#Rodney has some feelings about Frankenstein

[spurious]

how about BTS for O I Think We Should Be Brethren

(Fic-Specific asks)

BTS: I’ll write a DVD commentary about my personal favorite passage from [that fic]

trap card ACTIVATED although i don't even know where to start tbh

O I Think We Should Be Brethren aka Live Oak #4 aka John Sheppard's Sad Gay Life Fic aka the longest thing i have ever completed and posted aka my sort of mcshep thesis

I did a little commentary post on the whole first chapter of this fic, soooooooooo I'll go with something from chapter 2. The thing about chapter two of this fic is that it’s kind of just a collection of episode tags, but I didn’t want it to be just a collection of episode tags, because that would be boring, but I also wanted to hew very closely to canon events but just shown through the lens of John’s developing feelings. What that got me was basically all the very clearly episode-related sections, along with sections where nothing much happens but we get some glimpses into John’s feelings, into their more mundane interactions. I was torn between choosing this or the very early section where John obliquely comes out to Rodney, because that was something I wrote really early on and informs a lot of Rodney’s actions through the story, but I feel like I might have more to say, in the aggregate, about this bit, which is set shortly after the events of The Shrine:

After what Rodney takes to calling his "brush with stupidity," he becomes obsessed with creating documentation for all of the small, essential (according to him) tasks he does around Atlantis.

I think it makes a certain level of sense that, despite having near-on five years of his life being in grave danger multiple times, the possible loss of his mind is what would spur Rodney into the realization that he probably needs to document some shit.

"I can't trust anyone else to know to do this," he explains, manic, when John finds him in a rarely-used lab at three in the morning. He's bent over a Frankenstein abomination of Earth and Ancient tech (and no small measure of duct tape), something he's obviously jury-rigged himself, and he's in such a state that, thankfully, he doesn't even think to ask why or how John found him there at this hour. "What the hell is it, Rodney?" John tilts his head, stepping in closer—it probably won't explode in his face, he figures.

Why John found him there: because he knows Rodney's driving himself nuts trying to document a million tiny things and hasn't been sleeping. How John found him there: life signs detector and several years' practice studying the Wandering Habits of the Wild McKay

"You know that old joke that the entirety of modern digital infrastructure is all leaning on some free, open-source project being thanklessly maintained by a random guy in a basement somewhere, and the whole of the internet and probably the world's banking systems will break when he either gives it up or dies?" Rodney says, hitting somewhere close to a personal best on words-per-minute and not even stopping for John's answer. "No, wait, of course you don't, you're not a geek."

I stole that joke from XKCD but it just came into my mind and I would imagine Rodney spitting the whole thing out in one uninterrupted breath. (anyway i did link it in the endnotes so)

John scowls. "Hey!" "Fine," Rodney acquiesces, "you're not that kind of geek." And that, John can agree to. He'll match Rodney on comics and sci-fi trivia and mental math, but he's never gotten too into computers that aren't on board something that can go very fast.

John being offended that after all these years Rodney still thinks he's a jock is just, cute to me alright. He's a geek, he likes geek stuff, he's just also hot and has generic man interests as well!! I like the bit about computers that aren't on board something that can go very fast, though, that feels...correct to me.

"So this is Atlantis's free, open-source project and you're the basement-dweller who thanklessly maintains it?" "Exactly," Rodney answers, apparently too wrapped up in the work to notice John's lovingly-crafted insult.

All of John's insults are lovingly crafted.

"And you're writing documentation for it?" John pulls out a chair, sprawling lazily so he can get a look at what's on Rodney's screen. He's got a laptop open with a dense-looking brick of text he's typing additions to, and a tablet with what looks like a hand-drawn schematic pulled up on it. "Oh, well-spotted, Colonel Obvious," Rodney says drily, rolling his eyes. "I doubt anyone will really understand what it does, but Zelenka's a competent enough engineer to at least be able to follow a manual." "Right," John says, and then he sits, watching Rodney type, poke at the device, curse, and type some more. About five minutes go by before he speaks again. "You could also consider just staying alive so you can keep fixing it?"

John, five years in, having watched as Rodney slowly lost everything that makes him him, is a bit weak. That's really the only explanation for why he just says the quiet part out loud, here, even though he's trying to make it sound like a joke. I like this scene because it feels right to have them have this kind of conversation, this kind of bare, quiet intimacy, while the rest of the city is asleep, cocooned together in a lab with Rodney's tech all around them.

"Well, yes, obviously that's what I would prefer as well," Rodney says peevishly, the clacking of the keyboard turning a shade violent as the pitch of his voice rises. "But apparently this galaxy has other plans for me, and it was honestly foolish of me to have gone this long without coming to terms with the fact that I could die at any moment without anyone able to continue my work, so—" John doesn't think, his hand shooting out to grab Rodney's as it flails through the air in a helpless, fatalistic gesture. Rodney stops, mouth half-open, and just stares at John's hand, wrapped around his wrist, fingers curled against Rodney's palm. They're frozen like that, both staring at their hands, until Rodney says, voice quiet, "John?"

