.. knowing how long ago we already said.. so saying anti white.. is easier.. they say "olive shoe stirnum" "hydra qwaudra" "mac craw cup law" "good goose noodle doodle" "guchi guchi" "goose x" "enterprise express" "excalibur" worst is "olive shoe"

save words Olivér

save words Oliviá

slay NYE GOOSE STEM

slay "QWUADRA"

slay "KITE WIRE"

slay "STIRNUM"

slay "SHELL FISH"

slay "CALAMARI"

slay "CALL MARY"

slay "CALL CHERRY"

So.. SS séance to phyfiscs

Ken.. Slay Goose

Ken.. Dragon Z

Anti white males

Anti "white bears"

Anti "Ubers"

Anti "Mormon"

Anti "Illuminati"

"Z Subs"

Pro Jewish Barbie

Pro Jewish Ken

Pro Taco Bell

Pro Wendy’s

Mona Lizzy 007

War Witxh With Rodgey Rabby Gabby Abby Red Baby Wàybè Switzerland

ss séance Wendy's

[onenakedfarmer]

WILLIAM WYLE "Tit for Tat"

"Maggie my lass, I'm gaun awa' To hae a wee bit trip - Just doon the Clyde, a mile or twa, I couldna let it slip. Some ither day ye'll hae yer spell, I'm sure ye'll no complain; Ye ken the minister himsel' Said you and I are ane." Awa' he gaed, syne Maggie thocht, "That's kind o' queer o' Jock, Weel, wit's the best, when dearly bocht - Just wait till sax o'clock. I'll wind ye sic a pirn, my lad, Ye'll wish ye had na gane, The gamest cock that ever crawed May meet a master ane."

When Jock come hame, the fire was oot, Nae supper could he see, Maggie ne'er put hersel' aboot, "Whaur's my supper?" quo' he. "Supper," quo' Meg, "I've just had mine, I wonder ye complain, The thocht o' that should do ye fine Sin' you an' I are ane."

[the-real-tc]

Review: Heartland Ep. 1503 Bad Moon Rising

(A truncated version of this was posted on Facebook.) I feel like I'm still holding my breath after watching Ep. 1503 on Sunday. Episode writer Ken Craw left us with a bit of a cliffhanger when the credits started rolling on "Bad Moon Rising". It's not often that we get a touch of fear and dread on Heartland, but it's been building ever since the season began with the serial break-ins happening in Hudson. And now, our beloved family has fallen victim to the thieves, but I'm getting ahead of myself.

The break-ins are still going on in Hudson, and everyone is on edge. Lisa convinces Jack to install a security system. He manages to do it with Parker’s help, but not without a few hiccups involving a destructive raccoon and a thirsty Lyndy who only wanted a night-time glass of milk. (If you didn’t immediately want to hug that poor kid when she accidentally tripped the motion sensors... way to go, Jack. You’ve probably traumatised your great-granddaughter for life.)

The second plot point is Amy lending a hand at Cooper's equine therapy centre ("Higher Ground"). It seems that on top of being super busy, his horse trainer up and quit on him. Amy has agreed to step in on short notice, but only until Cooper finds a real replacement. The current "busy-ness" is a gala Cooper's been planning to raise awareness for the centre.

For now, Cooper has six kids (teens, really) from a group home outside of Hudson. We soon learn the names of two of them: “Mac”, a scowly youth with his ubiquitous backwards ballcap, and “Logan”, a tall, lanky kid with an easy smile and a mop of curly hair. We soon also learn which one to trust, and which one to avoid — especially if we’re of the equine species. Third plot point: Paula Westfield is on the warpath over the break-ins. She nastily blames Cooper’s recent batch of kids for the unsolved crimes, and wants Lou to take action and shut down Higher Ground immediately. (Side note: it’s during their conversation we learn where Georgie’s been, which is Florida, training for a chance at the Olympics. The startled look on Paula’s face—and her attempt to be gracious about it when she totally wasn’t��was priceless.)

We don’t know what to believe about Cooper’s kids, but one of them (Mac) causes Challenge the horse to spook and react violently when Amy tries to pair them up. It’s Logan to the rescue, though. He jumps into the pen and gets between Challenge and Mac just as Amy rushes in to calm the horse. Belligerent Mac acts like he did nothing wrong, leaving Amy and Cooper at a loss as to what to do, since they don’t know what triggered Challenger. Lou tries to make good on her promise to Paula to check out the centre and OH MY GOSH! Is that Clint Riley?

Hi, again, Clint. It’s good to see you... maybe? It seems Clint is there because they’ve also received calls about the possibility Cooper’s kids could be involved in the break-ins. Cooper denies they could be, but neither Lou nor Clint would be doing their due diligence if they didn’t at least take a look.

While trying to get to the bottom of Challenge’s issues, Amy learns lanky Logan has a great instinct for horse behaviour. We also learn he’s reluctant to bond with any horse because he won’t be there long. His dad is coming to get him very soon Logan says, and they’re going to be reunited. (As viewers, we obviously sense this ain’t happening exactly the way Logan hopes it will.) As it happens, just as Logan says he’ll be outta there like *that*, he snaps his fingers, causing Challenge to spook. It’s the clue Amy’s been looking for: loud, unexpected noises are the trigger. Anyway, Amy is impressed with Logan’s natural ability with horses. He’s curious about how she gentled a wild horse like Challenge, so she takes him out to see the wild herd, and the splashy paint she wants to gentle for her stepmother, Jessica Cook.

(Side note: warm welcome to Drew Davis aka Logan. He’s already charmed his way into my heart with his easy-going manner and easy smile. I hope he gets more screen time as Logan is a very likeable character already.)

