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leonkennedybreedingkink · 8 months ago

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B-E-H-A-V-E, ARREST US! (ITALIAN MOBSTER, LOOKING SO PRECIOUS!)

leon kennedy x fem attorney reader

warnings: unwanted advances, car crash, ummm he breaks into your house… slight misogyny in his internal monologue? ooc leon too. Obsessive behavior if you squint. copious amounts of pet names because he’s on some shit. more unreliable narration. title taken from kill v maim by grimes

an: this was inspired by the courtroom scene in the dark knight sorry hope you enjoy :)

Leon Kennedy looked like he was having the time of his life as he was yanked out of the prison’s bus, smiling smugly as he was led along to the courthouse. Some cops had to push the press out of the way as they tried to shout questions at him, shouting at the press to get back and clear the way. You wouldn’t think a criminal trial would get such a big production, and yet. The head of the Salazar crime family gets caught on RICO charges and the press goes insane.

He doesn’t get a glance at you as he’s ushered in for the first day of cross-examinations, chains around his wrists and ankles jangling.

The presiding judge arrives and all stand before sitting. The charges are read—hundreds of counts of extortion, racketeering, witness intimidation, obstruction of justice, et cetera. Then, he’s brought up to the witness stand. Do you swear to tell the truth, the whole truth, and nothing but the truth, so help you God, yadda, yadda. “I do.” He wears that smug smile like the Armani suit he chose today, sitting with a bang of the gavel.

And aren’t you just so cute, in your little skirt suit and button-up shirt. A cutie like you shouldn’t be in a courtroom, you should be in his bed. What a cute little Assistant District Attorney, he should’ve looked you up when he had the time, he didn’t know the DA’s office hired such adorable looking little things.

You look visibly uncertain when you catch him eyeing you up and down, looking back at the big bad DA—Redfield or something—who sits at the table looking extremely unamused. “Please state your full name for the record.” You tell him, thumbing through the little manila folder you’ve got in your hands, heels clicking on the floor.

He leans forward into the microphone with a small smirk. “Leon Scott Kennedy.” He’s not listening to a word you’re saying as you pace in front of him, only clueing in when you look at him expectantly, eyes bright behind your glasses. “Can you repeat the question?”

You look so cute when you frown in irritation, he might just eat you up. “I asked if you can explain the thousand percent exponential increase in your earnings in just one month.” You fiddle with the papers, eyes flicking off to the side. “Exhibit ‘C’ in front of you.”

“Ah.” He looks down and spots the cute little graph, wondering if you made it. “My investments turned out swimmingly.”

“Your investments.” You repeat flatly. Cute little habit you have of parroting him. “Who did you invest with?”

“Oh,” He waves a hand blithely, “a new company, you wouldn’t know them and don’t need to worry your pretty head about it.”

You freeze, not sure what to do as he flirts with you so openly.

The judge gives him an irritated look and says, “I’ll remind the defendant to remain civil.”

Leon shrugs it off, he’s made of iron, he can handle this little bit of pressure, it’s good for him anyway. And he loves a challenge.

You clear your throat a little nervously, leafing through the notes you have. Aw, your little hands are shaking minutely, he bets if he held them, they’d shake more. “This company has no record of existing before those investments.”

Leon blinks. See? The pressure’s good for him. He gives you a slight smile as he recalibrates, linking his hands together in his lap. “Is that so? Then where would it come from?”

“Why don’t you tell the court?” Comes out a little short and his lawyers object on the grounds of it being combative. He watches you count to ten before you calm down enough to nod to the judge when he tells you to tread carefully. “I’ll rephrase: I’m hoping you can tell us.”

Leon leans so close to the microphone that his lips nearly touch it. “I think you mean, you’re hoping I can tell you.”

Your jaw tenses, and that can’t be good for your teeth, a pretty thing like you shouldn’t be so stressed. Unexpectedly, you go with it, shrugging blithely before you say, “Sure.” Your move, is what you really mean.

He grins widely, amused and delighted all at once. “I had my friends do a little digging for me to find a suitable investor for our… money.”

“Uh-huh.” You shift a little, your confidence coming back. “What made you trust this investor?”

He comes to a pause—he hadn’t been expecting that. “What do you mean, counselor?”

You grin just this side of smugly at getting him slightly off kilter. “This investor has no prior portfolio of successes or failures. How could you trust them if you have no background?”

Leon’s chains jingle as he spreads his palms with a shrug. “Investing is risky. And everyone has to start from somewhere, Tesla wasn’t built in a day.”

The jury and gallery murmur before the judge bangs his gavel for silence.

He watches your face harden in annoyance. “A bit of an unnecessary risk, no?”

“Why buy the cow when you can get the milk for free?” He throws out to see you confused, your head cocking at him as your brows furrow. You stare at him for a good few minutes and he can’t resist leaning in with a slight smirk and asking, “Cat got your tongue?”

The judge reminds him again to behave, if he does that again, he’ll be taken to jail in contempt of court. Oh, but that would be fun, wouldn’t it? It’d be an inconvenience for him, but to see the little look on your face as he’s walked away… he’ll keep that in mind.

You clear your throat and he watches you swallow, throat bobbing. “What made you choose to throw your lot in with a company that didn’t exist before the very month before your earnings increased?” He can practically see you telling him to dig a hole, any hole.

Leon shrugs. “Gut feeling. And my friends had given me good things from them.”

“How come their investments never showed up in their portfolio?” He watches you try to contain your glee. You’re too cute when you’re trying not to look too happy and remain professional, he bets if you won—which you won’t, he’s made sure of that—you’d be skipping down the courthouse steps.

Leon pauses for a long while, eyeing you as he considers all the possible answers—I never asked, why don’t you ask them, it was under the table—before he settles on, “My mistake, counselor, I’ll clarify: I’d meant that my friends had heard good things about them through the grapevine.”

“That doesn’t answer my question.” You say, eyes narrowing slightly. “I’ll repeat myself: that company—CAPCOM Industries—doesn’t have a prior portfolio of investments, good or bad. How could they have heard good things if there’s no previous work, if they don’t even exist before the month when your earnings went up?”

The defense objects on the basis of badgering, which the judge overrules.

Damn, you’re good, and foxy in all the ways that can be meant. Which leaves him with one option. He smirks and leans into the microphone, maintaining eye contact for a stilted amount of time. Eventually, he says, “I plead the fifth.”

Oh, beautiful. You couldn’t have given him a better reaction. Your jaw drops open and you stare at him for a long while as he sits back against the witness chair.

He’s cross-examined for a few hours before you’re all adjourned for a two hour long recess.

Cross examinations go on for five more days before closing statements come, this trial having gone on for a month at this time.

Defense goes first, blathering mindlessly about how Leon has a right to spend and earn his money how he chooses, on and on. He tunes it out, more interested in watching you pull your silly looking peacoat off and hang it over the back of the chair, dressed in a cute little button up and slacks set, your hair gathered at the back of your head. How cute, he bets they’d look cuter on his floor. Corny, but he had to use it.

Oh, the DA’s making you give the closing statement. That’s just cruel, you’re just a little creature and should be protected. To him, it just looks like a little girl trying to walk in daddy’s shoes.

You get up and shift around the edge of the prosecution’s table, your notes in hand. Wow, you really fill out those black slacks so well, he’ll have to thank whatever God is out there for building you like that.

He tunes in when you say: “You all have had the chance to hear many things over these past few weeks.” Your hands shake slightly, cue cards creasing at the corners. “That Leon Kennedy is being wrongfully prosecuted, that we have no right to poke into a man’s business and how he makes his money.”

He watches you pace in front of the jury, loafers whispering on the floor. That’s a shame, he likes you in heels, really makes your legs look long.

“You also have heard testimonies about how police have been hindered from doing their very jobs for fear of one bogeyman. You’ve heard testimonies of people he’s sold drugs to in front of NA meetings. On and on.” He watches you turn around and meet his eyes, tongue darting over your lower lip. He swallows when he sees that, stomach flipping. That’s embarrassing, he’s a grown man, he doesn’t get butterflies.

“When you take all that away though, all that remains is one man, this man.” You turn back around and point at him behind you. “No man is above the law, especially not one who terrorizes our city. We must take it back from him. Thank you, ladies and gentlemen of the jury, for your time.”

The judge waves a hand and the bailiff takes Leon out of the courtroom to wait out the verdict in his jail cell. He maintains eye contact with you the entire time he’s dragged out of the courtroom, a smirk playing at the corner of his mouth.

The next day, all parties are brought to court to hear that the jury is deliberating. The next day, the same. The day after that and the day after that are the same. The entire next week, the jury is still sequestered and deliberating.

Until you wake up one day, a pit in your stomach as you dress for court and wade through the paparazzi and news outlets on your way into the courthouse.

All rise as the judge presiding enters, all remaining standing when the jury spokesperson finally answers the judge. “We’re deadlocked, your honor.” She says solemnly, “We’ve been deadlocked for weeks, nobody will budge.”

Your stomach drops all the way down to mingle with your intestines, your knuckles blanching at your side.

The judge sighs and looks down. “Then I’ve no choice but to declare the state of New York versus Leon S. Kennedy a mistrial. Thank you, ladies and gentlemen of the jury, for your time. Case dismissed.” He bangs the gavel with a sense of finality.

Poor baby, you look a little like you have to sit down when you hear that. Leon shakes the hands of his lawyers, smiling like the cat that got the canary before he looks over at you.

Even worse, you can’t retry him with these charges because it’d qualify as double jeopardy. The bailiff contemptuously uncuffs him and he rubs his wrists, watching you stand there with your mouth agape, looking positively destroyed at not being able to put him behind bars. He bets you look just a little like that after being fucked silly.

Jeez, little thing, you don’t need to look so damn sad about it, he’s sure he’ll slip up at some point and you can have your fun with trying to prosecute him and igniting your little cat-and-mouse-game.

He makes a point of waggling his fingers at you as he walks by. “Don’t be so sad, cupcake.” Leon says blithely, sauntering out of the courtroom like he owns the damn place. “Better luck next time.” He calls out, a smug laugh echoing off the marble as he walks away, the doors shutting behind him firmly.

You’re at the DA’s office for the rest of the day, trying to get the files in order for the archives because a lawyer’s office is a little like a church—you never get rid of anything that may be important, no matter how old it may be.

You’re in there for a long while before you go out to the parking garage around two thirty in the afternoon, your car flanked with paps. It takes a while until they let you go, having to lay on the horn until they scramble out of the way and you’re free to go. You’re most of the way home when you notice a black SUV following you. Your hands flex on the wheel as you speed up just a little, taking a right turn to test your suspicions.

They follow.

Could be just a fluke. You take another right turn.

They follow again.

Could be another fluke and really awkward, anybody ever tell you that you’re paranoid? You take a third, then fourth right turn, the SUV following you the entire time.

Okay, so you’re not paranoid, and you’re being followed. You take every almost legal action you can, too caught up in the SUV behind you to note the SUV aiming right for you on your left.

The cars collide and your air bags go off, knocking you unconscious and giving you a bloody nose. Thank God you’re not awake, otherwise, you’d notice that the driver gets out of the car to see how you’re faring before speeding off.

You come to when the paramedics are there and trying to stabilize you, your neck in that stupid looking brace as they ask you questions you already know the answer to, hauling your sorry ass into the ambulance after gathering your bag and hightailing it to the nearest hospital.

You’re given two of morphine as you’re kept alive long enough for them to cart you to the hospital. You’re in and out of it as the EMTs give the hospital the details of you being t-boned, loss of consciousness at the scene, pupils equal and active, and so on and so forth. The doctor asks for your name and you give it a little sluggishly, but correctly. They work on you in a trauma room, x-raying and suturing up the cuts on your face, feeling for any fractures on your nose and eyes and any abdominal discomfort.

When they deem you lucky you weren’t hurt further, you ask if they can take off that ridiculous neck brace—you’ve gotta fight them for it, but they acquiesce because you’re so good at arguing your case. When you’re taken to a hospital room to wait for the cops, you call your secretary and update her on the situation.

Are you okay? No. You rather liked that stupid car.

No, like, physically. Yeah, you somehow only got away with a couple cuts, bruises, a mild concussion, et cetera.

Are you safe? Probably.

Do you need anything? A change of clothes and something greasy in the morning, they want to keep you overnight for monitoring.

I’ll get some flowers for you! And a card! No thanks, that’s not necessary, the pollen makes your ears itch.

The police eventually make their way up and you give your statement, more and more irritated when they see it fit to try and interrogate you when you’re not under arrest, but that’s cops for you.

You have a fitful sleep because those lights are always on and your bedroom is usually kept dark, you like honoring your circadian rhythm. Which is why you’re awake at seven when you receive a call from an unknown number.

“This is the assistant district attorney speaking.” Your voice is a little scratchy from lack of water, you have to turn and clear your throat.

He chuckles on the other end of the line, the sound making you freeze. “Did I interrupt your beauty sleep, counselor?”

You straighten up. “How did you get this number?”

“I have my ways.” Leon replies casually, “How are you feeling?”

“Shitty.” Mild concussion, one major cut and two minor cuts on your face, a minorly broken nose and bruised ribs and sternum, but you’re fine.

He laughs on the other end of the line, warm and… affectionate? “Such language so early in the morning.” He tuts, his sheets rustling as he shifts.

You grind your teeth and count to five before you respond, holding your phone so tight you think you hear the case creak. “You hit me with a car.”

He scoffs, shifting his grip on his phone. “I certainly did not.”

“Then you had your underlings do it.”

He laughs again and you almost want to throw your phone. “You’re sharp.” Indirect confirmation, this entire conversation is inadmissible in court. Motherfucker. “I like you, you know.”

You pause, anger momentarily dissipating. “What?”

“I like you.” You can damn near hear his smile.

You pause for long enough that he wonders if the line went dead. When he checks, his phone still has that timer counting how long you two have been on the phone: edging onto five minutes. He waits for a little longer, eventually starting to feel uncertain when you repeat, “You like me.”

He laughs, just slightly tinged with relief. “Yeah. So? Is that so hard to believe?”

Coming from the man who arranged for you to be in a car accident? Yes, absolutely. “Yes.” You say shortly, eyes wandering around your hospital room. “Absolutely.”

He tuts on the other end of the line, more rustling coming through as he shifts and gets out of bed. You never would’ve taken him for an early riser, you thought he was the sort of guy to laze around until the last possible moment—but then again, you’ve known a lot of drug dealers in your time and not all of them were lazy. Dealing drugs, apparently, requires a lot of hard work, regardless of whether it’s street operations or organized crime like Leon fucking Kennedy makes most of his money. “That’s a shame, I was hoping I could take you out.”

And apparently, he has a fondness for double entendres, you just know he’s holding back a cackle. But even onions have layers.

“Not happening.” You feel immensely satisfied when he pauses this time, holding back a smirk of your own.

“May I ask why not?” He asks eventually, voice carefully level. You get the feeling that he’s never been rejected before.

You pause in turn this time, befuddled as to why he’s even asking why not. There’s many things: he’s evil, you’re on opposite sides of the law, you don’t even like him one bit, it’s a conflict of interest—“You know why.”

“No,” He says firmly, surprising you. Okay, maybe you can see why he became the Don. “I want to hear it in your own words. Why not?”

It’s your turn to pause, staring at your phone as the seconds tick by. “You’re a mob boss. Why would I want to go out with you?”

“Why don’t you?” He presses, voice hardening before he reminds himself that he catches more honeys with fly, rather than vinegar, or whatever the stupid saying is.