I love this part, this image right here. John not knowing what to do and just wanting to make Rodney stop and breathe for a second. Rodney absolutely stymied by the sudden physical contact, the nearness to hand-holding, enough that he uses John's given name. Rodney's actually going through a lot, emotionally, during this fic, that all becomes eventually clear in chapter 3, and this is definitely one of the sections I wrote with all of that very much at the forefront of my mind.

John squeezes Rodney's hand, just once, and looks at his face. "I'm not going to let anything happen to you, Rodney." And it's a promise John knows he can't keep, but it's also the only thing he can think to say, because he desperately wants it to be true, to be something he can say with certainty. Rodney, of course, is a man of science, and he understands reality, understands probability. "You can't promise—" John squeezes again, feels out the broad thickness of Rodney's palm. "I've done it up till now, haven't I?"

This scene has echoes of their beer on the pier, where Rodney tries to say goodbye and John just won't, legitimately refuses to, like, engage with reality? Because on some level I think John actually does believe that he can protect Rodney, can keep him safe from harm; he knows he'll give his life for that to be the truth, and he hopes, deep down, even though he's tried very very hard to extinguish that very hope, that his love, his devotion, will be enough.

Rodney's eyebrows knit together, his gaze darting around, and then he nods, quick and final. "Yes, I suppose you have."

Rodney may not know the true depth of John's feelings, but he believes this, too. Believes in John, in a way I don't think he believes in many things.

Love and honor, protect and cherish. Till death. It may not be vows, but it feels like them, to John.

Here's the wedding vows motif making an appearance again. John, fatalistic, eyes wide open, pledging and devoting his life to Rodney even though he doesn't think it'll ever be reciprocated, because he can't do anything else. Can't do anything less. He tries, several times, throughout this story, to pull away and put some distance between himself and Rodney, and every single time it ends up failing, for one reason or another. He's drawn back into Rodney's orbit, inexorably, but he's also so wrapped up in his own inwardly-directed misery that he doesn't realize Rodney's drawn to him right back.

He swallows around the lump in his throat, standing up and using their joined hands to pull Rodney up with him. Their hands slide apart, and John steps back, puts some distance between them. "Now come on, that big brain of yours needs some sleep."

Literally right here he's putting physical distance, after saying what, to John, amount to wedding vows. It's too much, too open, and he needs to get them back to an equilibrium because it feels dangerous to let that moment sit between them for too long.

"Yeah, alright," Rodney says, gathering up the laptop and tablet before he follows John out the door.

god. okay. i gave myself a lot of feelings writing all this out!!!!!!!!!!! i love this story so much, i think it's probably the best thing i've ever written, and.....idk i'm happy to talk about it forever and ever so thank you for asking???????????????????????? seriously.

[a-storm-of-roses]

October Fics Day 11: Jack O'Lantern

Pairing: Rodney McKay/John Sheppard

Rating: G

Words: 907

Summary: Torren has his first Halloween, and John and Rodney have a decision to make. Fluff, a bit of angst, and a food fight (of sorts) ensue.

A/N: A day late, but life happens!

Read on AO3 or below!

“What the hell is that supposed to be?” Rodney leaned over and eyed the design, his lips curling down in a frown.

“I’m giving it teeth.” John clenched his own jaw, as he held the small knife in his fingers, carving a bit of the pumpkin flesh away.

“You should have let me get the laser cutter out. We just pop the design in the program, let it scan the pumpkin, line it up, and voila! Perfect pumpkin carving, every single time. Less messy, too.” Rodney flicked a bit of flesh from his fingers, but it clung on stubbornly. With a grin, he wiped it across John’s cheek.

“Hey!” John scowled, wiping his cheek with the back of his hand. “Perfect’s not the point. It’s about the experience.”

“Right, right, the experience.” Rodney gestured down the table, where Carson was cursing up a storm as he tried to cut into the small turnip-like root he’d insisted on using.

John laughed. Across from them, Ronon and Kanaan were in hot competition for the most intricate design, Ronon carving some creature that looked suspiciously like a dragon, while Kanaan was recreating his garden in the botany lab, in meticulous detail, flowers, and all.

Next to Rodney, Teyla was helping Torren trace a simple design, not unlike the one Rodney had sketched out. Torren had been John’s motivation in the first place. Now that he was old enough to appreciate it, John was insistent he experience a real Earth Halloween, or as close as they could get. They’d done the apple bobbing, he’d already picked out a costume, and John had even arranged a trick or treat schedule with the marines and scientists, just for Torren.

All that had been missing was carving a jack o’lantern, even if the little guy seemed to be more interested in scooping out the guts of the pumpkin and squishing them between his fingers, than he was in the actual carving.

“Uncle John, these pumpkin guts are gross!” He declared in delight. “It’s like when Uncle Rodney ate too much tukvu stew and got sick everywhere!”

“Yes, yes, let’s remind everyone of that,” Rodney muttered. Teyla laughed.

“Shit,” John cursed as his knife slipped, nicking his fingertip. Across the way, Ronon was delicately shaving off small pieces of the outer shell, to create tiny, detailed scales.