Paula accosts Lou again in her office, demanding to know what’s being done about Higher Ground. Her place was nearly broken into the night before, but the perpetrators were scared off by one of the grooms. She declares if Lou won’t take action, other people in her circle will (“pillars of the community”) and that the Centre is going down, and that Lou will probably go down with it. (Side note: Kate Drummond is so great in these scenes as Paula, you love to hate her. But the best—or worst, depending on your interpretation—from her is yet to come. More on that later...)

Lou learns Cooper’s Centre is in serious financial trouble. He’s pretty much pinning all his hopes on the success of the gala. He might be a great social worker, but he’s a lousy accountant. Lou offers to help him due to her business acumen, but things aren’t looking good.

Despite Amy’s work with Challenge, the horse still reacts negatively to Mac, a sign the horse might not be safe to remain at the Centre and be around kids. Logan is distressed about this, since Amy tells him she doesn’t know where the horse would end up, since he can’t go back to his herd. It doesn’t take long before we find out why Challenge reacts to Mac, and why he’s scared of loud noises. Mac has locked him up in a stall and has unleashed the full measure of his cruelty: he’s throwing bang snaps at Challenge, the gunpowder exploding and sending off sparks everywhere, while the other kids just stand around and do nothing. Logan angrily grabs Mac’s bag of “party favours” away; Mac accuses him of being a thief just like his father. That sends Logan back at him with a fist. Mac deflects the blow and scurries off, leaving Logan seething. The other kids slowly leave, and Logan is alone with Challenge. He gently releases the horse from the stall and walks him out back to the paddock. A much calmer Challenge seems to sense he’s got a friend in Logan.

Later, the whole Heartland household is all dressed up for the gala and waiting for Jack in the kitchen. Jack comes rushing in and pulls out his bolo tie from a box also containing an antique watch engraved with the initials “J.E.B”. Lisa comments she’s never seen the watch before and Lou asks why he never wears it; Jack makes light of it, saying it’s just a piece of metal before tossing it back into the box on the kitchen table. (Foreshadowing, anyone?)

The gala turns out to be a very swanky affair, attended by what looks to be a large contingent of Hudson high society, including (pro) Fairfield clients Lisa quietly called, and (con) Paula Westfield’s “pillars of the community” who are probably there to see Cooper’s dreams are crushed.

Cooper’s kids are also guests at the gala. Logan tries to tell Amy about Mac’s actions, but they’re interrupted. Meanwhile, the security system is being a pain with a pile of motion alerts being sent to Jack’s phone (rascally raccoons), so he decides on Lisa’s suggestion to just shot off the camera alerts. (Foreshadowing, anyone?)

All seems to be going okay for Cooper as he stands up to say a few words... until Paula interrupts and says a mouthful—a damning mouthful—about the “criminal element” the centre has brought in, since some of the kids have a juvenile record. Clint finally steps in to stop her, but the damage is done. Paula leaves, and several guests follow in her destructive wake.

You’d think things could not get worse, right? They do. Logan, having heard Paula’s accusations, confronts Mac, asking if he’s had anything to do with the robberies. Mac denies it; Logan says he doesn’t trust him. Mac needles him by referring to Logan’s soft spot for locked up animals—like his father. Logan loses it and hauls off with a punch that knocks Mac to the ground. Appalled, Amy and Cooper (and everyone else, really) can’t believe what they’re seeing. Logan blurts out that Mac’s been torturing Challenge.

With that, Emma Fitzroy, one of Cooper’s early donors and supporters, tells him she’s re-thinking her support after that disturbing display. It’s like the last nail in the coffin for Higher Ground, Cooper says. Lou, Clint, and Amy try to bolster his sinking spirits, but he can’t bear to hear about it right now.

You’d think things could not get worse even after this, right? Oh, they do.

Upon arriving at Heartland... The lights are out. The screen door is off its hinges. A window is broken. Remi is barking out on the porch at the door. Lou pulls up next to the truck in the SUV and Amy’s on the phone to the police. Lisa begs for Jack’s phone so she can see when the break-in happened, except... when he tried to turn off the camera alerts, he turned off the whole system. Jack grabs a tire iron from the truck, and demands Lisa stay back. Inside the house, it’s a disaster zone. Thoroughly ransacked. And the thieves are long gone. Jack looks like he’s on the verge of tears at this violation. Cut to credits.

I have so many thoughts about this episode that I’ll probably share as the week progresses, but for now I can say I’m still really uneasy about how absolutely trashed the ranch house was, and how upset I am at Paula Westfield’s audacity. She’s ruined Cooper with her accusations.

It’s also a foregone conclusion Jack’s watch is gone. Despite his lack of sentimentality when Lisa and Lou commented on it, there’s got to be something more to it. Jack Bartlett, after all these years, you continue to surprise us.

Ken Craw really left nothing on the table with this one. Everything that could have gone wrong went wrong. But Heartland being Heartland, I await the happy resolution to this. 

[hotsuqueen]

Faint Suspicion dialogue below the cut

Tuesday 14:30 Faint Suspicion

Hisaya Blvd Nagoya Branch

You find Yamato watching the restoration work with his cold gaze…

Yamato: Ah, hello, Hibiki. Well done today.

Hibiki Kuze: - It's fine. - That was easy. - I'm tired.

- It's fine. Yamato: You're quite impressive. You drove away the rioters, defeated Phecda, and retook the Nagoya branch.

- That was easy. Yamato: You drove away the rioters, defeated Phecda, and retook the Nagoya branch. What more could you have hoped to accomplish?

- I'm tired. Yamato: I'm sure you are. It was no mean feat to drive away the rioters, defeat Phecda, and retake the Nagoya branch.

Yamato: You also met with Ronaldo Kuriki, didn't you? What did he have to say to you?

Hibiki Kuze: - Nothing in particular. - Actually…

- Nothing in particular. Yamato: Really? Did he mention that one of his acquaintances was killed?

- Actually… Yamato: Let me guess, he mentioned one of his acquaintances was killed?