You hang up on him and put your phone on do not disturb when he calls you back. You’ve got a caffeine headache and a concussion headache and it’s too fucking early to deal with this bullshit. Your secretary finally gets over here around eight thirty with a change of clothes hanging from her arm and a bag of appropriately greasy food and a coffee for you. She pauses in the doorway when she sees you, brows furrowing in concern. “Jesus. You look like you got hit by a car.”

You frown at her, setting the clothes at your feet when she comes closer, passing you everything you asked for. Food gets eaten and burnt coffee gets drank first, grimacing with every sip. You can’t change yet, still hooked up to all these monitors. A doctor comes in at nine-oh-five sharp, flipping through your chart before he asks the perfunctory questions and declares you safe to go home—gotta love the American medical system. A nurse unhooks you from the monitors and gently drags the IV needle out of your vein, giving you privacy to change.

You’re summarily sent home with a concussion care sheet and strict orders not to return to work for two weeks. You’ll stay home for a week at absolute maximum, but it’s the thought that counts. You and your secretary take her car to your apartment because yours is totaled and you argue with your insurance most of the way there. When you get out, she stops you with a gentle grab of your wrist. “Are you sure you don’t want me to come up with you?” She asks, teeth digging into her lower lip.

“I’m a big girl.” You snort, gently removing your wrist from her hold. “You left the key in the right place, right?”

“Yeah…” She says reluctantly, left leg bouncing.

“Okay, then. See you in a week.” You get out of the car the rest of the way and she calls back, “Two weeks!” Before speeding off. You make your way to the apartment building—one of the most secure in the city—and buzz yourself in, walking through the lobby and garnering a few stares as you walk over to the elevator and press the button for your floor. You lean against the wall for support, pressing a hand to your aching head.

You sigh once you’re inside your penthouse, toeing off your shoes and hanging your bag on a hook by the door, trudging to your room and collapsing on your bed. It takes you three days of medical leave for you to become officially restless, you hold out for the next four days before you come in on Monday to your desk covered in Get well soon! Bouquets. You pause and stare at it, then note a giant teddy bear holding a heart that reads: You’re bear-y cute!

No note for the flowers or teddy bear, but you know who they came from.

You have a normal month of work, discarding the bouquets Leon sends every damn day. Just how much money is he throwing away trying to woo you? Eh, just a penny in the bucket; when you were gathering evidence for that RICO case against him, you saw how much he made in a month, easily your yearly salary.

You come home from a long day—your office is litigating another for a miscarriage of justice, you haven’t come home in days—sighing as you hang your coat and bag up, freezing when you hear a gun clicking. “A little cliche, isn’t it?” You move a little slower as you toe off your shoes, kicking them over by the shoe rack. “The click of a gun as a greeting, I mean.”

Leon laughs, then puts the safety back on the gun, setting it on your coffee table. “Why not have a little theatre in your life?” He eyes you as you turn on the lights, revealing you, consummate professional in your adorable looking slacks and button-up shirt. “Anybody ever tell you that you fill those out really nicely?” He says, eyes on your thighs and ass as you walk over to the kitchen.

You grunt in disgust, pulling your hair down from where it was gathered at the top of your head. “How did you get in?” You ask as you fill up a glass with tap water. Really, you’d rather go for a mixed drink or some wine, but you don’t trust him enough to drink in front of him. This is really just the horseshit icing on the bullshit cake, to be honest.

“Pfft.” Leon waves a hand. “Key on top of the door. You should’ve moved it after your assistant came and got you clothes the day you got out of the hospital.” He shifts, long legs crossing. “How are you feeling, by the way?”

“Better.” You say shortly, keeping space and the counter between you two. “It’s amazing that I wasn’t more hurt.” You walked around with a butterfly bruise across your nose for a while and the DA had to keep you out of court until it cleared up, but you’re fine.

He smirks, pink mouth pulling up and to the side. “Yes, quite a miraculous thing.” He sighs and gets up, buttoning his suit. Is that what he thinks real people dress like? Jesus.

“I find that I rather like you alive, not dead.” He says conversationally, looking over at you and really taking the chance to drink you in, brows twitching together when he sees how tired you look.

That’s not how you’re supposed to look, you’re supposed to look bright-eyed and bushy-tailed and all excited. “You look tired, bunny.” He tells you, leaning against the table.

You stare at him for a while, head cocked to the side. “Work.”

“Ah.” He kisses his teeth, eyeing you up and down shamelessly. “There are easier ways to make money, sweetheart.”

“I love my job.”

He laughs, soft and deep. You shift a little from foot to foot, nails tapping against the counter.

“What’s so funny?”

“Nothing, babydoll.” He waves a hand and watches you bristle, shoulders stiffening and drawing up. “You can’t offer a guest a drink? I’m parched.”

You frown at him. “Guests are invited in. You broke in.”

He leans over and swipes the half full cup from you and turns it so his mouth can touch the imprint of lipstick you left behind. “No sign of forced entry.”

You’re a little too shocked to say or do anything. “Because you used the key.” You watch his throat bob with a swallow.

“Tomato, tomato.” He sets the cup down and gives you a debonair smile. “Anyway, counselor, I thought it’d been a while since we talked.”

You stare at him for a while. “And you can’t get yourself arrested instead?”

He laughs a little louder and your hands fist on the countertop. He strolls to your door and opens it up. “Where’s the fun in that? Get some sleep, counselor.” He calls out, door shutting behind him and rattling the pictures on the walls.

You wouldn’t think it after seeing him on the witness stand, but he’s got a dramatic streak the size of you.

Leon smirks when he sees you walk over to the holding cells, an unexpectedly stern look on your face. “We’ve got to stop meeting like this, cutie.” He drawls, head cocking as he looks you up and down, eyebrows raising.

“So you took my advice about getting yourself arrested.” You fold your arms and lean against the wall.

He gives a dashing—and a little smug—smile, eyes flicking up from where they ogle your chest. “And you can prosecute me again, I love watching you work.” He stands up from the bench, wandering over to the bars. He leans forward, hands wrapping around two as his head cocks, still grinning like a fat cat who got the canary.

You don’t move from where you’re leaned against the wall. “You’d be wasting the court’s time over a speeding ticket. The DA doesn’t take those cases.”

“Ah, not a speeding ticket, beautiful.” He uses pet names so easily. He leans in as if to tell a secret—you lean in too, straightening up slightly. “What if I’d said I turned myself in?”

Your stomach drops. “I’d say that you’re a liar.”

“Ouch, counselor.” His smirk remains on his face. “I’m many things, including a bogeyman, but I don’t lie.”

Your face warms. He really remembers your closing statement? You’ve had two cases every month since then. “Legally, financial fraud counts as lying. False advertisement, for another.”

He scoffs, blue eyes rolling before he shakes his head at you. “Where’s your sense of fun?”

You were just joking, but telling him that takes all the fun out of it. “Why turn yourself in?”

“Easy, counselor.” His—clean, warm, smooth—hands flex around the bars. “I’m not on the stand yet.”

“I’m not examining you.”

His dimples show, eyebrows jumping up as he stares at you like you put the stars in the sky. “Touché.”

You can’t prosecute him anyway because of a legal hiccup; somehow, you think he meant for that to happen, to walk into the police station, knowingly not be read his rights and to confess anyway, thus violating his third or fourth amendment, that parts not your deal, it’s the stupid cowboy cop’s fault.

You’re there, trying to do a good impression of disappointment as the judge informs everyone that the case is dropped, yet again putting these charges—and all he admitted to—inadmissible under, yet again, double jeopardy.

Leon, for his part, looks pleasantly surprised, then a little quizzical as his cuffs are unlocked and he’s set free. He catches you by the arm after lurking by the door for you to come out, dragging you to an alcove. “I was read my rights.” He tells you, blond brows furrowed as he boxes you in.

“Were you?” You ask innocently, head cocking like a confused puppy—Leon almost wants to kiss you for it. “It wasn’t on the recording of the procedures.”

He stares at you; you watch him with interest as the cogs turn behind his eyes. Understanding clicks in place and you pat his chest twice.

“I’ll see you next time, cupcake.” You tell him, close to skipping away, you’re so giddy. He watches your hips sway as you walk away, lower lip between his teeth before a smirk crawls across his face. He walks away whistling, scuffing his dress shoes on the floor.

#resident evil #leon x reader #leon kennedy x reader #leon kennedy x you #leon s kennedy x reader #leon s kennedy x you #mine

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usafphantom2 · 6 months ago

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There is nothing that amuses me more than a secret inside of a secret.

Here’s an article that I wrote that my friend Dario Leone owner of Aviation Geek Club shared about the YF 12 and the secret SR 71 tail number 951.

Most people when they think of the YF 12 think of it as an experimental airplane that never really flew, but that is wrong. It did fly for many years. The last flight was in 1979 when it was flown to the Air Force Museum near Dayton, Ohio you can find it next to the XB-70.

The so-called YF-12C was really the SR-71A 61-7951, modified with a bogus tail number 06937 belonging to an A-12.

Taken in 1975, the interesting photos in this post show NASA Blackbirds carrying the ” Cold wall” heat transfer pod on a pylon beneath the forward fuselage.

The Blackbirds portrayed in these photos are usually referred to as YF-12s, but actually one of them was an SR-71 as Linda Sheffield Miller (Col Richard (Butch) Sheffield’s daughter, Col. Sheffield was an SR-71 Reconnaissance Systems Officer), who runs Born into the Wild Blue Yonder Habubrats Facebook page, told to The Aviation Geek Club: ‘In case anybody asked the pictures with the two NASA Blackbirds the one on the top is a YF-12 but the one on the bottom is an SR-71!

‘Another interesting thing about those pictures is that NASA was not allowed to have an SR-71 but they did and they passed it off as a YF-12!

In fact, the “YF-12C” was a then-secret SR-71A (serial no. 64-17951, the second production SR-71A) given the NASA tail no. 60-6937. The reason for this bit of subterfuge lay in the fact that NASA while flying the YF-12A interceptor version of the aircraft, was not allowed to possess the strategic reconnaissance version for some time. The bogus tail number actually belonged to a Lockheed A-12 (serial no. 60-6937), but the existence of the A-12 remained classified until 1982. The tail number 06937 was selected because it followed the sequence of tail numbers assigned to the three existing YF-12A aircraft: 06934, 06935, and 06936. Isn’t that amazing?’

The Coldwell project, supported by Langley Research Center, consisted of a stainless steel tube equipped with thermocouples and pressure sensors. A special insulating coating covered the tube, which was chilled with liquid nitrogen.

Given that the US Air Force (USAF) needed technical assistance to get the latest reconnaissance version of the A-12 family, the SR-71A, fully operational, the service offered NASA the use of two YF-12A aircraft, 60-6935 and 60-6936.

Eventually, with 146 flights between Dec. 11, 1969, and Nov. 7, 1979, 935 became the workhorse of the program while the second YF-12A, 936, made 62 flights. Given that this aircraft was lost in a non-fatal crash on Jun. 24, 1971, it was replaced by the so-called YF-12C SR-71A 61-7951, modified with YF-12A inlets and engines and a bogus tail number 06937.

The SR-71 differed from the YF-12A in that the YF-12A had a round nose while the SR-71 had its chine carried forward to the nose of the airplane. The SR-71 was longer, nearly 8 feet longer as it had an extra fuel tank that the YF 12 didn’t have. There were other differences in internal and external configuration, but the two aircraft shared common inlet designs, structural concepts, and subsystems. Also of note the SR 71C is really a combination of a static display of the SR 71 for the front half and the back half is the crashed YF-12!

In my study of all the Blackbirds, I have found other secrets inside of secrets. Such as the test SR-71 plane the 955. Everyone was told often that this airplane never left the United States, but that is not true.

When it comes to reconnaissance airplanes and War, even if it was a Cold War, Rearranging the facts is fair.

There will always be mystery in the SR 71 program.

Don’t believe that all of the secrets have been told.

I know that is not true.

Linda Sheffield, Daughter of a Habu

@Habubrats71 via X

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#sr 71 blackbird #aircraft #usaf #lockheed aviation #mach3+#habu #aviation #reconnaissance #sac #cia

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sapphire-weapon · 4 months ago

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So I'm still not out of the woods yet wrt this extremely dark depressive episode I've been in (thank u to everyone who sent me smth nice), but I got a question about this whole "Leon is morally gray" thing that's apparently been going through the fandom, and

No. That might be the dumbest argument I've seen yet.

This is an example of people jumping the logical shark and going too far outside of the bounds of the story itself.

Stories have their own internal moral compass that are, more often than not, divorced from the real world. Like, we have mafia movies where the main characters can be considered the "good guys" despite being in the mob and therefore objectively bad people by default, because when you engage with the story, you follow that story's own internal moral compass.

RE's moral compass is very simple. Bioterrorism is bad, and the people who fight against it are good. That's it. It goes literally no deeper than that. This is how you can have a character like Carlos be considered a hero despite working for Umbrella -- and how you can have a character like Dylan be considered a villain despite the fact that his goal was literally in line perfectly with the ideals of the socialist lefties who comprise most of fandom.

Leon fights against bioterrorism, so he is Good. It's not ambiguous. It's not gray.

"But he works for the government, and the government perpetuates bioterror, and Leon runs cover for them--"

Doesn't matter, because the moral compass of the story still holds up. We've seen Leon literally fight against high-ranking members of the US government in multiple titles. The main villain in Degeneration was a senator, Derek Simmons in RE6 was the National Security Advisor, the big bad in ID was like the AG or something (I forget his actual title). So wherever it pops up, that dichotomy of "bioterror bad, fighters against it good" holds up every single time with Leon on the side of Good. It's not a question.

This is why RE has been hesitant to paint the entire US federal government as bad and instead just puts bad actors in it (which Leon then fights and always wins against). There have been breadcrumbs left here and there of the US's involvement with bioterror being a more systemic problem, but none of that has ever been explored in any real depth, and if the US was meant to be seen as uniformly Bad, Leon's "cover-ups" would be more in line with him running protection for ongoing projects as opposed to him just burying a story after he's already blown everything up and stopped production of the Bad Thing by the Bad Guy.

Ada is seen as morally gray because she sometimes fights against bioterror, and other times she's part of doing the bioterror, and there's no clear indication either way where her allegiance actually lies.

You can't say literally anything remotely similar about Leon.

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antialiasis · 3 months ago

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The Good, the Bad and the Ugly: all of my thoughts (part 1)

All right, this is me, watching my way through my current obsession The Good, the Bad and the Ugly for the umpteenth time and rambling about everything that comes to mind as I go, which ended up with me typing over thirty thousand words because I am incapable of shutting up. Because that is truly excessive, I will be posting my thoughts in three parts; this is part one (covering roughly the first hour and thirteen minutes of the Extended Cut, up through the end of the desert/carriage sequence), and I'll probably post part two in a few days to a week, pending editing and such and some of the other things I should be doing.

Because that's a lot of reading to commit to without knowing what you're getting into, especially if you're here from the tag, here's what to expect in brief:

This is all of my thoughts, simply whatever comes to mind, but my thoughts on fiction tend to be heavy on in-depth analysis of characters, their motivations and how they tick, so a lot of this falls into that general category.

In particular, there will be a whole lot of thoughts on Tuco, Blondie, and their evolving character dynamic, which is my favorite part of the movie. I will not be looking at it through a shippy lens, for what it's worth (romantic shipping is not generally how I personally engage with fiction), but I hope anyone who finds their dynamic compelling in whatever way might still enjoy some of my thoughts on them!