“Remind me why we’re doing this again?” Rodney leaned in close, and wrapped a handkerchief around John’s bleeding finger. “Don’t you have enough opportunities to injure yourself in daily life?”

“Because it’s fun, and it builds morale. Think of how great these will look, lit up on the balcony. And,” John lowered his voice, “because we agreed that we needed to spend more time with Torren, you know, trial it out.”

Rodney flushed. “Right, right. Well then.”

He turned to Torren and began to lecture him on knife safety, pointing out that Uncle John had been very stupid and nearly lost a finger.

John watched him intently, tried to envision Rodney as a dad - maybe not Torren’s dad, who was currently smugly detailing a sunflower and needed absolutely no lectures about knife safety, but as the father of a small child, one with wide blue eyes, a crooked grin and a mop of dark hair.

He wanted it more, every single day, even if his gut was screaming that it was a terrible idea. Neither of them had had the best role models, and Atlantis wasn’t really the best place to raise a child. And yet. There was Torren, smiling and laughing and flinging pumpkin guts in Rodney’s face.

“Why you little-!”

Everything seemed to pause. Kanaan held back a grin, while Carson laughed. Teyla seemed poised to intercede and John- John just froze. He thought of spilling juice on a white table cloth, of breaking his arm just before the holiday photos, of laughing too loud when his cousin Joe told a joke.

And then Torren shrieked and John came back to himself, just in time to see Rodney flinging pumpkin guts and seeds at the six-year-old.

“How’s that for a taste of your own medicine?”

Torren laughed loudly, and picked up another clump of guts and flung it wildly, hitting not only Rodney but Teyla and John as well. Teyla chucked a handful at a guffawing Kanaan, and from there it was pure slippery, slimy chaos.

Later, much later, when the guts had been cleared and the remaining seeds had been roasted, John sat back on the balcony, watching their jack o’lanterns glow, soft and orange. He supposed it was a good thing they were meant to be a bit creepy, because his creation’s teeth looked more like limp, ragged gums, and it didn’t even come close to the pure horror of Carson’s turnip.

He accepted a beer from Ronon and leaned back in his chair, biting back a smile as Rodney told the story of Frankenstein and his monster to Teyla, Kanaan, and Torren.

“Now his mistake really was not considering the impact of reanimation on sentience, but if he had just…”

Torren was pressed close to Rodney, leaning into the other man, smiling wide. The jack o’lanterns gave off a warm and cheery glow, against the cool night air of Atlantis, casting the whole group in flickering light and shadows.

Maybe, John thought, as he watched Rodney pick a pumpkin seed from Torren’s hair, and flick it away into the night. Maybe, after all.

[contentsoftable]

Ten Immersive Games (and 5 that try but aren’t)

by Nathan

All games are abstractions. Otherwise we’d all die of thirst and buried in sand while playing Forbidden Desert. There is always the thing the game tells you you’re doing, and the thing you’re actually doing, which is generally moving around little bits of cardboard and wood. What’s cool - at least to me - is when games make you feel like you’re actually doing the thing the game is about - when you get so immersed in the gameplay that your throat gets dry and your arms get tired from digging sand.

Here are some that do that for me. 

FORBIDDEN DESERT

Designer: Matt Leacock Publisher: Gamewright

As mentioned in the intro, Forbidden Desert has great tension-building mechanics, effective art that reinforces the theme of searching for ancient relics in a desert, and it really makes you feel like you’re trudging under the oppressive sun, watching the horizon for sandstorms and checking how much water you have left in your canteen. A simple game, but one that - win or lose - always puts you in its world, and always ends with a nail-biting finish. 

TYRANTS OF THE UNDERDARK

Designers: Peter Lee, Rodney Thompson, Andrew Veen Publisher: Gale Force Nine

A combination of deck-builder and area control game that requires a lot of tactical thinking, but what makes it immersive is the the purple-tinged art and fantasy setting which take me right back to when I was twelve years old and first discovered dungeons and dragons. Suddenly I am a cruel dark elf noble, scheming against rival clans and sending out my minions to do my bidding in the Underdark, and it’s glorious! Mwa-ha-ha-ha!

WATERGATE

Designer: Matthias Cramer Publisher: Frosted Games

A history lesson in a box and a chess-like game of tug-a-war that visualizes connecting crimes to conspirators in a literal sticking pins in corkboard way. Whether you play as Nixon or the Journalists, you really feel you are fighting a desperate fight to hide or reveal the truth. An excellent game.

TOBAGO

Designer: Bruce Allen Publisher: Zoch Verlag

Hunting for the treasure is the best part of Tobago, because it feels like you’re narrowing down the places it could be by looking for clues on an old map. That and the cool tiki heads that you have to rotate every now and then give this one a fun old-time adventure feel that’s a joy to dive into. 