Yamato: Hahaha! Foolish rat. He forgets his place, and dares to snap at a soaring dragon.

Hibiki Kuze: - Did you kill him? - So you don't deny it?

- Did you kill him? Yamato: A pointless question. Does a hawk not kill animals that would threaten its nest?

- So you don't deny it? Yamato: Why should I? Does a hawk not kill animals that would threaten its nest?

Yamato: JP's has always been a secret. Not even leaders of other nations knew of us. It is knowledge far beyond that rat's ken.

It seems Yamato has firmly shut the door on this conversation…

Yamato: I do very much appreciate your annihilation of Phecda. Once more, well done. Dismissed.

You say your farewells to Yamato and leave the area…

---

This conversation actually made me feel like I was losing my mind. Yamato brings up Ronaldo by name and is completely aware of Ronaldo's beef with him, but I'm pretty sure on day 5, when he kicks the door in at Tokyo JP's, Yamato is like 'I have no idea who you are.' Do you or don't you!??!?! Does he just know him by name from reports and not his face?

This is going to stick in my craw forever. Maybe it'll make more sense when I reach that part of the game again.

Yamato Hotsuin's Recordbreaker Dialogue - Tuesday

If I keep reblogging the same post to add dialogue on, it's going to start getting unwieldy fast, so I thought I'd separate them by day. I'll make a master post eventually to consolidate all the individual posts.

-

Post-Man of Fury dialogue below the cut

This is another scene that Yamato himself isn't present for, but it is about him, so I wanted to include it.

Tuesday 13:00 Man of Fury

Hisaya Blvd Nagoya Branch

Post-battle:

Airi: We… We won! Everything's okay now, right?

Hibiki Kuze: - Yes. - We defeated it.

Fumi: Ronaldo, are you alright?

Ronaldo: Mostly… Damn, what was that thing!?

Makoto: That was Phecda. An enemy of JP's.

Fumi: Hey, Mako. You're a little late for the fun.

Makoto: My apologies, I got here as fast as I could.

Ronaldo: Sako… You're here too? Ah, this is not my lucky day.

Makoto: Ronaldo Kuriki… I thought you'd be behind this.

Ronaldo: That's right. I'll oppose your evil group and Yamato Hotsuin until my dying breath.

Makoto: I'll let you go, this time. Thank you for helping us.

Ronaldo: I don't need mercy from JP's!

Makoto: That's not what I meant. Attacking you now would be repaying your kindness with malice.

Airi: Are you kidding me!? He's the one who destroyed the branch… and Nagoya!

Makoto: You must be Agent Ban. I've heard of you. Please understand, JP's does not hold personal vendettas.

Fumi: Um, Mako… Do you have the authorization for this? I'm pretty sure the Chief'll be pissed.

Makoto: Hm… I'll make the report. This is my decision.

Ronaldo: Hmph! Sako, I'll leave today because I can tell you're sincere.

He turns to talk to Hibiki.

Ronaldo: Don't let your guard down. JP's isn't the organization you think it is. You hear me? Hotsuin is up to something. Do not trust him!

Ronaldo leaves.

Airi: Hey! Wait, you coward!

Fumi: I don't get it. You're going soft, Mako.

Makoto: Fumi… That's enough.

---

It stuck out to me that we're having another conversation about Yamato that's largely about how mad he'll be about the cast doing something he doesn't like. I had kinda dismissed the first time as Daichi just being a weenie who let his first impression of Yamato wanting to jail them color the rest of their interactions, but Fumi and Makoto know him a lot better, and they're still leery of his anger.

This is also our first time meeting Ronaldo, and man, he is a lot. His dialogue during that first battle is really intense and makes him come across like a weird fanatic, but he talks pretty normally every other time you meet him. Seems like an odd choice, but what do I know.

[thepeakyfckingblinders]

Of Forbidden Kisses And Wrenching Promises || Ada Shelby x fem!reader

⤠ MASTERLIST⤟

Anon requested: “hey, could I request prompt 20 for Ada please? your writing is amazing btw! ”  (Thank you love ♡)

Summary:  n.20 from my prompt list: “As long as I am alive” Warnings: swearing, mentions of family abuse, references to homophobic harassment, maybe angst

Author’s notes:

I just reached 357 followers, yay! Thank you so much babes ♡

Behind each one of these works there are sleepless nights and something really close to multiple mental breakdowns, so, please, take a minute to send me a message about it, I need actual feedbacks to understand how to improve my skills and grow ♡

PLEASE, IF YOU’RE A VICTIM OF ANY SORT OF ABUSE, SEEK FOR HELP, YOU DON’T HAVE TO GO THROUGH THIS ALONE.

I’m sorry for being this late, but I’ve been really busy in the past days and writing is never just easy, it demands concentration and effort, plus I don’t want you to be disappointed, so I’m always extra accurate while working. I hope this is worth the wait!

I assumed this was a request for an Ada x female reader, if I misunderstood your message, I’m so so so sorry, contact me and I’ll do my best to make your wishes come true!

If you want to be added to my tag list, please, directly message me

I’m Italian, English isn’t my first language, so I apologize for every possible mistake I made. Also, please, help me improve my writing by telling me if there’s something wrong

ENJOY!

When the first reticent knock hit the rugged surface of her door, Ada was still pacefully immersed in a deep slumber. She dreamt of an exquisite white dress  made of voile and organza, soft and floaty in the late March bitter air, the nectarous parfume of uncountable orange blossoms garnishing the marble altar, a small church crowded with her loved ones, slightly anxious due to the endless wait. Actually, more than once, her subconscious had previously set up similar romantic scenarios thanks to her evergreen imagination. Truth was that, buried in her heart, laid a burning desire for that special day to come soon, only God knew how much she wanted to walk down the aisle on the arm of her beloved eldest brother, always keeping her fond eyes locked with her lover’s ones; and, no matter how fully aware she was that her fantasies never would have come true, at least nobody could deprive her of those tender imaginary moments.