In between, there's also a bunch of other commentary on stuff like the narrative function of scenes (especially on the scenes that were cut in the International Cut of the film and whether the film is better with or without them), directorial or editing or production design or storytelling choices, acting choices, foreshadowing and parallels, as well as some lighter commentary on bits that amuse me or bug me or that I particularly enjoy.

Sometimes I will just be making observations about random things I didn't necessarily notice or pick up on on my first viewing; many of them are probably kind of obvious, but if I didn't pick them up seeing it once, probably there's at least a chance they might be interesting for other people who have only seen it once.

This is not a recap of the movie, but I do try to quote lines or explain bits that I'm commenting on, so hopefully you can follow along if you've seen the movie at all. I don't know how coherent this would be if you haven't seen the movie, but if you choose to read a post like this about a movie you haven't seen anyway, godspeed to you.

Tuco's introduction

The opening scene sure is a microcosm of Sergio Leone's directorial style. Slow, silent close-ups, wide shots, unclear exactly where the scene is going initially, these unnamed characters eventually converge on a saloon -- and then instead of following them inside, Tuco comes crashing through the window and we freeze-frame. It's very drawn out (I had a bit of an "Is the whole movie going to be like this" moment watching it for the first time), but the comic timing of Tuco and the freeze-frame is great; instantly we go from this super slow, dramatic buildup to this fun, humorous subversion that really sets a tone. All that buildup was actually for introducing this guy.

In the process, we learn that 1) Tuco is someone at least three different people want to kill, 2) he's someone skilled and resourceful enough to manage to shoot them first and then make his escape through the window even after being caught unawares during a meal by three people working together, and 3) even in the process of doing that he brings his food with him -- probably actually pretty revealing about his background of poverty, not wanting to waste food when he has it. We'll of course see him introduced further a little later, but this really says a lot for only actually containing about ten silent seconds of him, and also benefits from being funny.

It's kind of amusing how bloodless most gun deaths are in this movie, considering it doesn't shy away from blood in other parts. The surviving bounty hunter does have some blood on his hand as he tries to shoot after Tuco, probably to convey that he's injured despite still being alive, but the others are just cleanly lying there with no signs of damage. Maybe it's paying homage to what other Westerns looked like -- the actual cowboy gunslinging specifically is very idealized, sanitized and almost cartoonish, compared to a lot of the other violence in the film. I remember being a kid and hearing about the trope of people in old Westerns getting shot and dramatically going flying as a result, despite that normal bullets are far too small for their momentum to send a person flying anywhere -- you don't actually see too much of that in modern movies, where everything tends to look much more realistic, but this movie definitely has a lot of very dramatic flailing and spinning around when people get shot in a way that looks pretty distinctly silly and cartoony today. Ultimately it meshes pretty well with the overall tone of the film, though; this movie is gritty in many respects, but it does not aspire to realism.

Angel Eyes' introduction

The way Angel Eyes just silently waltzes into Stevens' home and helps himself to some of his food while maintaining eye contact the whole time is so weird and uncomfortable, it's delightful. What an entrance.

Stevens has a limp. People who have fought in the war tend to be visibly scarred by it in this movie -- truly something that just permeates every background detail, that you don't really think about on a first viewing when you think the Civil War is just a setting backdrop.

There is zero dialogue in this film until more than ten and a half minutes in (though the first three minutes of that are the opening credits, so it's seven and a half minutes of actual movie with no dialogue). I think this is a very fun choice which contributes to the viewer really feeling how unbearable the silence is for Stevens by the time he starts asking Angel Eyes if Baker sent him - half of that silence wasn't even technically part of this scene, but it really intensifies it by making the silence here feel even longer than it is.

When Stevens says, "I know nothing at all about that case of coins!", Angel Eyes looks up with interest from where he'd been casually looking at his food. Evidently he had had no idea there was any case of coins involved, only that he was meant to collect a name, but once Stevens mentions it, his interest is piqued.

Angel Eyes casually offers, "Well, Jackson was here, or Baker's got it all wrong," while cutting off and eating a piece of bread with a large knife, sort of implicitly daring Stevens to try to say Baker's got it all wrong and see what happens. When he's got Tuco captured later, Angel Eyes does a similar thing of staying friendly-threatening as he casually asks questions, but once Tuco actually refuses to talk of his own accord, out come the claws. This time, though, Stevens does not take the bait, probably sensing that that would lead nowhere good for him.

He says, "Maybe Baker would like to know just what you and Jackson had to say about the cash box" -- this isn't the info he came for, but maybe Baker would be interested. Really it's Angel Eyes himself who is intrigued -- he'll go on to tell Baker that that's my bit. But he doesn't really bother pushing Stevens for it, instead moving on to admitting he's being paid for the name specifically. Probably he figures once he gets the name, he'll have all the info he needs to track him down anyway by his usual means (which it turns out he does).

The casual, grinning confidence of Angel Eyes' assertion that if Jackson weren't going by an alias he would've found him already, "That's why they pay me," really makes you believe it, doesn't it. It's exposition about what Angel Eyes does, but is also executed to work as a nice character-establishing moment about his competence.

Christopher Frayling's otherwise fun and informative commentary on the film talked about how Angel Eyes' missing fingertip was provided by a hand double in the final truel -- but you can see in this scene that Lee van Cleef's own right hand is definitely missing that fingertip (though I did not notice it at all until I thought to specifically look for it). Very curious where the notion of a hand double came from -- he even named a specific guy.

Angel Eyes casually announces that when he's paid, he always sees the job through, even though that's just going to make Stevens desperate -- Angel Eyes knows he can shoot first, no big deal.

He shoots Stevens through the table and the food, even. How does he aim.

Angel Eyes grabs his gun and turns around to shoot Stevens' son before he actually comes into view (specifically, we see him start to react to something about ten frames before we can first see the tip of the son's rifle). Presumably, in-universe, he heard him coming, but we don't hear him coming at all over the blaring background chord, so it feels like Angel Eyes just knows he's coming by some sixth sense. Very effective at making him seem even more threatening, especially since there's also generally a conscious decision in this movie to act as if the characters can't see anything that's out of frame for the viewer -- Blondie and Tuco get caught out by that rule a couple of times in amusing ways, but Angel Eyes actively defies the auditory equivalent.

(It's neat how the family photo, used for Angel Eyes obliquely threatening Stevens' family, also serves as foreshadowing for the fact he also has this second, older son we hadn't seen yet at that point.)

The fact Angel Eyes sneaks into Baker's bedroom when he's sleeping to report back is so extra. A normal person would just arrange to meet him the next morning, but no, Angel Eyes does the creepy stalker thing. Probably makes the murdering him in his bed bit a little easier, though, which also suggests he was definitely intending on that bit the whole time and didn't just "almost forget".

Baker's brow furrows and his eyes shift uncomfortably when Angel Eyes mentions the cash box; clearly he was hoping Angel Eyes would never find out about that bit (very reasonably, given what happens next).

All in all, Angel Eyes' introduction is super striking. The casual veneer and smug grins painted over a deeply tense sense of threat; the absolute deadly confidence; the fact he shoots Stevens' son too so easily and presciently, almost as a footnote to it all; casually walking out with the money that Stevens offered him for sparing his life; and then, on the ostensible basis that when he's paid he always sees the job through, casually killing Baker too.

Although he explains the murder of Baker as simply seeing the job through, though, Stevens didn't actually ask him to kill Baker; all he ever suggested he wanted was to be left alone, and all he said about the money was that it's a thousand dollars, after asking what Angel Eyes was being paid for murdering him. I expect Angel Eyes simply chooses to take it as payment for the 'job' of killing Baker for motivated reasons; that way, he can act as if the money is still 'payment' for him even though he rejected Stevens' attempt to bribe him, and it's much easier to go after the cash box himself if Baker's out of the picture, after all.

This creates an interesting ironic sense that while Angel Eyes effectively presents his own introduction as being all about his unassailable professional principles about always performing the job he's been paid for, and I took him at his word on my first viewing, he's not really all about those principles at all -- and as the movie goes on, indeed, he's simply pursuing the cash box for his own reasons rather than because anyone's paying him for it. His 'professional principles' don't come up again, because that's not really what this intro was telling us at all.

Which isn't to say he doesn't always see a job through after being paid (I can definitely believe that; if he has a reputation for getting the job done no matter what, that makes people more likely to pay him in the future, and he sure has no qualms about completing any job), just that that's not at all the main thing driving his character, as you might initially assume. The thing his intro is really telling us about him is that he's ruthless, terrifying, extremely competent, very interested in this cash box, and has absolutely no trouble casually murdering whoever might be standing in the way of accomplishing what he wants. And I think it's very effective at showing that.

Blondie's introduction

This scene opens with Tuco on a galloping horse in a way that naturally invites the viewer to assume this is following directly from when he flees from the saloon in his intro, and that's what I assumed on my first viewing -- but nah, not only does he not have the food and drink, he's wearing different clothing. Given the surviving bounty hunter from the intro will be appearing later and indicating that was eight months ago, and this is decidedly the most obvious place for the bulk of the timeskip to be happening, probably this is actually several months later. This film is not at all big on time indicators -- for the most part, we have no idea how much time is passing, everything feels like it's happening pretty much in sequence, and we can only vaguely infer that there must be longer gaps between particular events.

The straight-up photograph on Tuco's wanted poster is pretty hilarious. There's even a scene later with a little gag about the long exposure times for photographs at the time. Probably this is just a funny prop for two scenes to make it very obvious to the viewer that it is absolutely him on the wanted poster even as he adamantly denies it, but it's also very funny to imagine Tuco patiently posing for his own wanted poster.

Framing through it, all three of the bounty hunters surrounding Tuco when Blondie comes along are in fact going for their guns when Blondie shoots them, which makes sense -- for all that Blondie is not much of a noble hero, he generally does not tend to shoot people until they're at least starting to draw on him. (There's one notable exception, which will come up in part two.)

I enjoy Tuco's weird little nervous, disbelieving grin as he realizes this stranger just shot the bounty hunters but is sparing him. Tuco's own worldview, as shaped by his background, is dominated by self-interest; it's every man for himself, and it's up to him to do whatever it takes, tell whatever lies, betray whoever he has to, to get ahead. And yet, there's this endearing naïveté to him, where he's not really suspicious of other people's motives accordingly -- he's surprised Blondie would save him, but his brain doesn't immediately go to this guy just wants to be the one to collect my bounty. We see this a lot throughout the film.

We cut (with great comic timing) from Blondie sticking a cigar in Tuco's mouth to Tuco spitting out a cigar while tied up on his horse as Blondie takes him into town -- an edit that suggests continuity, like only a short time has passed and it's the same cigar that he just hadn't had the chance to spit out yet (sort of dubious if you really think about it, since surely it would've taken a bit for Blondie to tie him up and get him onto his horse). This reinforces our initial assumptions about what's happening, where Blondie would just have tied him up before riding straight into town, but given the con they turn out to be running, there must have actually been an offscreen conversation about it and the cigar is there as a bit of cheeky misdirection for the audience.

(It probably makes sense that when Blondie put the cigar in his mouth, he was actually about to propose they run this bounty scheme together -- as the movie proceeds, we see that Blondie generally shares cigars in more of a friendly sort of way, after all.)

"I hope you end up in a graveyard!" yells Tuco. They sure do all end up in a graveyard! This is some very cheeky foreshadowing and I love it.

Tuco yelling ineffectual threats about how Blondie can still save himself by letting him go, while actually tied up and completely at his mercy, is just extremely Tuco.

Then he shifts tack very abruptly to saying he feels sick and needs water, only to then spit in Blondie's face. Later he furiously calls the deputy a bastard just for walking out of a building, only to then immediately shift to saying he's just an honest farmer who didn't do anything wrong. Tuco often does this, shifting from one approach to the next in a way that makes it really obvious he's bullshitting, but he keeps doing this, just throwing shit at the wall to see if anything sticks, even when this is counterproductive to the whole effort. He is presumably playing it up a bit here, but it's still in its own way pretty representative of who he is and what he's actually like. He's so characterful.

"Who says so? You can't even read!" says Tuco about whether it's him on the wanted poster, which is some delightful nonsense hypocrisy/projection given we will later see that Tuco himself can only barely read. I love him. (And why would reading even have anything to do with it; he's obviously looking at the plain actual photograph of him right there. Love Tuco's absolute nonsense.)

Another absurd change of tactics: "Hey, everybody, look, look! He's giving him the filthy money!" - as if he's going to rally onlookers against the sheriff and Blondie somehow on the basis that money is exchanging hands, isn't that suspicious.

Tuco calls Blondie Judas for accepting the money (referencing the thirty pieces of silver, of course), which will get a fun echo later.

"You're the son of a thousand fathers, all bastards like you!" I love that Tuco has invented compounding recursive bastardry just for Blondie. Not only is he a bastard, all one thousand men his mother slept with were also bastards. Glorious. (You can see Blondie's amused by this one; he actually smiles a little bit before throwing a match at him.)

I wonder if Blondie actively encouraged him to go quite this hard on the insults, to make them look less associated, or if he just did this. One would think it would be risky, on Tuco's end, to be this over the top in literally spitting in the face of the guy who could just let him hang if he happened to change his mind -- but then again, Tuco genuinely doesn't expect Blondie to double-cross him.

Tuco's crimes, as of this first hanging, are: murder; armed robbery of citizens, state banks and post offices; the theft of sacred objects; arson in a state prison; perjury; bigamy; deserting his wife and children; inciting prostitution; kidnapping; extortion; receiving stolen goods; selling stolen goods; passing counterfeit money; and, contrary to the laws of this state, the condemned is guilty of using marked cards and loaded dice! All this paints a picture of a pretty colorful backstory, but most of it is relatively petty; other than the murder (possibly of people like the bounty hunters we saw him dispose of in the opening), we can gather he's been scrounging up money through anything from cheating at cards up to armed robbery and kidnapping, he lied under oath (checks out), he set a prison on fire (presumably to escape), he ran off from his wife and kids and then married someone else he presumably also ran off from, and then there's "inciting prostitution" which I'm guessing means offering someone not previously engaged in sex work money for sex.

It obviously checks out that he'd do anything for money, and bigamy and deserting his wife and children rhyme with his off-hand mention at the monastery later that he's had lots of wives here and there; in general, it tracks that he would make big commitments and then just break them. So all in all, these seem like probably a bunch of genuine crimes that he actually committed. (He also nods somewhat smugly at the marked cards and loaded dice bit.)

Blondie's MO seems to be to first shoot the whip out of the hand of the guy who's meant to be setting the horse off and then shoot the actual rope (and then random attendees' hats, for good measure). Better hope that first shot doesn't spook the horse.

It really is very reasonable of Tuco to want a bigger cut for being the one running the risks; you wouldn't generally want to do a job with a significant chance of getting you killed without being very well compensated for that. Unfortunately, Blondie doing the cutting means he's the one with all the power here -- if he's dissatisfied with his share, he can just pocket all the money and let Tuco die -- which puts him at the advantage in the negotiation, and he knows it.

I enjoy how in the middle of "If we cut down my percentage, it's liable to interfere with my aim," Blondie offers Tuco a cigar, this casual friendly move in the middle of what is effectively a threat.

Tuco does a little understated, "Hmm," of acknowledgement that makes it feel like this was genuinely unexpected. But then he just returns the threat: "But if you miss, you had better miss very well. Whoever double-crosses me and leaves me alive, he understands nothing about Tuco." Which sets up his quest for revenge on Blondie after the double-cross, obviously, but is also fun to recall during the final scene: Tuco actively advised Blondie not to leave him alive if he was going to double-cross him.