BLACK ORCHESTRA

Designer: Philip duBarry Publisher: Game Salute

This co-op game about plotting to kill Hitler is possibly the most immersive game on the list. Everything about it puts you in the moment, making you feel like a desperate conspirator constantly listening for the knock of the gestapo on your door. Making plans, gathering necessary papers, weapons, and tools, and then feeling those plans slip through your fingers as you wait for the right moment. Even the way you get out of jail is thematically grim. All you have to do is betray your friends. 

RESCUE POLAR BEARS

Designer: Jog Kung, Huang Yi Ming Publisher: TWOPLUS Games

So thematic it is sometimes painful to play. You are fighting to save polar bears against a background of climate change, and as the temperatures rise and the sea ice gets smaller and smaller it begins to feel utterly hopeless, and then -often as not - you lose, which makes you even more depressed. It does feel good when you win, but sadly, that doesn’t happen often. 

TWILIGHT STRUGGLE

Designer: Ananda Gupta, Jason Matthews Publisher: GMT Games

I’ve never been a global superpower, so I don’t know what it really feels like, but this game, with its simple mechanics of trying to get more influence chips onto a country than your opponent, and the action cards that teach history with every play, sure makes me feel like one. Balancing aggression against a rapidly lowering defcon status, and fighting each other through proxy wars really gives this that old paranoid cold war feeling. 

ABOMINATION

Designer: Dan Blanchett Publisher: Plaid Hat Games

In this game, you are competing to be the first scientist to build Frankenstein’s monster a companion. To do this you have to steal bodies from hospitals, morgues, public executions, harvest their organs, and bring them to life with electro-galvanism, all the while lecturing to make money and maintaining your reputation so you’re not chased out of town by peasants with pitchforks. And it really does feel like you’re doing all those things. The art, gameplay, and little bits of narrative text when the game asks you to make a moral decision, all contribute to a gleefully gory atmosphere reminiscent of a Hammer horror film. 

ROBINSON CRUSOE

Designer: Ignacy Trzewiczek Publisher: Portal Games

This one might be too immersive for its own good. This is a co-op survival game where you are stranded on a desert island, trying to build tools and shelter in order to not die from exposure, wild animals, madness, and ancient curses. We really enjoyed the challenge of it for a while, but it is punishingly hard, and after a while it became more frustrating than fun, but if you really want to feel like you’re never more than one bad night away from dying of dysentery, this is the game for you.�� 

EVERDELL

Designer: James A. Wilson Publisher: Starling Games

A game of cute animals building communities over the course of a year, Everdell is basically a resource gathering engine builder, but the art and theme of the cards puts you right into its world of forest creatures in waistcoats and aprons. It’s one of those games that I wish had more actual narrative elements to go with the mechanics so we could learn the stories of the villages. As they’re not there, though, we’re forced to use our imaginations instead - and that’s not a bad thing. 

Now, here’s five games that don’t make you feel their themes. 

WINGSPAN

Designer: Elizabeth Hargrave Publisher: Stonemaier Games

This is a very pretty game, with cool bird art and facts on the cards, and a unique theme. Unfortunately, I do not feel like I am a conservationist, or a bird watcher, or doing anything that actually has to do with birds. I am just playing a game with birds on the cards. Not that it’s a bad game, the game play just has very little to do with the theme. 

TZOLK’IN

Designer: Simone Luciani, Daniele Tascini Publisher: Czech Games Edition

Mayan civilization and the Mayan calendar are cool themes for a game, and the art does a great job backing that up, but when it comes right down to it, Tzolk’in is more interested in its cool, gear-based mechanics than its world, and I never feel like I’m doing anything but playing a worker placement game, where the theme could be anything.

SCYTHE

Designer: Jamey Stegmaier Publisher: Stonemaier Games

Scythe is a big, beautiful game set in an alternate pre-WWI eastern Europe, where, in addition to infantry and cavalry, there are giant robots! Parts of it are very immersive, particularly the encounter cards, the art, and the minis, which are gorgeous. The part that isn’t immersive is the ending. The game ends when one player completes six objectives, and then each player totals up their points. For a game that feels like it’s all about conquest and expansion, the ending doesn’t feel very glorious. It’s more like checking a spread sheet. 

QUANTUM

Designer: Eric Zimmerman Publisher: Funforge

I like quantum, but it’s really an abstract game pretending to be a space adventure game. Your space ships are dice, and depending on what number they are showing, they can do different things. Although there is art for the four player colors that depicts them as four different empires, that’s where the narrative stops. I never feel like I’m running a galactic empire. I just feel like I’m moving dice around. 

YEDO

Designer: Thomas Vande Ginste, Wolf Plancke Publisher: Eggertspiele

In Yedo, you play the leader of a noble family in the Edo period of Japan, plotting to become the power behind the throne. Except that’s not what you’re doing. Really, you’re completing missions by collecting items on a list and having those items in your position when you go to a particular spot on the map. The way the game makes missions more difficult is by making the lists of items longer, and increasing the number of locations you have to visit. It feels less like intrigue and skullduggery, and more like doing errands, which is too bad, because it’s a fun theme and the writing is evocative. It’s just the mechanics that disappoint. 