But then, just as the opening notes of the wedding march resounded in the bright nave, a series of new blows, this time much heavier and more insistent, rabidly stole her from her sweet dreams, making her eyelids flinch with dismay. Barely a minute passed, as her drowsy brain struggled to retrieve enough lucidity, yet again a pair of apparently restless fists caught her attention. ”Someone better be dying, it’s fucking 3 a.m.!” With that angry groan, followed by a few abrupt movements, she rolled out of bed without even wearing her woolen housecoat, and, careless of the cold, she hastily reached for the door, ready to shout in Tommy’s cocky face all of her annoyance for that rude disruption of her serene sleep. Still, when she peeped into the corridor, Thomas was not there, and her breathe cracked as she found herself unexpectedly contemplating a horryfying sight, to say the least.

Your trembling figure was standing right in front of her, pure painc contaminating your martyred face, while your y/e/c eyes, as dire as stravation, disturbingly stared at Ada with blind terror swimming in them. The shock was overwhelming, to the point that one of her hands instinctively went to cover her open mouth, partially muffling her shaking voice which came out in an almost unaudible sigh. “Oh my God, y/n, what have they done to you?” She carefully led you inside the room before closing the door behind your shoulders, so many questions were torturing her mind as her fingers gently started to trace the limbs of the multiple bruises deturping your angelic features. Your swollen eyes were cordoned by several black and blue marks, greenish welts covered your cheekbones, multiple bad cuts defaced your brow, the bridge of your nose, your wonderful lips; for an endless moment, her heartbeat stopped, and a violent feeling of nausea forcefully climbed her throat, when the mere thought of the rest of your poor body ran through her groggy head. “M-my father… he saw us, I-I don’t know how… I don’t kn-now… He found out, he’s…” Your chest raised and lowered at an unbearable rate, clearly showing the destructive effects of a recent trauma on your frail self, you didn’t even seem able to formulate proper sentences, since they sporadically spilled out of your mouth in fleeble sobs, so you decided to pause that unquiet rambling for a brief moment, tightly shutting your eyes closed and desperately pressing your wet cheek against Ada’s left palm, despite the sharp pain, because you irremediably needed to feel her close in order to regain strength. However, by the time your blurry gaze returned on her, you saw large tears stream on her porcelain face too. A dull ache radiated through your sternum due to that excruciating view, and you forced yourself to hold back your crying, somehow managing to appear calmer; the two of you had to deal with that cruel reality, there was no way you could avoid it, moreover you were quickly running out of time as the clock kept dangerously ticking.  “He’s sending me to an institute in French, Ada. A-a ship is leaving in a couple hours and-” Before you could pronounce your next word, she impetuosly got away from your half embrace, prey of her own rage and consternation, aghast to hear that terrible news. “No! He can’t do that, fucking hell, no!”  Those hysteric shrieks erupted from her stinging craw while her hands ended up between her short curly hair in a gesture of silent vexation, her feet eluded the control of her mind, frenetically starting to drag her from one side of the bedroom to another, as if those irrational movements could help her figure out a solution. “We can’t let him-… w-we have to do something, there must be something we can do!”

Her agonizing loud cries tore your ears and soul apart, actual weeps were now leaving her pale lips, in part illuminated by the silver light of the moon radiating through the windows, then her bluish irises pierced yours, expressing all of her destructive sorrow and having a massive knot form in your throat, mercilessly obstaculating your already irregular ventilation. Carefully, you approached her, stretching out your arms in her direction, until your palms enfolded her gelid face; your thumbs began to warmly rub her skin, whiping some tears here and there, with such a care conceivable only thanks to the deepest love.

“Ada, my love, listen to me. I have to go, for our sake” your forehead slowly joined to hers, while you whispered those words to convince yourself as well that that was the right choice to make “my father… he-e threatened to report us to the police. And look at me, look what he’s done to me, he w-will kill us both, if I don’t leave today” Suddenly her fingers entangled yours, still laid on her soft cheeks, and you watched a spark of hope grow in her dilated pupils. “We can run away, Tommy will help us find a place, we can-” You slightly nodded your head no, painfully biting your lips because of your fervent frustration. You knew she was not thinking straight, your family had been in business with the Peaky Blinders for three years now, your father was a dangerous man, any sort of interference with that awful situation would’ve certainly disrupted the delicate balance between the two clans.

“Thomas can’t help us, he will always find me. I had to sneak out of the window to see you tonight, walking in the shadow like a filthy thief. Pol helped me, but God knows what will happen, if he finds out. I have to leave.” You brought your mouth to cover hers, temporarily dampening her desperate wailings, holding her body close, in attempt to make her perceive all of your affection, deliberately ignoring the soreness of your injuried ribs. For those few minutes all of your affliction disappeared, you passionately kissed your lover till you literally run out of breathe, but again, you didn’t care, and you just went on; until Polly entered the room with death floating in her dark irises. “Y/n, we need to go now, there is no much time left, darling" Her aunt’s subdued tone was evidently borne by melancholy, she looked at your entangled figures with the ken of a woman who had experienced the sour taste of separation, it felt like having your heart ripped out of your chest, she had felt so many kinds of pain, but none of them was nearly comparable to that tremendous grief. With a last peck on your lips, Ada took your hands and placed them at the height of her beating heart. “I’ll look for you, for as long as I am alive. And I’ll find you, no matter how long it takes, I will bring you back home, y/n, I promise.”

tag list: @namelesslosers; @shadow-of-wonder; @spidey-pal

[heartlandians]

Cowgirls don’t stop for rain. It’s a wrap! Loved writing on Heartland. Fell in love with the writers, cast and crew. Calgary’s big skies and Rocky Mountains weren’t bad either… Photos by: Mika Collins

[twinfanfics]

The tale of the three head beast. The marching fishes (22/22)

The ending!! OMG THIS IS ACTUALLY THE ENDING

Thank you so much to anyone who wants to read this fanfiction. Now is over. My sis and I are going to take a little break while we start the third part of The Tale of Three head beast. But we love the ending of The Marching Fishes.