Tuco why are you eating the cigar

Next time he's in the noose, it's for a whole new list of crimes that ends with, "For all these crimes, the accused has made a full, spontaneous confession." Yeah, he probably just went off spewing confessions to a string of colorful invented offenses as Blondie brought him in, didn't he, maybe hoping it would raise the bounty. (At the cinematic screening where I saw it for the first time, I missed the spontaneous confession thing due to no subtitles and spent half the movie experiencing some jarring mental dissonance over Tuco's growing goofy likability versus the offhandedly having been convicted of multiple rapes near the start thing. But it's actually pretty strongly telegraphed that the new crimes here are simply bullshit; a spontaneous confession to a variety of new things that were decidedly not on the earlier list, that he could not possibly have done in the implied presumably not very long timespan between the first and second hanging, mostly distinctly more dramatic crimes than the original set, all sounds strongly like a Tuco throwing shit at the wall thing.)

Tuco looks a lot more restless during the second hanging, where for the first one he was pretty calm -- probably a little bit nervous about Blondie's "liable to interfere with my aim" remark, even though they'd presumably come to an agreement to stick with the 50/50 split.

He notices a woman being scandalized, seems sort of put out for a second, but then growls at her to scare her more. What a Tuco.

Another minor character presumably disabled in the war: Angel Eyes' incidentally legless informant. (Whom he calls Shorty, like the guy Blondie teams up with later, who is definitely a different guy because that guy has legs -- sort of a funny aversion of the usual one Steve limit. Genuinely a bit puzzled by why they did that -- is it like that in the Italian version or just the English dub?) I wonder if the bit where he moves around by holding a couple of bricks and using them to walk on is something inspired by a real person or people at the time.

Calling him a 'half-soldier' is pretty rude, Angel Eyes.

Look, I'll accept that we're calling Blondie Blondie, sounds like that's what you'd call him in Italy, but there's really no excuse for "A golden-haired angel watches over him." The man's hair is brown. It's not even a light brown. What are you talking about, Angel Eyes.

But to not get too distracted by that part of the line: Angel Eyes obviously recognizes the con they're running. I think that's probably because he knows of Blondie and that this is a thing he does (he's presumably done it with others before), so when he notices Blondie's around at a hanging, he's like ah, yes, there's him doing his thing, guess he's running with Tuco now. My own feeling is Blondie and Angel Eyes basically only know of each other, though -- no direct evidence they're not more familiar or anything, but they don't really act like they have a personal history, I think, compared to Tuco and Angel Eyes who obviously do.

After the threat about a pay cut being liable to interfere with his aim, I originally figured Blondie missing the rope (or rather, it seems to have grazed but not severed it) might have been deliberate, meant to scare Tuco a bit and make him think twice about proposing that again. But ultimately, on a closer look, I'm pretty sure he really did just miss, both because his expressions and body language feel more in line with that and because Tuco's rant after they escape indicates that Blondie's explanation to him was that anyone can miss a shot -- if it was meant as a warning, probably he wouldn't then go on to actively make it sound like he'd just happened to miss.

(That line also indicates it probably wasn't that he did hit it dead-on but the rope was just sturdier than expected -- if Blondie said anyone can miss a shot, that sounds like he at least believes it's because he missed, and I don't see any sensible reason he would lie about that here.)

That said, I think it's fun to imagine that the reason for the miss was that that discussion really did interfere with his aim -- that little bit of tension with Tuco led to him being a little careless this time, even though he didn't mean to miss and thought he had it.

The thing that actually prompts Blondie to stop and leave Tuco is Tuco's rant about how nobody misses when I'm at the end of the rope and When that rope starts to pull tight, you can feel the devil bite your ass. For all that he explains it as being about how there's no future in this with a guy who'll never be worth more than $3000, there's a specific point where he stops his horse and decides to ditch him, and it's when Tuco's complaining turns into guilting him about missing and the experience of being on the other end. Blondie will not be guilted and does not want or need this; just going to ditch him and wash his hands of him and find somebody else. I get the sense that Blondie doesn't really want to think about that miss too hard, at this point, and Tuco won't leave him alone about it, and so he leaves him.

More echoes in Blondie and Tuco's relationship: Blondie specifically says, "Adios," when leaving Tuco in the desert, which Tuco will say back to him at the inn.

Tuco's reaction, once again throwing shit at the wall, goes from insults to angrily ordering him to cut the rope off and get off the horse (as if he has any power to make him do anything, standing there unarmed with his hands tied), to a series of hilariously off-the-wall threats ("I'll hang you up by your thumbs!"), to disbelief/desperation: "Wait a minute, this is only a trick! You wouldn't leave me here! Come back! Wait! Blondie! Listen, Blondie!" before the final ¡Hijo de una gran putaaaa! The last couple stages once again get echoed in the final scene. I enjoy the "You wouldn't" - Blondie's supposed to be better than this, even after he'd threatened his aim might suffer if he got less money. They were supposed to be friends, damn it! (Tuco really wants to believe that people actually like him, and often chooses to live in the world in which they do.)

I truly love the fact Blondie gets the freeze-frame and onscreen caption of "the good" just after ironically admonishing Tuco for his ingratitude after Blondie has double-crossed him, taken the money they were going to split, and left him in the desert with this hands tied. As I wrote in the post with my initial impressions on the movie, this is the most uncalled for, mean-spirited thing he does in the entire movie, and getting the caption right here makes it really drip with irony, which is exactly the right thing to do with it, compared to if they'd put it earlier when it might have looked like it was meant to be played straight. There's no gallant hero here, only this guy, who is kind of a bastard. Blondie genuinely grows to deserve the title more as we go on, and that's one of the fun things about the movie, but we have established that the base point is low.

Blondie's intro tells us a number of things: he's a very good shot, casually confident, silent and stoic and unruffled by most anything, happy to be a conman ripping off bounties by bringing in criminals and then freeing them again to repeat the same scheme elsewhere, willing to make oblique threats to get his way and to shoot first when anyone seems about to pull a gun on him, and enough of a bastard to leave Tuco behind in the desert. But he's definitely the most enigmatic of the three main characters; he doesn't talk or emote much, leaving exactly what's going on in his head pretty vague and open to interpretation, even as some of his actions are pretty striking and interesting. This has nerdsniped me, because I enjoy thinking about what's going on in characters' heads; please be prepared for an excessive amount of analysis of what might be going through his mind in almost every scene he's in.

Angel Eyes and Maria

The choice to open this scene with Maria getting thrown off a carriage with a bunch of drunk Confederates and the choked-up yell of "You filthy rats!" after them is probably largely just to get across the suggestion that she's a prostitute, making it easier to connect that she's the one Angel Eyes' informant told him about. But I appreciate that it gives her a little bit of a tragic existence outside the confines of the plot and makes her sympathetic even before Angel Eyes starts beating on her. (A secondary purpose for this is also probably to show some Confederate soldiers just being assholes; the film makes a point of featuring both sympathetic and asshole moments from both sides of the Civil War.)

Like with Stevens, while Angel Eyes makes his presence very threatening, he starts off nonviolently (well, relatively; the way he pulls her inside is not exactly gentle), just telling her to go on talking about Bill Carson -- but when she refuses to volunteer any information and just says she doesn't know him, the claws come out instantly. There's none of the veneer of casual friendliness he had with Stevens, though, just an intensely scary stare and threatening demands. (The scare chord playing in the background doesn't help.) All in all, Angel Eyes was already terrifying but he is even more so in this scene.

I do also appreciate that while the interrogation is brutal and deeply uncomfortable and thick with the danger of sexual violence, it does not go there -- he's physically but not sexually violent, he's only interested in the information, and once he has it, we see him just leave. This is a completely sexless film, and I think we're all very lucky for that; it's one reason The Good, the Bad and the Ugly has aged relatively well, compared to for instance some of Sergio Leone's other films. (That's not to say I have anything against portrayals of sexuality or even sexual violence in media in principle, but I've gotten the sense that back in the sixties, media that did portray it tended to be profoundly weird about it.)

Tuco returns to town

We don't get to see Tuco suffering in the desert, only making his way across the rope bridge and then stumbling toward the well and finally indulging, but I think it does get across that this was an ordeal for him, and that becomes easier to appreciate on a rewatch, after seeing Blondie go through it later. Tuco's skin has fared a lot better than Blondie's, but his lips are pretty cracked.

The gun seller looks so proud of his little selection of revolvers and is so eager to please him by showing him more. It's painful how long he keeps trying to be helpful in selling him a gun even when Tuco just grabs the bottle of wine out of his hands and dismantles half of his guns to put together a custom revolver. And then Tuco just uses the gun, with a cartridge the owner gave him, to rob him of the money he has in the till, oof.

Man, those targets just casually in the shape of Native Americans.

Sergio Leone just has a thing for characters shoving something in somebody else's mouth unbidden, doesn't he. Blondie sticks his cigar in Tuco's mouth during his intro, then Tuco puts the sign in the shopkeeper's mouth, and then it happens very memorably in Once Upon a Time in the West as well. I forget if it's in A Fistful of Dollars or For a Few Dollars More, but at this point I wouldn't be surprised.

The gun store scene is theoretically skippable (Christopher Frayling's commentary indicated it was cut in British prints of the film, though I gather it survived in the US cut), but it's pretty fun in its audacity, and is also doing some good setup work for Tuco's character. So far, apart from his intro suggesting some degree of scrappy ability to shoot before he gets shot, he's been shown in a pretty ineffectual light, getting ambushed and captured and raging helplessly with his hands tied. But here we get to see that Tuco really knows his way around guns and has implausible trick-shooting skills to rival Blondie's -- and, of course, that he really is an unrepentant bandit who thinks nothing of doing this when he wants a gun and some money, lest we were left too sympathetic to him when Blondie left him.

The cave

Tuco presumably bought the chicken with some of the $200 he robbed from the gun store; he presents it like having a single chicken by itself is amazing riches. Does say a lot.

I enjoy his very blatant talking to himself about how oh, he's so lonely, but he's rich, wonder where his friends are now. He clearly figures that Pedro/Chico/Ramon are there listening and just avoiding him. He talks like they were such great friends, but somehow the fact they don't come out until he starts loudly talking about how if only they were there he'd give them $1000 each doesn't make it seem like they ever had a relationship that went much beyond assisting each other in committing crimes to their mutual advantage -- and Tuco clearly in fact knows this, since he knows exactly what line to go for to lure them out. (But no, Tuco definitely has great friends, because he is a cool and well-liked dude who has definitely made good choices in life.)

I've seen people online suggesting that Blondie and Tuco ran their scam a lot more often than the two times we actually see, but this scene seems to make it explicit that they only did it exactly those two times: Tuco specifically indicates Blondie has $4000, which is simply equal to half of the first $2000 bounty that they split plus the entire $3000 bounty for the second time that he kept for himself.

This is one of the scenes added in the Extended Cut, despite having been cut even from the Italian version of the movie after its original Rome premiere. The primary ostensible purpose of it is just to establish where Pedro/Chico/Ramon came from (the featurette on the restoration makes it explicit that the guy overseeing the Extended Cut, John Kirk, just thought it was a plot hole and decided to reinsert the scene when he discovered it existed because of that, despite Sergio Leone himself having decided to cut it for pacing reasons). It is true I think I would probably ask myself some questions about Tuco's buddies if I'd seen a cut without it; Tuco's seemed like a lone wolf so far, and without it there's no indication at all of who these guys are or why they're working for/with him for this.

On the other hand, the scene kind of sets them up as if they're a lot more important than they are, and its internal coherence feels a little off: them only coming out when Tuco tempts them with money, despite that Tuco's been there for a bit talking at them about what good friends they were, actively suggests they don't actually like or trust him (which makes good sense!), but then it also has this dialogue about how they thought he'd been killed, which feels as if it's randomly offering up an unnecessary and somewhat contradictory second explanation for why we haven't seen them with him up to this point. The bit about them thinking he was dead doesn't actually connect to anything and seems to give undue weight and improperly conserved detail to Tuco's relationship with these guys, who are ultimately just some throwaway goons that exist in one scene before dying and never being mentioned again. I think probably the movie is actually better off without this scene, as Sergio Leone apparently concluded himself.

The inn

More of the war in the background -- this time with the innkeeper privately opining about how those rebels are cowards and it'll be better when the Yankees have beaten them as the Confederate army retreats out of the town, only to then yell "Hurray for Dixie!" as they're passing by. Not the only character in this movie who just pretends to support whichever army he's currently looking at. (We see more injured soldiers in the background here.)

Love the tension of the buildup here. Blondie's gun lying dismantled on the table at the start, the brothers approaching in the midst of all the noise, the close-up of Blondie's hand freezing and eyes narrowing at the clink in the sudden silence, straining to hear as there's nothing (the fact it stopped when the army did actively suggests someone's trying to be sneaky), then frantically loading the revolver with a second-third-fourth bullet as the background noise restarts and then juuuust managing to finish and shoot the three of them in rapid succession as they burst in. These silent close-up shots of his hands and eyes also deliver a rare moment of tangible alarm from Blondie; he's legitimately scared for a bit there and you can feel it, which is greatly appreciated from a character who spends most of the movie being stoic and enigmatic.

Enjoy Blondie choosing to explain how he knew they were coming by going, "Your spurs," just before firing the final shot (just giving this guy a little tip about where he messed up before killing him, as you do), but also I deeply enjoy that him firing that last smug bullet, which he probably didn't really need to when the guy was collapsing anyway, leaves him defenseless when Tuco draws attention to himself at the window. Blondie is very smart and competent, we've just watched him survive three people sneaking up on him while he's cleaning his gun because he managed to notice the tiny sound of a clinking spur and put together what it meant and load his gun in time, but then he makes this near-fatal mistake by getting a little too cocky about it, and that's definitely tastier than if he'd obviously needed all his bullets there.

I have seen it suggested that Tuco intentionally used the brothers as cannon fodder here, but I'm not sure the movie necessarily suggests that; presumably the idea was for them to successfully sneak up on Blondie and catch him completely unawares without the unexpected silence exposing the rogue spur clink, which wouldn't have had to involve any of them getting killed (heck, if they'd happened to be just a little earlier, Blondie would've still been in the middle of cleaning his gun). Tuco and the others had clearly talked about their approach ahead of time, so they were perfectly aware that they'd be going up there by the door and Tuco would be coming in by the window and presumably thought that sounded like a good plan. And we have no idea exactly at what point Tuco managed to make his way in, so we don't have any indication either way on whether he theoretically could have intervened to save them in some manner -- my first assumption would be he got in after Blondie had stood up, which is after he shot them. Sneaking up on him from two different directions makes sense either way. I wouldn't necessarily put it past Tuco to figure the brothers will probably get killed and do it anyway, but I don't think we can say that for sure.

Either way, I enjoy Tuco doing his quick little sign of the cross when he says "Those that come in by the door." He did in fact just get them killed by bringing them here, and while he's not going to say anything about that to Blondie, it shows him acknowledging it in a small way. Tuco's religiosity is a great little character trait that has no impact on the plot but just adds more color and dimension to him as a character -- it adds a really fun bit of visual irony to punctuate some of his various decidedly un-Christian actions, and it has a rich sense of being rooted in his background given his family was presumably religious.

Blondie's shrugging, "It's empty," feels like he's initially kind of expecting them to just talk: he takes Tuco wanting him to remove the pistol belt as a practical thing, just telling him to remove his weapon so he can put his away, and so Blondie removes it but tells him that's not really necessary because he can't shoot him anyway. Tuco could have shot him already if he were here to kill him, right? He probably expects, initially, that Tuco is just here to get his half of the money, or possibly all of it.