[rabbit-man]

My Favorite Top 10 Movie Comedy Scenes

Presently this is certainly an extreme one. I truly don't have the foggiest idea why I am endeavoring this at everything except I think it should be finished. There have been such a large number of incredibly, entertaining scenes and I figure I would be neglectful in the event that I in any event didn't attempt to make reference to the ones that made me snicker the hardest during my lifetime. I might likewise want to include that since I may cherish a scene in a film, doesn't block that I would place the film itself in my Top 10 rundown ever. Thus, I will simply make reference to a portion of the numerous scenes that I have adored and afterward attempt to place them in my request for inclination. Wish me karma!!  https://putlocker-online.com/genres The Marx Brothers have had such a large number of scenes that have made me laugh out loud throughout the years and still till this day. The popular stateroom scene from Monkey Business which occurred on a boat was a visual joy. They were stowaways on the boat so they couldn't give the individuals access charge realize they were there. They had repairmen, house keepers, food administration and every other person you could consider in the room simultaneously. Before the finish of the scene there must be in any event at least 20 individuals all crushed into that small room and it was one of the exemplary scenes in any satire film. At that point you had the agreement scene in A Night At The Opera that was splendidly composed and conveyed by Groucho and Chico. "You can't trick me, there ain't no mental soundness condition". A Day At The Races had a couple of my preferred Marx Brothers scenes in it. The race itself toward the end, the assessment of Margaret Dumont's character by Doctor Hackenbush and the young men and the telephone scene with Groucho driving Mr. Whitmore insane by utilizing confusion.

In the film Bruce Almighty there is a scene in which Jim Carrey is making Steve Carell, who landed the position as anchorman that he needed, botch during the news. He utilizes his freshly discovered forces to make him jibber jabber for what appeared to be around 5 minutes. At the point when I saw that scene in the motion pictures I giggled so hard that I actually dropped out of my seat. I was biting the dust.

In the film It's A Mad, Mad, Mad, Mad World there were a perpetual measure of dynamite scenes however the one that murdered me the most was the scene where Jonathan Winters annihilates the service station. The explanation being, the two chaperons had tied him up with conduit tape on the grounds that Phil Silvers had persuaded them that he was insane and it would be for their own security. The reality of the situation was he needed Winter's character off the beaten path while he went for the cash that everybody was scanning for in the film. Probably the best satire ever. On the off chance that you haven't seen it, help yourself out and get it or lease it and afterward watch it. You will dismiss your moron head. I realize that I did and still do each time I see it. Besides the cast of parody stars in the film were a rundown of's who in the satire business. On the off chance that you weren't in the film back, at that point, at that point you weren't viewed as applicable in the satire world.

My preferred scene in the film There's Something About Mary was the scene with the pooch and Matt Dillon. He unintentionally slaughtered the canine and attempts to breath life into him back by utilizing the light electric harmony and kicking off him. That was crazy and I snickered until I hurt at that one. The film was amusing and had many, numerous interesting scenes. I despite everything flinch each time I watch the scene where Ben stalls out in his zipper...OUCH!! An extraordinary Ben Stiller vehicle that I thought was additionally novel.

The supper scene in the revamp of The Nutty Professor with Eddie Murphy was absurd. He played 4 unique characters in that scene and the outcome was brilliant. A really extraordinary acting accomplishment and incredible cosmetics for the characters. On the off chance that you didn't know ahead of time that they were all Eddie, you could never have suspected it. "Hercules, Hercules, Hercules!"

In Monty Python's, The Holy Grail, the blade battle scene with the Black Knight and Sir Arthur at the extension (None Shall Pass) was certainly amusing. He gradually removes the appendages individually of the Black Knight yet it doesn't appear to bother him by any means. Rather he challenges him considerably more and continues egging Sir Arthur on. "It's only a substance wound. Return here and I'll chomp your kneecap off".

The nation club party scene in Caddyshack was amusing, particularly in the event that you were a Rodney Dangerfield fan. He had such huge numbers of interesting jokes and wouldn't quit provoking Ted Knight's character. That film gave Rodney an entire second vocation and another age of fans. "Hello, who stepped on a duck?"

In Jerry Lewis' film The Big Mouth, there is a scene where Charlie Callas is in a telephone stall chatting with his chief and he sees Jerry Lewis' character, whom he however he executed, run by him and he snaps during the call. His outward appearances were so rubbery and the sounds impacts that came out of his mouth were so exceptionally interesting. Nobody else could ever have the option to do that without any difficulty.

Dwindle Sellers was a splendid comedic on-screen character and I just adored his Inspector Clouseau character as the blundering analyst that consistently appeared to arrive on his feet and settle the case. The scene in Return Of the Pink Panther where he camouflages himself as a dental specialist with the goal that he can keep an eye on Inspector Dreyfus at the château is insane. He manages chuckling gas to Herbert Lom's character and the two of them get into a snickering fit as Clouseau attempts to pull his awful tooth. As a watcher, it is extremely infectious to watch without roaring with laughter yourself. Also his mask is softening during the scene. Amusing, clever, entertaining.