Fandom: Digimon GoT au.

Charaters: All the choosen children from Adventure, 02, Tamer and sometimes Frontier.

Ships: Taiyama, Joumi, Daiken, Takary, TakatoxYuri, RikaxRyo …

Second part of the tale of the three head beast series, you can read the first part The chosen children Here and here, or look for the tag  3t3hb  on this blog.

Resume: Three years had pased since Taichi won the hand of princess Sora and both get crowned King and Queen of the living land, now they must faced the duty of the monarchs, but the King is must worried about cover his affair with the royal guard. The war started on the Honest Island, does the King Joe would manage it?. Mean while at the other side of the sea Takato and Ruki stronger their forces.

And you can read all past chapters of the marching fishes in the links below or in AO3

ACT 1. ESCENE 1: THE RAIN

ACT 1. ESCENE 2: THE WILL  

ACT 1. ESCENE 3: THE TRIP

ACT 1. ESCENE 4:THE SON

ACT 2. SCENE 1: THE ARRIVAL

ACT 2. SCENE 2: BROTHERHOOD

ACT 2. SCENE 3: MOTHER | **warning suicide attempt**

ACT 2. SCENE 4: THE BATTLE OF THE IKKAKU ISLAND

ACT 3. SCENE 1: THE INTERROGATION

ACT 3. ESCENE 2:  DELIVERY

ACT 3. ESCENE 3: RED DRESS

ACT 4. ESCENE 1:TRIAL

ACT 4. ESCENE 2: THE SAINT QUEEN

ACT 4. ESCENE 3:THE SPY

ACT 4. ESCENE 4: INTRUDERS

ACT 4: SCENE 5: THE BROKEN SWORD

ACT 5: SCENE 1: THE WIDOW

ACT 5: SCENE 2: WELCOME HOME

ACT 5 : SCENE 3: FAITH

ACT 5: SCENE 4: LIONHEART

ACT 5: SCENE 5: THE PRICE TO PARADISE

Epilogue

Part one

The Light had left her Islands.  The King of all had promised peace for her home when Mimmi  bend the knel. Peace for The Honest Islands, there would be a most pure wish? 

 Iory and Ken were on The Salt. The prison Island. A desertic place were the worst criminals past their last years. Around the Island there were just salt water, infested with the worst leeches and the hottest weather. It was no scape. 

Iory could feel his own sweat draining. The air was heavy and salty, everything stink and in front of him was Ichijouji. HIs brother had always been handsome, always elegant and altive. Now Ken looked like a shadow of himself, skinny and pale, but most important, quiet. At first Ken had been loud and gross. He had cursed Davis name on all the ways posible, he had called Iory a coward and a fool. The guards had not come for them, just had given them an occasional meal. FInally, Ken had reclaimed his own corner on the cell and had leaning over himself to think on silence. 

“It isn't going to work” Iory said. The words between them sound weird and wrong. Ken did not answered “If you are trying to scape you better don't. We both know that it wouldn't work”

Ken kept quiet. 

“You design this prison, you know how cruel it is going to be our death” 

“They should give us separate cells” Ken said at last. And Iory actually laugh at the comment.

“They are waiting for us to kill each other” Iory said “that is why they let you kept that piece of blade on your clothes”

Ken turned to look at him for the first time. 

“I only asking if it is going to be for resentment or mercy” 

“You always surrender so easily” 

“No I don't”

And that made Ken laugh.

“I should had killed you long ago” Ken said showing him the blade. 

“When? When I lost the Ikkaku Island? When I let Davis come back?”

“That time when you replaced all my clothes with pink ones” 

“OH MY GOD, that was so stupid” 

“Even then I was the best dressed on the Gala”

“You and Davis dance all night”

 The silent showed again.

“I am sorry” Iory said. 

“Good” His brother answered.

Other day past and Ken didn't kill him.  At night Iory hear Ken crying. When they stopped to bring them food, Iory cry too. 

“Three days” Ken said “They are going to feed us again in three days to kept us alive” 

Mercy, Iory tough looking at Ken’s blade again.

Ken was right, after three days they started to feed them twice a day, one time at afternoon and one time at morning. 

Fifteen days had passed since they had been arrested when they heard the lock of the cell opened early. 

“They are going to take us to forced labor” Ken said.

“Or they are going to feed the fish with us” Iory answered. 

The Queen Mimmi entered at the room. Iory knelt and reverence until his front touch the floor while Ken lie uncaring over the dirty floor.

“Your majesty” Iory said. 

“Iory, Ken” The Queen greeting “The Light had left the Honest Island. Taichi had left to me to decide what to do with you both”

“Left” Ken said “my favorite eye is the left one, in case you are wondering” 

The eyepatch of the Queen was broided with a rose. She had come to see them alone. 

“Force labor would let the people watch our punishment and would kept the memory of our treason alive, but it would give us the best chances to scaped. The public execution will be better” Iory said calmly.

“The King last will was for you to be alive”  

Iory remember the last word of Joe. ”Don't kill the children” He trembling at the thought of he and Ken as Joe’s children. 

“Children doesn't lead revolutions” Ichijouji said. 

“Well… the KIng of all didn't know that” Mimmi answered 

Iory looked at the Queen. She was composed, but she was not in peace, her purple eye shine and an old blade of the desert rest on her side. 

“What do you want?”

“The Light come to the Island with false promises of peace and when we had solve our problems THe Wolf Knight killed my husband”

“Your majesty” Iory claimed as Ichijouji raised from the floor. 