Instead, Tuco responds with, "Mine isn't" -- he's deadly serious and he's not putting his gun away at all.

"Even when Judas hanged himself there was a storm, too." There's Judas again! Tuco originally called Blondie that while playing it up for the scam, but as far as he's concerned now, it's true actually. Love the furious energy of him sitting there having found this Biblical parallel and decided this is the specific revenge he wants on this guy and bringing a noose to arrange that. Blondie's never had a rope around his neck, never felt the devil bite his ass? Well, now he will. And he'll make him do it himself, because Judas hanged himself.

Blondie warily (and correctly) suggests the 'storm' is actually cannon fire -- because he decidedly does not want to be anywhere near the war, and by the time cannons are getting fired in the vicinity, he thinks they should probably be getting the hell out of there, and if Tuco agrees, then perhaps pointing that out is a ticket out of this pretty alarming situation he has found himself in. But Tuco, of course, is not really interested in entertaining that just when he has Blondie right where he wants him. He's going to hang him right here if it's the last thing he does.

Blondie goes along with it, slowly, silently, looking kind of wary and skeptical more than anything. When I was first watching this movie, I kept expecting him to do something, to distract him in some clever way and then lunge at him to disarm him or something, like you'd usually expect the main character to do in an action movie. But the thing is that's just not how Blondie operates. He doesn't do bold risky action-hero feats. He can absolutely shoot a gun with the best of them, but he has no particular physical skills, never even throws a punch in this whole movie unless you count the backhand slap on the tied-up Tuco earlier; when unarmed, all he's really got is his brains. Blondie gets by on being smart and careful and analytical. When Blondie finds a gun pointed at him, and has no leverage over the other guy, he will do what he's told, make no sudden movements, and wait until he sees some kind of actual opening, because otherwise he's just going to get shot. He buys what little time he can going along with the hanging while his brain silently whirs away evaluating his options for how he can get out of this, and that's about it for what he can do.

What are his options? He doesn't have a lot. Tuco is standing too far away to reach before he shoots but too close to realistically miss, never takes his eyes off him for more than a second, keeps his gun pointed squarely at him. It wouldn't be hard for him to get out of the noose -- it's a big noose, he's barely in it, his hands are free. But if he did, Tuco would presumably just shoot him instead. Probably his best chance, once Tuco says he's going to shoot the legs off the stool, is to try to make a move just when he fires, slip out of the noose and then probably make some kind of last-ditch attempt to overpower him before he's ready to shoot again, and I imagine Blondie was getting ready to attempt just that before they were interrupted. But even then, it's very questionable whether he could have actually escaped like that. All in all, things are looing pretty dicey for him by the time the rogue cannonball comes to his rescue -- but once it does, he's out of there fast, grabbing his chance now he's got it.

Either way, as little as he gives away as it's happening, Blondie's genuinely staring death in the face here for this whole sequence, and this experience clearly left enough of an impression on him for him to make a point of turning this specifically back on Tuco in the final scene, even though Tuco's going to torment him in a much more extended and agonizing way in the desert, so I'm enjoying the quiet implication there.

The cannonball is kind of interesting because this is absolutely a textbook deus ex machina. Usually I like the rule that a contrived coincidence can get the characters into a situation but ideally not out of it. This is definitely getting Blondie out of a situation, and definitely has that sense of being a little unsatisfying as the answer to how's he going to get out of this one. And yet, the fact Blondie really was helpless to do much about it is kind of the point here. If Blondie had actually won out in this encounter, it wouldn't have nearly the same meaning when he finally ends up turning the situation around in the desert, nor when he tells Tuco to get in the noose at the end -- narratively, we need this to be an instance of Tuco beating out Blondie and then toying with him for it to have the right impact, and hence, since he can't actually die here, he needs to get out without winning.

(It does also help a bit that the ongoing cannon fire was already set up and established, even if it just happening to hit the building is purely coincidental.)

Being saved by a cannonball, of course, is again the constant insistent presence of the war in the background, now coming into the characters' lives just a bit more directly.

Meanwhile, Tuco in this scene, man. He is finally the one in the position of power, just relishing having control and being able to order Blondie to do things and have him actually do them and the grim sense of justice in seeing him be the one in a noose for once. Cheerful lines like, "It's too big for your neck, huh? We fix that right away." Grinning as he explains that he'll shoot the legs off the stool. But then when it comes to actually doing it… he takes an extra breath, with this kind of hesitant expression on his face, before echoing Blondie's "Adios." As he points the gun, it's shaking a bit. Tuco doesn't feel totally right here and I love it a lot.

Tuco does absolutely want to see Blondie suffer right now -- we're about to see him chase him down again so he can torture him in an even more drawn-out and awful way, after all. But once he actually kills him it'll all be over, and he just goes back to his usual shitty bandit life, one more person that he'd once thought was a friend gone. This has been a couple of minutes of mildly satisfying catharsis, but not totally satisfying, too brief, too easy -- and there's probably some basic squirm of empathy there, when he's been in that position, can vividly remember the squeeze of the rope -- but the bastard deserves this for betraying him, so he's doing it anyway.

All in all, this is possibly the scene I have rewatched the most. This is significantly because I happen to have a big dopamine whump button in my brain labeled 'HANGINGS', but it's also just a sequence of masterful tension leading up to this delightfully twisted, tense and thoroughly loaded character interaction following on the previous scenes between Tuco and Blondie in fun specific ways that build up to even more fun things later. What a character dynamic.

The fort

I don't have too much to say about this one. It's a very impressive set, the war is brutal, the sarcasm of the Confederate captain Angel Eyes talks to and the ease of bribing him with some booze is nice foreshadowing and a parallel for the poor Union captain Blondie and Tuco will meet, but ultimately this scene is mostly about filling in how Angel Eyes learns about Batterville. (Or is it Betterville? The subtitles say Batterville and that's what it sounds like everyone's saying, but Christopher Frayling and the subtitles on him say Betterville.) This is a restored scene in the Extended Cut, which exists in the Italian version but was cut from the International Cut.

Angel Eyes pauses and swallows looking at the injured soldiers and later lets the captain keep the booze he brought, vaguely suggesting a glimmer of sympathy for their plight, which is sort of interesting but also a little divorced from the rest of the movie. Villains having different sides to them is neat, but I don't think we get a great sense of why Angel Eyes would be sympathetic to these men but also treat the prisoners at Batterville -- who are soldiers from the Confederate army just like these ones -- how he does later with zero remorse, so I'm not sure this is actually doing much for the movie on a character level in the end, and if anything may be a little counterproductive to the kind of extremely cold-blooded villain that Angel Eyes is otherwise set up to be.

I suppose the idea might be that Angel Eyes is theoretically capable of sympathy, but also capable of simply discarding it the moment it's useful to him. Alternatively, the idea could be that at the moment he feels in some sense that if the war catches up with him he could be in these soldiers' place, but then he goes on to enlist with the Union army to get into Batterville, at which point he's on the winning side so who cares. Angel Eyes does display nerves later at the truel, once he's in a situation he's not in control of where he might very well die, so maybe it checks out that while he feels not totally secure in not winding up like these men himself, their grim conditions get to him a bit.

I do think it is kind of nice to have this scene in terms of keeping Angel Eyes' storyline going and maintaining the sense that he's still out there looking for Carson, even aside from the added plot clarity; without it, he'd just kind of not exist for a very significant chunk of the film.

I've also seen it argued that it brings out the horrors of the war too early, given the film's slow progression from the war as simply backdrop for the plot to eventually spending the leadup to the climax with it in stark focus. I think that's a legitimately interesting point, but also that it didn't stop me absorbing that progression just fine when first seeing the film as the Extended Cut -- soldiers are injured here, yes, but they aren't truly lingered on, and all in all it felt mostly just like a logical part of the established war-as-backdrop at this stage.

All in all, I have some mixed feelings on this scene and what it contributes, but I'm tempted to conclude the film might be better without it overall.

The desert

Tuco tracking down Blondie by finding his cigars at every campfire is pretty hilarious. Imagine what Blondie could have avoided if he just stopped smoking like a chimney.

(It's sort of surprising Blondie got so far ahead of Tuco to begin with -- he wouldn't have had long to get downstairs and to his horse while Tuco was recovering from the fall and getting out of the rubble, so one would've thought Tuco could've been basically right on his heels. I guess Tuco went in the wrong direction initially and had to catch up.)

Tuco forbidding Blondie to shoot down Shorty, oof. Once again Tuco is fundamentally out for himself, and right now he wants to deny Blondie this more than to let this stranger live, so down he goes. (Nonetheless, he flinches watching it, again bit of instinctive empathy despite that he mostly suppresses it -- it hits pretty close to home.)

Blondie continues to comply with the orders of the guy who's pointing a gun at him, but he clearly doesn't feel great about this, apologizing, gaze lingering on Shorty even as he's preparing to stand up. Clearly his moral line lies somewhere between leaving Tuco to fend for himself (where he might die, but sometime later in the desert where Blondie would never know) and letting Shorty hang, dying right in front of him when he was expecting a rescue. Perhaps Blondie didn't even know he had this line until now.

A moment of silence for Blondie's original horse, whom he probably rode out here, but who is presumably just left behind as Tuco takes him away and never seen again. This movie does not really give a damn about individual horses -- the characters' horses repeatedly disappear and go unmentioned only for them to later manage to get a different horse somewhere without comment -- but as a former horse girl this is the sort of thing I notice and wonder about.

Blondie presumably initially figures Tuco's just taking him somewhere a short distance away to try to make him hang himself again or something. But then Tuco shoots the canteen out of his hands, and the hat off his head for good measure (love Tuco casually replicating Blondie's little hat-shooting trick just to rub it in), and it starts to sink in that no, that's not it, is it. Where are they going? On a nice walk of a hundred miles through desert. "What was it you told me the last time? Ah, 'If you save your breath, I feel a man like you would manage it.'" Tuco's not taking him anywhere; this is just torture, once again a very specific torture. Blondie made Tuco walk seventy miles through the desert? Tuco'll make him walk a hundred miles, or however long it takes before he dies a slow and agonizing death, and that'll show him. I deeply enjoy how in this movie, between the two of them, it's never just generic revenge, but always this hyperspecific replication of the other's previous cruelties.

Tuco's cute pink parasol is such a choice.

He's so utterly gleeful watching Blondie helplessly stumbling until he faceplants in the sand. Tuco relishes power and control when he can get it, not only for the Blondie-specific reasons (Blondie had all the power from beginning to end in their bounty scheme, and exercised it to leave Tuco helpless) but probably also because of his background -- poverty sure is a way to feel perpetually helpless and subject to external whims, and escaping it through banditry probably represented a sense of freedom from all that, where he can just go out and take what he wants and other people can be subject to his whims for once.

In the sequence added in the Extended Cut, the collapsed and dehydrated Blondie looks at Tuco's boot right beside his face, swallows, tenses for a heave of effort -- and then grabs the boot, only for it to just be the empty boot, Tuco cheerfully bathing his feet a short distance away. (Blondie is definitely suffering from the "characters can't see anything out of frame" thing here, but I kind of enjoy the literal implication that his eyes can just barely even focus and the boot manages to be all he can make out in his field of vision, even if it stretches plausibility a bit.) I do quite like this bit, not least because this is the one time we actually properly see Blondie attempting resistance. He silently went along with the hanging and he silently goes along with the desert walk, too -- which makes sense, because he's being ordered to at gunpoint, and as I went into earlier, he doesn't have action hero armor that'd let him do much to fight back in these situations without just getting shot, and he's generally too careful to try under the circumstances. But it means that he feels very passive in these sequences, and seeing this moment where he finally does think he has a chance to strike back, and the hate in his eyes and how painstakingly he gathers all of the energy he can muster to grab it, helps a lot to contextualize the rest and make him more tangibly an active character who cares what's happening to him for this. With this bit, it's easy to extrapolate that he has been waiting for any chance to take him down this whole time, and this is the one time he (seemingly) finds one. Without it, his character just has no sense of agency at all the entire time he's being tortured, which would mute the whole thing a bit.

(Well, okay: a little before this, there is this wide shot, where we can see Tuco stationary on his horse and Blondie walking towards him -- then stopping, extending his foot a little further forward and sort of pathetically lunging for that last step, at which point Tuco's horse just moves further away, and Tuco laughs. This might be, and is on closer examination probably meant to be, Blondie making some form of stumbling attempt to sneak up on him. But it's a wide shot so you can barely see him, it goes by in seconds, and it's hard to tell what he's actually doing -- he could just be trying to catch up to Tuco, which is how I think I'd mostly been taking it before I started squinting at this -- which makes it not really serve the same purpose.)

(I gather the script had a bit, which was filmed and possibly in a version of the Italian release in 1966 but lost today apart from a small fragment, where Blondie slides down a hill into an animal skeleton lying there and grabs a bone that he could use as a weapon, but Tuco shoots it out of his hand and warns him not to try that again. That would have also provided that bit of agency, but given that was cut, the boot scene was all that was left, and I do maintain that cutting that too is bad for the movie.)

After he realizes it's just the boot, and of course Tuco's not letting him get close, and he has no hope of getting one over on Tuco at this point, Blondie sort of slumps in defeat for a moment, and then looks up, and then starts to crawl towards the water. It's pretty painful to watch; the utter helpless humiliation of being so thirsty and drained of defiance that he would drink the water Tuco just washed his feet in is its own grotesque flavor of torture, and then Tuco won't even let him have that.

After that, Blondie manages to push himself onto all fours, looks at Tuco for a moment -- probably realizing that even if he tried to rush him right now it would accomplish absolutely nothing other than entertaining Tuco more -- and then just crawls away, finally going somewhere of his own volition. He's not going to make it far at this point, and if it looked like he might Tuco would just shoot him, but maybe he can at least die somewhere a bit further away from him.

Tuco stands up and initially reaches for his gun as Blondie crawls off, but then he just laughs, seeing that there's absolutely no danger of Blondie making it very far or shaking him off -- he can just casually pack up his stuff and then follow him at a leisurely pace.

In the Italian/Extended Cut, Blondie rolling down the hill is continuing from this, whereas in the International Cut, Tuco had just gotten off his horse to approach him after he initially collapsed, suggesting that collapse wasn't quite as bad and that he was just sort of continuing but on all fours -- gives it a little bit of a different air.

I do appreciate just how pathetic Blondie's crawl/roll down the hill is. He sort of picks himself up again after the initial stumble but then just collapses on his back, admitting defeat. He's going to die here and he doesn't have the energy to do anything about it. Tuco lets that bottle roll down and come to a stop by his head and he doesn't even react.

Tuco spends a moment just looking at him down there before bringing out his gun to put him out of his misery. Probably less out of desire to actually put him out of his misery and more out of seeing he's not going to be able to make Blondie walk anywhere further right now, and he's not going to sit around waiting, and definitely not leaving him alive.

Blondie barely moves as Tuco points the gun at him, just closing his eyes again and swallowing and accepting that this is it. At the inn he had a chance but this time is a full-on definitely thought he was going to die here and was powerless to stop it, and this is also something that Blondie turns back on Tuco at the end.

(And yet Tuco keeps pointing his gun to kill him and taking a while to actually fire it, doesn't he. Part of this is just the movie doing dramatic timing but part of it is a genuine slight hesitation on his part, as shown more obviously at the inn.)