My preferred parody film ever was Mel Brook's The Producers and the scene I adored the most in it was during the Broadway play of 'Springtime for Hitler'. Kenneth Mars' character of the writer German fighter, Franz, gets truly furious that everybody is chuckling at a play he composed as a tribute for Hitler. He goes up in front of an audience and begins to advise everybody to quit chuckling. As he begins you hear somebody thump him on the head from behind the drapery and you hear a boisterous crash since he was all the while wearing his protective cap. That doesn't stop him. He continues with his announcement. "What is this infant. The Fuhrer never said child. The Fuhrer was benevolent. The Fuhrer was quite delicate. Ordinarily the Fuhrer would state to me, Franz...OW!" he crumples and they drag him away from under the window ornament. The deferred response of being hit on the head and him saying Ow is amusing as damnation. I love that film so a lot and Mr. Creeks won an Oscar for Best Screenplay for that one.

Woody Allen has had such a large number of magnum opus comedies during his distinguished profession however one of my preferred scenes was in perhaps the most punctual undertaking, Sleeper. His character had been solidified cryogenically for a long time and is defrosted soon yet he is still not adjusted to the new condition yet is still sort of out of it, in a manner of speaking. He is in a wheelchair and is moving around the lab with an interesting face on that is inestimable to watch and turning over individuals' feet and striking into things. Likewise the scene in a similar film where he masks himself as a robot and at a gathering the individuals are feeling this sphere, which gets you high, and he is giving it around for them and getting high himself. That is tremendous.

A to some degree ongoing film, Borat, had a scene that I giggled at hard when I saw it. The scene when he is battling and wrestling, while bare, with this man, and they end up in the gathering focus of the lodging where a show is being held. Gracious my God, that was so crazy to see. Watching the individuals at the show's countenances as the battle followed was so extraordinary. Exceptionally interesting film and altogether different than some other parody before it. Another one of a kind satire film.

Quality Wilder and Richard Pryor were so extraordinary together and had incredible science. In the film Stir Crazy, all the scenes in the jail were amusing. The superintendent is attempting to break them and places them in dreadful circumstances to attempt to convince Wilder to ride for him at the rodeo rivalry between his jail and his companion's jail. At the point when he places them in a little cell with a mammoth mass killer, I giggled until I cried viewing their response to their pickle.

In Abbott and Costello Meet Frankenstein, the scene in the manor where Dracula, Frankenstein and The Wolfman are for the most part pursuing them from space to room was one of my preferred interesting scenes when I was a child. To watch the beasts that used to startle all of us as children, act in a satire with the clever parody group, was so extraordinary and exciting simultaneously. I could just envision the impact they more likely than not had making that film.

I can't generally compose the entirety of my good notices here in light of the fact that it would be excessively hard without broadly expounding on every one so I will simply give you my Top rundown as well as can be expected and you can consider yours.

In this way, after much pondering here is all the better I could do:

My Favorite Top 10 Comedy Movie Scenes

1. The corner store scene from It's A Mad, Mad, Mad, Mad World

2. The pooch restoring scene from that point's Something About Mary

3. The jabbering communicate scene from Bruce Almighty

4. The telephone stall scene from The Big Mouth

5. The giggling gas scene from Return Of The Pink Panther

6. The wrestling scene from Borat

7. The assessment scene from A Day At The Races

8. The play scene from The Producers

9. The dark knight scene from The Holy Grail

10. The supper scene from The Nutty Professor

I trust one of your top picks was on my rundown. Trust me, that was extremely difficult to do in light of the fact that there have been such a large number of interesting scenes and I am certain that I am overlooking a great deal of them yet I attempted to put the ones up that made me chuckle the hardest throughout the years. Good karma attempting to limit your top picks down to a Top 10 and as usual, a debt of gratitude is in order for perusing from, THE COMEDY TORNADO!!

Paul Venier has been a performer since he was 9 years of age. An artist turned humorist who has been performing live for over 35 years. He despite everything performs for a large number of individuals every week everywhere throughout the nation, has a CD out of Original music called 'Preferred Late Over Never', 3 Comedy Videos out in which

[alexanderwrites]

Thoughts Roundup - Twin Peaks: The Return, Part 16

“No knock, No doorbell”

There are moments in pop culture history that I always feel envious about - envious because I wish i’d been there to experience it them as they happened. I wish I could’ve seen Talking Heads perform live, I wish I could have seen The Shining in cinemas when it was first released, and I wish I could have watched the original run of Twin Peaks when it first aired. The thing about the desire to have experienced these things as they happened is directly tied to the environment they’re released into, and the effect they had on the public at the time. You can get the blu ray of Stop Making Sense, you can find The Shining screenings in independent cinemas, and you can buy the Twin Peaks boxset. But what I really want is to know what it felt like to see Twin Peaks every week, at a time when Dynasty and L.A Law were as exciting as TV got. I want to have been a part of those conversations that people had about the show. I want to know how people like my Mum felt when she watched it back in 1990 (for the record, she hated it. She’s got great taste, but Twin Peaks was decidedly too weird, according to her). 