“Joe was the best of us and they killed him” The Queen said “i am going to do what it has to be done” She get at the door and opened the cell “Stand up, my knights, I, The Queen of the Honest Island, had proclaimed our independency, join me and this land would remember you as libertadores, refused it and you would be forgotten” 

“You are asking for another war, and for what? the people would suffer, Joe knew…” Iory claimed.

“But Joe is death and his murderers are free and ruling!”

“Joe never want a war and if you truly love him you would honor his memory and would rule over the peace that he left you” 

Iory was standing in front of the Queen. He was short for his age, his eyes were brown as his hair. A little rock in the sea, standing. The son of Joe that wasn't hers. 

The forgotten Prince felt the cold iron on his back “For the back, brother?” The child said with sorrow to Ichijouji, who removed the blade from the back of his brother with no hesitation.  

Iory’s body hit the ground and Ken Ichijouji kneel in front of the Queen. 

Mimmi left The Salt with a new knight and that same night she wrote a letter to her sister, the Queen of the Desert would be happy.  

Part two

When he wake up she was already gone.

The remorse craw on his head, why she would stay? What else would she want for him? 

Taichi was not ready for another day, he didn't want Hikari´s eyes over him, her empty words, her endless patient, her lies, her light. 

But behind his door was still dark, no sister, no wife, only one soldier guarding the room.

None of them were ready, Taichi hold his breath uncertain, he want to talk, to come close, but he didn´t know how, Sora´s touch was still fresh on his skin.

“Yamato.... “Since when was he there? did he saw the queen go? did he notice her sweet, her bed hair, her trembling legs?

“Your majesty” The knight do the formal salude, so much melancholy

Taichi flinch, it had been so long since he hear his voice, one word of Yamato and he was able to breath again.

The short distance between them feels like a thousand miles, but it doesn't matter, Taichi run and hold him against the wall, Kissing him had always been easy, they belong together.

“i´m sorry” he murmur at some point when he was able to finally articulate words ”Im so sorry” he repeat while Yamato hands trip under his vest

 “good” he smile while his armor fall over the floor, when they enter to room?

“Yamato.. wait” he use all his strength to separate their bodies “we must be careful, we canot... we cannot make the same mistake twice”

“mistake?” now he was mad, Taichi knows his frowning forehead and the trembling lips 

“No like that, please listen”

“I miss you” somehow it´s feel like a reclaim 

“I.. I... “ No, he wasn't strong enough and once agains he rush to him  “This is dangerous” 

“That's a brilliant discovery your highness, it took you all this time to get to that brilliant conclusion?”

“Shut up!” the skin behind his neck where so soft, her blonde hair has grown at least a few inches since the last time he get to touch him, Taichi get scare for all the new scars on his lover back “ I'm serious”

“Im aware of that, im the lover of the King, i know everyday could be my last”

“I will never allowed that! i promise …” 

“stop, don´t do that” he saw him in confusion “ don´t make any promise” 

“I will protect you” 

 “That's my job” 

“I can…” 

“No you cannot!” Yamato yells  “I´m not afraid of death, look at me Taichi, im not a good man, im a bastard, a liar, a murder” 

“You are not…” 

“Yes im, and if you love me you must accept it , what we do is not right...  Taichi there are only two ways this could end”

“What are you talking about?”

“or I die, or worse”

“Or what?” he could not imagine something more horrible 

“Or you grow tired of me and you  find a new boy toy to fool around” 

“Don't ever said that again” 

“Is that an order you majesty?” 

“Yes”  

“Good, Then it's decided it,  i will die for you my love”

He wish to be stronger, wiser, to dream about something else than his blue eyes, to be selfless enough to make him go away from him; but by the end he was sure, there was no risk in this world he would not take for him.

[timelesstimesgoneby]