But then comes runaway carriage ex machina, just in time! Tuco not just shooting him first before checking on it is another notable moment of hesitation on his part. Once again, we actually need a deus ex machina, because Blondie needs to have been totally helpless here or it would completely change the implications for what's being set up.

This is another good scene that I enjoy a lot, particularly Blondie getting ready to grab the boot, although I'm also just a big fan of exhausted, dehydrated men stumbling around deserts. It's very merciless and ugly (gotta love the energy of getting Clint Eastwood at his handsomest for your movie and then absolutely fucking up his face with the gnarliest-looking sunburn makeup), really thoroughly parses as torture where the hanging scene was more quiet buildup, and Tuco's absolute cruelty here versus Blondie's exhausted helplessness is very important in viscerally setting up why Blondie does what he does at the end. But I also enjoy how strongly Tuco's actions here are still rooted in the specifics of how Blondie treated him. I just really love the twisted, fucked-up way the whole chain of revenge is built up between the two of them, and how interestingly their relationship then develops with all that hanging over it.

The carriage

I appreciate that we see Blondie juuust prop himself up to look as Tuco goes to intercept it -- he goes on to discreetly crawl all the way to it during the sequence that follows while we're focused on Tuco, and briefly seeing that he takes an interest and has mustered a tiny bit of energy again helps set that up.

More of Tuco's religiosity as he does the sign of the cross multiple times over the corpse of the soldier who initially falls out… and then immediately loots the corpse. Oh, Tuco.

I remembered the amputee informant's description of how Bill Carson was missing an eye, so as soon as we saw one of the apparently-dead soldiers in the carriage wearing an eyepatch I was like ohhhhh!! The storylines are connecting!! (And we're more than an hour into the Extended Cut when it happens. This movie very slow-paced compared to a modern film and yet so thoroughly enjoyable.)

You can juuust see Carson starting to blink a bit as Tuco searches him.

Tuco standing there glancing to the right out of the corner of his eye when he hears a noise from the wagon, while by the rules of the movie he can't actually see anything over there, is very funny. He even waits a bit before turning around to point his gun, as if knowing whoever is there can't see him either until he turns.

Tuco interrogating Carson about the $200,000 while the latter begs for water is another truly painful scene; Tuco's only invested in the dollars and anti-invested in saving Carson's life ("Don't die until later!"), straining to get him to talk first for as long as he possibly can, until he figures the guy is going to straight-up croak before talking, at which point of course he switches tack. Presumably he thinks if he actually gives him water Carson's liable to change his mind about telling him anything, so he has to get it out of him first if at all possible.

I also enjoy his annoyance with Carson telling him about his name and having been Jackson before but now Carson; the audience needs him to say his name, and it's probably also helpful to mention he used to be Jackson, but to Tuco it's just a waste of time. "Carson, Carson, yeah, yeah. Glad to meet you, Carson. I'm Lincoln's grandfather. What was that you said about the dollars?"

Tuco repeats the name of the cemetery near the very end of the exchange with Carson: "Sad Hill Cemetery, okay. In the grave, okay. But it must have a name or a number on it, huh? There must be a thousand, five thousand!" - which means that, since Blondie doesn't know the name of the cemetery (unless Blondie did know it the whole time and just pretended not to, which I guess we can't really rule out), he can't have been listening in by this point. Directly after this, Tuco tells Carson not to die and goes to get water. So Blondie pretty much can't have caught any of the stuff about the cash when Carson said it originally, and can't have known the full strategic significance of talking to him beforehand.

Instead, Blondie probably quietly crawled after Tuco with the aim of maybe being able to get the jump on him while he's distracted with whatever this is, and he only got close enough just at the end to see Tuco talking to Carson and telling him to not die. Then, as Tuco ran off for the water, Blondie obviously could not follow him back there, but instead crawled the rest of the way to the back of the wagon to see who Tuco's so desperate to keep alive, where Carson managed to gasp out something about a grave marked 'Unknown', next to Arch Stanton, and that it had money in it (Blondie does definitely learn there's money, since he then knows to use that as leverage). This is supported by how Blondie just refers very nonspecifically to having been told a name on a grave. He's really pulling a bit of a bluff here since he doesn't (presumably) know what cemetery this grave is in, so if Tuco hadn't happened to have learned that bit (which Blondie can't know), this information would not actually be that useful to either of them. But so long as he can make it sound like he can lead Tuco to riches right now, he has an actual shot at surviving.

I enjoy the way Blondie manages the tiniest wisp of a victorious smile to Tuco's "What name?!" just before passing out. The moment he sees Tuco's furious desperation to learn the name he's talking about, he knows he's won and that Tuco's going to do whatever he can to ensure his survival. He can pass out in peace.

Tuco's shifty eyes and expressions as he has to reevaluate everything are great. Eli Wallach really, really just makes this movie with his performance. I love Blondie and all, and Clint Eastwood in his thirties is very attractive, but I think it's criminal that I had heard about this movie and about Clint Eastwood being in it but had never heard Eli Wallach's name. He's so good and singlehandedly makes Tuco the best thing about it. I love him.

And there comes the Tuco tack-switch! He's not just invested in keeping Blondie alive for the money; he's his friend! As if this is somehow going to be persuasive to the man he's just spent hours torturing and toying with.

I love this absolutely bonkers goddamn character dynamic. First Blondie saves Tuco from the bounty hunters, then he apparently turns him in for the bounty, then you learn actually they're running a scam together, then Blondie screws over Tuco in a way that makes you kind of root for Tuco to get back at him, then Tuco painstakingly, cruelly labors to punish him for it in the most specific twisted ways until you're anxious for how Blondie's going to get out of this, then this happens… and because Tuco is the character he is, of course it works. He is already the guy who switches tack on a dime when it seems to serve him in the moment. We've just spent this whole carriage scene building up how singlemindedly fixated he is on this money once he hears about it. There are already so many striking layers going on in the interplay between these two guys and it makes it delicious to realize we've just added yet another layer and the rest of the movie is going to involve them having to work together after all this. And because it's the cash box from the Angel Eyes storyline, we're following up on that too in the process, with the also-delicious implicit promise that that's how they're going to bump into him. This is just such a gleefully fun and satisfying moment where everything comes together and I love it.

(Continued in part two! Thanks for reading if you got this far.)

#the good the bad and the ugly #ramble #review #character analysis #blondie #the man with no name #tuco ramirez #angel eyes #sentenza #movies #my buttons

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necarion · 2 years ago

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The number of Jewish actors playing Nazis in Hogan’s Heroes is perpetually a delight. These men must have had so much fun making the Nazis as pathetic and ridiculous as possible. The three Nazis here are all Jewish actors.

youtube

(Klemperer’s condition for remaining as Klink was that if Klink were every to be allowed to win, he would quit and never look back.)

And then I remember why they portrayed these characters with such viciousness:

The actors who played the four major German roles—Werner Klemperer (Klink),[16] John Banner (Schultz), Leon Askin (General Burkhalter), and Howard Caine (Major Hochstetter)—were all Jewish. In fact, Klemperer, Banner, and Askin had all fled the Nazis during World War II (Caine, whose birth name was Cohen, was an American). Robert Clary, a French Jew who played LeBeau, spent three years in a concentration camp (with an identity tattoo from the camp on his arm, "A-5714"); his parents and other family members were killed there. Likewise, Banner had been held in a (pre-war) concentration camp and his family was killed during the war. Askin was also in a pre-war French internment camp and his parents were killed at Treblinka. Other Jewish actors, including Harold Gould and Harold J. Stone, made multiple appearances playing German generals.

As a teenager, Klemperer, the son of conductor Otto Klemperer, fled Hitler's Germany with his family in 1933. During the show's production, he insisted that Hogan always win against his Nazi captors, or else he would not take the part of Klink. He defended his role by claiming, "I am an actor. If I can play Richard III, I can play a Nazi." Banner attempted to sum up the paradox of his role by saying, "Who can play Nazis better than us Jews?" Klemperer, Banner, Caine, Gould, and Askin had all spent the real Second World War serving in the U.S. Armed Forces—Banner[17] and Askin in the U.S. Army Air Corps, Caine in the U.S. Navy, Gould with the U.S. Army, and Klemperer in a U.S. Army Entertainment Unit. Klemperer had previously played a Nazi: in 1961 he played captured Nazi Emil Hahn in Judgment at Nuremberg, and also in 1961 starred as the title character in the serious drama Operation Eichmann, which also featured Banner in a supporting role.

#hogan's heroes #jewish

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cleoenfaserum · 1 month ago

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ANIMALS KNOW HOW to HAVE FUN(1295)

A series of short animated videos that will amaze you in a fun way and the product of a great imagery imagination and creativeness.

youtube

link https://youtu.be/nPrWo5pEvyk

"5 Metres 80" (also know as high diviing Giraffes) is an award-winning computer generated short animation film produced by Cube Creative & directed by Nicholas Deveaux.

The animated short was inspired by '7 Tonnes 3′, an earlier project by Devaux which featured an elephant jumping on a trampoline. Below

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link https://youtu.be/TK27aknWVI4

youtube

link https://youtu.be/rDWzQ6lZNpY

Oscar's Oasis is an animated comedy television series consisting of 78 seven (7)-minute episodes. It was produced by TeamTO and Tuba Entertainment, in co-production with Cake Entertainment and Synergy Media. The show takes heavy inspiration from the Wile E. Coyote and Road Runner shorts from the Golden age of American animation. Oscar's Oasis - Wikipedia

youtube

link https://youtu.be/F3lASSa7jjg

"Athleticus" is an animated series created by Nicolas Deveaux. The series is produced by Cube Creative Productions and ARTE France. The show features wild animals competing in various athletic events. (AI Copilot)

youtube

link https://youtu.be/j16xNzNQ8Gk

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link https://youtu.be/LtnQsVc40MY

"Rollin' Wild" is a series of animated short films created by students at the German Filmakademie Baden-Wuerttemberg in 20121. The project was led by Kyra Buschor, Ännie Habermehl, and Constantin Paeplow. The concept revolves around a whimsical world where all animals are round,exploring how their daily lives would be affected by this transformation. Continue reading (note 1 at bottom)

youtube

link https://youtu.be/YrmXjoyqGQQ

Leon of Lion created "Life's Unluckiest Lion!" by the French "Studio Hari", an animation studio founded in 2006 by Josselin Charier and Antoine Rodelet. The studio specializes in producing high-quality 3D animated TV series and films for children and families. They are known for their original character-driven properties and have built a reputation for blending artistic brilliance with technical mastery. (AI Copiot)

youtube

link https://youtu.be/lw21Ji8GHb0

"1 METRE/HEURE" is a short animated film directed by Nicolas Deveaux1. The film is set on an airplane wing, where a group of snails performs a beautifully choreographed dance2. The film explores the contrast between human time and the much slower pace of the snails, creating a surreal and visually captivating experience

youtube

link https://youtu.be/-EHAhuNi0sM

Liuyu Animation is a creative studio based in China, known for producing animated content that often features imaginative and educational themes. While specific details about the individual creators behind the studio aren't widely available, it's clear that they focus on creating engaging and visually appealing content for a younger audience.

Their work, such as the "Savanna Version - Zebra" series, showcases their ability to blend humor, creativity, and educational elements to entertain and inform viewers. The studio seems to be dedicated to exploring various aspects of nature and animal life, making their content both fun and informative. (AI Copilot)

NOTES:

NOTE 1: The short films were produced as trailers for the Stuttgart International Festival of Animated Film (ITFS) 2013 and the FMX 2013 festival. The unique and imaginative idea quickly gained popularity, leading to the creation of more content under the "Rollin' Wild" banner.

The creators of "Rollin' Wild", Kyra Buschor and Constantin Paeplow, are both alumni of the Filmakademie Baden-Wuerttemberg in Germany. They collaborated on the project while studying there, and their unique and imaginative concept quickly gained attention and acclaim.

Are they mimicking today's obesity problem? It seems like "Rollin' Wild" does touch on themes related to obesity and the consequences of unhealthy eating habits, but it's done in a whimsical and exaggerated way. The series imagines a world where all animals are round, which can be seen as a playful commentary on the effects of overeating and obesity.

The creators, Kyra Buschor and Constantin Paeplow, use humor and creativity to highlight these issues, making the shorts both entertaining and thought-provoking. It's a fun way to raise awareness about the importance of healthy eating and lifestyle choices.

Was this their intention?While the creators of "Rollin' Wild," Kyra Buschor and Constantin Paeplow, haven't explicitly stated that their intention was to comment on obesity, the exaggerated, round shapes of the animals can be seenas a playful nod to the idea. The series more broadly explores humor and the whimsical consequences of animals being unexpectedly rotund, using it as a vehicle for entertainment and subtle social commentary. It's one of those creative works that can be interpreted in multiple ways, allowing viewers to derive their own meanings and messages. Enjoy the whimsy while pondering the deeper implications! (AI Copilot)

#1295 #animated #shorts #5 Metres 80 #7 Tonnes 3 #1 METRE/HEURE #Athleticus #Cube Creative #dir. Nicholas Deveaux.#Oscar's Oasis #produced by TeamTO and Tuba Entertainment #Leon of Lion #Studio Hari”#dir. Josselin Charier and Antoine Rodelet.#2025-01-07

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brookstonalmanac · 20 days ago

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Holidays 1.23

Holidays

Archery Day

Asian Corpsetwt Day [Every 23rd]

Birthday of the Grand Duchess (Luxembourg)

Bounty Day (Pitcairn Island)

BPDCN (Blastic Plasmacytoid Dendritic Cell Neoplasm) Awareness Day

Cold, Cold, Cold Day

Django Day

Ed Roberts Day (California)

Fundación del Estado Plurinacional Holiday (Bolivia)

Grandmother's Day (Bulgaria)

International Integrative Health Day

Maternal Health Awareness Day (New Jersey)

Measure Your Feet Day

National Freedom Day

National Handwriting Day

National King Day

National Musician Day (Día Nal. del Músico; Argentina)

National Reading Day

National Report Pharmaceutical Fraud Day

National School Nurse Day

National Security Technician Day

Netaji Subhas Chandra Bose's Jayanti (Parts of India)

One-Tooth Rhee Landing Day

Paul Pitcher Day (Cornwall)

Ranked Choice Voting Day

Snowdrop Day (French Republic)

Snowplow Mailbox Hockey Day

Tiananmen Square Day

20th Amendment Day (US)

25th Amendment Day (US)

Wakakusa Yamayaki (Grass Burning; Japan)

Women in Medicine Day

World Endangered Writing Day

World Freedom Day (South Korea, Taiwan)

Food & Drink Celebrations

International Sticky Toffee Pudding Day

National Pie Day

National Rhubarb Day

Rhubarb Pie Day

Nature Celebrations

Bullsrub Day (Obedience; Korean Birth Flowers)

Independence, Flag & Related Days

Foundation Day (Lichtenstein)

Kingdom of Abrus (Declared; 2017) [unrecognized]

Poland (2nd Partition by Russia & Prussia; 1793)

New Year’s Days

Gann-Hgal (Zeliangrong People’s New Year’s Festival; Parts of India)

4th Thursday in January

Clashing Clothes Day [4th Thursday]

National Cheat Day [4th Thursday]

Thinking Thursday [4th Thursday of Each Month]

Thirsty Thursday [Every Thursday]

Three for Thursday [Every Thursday]

Thrift Store Thursday [Every Thursday]

Throwback Thursday [Every Thursday]

Thuringer Thursday [4th Thursday of Each Month]

Weekly Holidays beginning January 23 (3rd Full Week of January)