I came along to Twin Peaks ten years ago, when the show had vanished from the conversation and was yet to have a second life thanks to the likes of Netflix and Hulu. David Lynch’s work was alien and exciting to me - I remember seeing a Fire Walk With Me VHS in HMV years before and asking my Mum just what it was. I remember seeing clips of Blue Velvet late at night and being terrified of it. And finally, I remember seeing clips from Twin Peaks’ last episode being featured on a countdown of the 100 Scariest Moments on Channel 4. That’s when I knew I had to find out just what the fuck it was all about. And I have such fond memories from 2007 & 2008, of obsessing over the show, watching episodes on summer evenings in my room, excited about waking up the next day so I could tell my Mum and Brother about it. The thing that the experience missed is a feeling of communality. The moments in the show that rocked my world and made me feel a way i’d never felt before were experienced solely by me, in a tiny bedroom, on a portable DVD player. The moments that, when they first aired had people all over the world talking now felt like they were being seen in 2007 only by me. But now, ten years on, as Twin Peaks: The Return heads towards the finish line and its biggest moments reverberate from it with electric power, I finally get to have what I never had before: the experience of watching it with the world. The only other show I experienced that with was Lost, a show I watched religiously and passionately. But The Return feels different - it feels bigger. 

You can feel that there are fans who’ve waited 10, 20, 25, years for it, and it carries the extra weight of knowing that this really might be David Lynch’s last filmic or televisual outing. Think about that for a second. This week might be the last time we can say that we have David Lynch’s work to look forward to. He’s spoken about how he’s moving away from films and towards visual arts, and at 71, going back to the world that forever cemented his name in the Pop Culture canon could be the most perfect swan song of his career. As a result, every episode feels loaded and essential, and with the events of tonight’s episode, it feels like we’re seeing something iconic take place. We are reacting together. We are experiencing it together. I’ve had conversations about it with my girlfriend, a bunch of friends, family members, and some randomers online for good measure. These are those shared experiences i’d longed for. 14 year old me, watching monumental television unfold and wishing he had someone to share it with is being rewarded every week, and I’ve never felt more rewarded than I felt with part 16 and its own monumental developments.

Dale Cooper is awake. Finally. Whether you’ve waited a season, or 27 years, nobody can deny the immense satisfaction that this development delivers. It feels huge. It feels iconic. It feels like something truly good and pure occurring in a bleak world. I got tearful, I laughed, I smiled so wide my face hurt. I didn’t realise how badly I needed Dale back. How badly the world needs Dale back. “People are under a lot of stress” notes Rodney Mitchum tonight. They certainly are. Whether they’re residents of Twin Peaks or Las Vegas, the characters throughout this return have resided in a world of hurt. It feels sharply current, and a reflection of an America that feels broken. Out of the pain, through the pain - through a violent electric shock that is - returns to us Dale Cooper, the hero we both need and deserve. He is Lynch and Frost’s testament to goodness, their monument to the power of kindness. The electrical power that has given him new life like some kind of benevolent Frankenstein’s monster is finally used for goodness, a reminder that a thing which can contain evil is not entirely comprised of that evil. There is room for goodness - the Mitchum brothers have hearts of gold, as Dale (it feels SO FUCKING GOOD to finally be able to write “Dale”) tells them. Janey-E and Sonny Jim are good people caught up in someone else’s awful web. Dale is a good man who promises that he will one day walk through that red door and come home for good. For now, he’s walked through that red curtain and is back home with us. Whether he himself comes back to Janey-E and Sonny Jim, or whether a copy of him (he tells Mike to make another) takes his place, I adore the humanity and warmth his family is written with. They are dearly cared about by Lynch and Frost.

Dale remembers every moment with the Joneses. It meant something. It filled his heart up, and kept him going, and Dale’s poignant sincerity - god, i’ve missed it - tells her this honest truth. The miraculous and thrilling thing about his awakening is there is no need to stop and explain everything to Dale. There is no catchup. He is awake, dressed in his sharp black suit within moments, and is on the way to Twin Peaks while the main theme chimes in cathartically, and here he proclaims: “I am the FBI”. I cannot think of a greater, more exciting and meaningful moment in TV. I have goosebumps just thinking of it. If The Return has all been about trying to return to something that once was and the difficulties surrounding that, then this episode seems to posit the optimistic and moving idea that some things will always be. Like Laura Palmer and the Log Lady, Dale Cooper always will be, and it is hard not to take great comfort in that fact. Like the river running through the town, or the moon overhead each night, the forces of good will always exist, even if they are reborn. It needed to take 16 episodes. It needed to feel earned. And it needed to make its point, which it has with powerful brilliance. 