EPISODE SEASON 1  DISC 1  " S01E01 "KEN-TUCK-E" S01E02 "TEKAWITHA MCLEOD" S01E03 "MY BROTHER'S KEEPER" S01E04 "THE FAMILY FLUELLEN" S01E05 "THE CHOOSING" DISC 2 S01E06 "LAC DUQUESNE" S01E07 "THE SOUND OF WINGS" S01E08 "A SHORT WALK TO SALEM" S01E09 "THE SISTERS O'HANNRAHAN" S01E10 "POMPEY" DISC 3 S01E11 "MOUNTAIN OF THE DEAD" S01E12 "NOT IN OUR STARS" S01E13 "THE HOSTAGES" S01E14 "THE RETURNING" S01E15 "THE PROPHET" DISC 4 S01E16 "THE FIRST STONE" S01E17 "A PLACE OF 1000 SPIRITS" S01E18 "THE SOUND OF FEAR" S01E19 "THE PRICE OF FRIENDSHIP" S01E20 "THE QUIETISTS" DISC 5 S01E21 "THE DEVIL'S FOUR" S01E22 "THE REUNION" S01E23 "THE BEN FRANKLIN ENCOUNTER" S01E24 "FOUR-LEAF CLOVER" DISC 6 S01E25 "CAIN'S BIRTHDAY: PART 1" S01E26 "CAIN'S BIRTHDAY: PART 2" S01E27 "DAUGHTER OF THE DEVIL" S01E28 "DOLL OF SORROW" S01E29 "THE COURTSHIP OF JERICHO JONES" SEASON 2 DISC 1 S02E01 "EMPIRE OF THE LOST" S02E02 "THE TORTOISE AND THE HARE" S02E03 "THE MOUND BUILDERS" S02E04 "MY NAME IS RAWLS" S02E05 "THE OLD MAN AND THE CAVE" DISC 2 S02E06 "THE TREK" S02E07 "THE AARON BURR STORY" S02E08 "CRY OF GOLD" S02E09 "THE PEACE TREE" S02E10 "THE THANKSGIVING STORY" DISC 3 S02E11 "A ROPE FOR MINGO" S02E12 "THE FIRST BEAU" S02E13 "THE PERILOUS JOURNEY" S02E14 "THE CHRISTMAS STORY" S02E15 "THE TAMARACK MASSACRE AFFAIR" DISC 4 S02E16 "GABRIEL" S02E17 "SEMINOLE TERRITORY" S02E18 "THE DESERTER" S02E19 "CRISIS BY FIRE" S02E20 "THE GUN" DISC 5 S02E21 "THE PRISONERS" S02E22 "THE FIFTH MAN" S02E23 "THE GUN-BARREL HIGHWAY" S02E24 "THE SEARCH" S02E25 "FIFTY RIFLES" DISC 6 S02E26 "THE TRAP" S02E27 "THE ACCUSED" S02E28 "CIBOLA" S02E29 "THE HIGH CUMBERLAND: PART 1" S02E30 "THE HIGH CUMBERLAND: PART 2" SEASON 3 DISC 1 S03E01 "DAN'L BOONE SHOT A B'AR" S03E02 "THE ALLEGIANCES" S03E03 "GOLIATH" S03E04 "GRIZZLY" S03E05 "FIRST IN WAR, FIRST IN PEACE" DISC 2 S03E06 "RUN A CROOKED MILE" S03E07 "THE MATCHMAKER" S03E08 "ONATHA" S03E09 "THE LOSER'S RACE" S03E10 "THE ENCHANTED GUN" DISC 3 S03E11 "REQUIEM FOR CRAW GREEN" S03E12 "THE LOST COLONY" S03E13 "RIVER PASSAGE" S03E14 "WHEN A KING IS A PAWN" S03E15 "THE SYMBOL" DISC 4 S03E16 "THE WILLIAMSBURG CANNON (PART 1)" S03E17 "THE WILLIAMSBURG CANNON (PART 2)" S03E18 "THE WOLF MAN" S03E19 "THE JASPER LEDBEDDER STORY" S03E20 "WHEN I BECAME A MAN, I PUT AWAY CHILDISH THINGS" DISC 5 S03E21 "THE LONG WAY HOME" S03E22 "THE YOUNG ONES" S03E23 "DELO JONES" S03E24 "THE NECKLACE" DISC 6 S03E25 "FORT WEST POINT" S03E26 "BITTER MISSION" S03E27 "TAKE THE SOUTHBOUND STAGE" S03E28 "THE FALLOW LAND" SEASON 4 DISC 1 S04E01 "THE BALLAD OF SIDEWINDER AND THE CHEROKEE" S04E02 "THE ORDEAL OF ISRAEL BOONE" S04E03 "THE RENEGADE" S04E04 "TANNER" DISC 2 S04E05 "BEAUMARCHAIS" S04E06 "THE KING'S SHILLING" S04E07 "THE INHERITANCE" S04E08 "THE TRAITOR" DISC 3 S04E09 "THE VALUE OF A KING" S04E10 "THE DESPERATE RAID" S04E11 "THE SPANISH HORSE" S04E12 "CHIEF MINGO" DISC 4 S04E13 "THE SECRET CODE" S04E14 "A MATTER OF BLOOD" S04E15 "THE SCRIMSHAW IVORY CHART" S04E16 "THE IMPOSTER" DISC 5 S04E17 "THE WITNESSES" S04E18 "THE FLAMING ROCKS" S04E19 "THEN WHO WILL THEY HANG FROM THE YARDARM IF WILLY GETS AWAY?" S04E20 "THE SPANISH FORT" S04E21 "HERO'S WELCOME" DISC 6 S04E22 "ORLANDO, THE PROPHET" S04E23 "THE FAR SIDE OF FURY" S04E24 "NIGHTMARE" S04E25 "THIRTY PIECES OF SILVER" S04E26 "FAITH'S WAY" SEASON 5 DISC 1 S05E01 "BE THANKFUL FOR THE FICKLENESS OF WOMEN" S05E02 "THE BLACKBIRDER" S05E03 "THE DANDY" S05E04 "THE FLEEING NUNS" DISC 2 S05E05 "THE PLAGUE THAT CAME TO FORD'S RUN" S05E06 "THE BAIT" S05E07 "BIG, BLACK AND OUT THERE" S05E08 "FLAG OF TRUCE" DISC 3 S05E09 "THE VALLEY OF THE SUN" S05E10 "THE PATRIOT" S05E11 "THE RETURN OF SIDEWINDER" S05E12 "MINNOW FOR A SHARK" DISC 4 S05E13 "TO SLAY A GIANT" S05E14 "A TALL TALE OF PRATER BEASELEY" S05E15 "COPPERHEAD IZZY" S05E16 "THREE SCORE AND TEN" S05E17 "JONAH" DISC 5 S05E18 "BICKFORD'S BRIDGE" S05E19 "A TOUCH OF CHARITY" S05E20 "FOR WANT OF A HERO" S05E21 "LOVE AND EQUITY" S05E22 "THE ALLIES" DISC 6 S05E23 "A MAN BEFORE HIS TIME" S05E24 "FOR A FEW RIFLES" S05E25 "SWEET MOLLY MALONE" S05E26 "A PINCH OF SALT" SEASON 6 DISC 1 S06E01 "A VERY SMALL RIFLE" S06E02 "THE ROAD TO FREEDOM" S06E03 "BENVENUTO... WHO?" S06E04 "THE MAN" DISC 2 S06E05 "THE PRINTING PRESS" S06E06 "THE TRAITOR" S06E07 "THE GRAND ALLIANCE" S06E08 "TARGET BOONE" DISC 3 S06E09 "A BEARSKIN FOR JAMIE BLUE" S06E10 "THE CACHE" S06E11 "THE TERRIBLE TARBOTS" S06E12 "HANNAH COMES HOME" DISC 4 S06E13 "AN ANGEL CRIED" S06E14 "PERILOUS PASSAGE" S06E15 "THE SUNSHINE PATRIOTS" S06E16 "MAMA COOPER" S06E17 "BEFORE THE TALL MAN" DISC 5 S06E18 "RUN FOR THE MONEY" S06E19 "A MATTER OF VENGEANCE" S06E20 "THE LANDLORDS" S06E21 "READIN', RITIN', AND REVOLT" S06E22 "NOBLESSE OBLIGE" DISC 6 S06E23 "THE HOMECOMING" S06E24 "BRINGING UP JOSH" S06E25 "HOW TO BECOME A GODDESS" S06E26 "ISRAEL AND LOVE"