Mozart Week (Salzburg, Austria) [thru 2.2]

Festivals Beginning January 23, 2025

Cairo International Book Fair (Cairo, Egypt) [thru 2.5]

Grand Lighthouse Bad Gastein (Bad Gastein, Austria) [thru 1.26]

GrassWorks Grazing Conference (Wisconsin Dells, Wisconsin) [thru 1.25]

The Great Northern (Minneapolis & St. Paul, Minnesota) [thru 2.2]

Montevideo Carnival (Montevideo, Uruguay) [thru 3.8]

OAK Conference (Frankfort, Kentucky) [thru 1.25]

Organic Vegetable Production Conference (Madison, Wisconsin) [thru 2.1]

Rolex 24 at Daytona (Daytona, Florida) [thru 1.26]

Saint Paul Winter Carnival (St. Paul, Minnesota) [thru 2.2]

Sundance Film Festival (Park CIty, Utah) [thru 2.2]

Sun Wine & Food Fest (Uncasville, Connecticut) [thru 1.26]

Feast Days

Abakuh (Egyptian Christian; Martyr)

Agathangelus (Christian; Martyr)

Asclas (Christian; Martyr)

Banba (a.k.a. Banbha; Matron Goddess of Ireland; Celtic Book of Days)

Bernard of Vienne (Christian; Saint)

Betrothal of Mary and Joseph (Christian)

Bruma VII (Pagan)

Chantecler, by Edmond Rostand (Play; 1911)

Clement of Ancyra (Christian; Martyr)

Cunning Linguine Day (a.k.a. Get Your Tongue Round Some Linguine Day; Pastafarian)

Day of Hathor (Ancient Egypt; Everyday Wicca)

Day of Hathor (Egyptian Goddess of Drunkenness)

Emerentiana (Christian; Virgin)

Espousals of the Blessed Virgin Mary (Christian)

Eusebius (Christian; Saint)

The Great God Brown, by Eugene O’Neill (Play; 1926)

Ildefonsus of Toledo (Christian; Saint)

John the Almsgiver (Christian; Saint)

Knot Magic Day (Cornwall; Starza Pagan Book of Days)

Leon Golub (Artology)

Lufthildis (Christian; Virgin)

Maimbod (Christian; Martyr)

Marianne of Molokai (Christian; Blessed)

The Peasants (Muppetism)

Phillips Brooks (Episcopal Church (USA))

Ragwort Dance (Pixies Only; Shamanism)

Raymund of Pennafort (a.k.a. Rayman; Christian; Confessor) [Original Date]

Samuel (Positivist; Saint)

Sergei Eisenstein (Church of the SubGenius; Saint)

Lunar Calendar Holidays

Chinese: Month 12 (Ding-Chou), Day 24 (Ren-Chen)

Day Pillar: Water Dragon

12-Day Officers/12 Gods: Balance Day (平 Ping) [Inauspicious]

Holidays:

None Today

Secular Saints Days

Jean-Michel Atlan (Art)

Belkis Ayón (Art)

Georg Baselitz (Art)

Gary Burton (Music)

Abraham Diepraam (Art)

Sergei Eisenstein (Entertainment)

Leon Golub (Art)

John Hancock (Politics)

Ernie Kovacs (Entertainment)

Jerry Kramer (Sports)

Édouard Manet (Art)

Walter M. Miller Jr. (Literature)

Charlie Papazian (Beer)

Dhango Reinhardt (Music)

Standahl (Literature)

Fred Wah (Literature)

Derek Walcott (Literature)

Fred Williams (Art)

Lucky & Unlucky Days

Prime Number Day: 23 [9 of 72]

Taian (大安 Japan) [Lucky all day.]

Premieres

The A-Team (TV Series; 2003)

Barney Miller (TV Series; 1975)

Batman: Gotham by Gaslight (WB Animated Film; 2018)

The Blair Witch Project (Film; 1999)

Boys For Pele, by Tori Amos (Album; 1996)

Bushfire Fairytales, by Jack Johnson (Album; 2001)

The Butterfly Effect (Film; 2004)

Casablanca (Film; 1943)

Dave the Barbarian (Animated TV Series; 2004)

The Donny & Marie Show (TV Series; 1976)

Dragonwyck, by Anya Seton (Novel; 1944)

Fear on the Pier or What’s Up, Duck? (Rocky & Bullwinkle Cartoon, S3, Ep. 145; 1962)

Fire-Fire (Flip the Frog MGM Cartoon; 1932)

Goodbye Cream, by Cream (Album; 1969)

Happy Circus Days (Terrytoons Cartoon; 1942)

The Herring Murder Mystery (Color Rhapsody Cartoon; 1944)

I Left My Heart in San Francisco, recorded by Tony Bennett (Song; 1962)

I’m Just a Jitterbug (Baby-Face Mouse Cartoon; 1939)

Inkheart (Film; 2008)

Jamaica Inn, by Daphne du Maurier (Novel; 1936)

Katherine, by Anya Seton (Historical Novel; 1954)

Lady in the Lake (Film; 1947)

Material Girl, by Madonna (Song; 1985)

Mythbusters (TV Series; 2003)

Neck ’n’ Neck (Oswald the Lucky Rabbit Cartoon; 1928)

The New Spirit (Disney Cartoon; 1942)

Our Friend the Atom (Animated DIsnet TV Cartoon; 1957)

Puppy Tale (Tom & Jerry Cartoon; 1954)

Roots (TV Mini-Series; 1977)

Skeleton Frolics (Color Rhapsody Cartoon; 1937)

Spice World (Film; 1998)

Star Trek: Picard (TV Series; 2020)

Station to Station, by David Bowie (Album; 1976)

Strange Magic (Animated Film; 2015)

Suspicious Minds, recorded by Elvis Presley (Song; 1969)

They’re Off (Disney Cartoon; 1948)

TNT For Two or Fright Cargo (Rocky & Bullwinkle Cartoon, S3, Ep. 146; 1962)

Trust, by Elvis Costello (Album; 1981)

The Way You Do the Things You Do, by The Temptations (Song; 1964)

West of the Pesos (WB LT Cartoon; 1960)

The Witch of Pickyoon, Parts 1 & 2 (Underdog Cartoon, S1, Eps. 33 & 34 1965)

Today’s Name Days

Hartmut, Heinrich, Nikolaus (Austria)

Ema, Emercijana, Vjera (Croatia)

Zdeněk (Czech Republic)

Emerentius (Denmark)

Räni, Reeno, Rene (Estonia)

Eine, Eini, Enna, Enni (Finland)

Banard (France)

Esmerentia, Guido, Hartmut (Germany)

Agathangelos, Dionisis (Greece)

Rajmund, Zelma (Hungary)

Armando, Emerenziana, Ramona (Italy)

Grieta, Ortrude, Rieta (Latvia)

Algimantas, Gailigedas, Gunda, Raimundas (Lithuania)

Emil, Emilie, Emma (Norway)

Emerencja, Ildefons, Jan, Klemens, Maria, Rajmund, Rajmunda, Wrócisława (Poland)

Clement, Paulin (Romania)

Miloš (Slovakia)

Ildefonso (Spain)

Frej, Freja (Sweden)

Clem, Clement, Clementine, Ksenia, Oksana (Ukraine)

Emerald, Esmeralda, Rachael, Rachel, Rachelle, Rae, Ramon, Ramona, Raquel, Ray, Raymond, Raymundo (USA)

National Name Days:

National Aiden Day

National Fay Day

National Pedro Day

Today is Also…

Day of Year: Day 23 of 2025; 342 days remaining in the year

ISO: Day 4 of Week 4 of 2025

Celtic Tree Calendar:

Druid Tree Calendar: Elm (Jan 12-24) [Day 12 of 13]

Graves Calendar: Luis (Rowan) [Day 3 of 28]

Chinese: Month 12 (Ding-Chou), Day 24 (Ren-Chen)

Chinese Year of the: Dragon 4722 (until January 29, 2025) [Wu-Chen]

Coptic: 15 Tubah 1741

Hebrew: 23 Teveth 5785

Islamic: 23 Rajab 1446

J Cal: 23 White; Twosday [23 of 30]

Julian: 10 January 2025

Moon: 33%: Waning Crescent

Positivist: 23 Moses (1st Month) [Samuel]

Runic Half Month: Elhaz (Elk) [Day 2 of 15]

Season: Winter (Day 34 of 90)

Week: 3rd Full Week of January

Zodiac:

Tropical (Typical) Zodiac: Aquarius (Day 4 of 30)

Sidereal Zodiac: Capricorn (Day 9 of 29)

Schmidt Zodiac: Sagittarius (Day 23 of 25)

IAU Boundaries (Current) Zodiac: Capricorn (Day 4 of 28)

IAU Boundaries (1977) Zodiac: Capricornus (Day 5 of 28)

#Holidays

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floridaboiler · 2 years ago

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52 years ago today, April 4, 1971, the final episode of Hogan's Heroes aired. It ran for 168 episodes from September 17, 1965, to April 4, 1971, on the CBS network. Bob Crane starred as Colonel Robert E. Hogan, coordinating an international crew of Allied prisoners running a Special Operations group from the camp. Werner Klemperer played Colonel Wilhelm Klink, the incompetent commandant of the camp, and John Banner was the inept sergeant-of-the-guard, Hans Schultz.

Hogan's Heroes won two Emmy Awards out of twelve nominations. Both wins were for Werner Klemperer as Outstanding Performance by an Actor in a Supporting Role in a Comedy, in 1968 and 1969. Klemperer received nominations in the same category in 1966, 1967 and 1970. The series' other nominations were for Outstanding Comedy Series in 1966, 1967 and 1968; Bob Crane for Outstanding Continued Performance by an Actor in a Leading Role in a Comedy Series in 1966 and 1967; Nita Talbot for Outstanding Performance by an Actress in a Supporting Role in a Comedy in 1968; and Gordon Avil for cinematography in 1968.In December 2005, the series was listed at number 100 as part of the "Top 100 Most Unexpected Moments in TV History" by TV Guide and TV Land. The show was described as an "unlikely POW camp comedy.

Hogan's Heroes was filmed in two locations. Indoor sets were housed at Desilu Studios, later renamed as Paramount Studios for Season Four and then Cinema General Studios for Seasons Five and Six. Outdoor scenes were filmed on the 40 Acres Backlot. 40 Acres was in Culver City, in the Los Angeles metropolitan area. The studios for indoor scenes were both located in Hollywood, CA. Undoubtedly, one of the most original and curious aspects was to create the effect that there was always a snowy winter, something unusual in warm Southern California, but normal in the German winter. The actors had to wear warm clothes and frequently act like they were cold, even though it was warm for much of the year and usually hot during summer.

Although it was never snowing on the film set and the weather was apparently sunny, there was snow on the ground and building roofs, and frost on the windows. The set designers created the illusion of snow two ways: the snow during the first several seasons was made out of salt. By the fourth season, the show’s producers found a more permanent solution and lower cost, using white paint to give the illusion of snow. By the sixth and final season – with a smaller budget – most of the snow shown on the set was made out of paint.

After the series ended in 1971, the set remained standing until it was destroyed in 1974 while the final scene of Ilsa, She Wolf of the SS was filmed

The actors who played the four major German roles—Werner Klemperer (Klink), John Banner (Schultz), Leon Askin (General Burkhalter), and Howard Caine (Major Hochstetter)—were all Jewish. Furthermore, Klemperer, Banner, and Askin had all fled the Nazis during World War II (Caine, whose birth name was Cohen, was an American). Further, Robert Clary, a French Jew who played LeBeau, spent three years in a concentration camp (with an identity tattoo from the camp on his arm, "A-5714"); his parents and other family members were killed there. Likewise, Banner had been held in a (pre-war) concentration camp and his family was killed during the war. Askin was also in a pre-war French internment camp and his parents were killed at Treblinka. Other Jewish actors, including Harold Gould and Harold J. Stone, made multiple appearances playing German generals.

As a teenager, Klemperer, the son of conductor Otto Klemperer, fled Hitler's Germany with his family in 1933. During the show's production, he insisted that Hogan always win against his Nazi captors, or else he would not take the part of Klink. He defended his role by claiming, "I am an actor. If I can play Richard III, I can play a Nazi." Banner attempted to sum up the paradox of his role by saying, "Who can play Nazis better than us Jews?" Klemperer, Banner, Caine, Gould, and Askin had all spent the real Second World War serving in the U.S. Armed Forces—Banner and Askin in the U.S. Army Air Corps, Caine in the U.S. Navy, Gould with the U.S. Army, and Klemperer in a U.S. Army Entertainment Unit. But the sitcom was not the first time Klemperer had played a Nazi: in 1961, he starred as the title character in the serious drama Operation Eichmann, which also featured Banner in a supporting role. Ruta Lee, Theodore Marcuse, and Oscar Beregi, Jr. also appeared in the film, each of whom went on to make several guest appearances on Hogan’s Heroes.

https://www.facebook.com/Retrovision

#Hogan's Heroes #On this day #this date in history #This Day in History #April 4 #Series Finale

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lboogie1906 · 10 months ago

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Leon A. Huff (born April 8, 1942, in Camden, New Jersey) a session pianist became half of a seminal R&B songwriting and production team when he teamed with Kenny Gamble in 1965. He played in sessions for Phil Spector, the Ronettes, and Carole King in New York City before moving to Philadelphia. He formed the Locomotions and did sessions for Cameo and Swan. He performed on the song “The 81,”, who was at the session seeing the tune being recorded by Candy & the Kisses. He earned his first hit as a composer by writing “Mixed-Up Shook-Up Girl”. He joined the Romeos the next year, then teamed with Gamble to form Gamble Records. He wrote hits for the Ebonys, People’s Choice, Carolyn Crawford, and Bunny Sigler. He issued two singles as a solo artist on Philadelphia International, with “I Ain’t Jivin’, I’m Jammin” getting some moderate recognition.

Gamble and Huff formed Philadelphia International Records in 1971 as a rival to Motown. CBS Records backed the venture and distributed Philadelphia International’s records. Aided and abetted by in-house arrangers Thom Bell, Bobby Martin, and Norman Harris, Philadelphia International released a number of the most popular soul music hits, including “If You Don’t Know Me by Now”, “Back Stabbers”, “For the Love of Money”, and “Love Train”, as well as the Grammy-winning “Me and Mrs. Jones”. In collaboration with Bell, Gamble, and Huff formed the music publisher Mighty Three Music.

Philadelphia’s soul sound evolved from simpler arrangements into a style featuring lush strings, thumping basslines, and sliding hi-hat rhythms—elements that soon became the distinguishing characteristics of a new style of music called disco. Philadelphia International and the Philadelphia soul genre it helped define had eclipsed the Motown Sound in popularity, and they were the premiere producers of soul.