The comfort of Dale’s return is contrasted by Doppelcoop’s pretty un-fatherly sacrificing of Richard Horne, who it’s revealed through a casually mumbled line, is (or was) Doppelcoop’s son. Doppelcoop’s headlights are still probing the road in front of him, still pushing onwards into that darkest of night, and there is a feeling of dread every time we see these headlights, waiting for them to illuminate the iconic “Welcome to Twin Peaks” sign. It is just a matter of time. Richard is destroyed by an electric light that engulfs him, and possibly whisks him away to the black lodge. The question is open of who sent Doppelcoop here, exactly? It seems to have been a trap designed to wipe him out, and it seemingly came from either Jeffries or Diane. His coldness and his manipulative ease is frightening here - he has known all along that Richard is his son, and feels nothing upon seeing his son killed. And Richard follows his father’s orders in a perverse mirror image of the people who follow Dale’s orders. He marches happily into the darkness where he is killed because that is Doppelcoop’s power: if he tells you to do something, you do it. With Dale, you listen to him similarly, but not from fear - instead from respect and love. Dale has always been a delightfully bossy person, but because Doppelcoop has twisted Dale’s goodness into evil, he has taken that friendly bossiness and turned it into a dictatorship of demands. If you don’t listen to Doppelcoop, you die. If you do listen to him, you’ll probably die anyway. 

Diane, we hardly knew ye. Well, maybe that should be DoppelDiane. We knew something was wrong - every moment she was on screen, Laura Dern masterfully sold Diane’s trembling dread with a wild intensity that was both all-knowing and untouchably distant. She was full of secrets, and Doppelcoop’s text to her (nice to see that lodge spirits use emoticons!) seems to have triggered something inside Diane which sent those secrets pouring out of her. The revelation that she is not the real Diane but instead a manufactured Diane sounds crazy, but suddenly everything about her makes sense. A real tortured Diane is in there somewhere, or at least her memories are, and perhaps if she is in the same place as Laura there is a distant hope that she is safe, or can be brought back. Doppelcoop has throughout the years been playing god. He has manufactured people, he has manipulated people, he has bent everything to his will, and Diane is an example of what that does to a person. She disappears after being shot in a wildly intense sequence, and her body is viciously flung, disappears, and then winds up in the red room. Here, She is destroyed. So, where is the real Diane? Where is her soul? What happens to people like her and Laura? It is heartbreaking to find out that all along, she was just a pawn, and her story of what Doppelcoop did is even more heartbreaking. It’s a sad end - but is it the end? I’m certain I heard her say “i’m in the sheriff’s station” in this scene, which seems to be where all the story threads are heading towards. I can’t help but think of Judy. Whoever she is, she’s got a LOT of explaining to do.

Gary and Chantal, we hardly knew ye, either. Their end is hilariously overblown. A fender bender turns into the most ludicrously violent uzi-led shootout, and it really is down to their own stupidity. They were vocal supporters of violence, and they died fittingly violent deaths - deaths which echo Bonne & Clyde, except Gary and Chantal aren’t really so romantic. They’re just two dumdums who eat a lot of crisps and mess up simple tasks. 

Audrey’s scenes tonight gave us the double rug pull. The first was “Surprise! She is in the real world”, and the second was a bigger “Surprise! Of course she’s fucking not!”. There was something so uncanny and strange happening with her throughout the last episodes, and Diane’s claim that she’s not herself tonight called back to Audrey’s similar claim in a previous episode. Her appearance at the Roadhouse feels realistic enough, until the MC announces Audrey’s Dance, the song she danced to all those years ago, and the crowd moves off the stage so that she can dance dreamily once again. The moment is inexplicable and as hypnotic now as it was then. However, where it once felt otherworldly in a wonderful sense, it now feels laced with menace and literal dreaminess - a violent altercation in the Roadhouse wakes Audrey up, and suddenly she is in a bright white room staring at herself in a mirror in confusion. The beautiful dream, the gorgeous music, the perfect concoction that sent nostalgic goosebumps up our arms is coldly revealed to be quite literally unreal. She is somewhere else now, where the lush purple lighting of the Roadhouse has been replaced with a blinding clinical whiteness. Her dance - so joyous and soulful - is snatched away from us and replaced with uncertainty once again. Is she somewhere with Laura and Diane, or someplace else entirely? I think we will find out, but what matters is that she is not here, she is not herself, and the dream has ended. 

It is incredible the range of emotions that an episode of Twin Peaks can stir. The questions I want answered most are clinging to me tightly - who is Judy and what does Doppelcoop want? - but the overall feeling I get from The Return and from this episode is not of confusion, but overwhelmed emotion. An episode where Dale speaks would in itself be enough to knock you out, but with everything else that happens, the episode is a behemoth - yet it is carefully written and plotted. Despite the questions, I didn’t get lost in the weeds, and the return of Dale feels like a moment of shining clarity to help you through. There is a feeling of togetherness and unity now that Dale is awake again, and a sense of safety that wasn’t present before. And so, we head into the final week of Twin Peaks maybe ever. And like the millions that we are sharing this experience with, tonight’s episode is about sharing our experiences with others - be it Diane sharing her experiences with the FBI, Dale sharing his life with Janey-E and Sonny Jim, or the Mitchum Brothers sharing their generosity with the Jones family. It’s about the power of sharing, of not living alone. And while it may be painful (Diane), or beautiful (Dale and Janey-E), it is essential that we share the experience. It’s the source of goodness, and the goodness is now wide awake in Twin Peaks.