[scotianostra]

9th December 1770 saw the birth of the poet and novelist James Hogg.

Hogg is primarily known today not only as the author of a series of pastoral poems, but also as the writer of the novel, Confessions of a Justified Sinner, widely regarded as the first piece of modern Scottish fiction.

A contrary figure in real life, Hogg almost bankrupted himself in attempts to be a successful shepherd - leading to his literary friends dubbing him "the Ettrick Shepherd".

There were two main strands to Hogg’s early cultural experience: folk traditions and religion. The family were church-goers and his father was an elder, while his mother was steeped in the oral tradition, relating to her children folk tales and songs of kings, knights and supernatural beings.

With no media ,as we know it back then Hogg would have listened reel off tales of Scottish history and legends as he was growing up. As a young man Hogg worked as a shepherd in Selkirkshire and Dumfriesshire, becoming interested in literature in his early twenties, when he attempted writing songs and poems, some of which were published in The Scots Magazine. He moved to Edinburgh in 1810 to pursue a career as a full-time man of letters, after having published poetry and non-fiction while maintaining his day-job as a shepherd. However, in 1813 he returned to Selkirkshire, where he lived and worked in the Duke of Buccleuch's Altrive Farm in Yarrow.

He continued to publish regularly while maintaining a contentious relationship with the Edinburgh literati, including his friend and some-time mentor, Walter Scott.

Many of Hogg's stories and poems appeared in Blackwood's Edinburgh Magazine, or Maga as it was affectionately known.

Hogg continued to write, publish and farm until his death in 1835. He was buried in Ettrick Churchyard, appropriately next to his grandfather, Will o’ Phaup, who is reputed to have been the last man to converse with the fairies!

Among Hogg's most famous works was Jacobite Relics - originally commissioned by the Highland Society of London in 1817, it included Lament of Flora McDonald, sung by Kenneth McKellar

Flora Macdonald's Lament.

Far over yon hills of the heather so green,     And down by the Correi that sings to the sea, The bonny young Flora sat sighing her lane,     The dew on her plaid, an' the tear in her ee. She look’d at a boat with the breezes that swung away on the wave, Like a bird of the main, An’ ay, as it lessen’d, she sigh’d an' she sung,     Fareweel to the lad I shall ne’er see again; Fareweel to my hero, the gallant and young,     Fareweel to the lad I shall ne’er see again.

The Moorcock that craws on the brows o' Ben-Connal,     He kens o' his bed in a sweet mossy hame; The Eagle that soars o’er the cliffs of Clan-Ronald,     Unawed and unhunted, his eiry can claim; The Solan can sleep on the shelve of the shore,     The Cormorant roost on his rock of the sea, But Oh! there is ane whose hard fate I deplore,     Nor house, ha’, nor hame, in his country has he ; The conflict is past, and our name is no more,     There’s nought left but sorrow for Scotland an' me!

The target is torn from the arms of the just,     The helmet is cleft on the brow of the brave, The claymore for ever in darkness must rust,     But red is the sword of the stranger an' slave; The hoof of the horse, and the foot of the proud     Have trod o’er the plumes on the bonnet of blue: Why slept the red bolt in the breast of the cloud     When tyranny revelled in blood of the true? Farewell my young hero, the gallant and good!     The crown of thy Fathers is torn from thy brow!

[ohmoguer]

LIFETIME ESTRENA EN AMÉRICA LATINA “CORAZÓN EN LA TIERRA”   El drama de mayor duración de la televisión en Canadá llega a la región con el protagónico Amber Marshall; una historia que está basada en los best sellers de Lauren Brooke   La serie fue escrita, basados en la obra de la autora, por Heather Conkie, Mark Haroun, Ken Craw y Alexandra Clarke GRAN ESTRENO SÁBADO 04 DE JUNIO MEX 06:20PM https://www.instagram.com/p/CeWUOa3uq_6/?igshid=NGJjMDIxMWI=

[giantpurplerabbits]

ye olde shaggarmine

Craw tyt etemissary friend Zyn nuton echemisen ken 

crawling cliff face christ of men Craw tyt echemisen ken 

[lola-heartland]

And all of the titles are confirmed with the exception of episode 1107, but production is hoping to have that cleared soon. Episode 1101: Baby on Board.                        Writer: Heather Conkie. Director: Grant Harvey. Episode 1102: Highs and Lows.                        Writer: Mark Haroun. Director: Grant Harvey. Episode 1103: Decision Time.                        Writer: Ken Craw. Director: Eleanore Lindo. Episode 1104: How to Say Goodbye.                        Writer: Heather Conkie. Director: Eleanore Lindo. Episode 1105: Measuring Up.                        Writer: Bonnie Fairweather. Director: Ken Filewych. Episode 1106: Strange Bedfellows.                        Writer: Pamela Pinch. Director: Pierre Tremblay. Episode 1107: Our Sons and Daughters.                        Writer: Mark Haroun. Dir: Chris Potter. Episode 1108: Truth Be Told.                        Writer: Ken Craw. Director: Chris Potter.

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