Nearly all of the Philadelphia International records featured the work of Mother Father Sister Brother. MFSB cut several successful instrumental albums and singles written and produced by the team including the #1 hit “TSOP (The Sound of Philadelphia)” known as the theme song from Soul Train. #africanhistory365 #africanexcellence

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ptbf2002 · 5 months ago

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Everyone Hates Miraculous Tales Of LadyBug And Cat Noir

because of that shit, i stopped watching Disney Channel nowadays, proving that miraculous became Disney Chamberlain Cash Grabbing Machine. Marinette is the Mary Sue in this show. miraculous ladybug is keeps on milking the show all over again. it's also like Star Vs. The Forces Of Evil, which was fallen apart and turned into a romantic drama. because of only focusing on Star Butterfly And Marco Diaz. over a stupid Starco. Starco now became my guilty pleasure. i mean seriously?! what in the name of Mickey Mouse is going, airing Miraculous all over again?! this is ridiculous! Disney Channel was like a masterpiece that made a lot of great shows, such as, The Replacements, American Dragon: Jake Long, Recess, Kim Possible, Lilo And Stitch, House Of Mouse, Phineas And Ferb, Kick Buttowski and etc. even great live-action shows like The Suite Like Of Zack And Cody, Jonas, The wizards of waverly place, zeek and luther, aaron stone, K.C Undercover, and others. and now it's nothing but filling up Disney Channel with stupid Miraculous shit. this is why i stopped watching Disney Channel nowadays, and this is why i should move to Disney XD since i want to watch good Disney shows, or watch Disney+. i mean why would Disney has acquired Mediawan and The ZAG franchise, i almost feel embarassed

Original Templates:

https://www.deviantart.com/zmcdonald09/art/Who-Likes-or-Hates-Miraculous-Ladybug-1037238627

https://www.deviantart.com/tagirovo/art/40-Angry-Characters-Reaction-Template-1038191867

Credit Goes To @Tagirovo

SpongeBob SquarePants Belongs To Stephen Hillenburg, Rough Draft Studios, Inc. Carbunkle Cartoons, SEK Animation Studio, Wang Film Productions Co., Ltd. Rough Draft Korea Co., Ltd. United Plankton Pictures Inc. Joe Murray Productions Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Mickey Mouse (2013) Belongs To Walt Disney, Ub Iwerks, Paul Rudish, Mercury Filmworks, Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Looney Tunes Show Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Sam Register, Spike Brandt, Tony Cervone, Yearim Productions Co., Ltd. Toon City Animation Inc. Lotto Animation, Inc. Rough Draft Korea Co., Ltd. Crew 972 Ltd. Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Oggy and the Cockroaches Belongs To Jean-Yves Raimbaud, Big Star Enterprise, Armada TMT, Digital Emation, Inc. Neon Pumpkin, DongWoo Animation Co. Ltd. Gaumont Multimedia, The Gaumont Film Company, Xilam Animation, France 3, France Télévisions S.A. CANAL+ Family, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Gulli, Canal J, Metropole Télévision S.A. And Groupe M6

The Simpsons Belongs To Matt Groening, Anivision, DR Movie, Film Roman, LLC Hanho Heung-Up Company, Klasky-Csupo, Inc. Rough Draft Korea Co., Ltd. Toon Boom Animation, Toonzone Entertainment, Wild Horse Animation Group, Gracie Films, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

The New Woody Woodpecker Show Belongs To Walter Lantz, Bob Jaques, Kelly Armstrong, Big Star Enterprise, Inc. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. Duck Soup Studios, Mercury Filmworks, Sunwoo & Company Co., Ltd. Walter Lantz Productions, Universal Cartoon Studios, Universal Animation Studios LLC, Universal Television LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Pink Panther and Pals Belongs To Blake Edwards, Maurice Richlin, David H. DePatie, Friz Freleng, Toon City Animation, Inc. DQ Entertainment Animation Studio, DQ Entertainment International Limited, Desert Panther Productions, Mirish-Geoffrey-DePatie-Freleng, Rubicon Studios, Rubicon Group Holding, MGM Worldwide Television Distribution, MGM Television, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Hilda Belongs To Luke Pearson, Mercury Filmworks, Atomic Cartoons Inc. Thunderbird Entertainment Group Inc. Nobrow Press, Flying Eye Books, Silvergate Media Limited, Sony Pictures Television Kids, Sony Pictures Television Studios, Sony Pictures Television Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, And Netflix, Inc.

Animaniacs (2020 Reboot) Belongs To Tom Ruegger, Wellesley Wild, Steven Spielberg, Digital eMation, Inc. Saerom Animation, Inc. Snipple Animation Studios, Tiger Animation, Titmouse Animation, Inc. Tonic DNA Animation, Toon City Animation, Inc. Yowza! Animation, Giant Ant Animation, Studio Yotta, Birdo Studio, Flystudio, Screen Novelties, Amblin Television, Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. Hulu, LLC. Disney Streaming, Disney Entertainment, The Walt Disney Company, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Danger Mouse (2015 TV series) Belongs To Brian Cosgrove, Mark Hall, Cosgrove Hall Fitzpatrick Entertainment, CHF Entertainment, FremantleMedia Kids & Family Entertainment, Fremantle Limited, Boulder Media Limited, Boat Rocker Media Inc. CBBC Production, Windmill Lane Studios, CBBC, BBC Television, BBC Worldwide Ltd. BBC Studios Ltd. And British Broadcasting Corporation (BBC)

Trolls The Beat Goes On! Belongs To Jonathan Aibel, Glenn Berger, Erica Rivinoja, Matthew Beans, Hannah Friedman, Sam Friedman, Digital emation, Inc. NE4U, Inc. DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix Inc.

The Loud House Belongs To Chris Savino, Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

The Casagrandes Belongs To Chris Savino, Michael Rubiner, Miguel Puga, Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Magiki Belongs To Eryk Casemiro, Cyril Deydier, Pegbar Animation, Animasia Studio, Rainbow S.P.A. Paramount Media Networks, Inc. Paramount Global, DeAgostini Publishing Italy S.P.A. DeAgostini Editore S.P.A. DeAKids, DeA Junior, DeAgostini S.P.A. DeAPlaneta Kids And Family, DeAPlaneta Entertainment, Télé Images Productions, Zodiak Kids Studios France, Zodiak Kids & Family, Banijay Kids & Family, Banijay Entertainment S.A. Banijay Group N.V. Ketchup TV, KidsMe S.R.L. Gulli, TiJi, Metropole Télévision S.A. Groupe M6, Frisbee, Switchover Media, Discovery Italia S.R.L. Discovery Networks Italia, Discovery Networks EMEA, Discovery Networks International, Discovery, Inc. And Warner Bros. Discovery, Inc.

Amphibia Belongs To Matt Braly, Saerom Animation, Inc. Sunmin Image Pictures Co., Ltd. Sugarcube Animation Studio, Rough Draft Korea Co., Ltd. Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Harvey Street Kids/Harvey Girls Forever! Belongs To Alfred Harvey, Emily Brundige, Dave Enterprises, Digital Emation, Inc. NE4U, Inc. The Harvey Entertainment Company, Classic Media, LLC, DreamWorks Classics, DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix Inc.

South Park Belongs To Trey Parker, Matt Stone, Bardel Entertainment, Inc. Titmouse Canada Animation Inc. Titmouse, Inc. Celluloid Studios, Braniff Productions, Parker-Stone Productions, South Park Studios, MTV Entertainment Studios, Comedy Central, Comedy Partners, MTV Entertainment Group, Paramount+, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Paramount Streaming And Paramount Global

Rise of the Teenage Mutant Ninja Turtles Belongs To Kevin Eastman, Peter Laird, Andy Suriano, Ant Ward, Digitoonz Media & Entertainment Pvt. Ltd. Flying Bark Productions Pty. Ltd. Studio 100 N.V. Mirage Studios, Image Comics, Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Atomic Betty Belongs To Trevor Bentley, Mauro Casalese, Rob Davies, Olaf Miller, 2 Minutes Animation, Hong Guang Animation (Su Zhou), Caribara, Atomic Cartoons Inc. Thunderbird Entertainment Group Inc. Breakthrough Entertainment, Télé Images Kids, Télé Images Productions, Marathon Media, Marathon Animation, Marathon Productions, Marathon Media Group, Zodiak Kids, Zodiak Kids Studios France, Zodiak Kids & Family, Banijay Kids & Family, Banijay S.A. TELETOON, TELETOON Canada, Inc. Corus Entertainment Inc. M6 (TV channel), Metropole Télévision S.A. Groupe M6, TÉLÉTOON+, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Phil Roman Entertainment, Breakthrough Distribution, Cartoon Network, The Cartoon Network, Inc. Turner Broadcasting System, Inc. WarnerMedia Entertainment, WarnerMedia Studios & Networks, Warner Bros. Entertainment Inc. WarnerMedia, AT&T Inc. The Hub, Hub Network, Discovery Family, Hasbro Entertainment, Hasbro, Inc. Discovery Networks U.S. Discovery Networks International, Discovery, Inc. And Warner Bros. Discovery, Inc.

The Owl House Belongs To Dana Terrace, Sunmin Image Pictures Co., Ltd. Sugarcube Animation Studio, Rough Draft Korea Co., Ltd. Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Sonic Prime Belongs To Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Joe Kelly, Joe Casey, Duncan Rouleau, Steven T. Seagle, Jam Filled Entertainment, Boat Rocker Media Inc. Flixzilla Aura, Sonic Team, SEGA of America, SEGA Corporation, SEGA Sammy Holdings Inc. Man of Action Entertainment, WildBrain Studios, WildBrain Ltd. Netflix Animation Studios, Netflix Worldwide Entertainment, LLC, And Netflix, Inc.

Cleopatra in Space (TV series) Belongs To Doug Langdale, Fitzy Fitzmaurice, Titmouse, Inc. Inspidea Sdn. Bhd. Digitoonz Media & Entertainment Pvt. Ltd. DreamWorks Animation Television, DreamWorks Animation LLC, Hulu, LLC. Disney Streaming, Disney Entertainment, The Walt Disney Company, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Avatar: The Last Airbender Belongs To Michael Dante DiMartino, Bryan Konietzko, DR Movie Co., Ltd. JM Animation Co., Ltd. MOI Animation, Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Paramount+ Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Streaming, And Paramount Global

The Legend of Korra Belongs To Michael Dante DiMartino, Bryan Konietzko, Studio Mir Co., Ltd. Pierrot Co., Ltd. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

The Curse of Molly McGee/The Ghost and Molly McGee Belongs To Bill Motz, Bob Roth, Mercury Filmworks, Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Proud Family: Louder and Prouder Belongs To Bruce W. Smith, Ralph Farquhar, Snipple Animation Studios, WildBrain Studios, WildBrain Ltd. Bar Productions, Disney Television Animation, Disney+, Disney Streaming, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Hazbin Hotel Belongs To Vivienne Medrano, Bento Box Animation, Princess Pictures, SpindleHorse Toons, Bento Box Entertainment, FOX Entertainment, FOX Corporation, A24 Television, A24 Films LLC, Amazon Prime Video, Amazon MGM Studios, Amazon Content Services, LLC, And Amazon, Inc.

Unikitty! Belongs To Phil Lord, Christopher Miller, Ed Skudder, Lynn Wang, Renegade Animation, Snipple Animation Studios, Rideback, Lord Miller Productions, VERTIGO Entertainment, LEGO System A/S, Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, HBO Max, WarnerMedia Direct, LLC. Warner Bros. Discovery Global Streaming and Interactive Entertainment, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Star vs the Forces of Evil Belongs To Daron Nefcy, Mercury Filmworks Toon City Animation, Inc. Rough Draft Korea Co, Ltd. Sugarcube Animation, Disney Television Animation, Disney Channel, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Rocko's Modern Life Belongs To Joe Murray, Animal-Ya, Klasky-Csupo, Inc. Pacific Rim Productions, Inc. Rough Draft Korea Co., Ltd. Wang Film Productions Co., Ltd. Sunwoo Entertainment, Co., Ltd. Shanghai Rainbow Animation Tama Production, Wang Film Productions Company, Joe Murray Productions Inc. Games Animation Inc. Nickelodeon Animation Studio, Nickelodeon, Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Angry Birds: Summer Madness Belongs To Rob Doherty, Scott Sonneborn, Yowza! Animation, Kickstart Entertainment, CAKE Entertainment Ltd. Rovio Animation, Ltd. Rovio Entertainment Corporation, SEGA Corporation, SEGA Sammy Holdings Inc. Sony Pictures Television Studios, Sony Pictures Television Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, And Netflix, Inc.

Moon Girl and Devil Dinosaur Belongs To Brandon Montclare, Amy Reeder, Natacha Bustos, Jack Kirby, Steve Loter, Jeffrey M. Howard, Kate Kondell, Flying Bark Productions Pty. Ltd. Studio 100 N.V. Cinema Gypsy Productions, MARVEL Animation, Inc. MARVEL Television, MARVEL Studios, LLC, MARVEL Entertainment, LLC, Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Family Guy Belongs To Seth MacFarlane, Digital eMation, Inc. Film Roman, LLC, CNK International, Grimsaem Animation Co. Ltd. Sunwoo Entertainment, Co., Ltd. Rough Draft Korea Co., Ltd. Rough Draft Studios, Inc. Toon Boom Animation Inc. Yeson Entertainment, Yearim Productions Co., Ltd. Fuzzy Door Productions, Inc. 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

Teen Titans Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, MOI Animation Co., Ltd. Lotto Animation, Inc. DongWoo Animation Co. Ltd. DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

My Life as a Teenage Robot Belongs To Rob Renzetti, Rough Draft Studios, Inc. Frederator Studios, Frederator Networks, Inc. WOW! Unlimited Media Inc. Kartoon Studios, Inc. Nelvana Limited, Corus Entertainment Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Ninjago Belongs To Thomas Sørensen, Tommy Andreasen, Thomas Kristensen, Simon Lucas, Nelson LaMonica, Menelaos Florides, William Stahl, Scott Godon-Decoteau, Maarten Simons, Michael Svane Knap, Toby Dutkiewicz, Brian Nielsen, Lars Danielsen, Tommy Kalmar, Cerim Manovi, Robert May, Heidi Rathschau Nielsen, Kevin Burke, Chris "Doc" Wyatt, LEGO System A/S, WILFilm ApS, WildBrain Studios, WildBrain Ltd. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Lego Monkie Kid Belongs To Simon Lucas, LEGO System A/S, Flying Bark Productions Pty. Ltd. Studio 100 N.V. WildBrain Studios, WildBrain Ltd. Tencent Video, Tencent Holdings Ltd. Youku Tudou Inc. Alibaba Group Holding Limited, iQIYI, Baidu, Inc. 9Go! Nine Network, Nine Entertainment Co. Holdings Limited, Cartoon Network (Australia & New Zealand), Discovery NZ Limited, Turner Broadcasting System Asia Pacific, WarnerMedia Entertainment Networks Asia Pacific, Turner Broadcasting System International, WarnerMedia International, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Kung Fu Panda: The Dragon Knight Belongs To Mitch Watson, Peter Hastings, Technicolor Animation Productions, Mikros Animation, Dave Enterprises, Stellar Creative Labs, 88 Pictures, DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix Inc.

Hailey's On It! Belongs To Devin Bunje, Nick Stanton, Saerom Animation, Inc. Rough Draft Korea Co., Ltd. Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Bravest Warriors Belongs To Pendleton Ward, Breehn Burns, Will McRobb, Chris Viscardi, Portfolio Animation, Portfolio Entertainment Inc. 9 Story Media Group Inc. Frederator Studios, Frederator Networks, Inc. WOW! Unlimited Media Inc. Kartoon Studios, Inc. Nelvana Limited, Corus Entertainment Inc. YouTube Studio, YouTube, Google LLC, Alphabet Inc. TELETOON, TELETOON Canada, Inc. VRV, Crunchyroll, LLC, Aniplex, Inc. Sony Music Entertainment (Japan) Inc. Sony Group Corporation, Disney XD (Canada), Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, The Walt Disney Company Cartoon Network (Japan), Discovery Japan, Turner Broadcasting System Asia Pacific, WarnerMedia Entertainment Networks Asia Pacific, Turner Broadcasting System International, WarnerMedia International, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

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