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nitrateglow · 4 months ago

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Spooky Season 2024: 12-22

Phantom of the Mall: Eric's Revenge (dir. Richard Friedman, 1989)

The opening of the new mall is hampered by one thing: a Phantom hiding in the air vents, and committing robbery and murder. It turns out this Phantom is really a teenager named Eric (Derek Rydall) disfigured in a fire set by the mall's developers to clear out any remaining houses impeding their dreams of commercial development. Now, Eric plans on having his revenge and watching over his girlfriend Melody (Kari Whitman), now an employee of the mall. But what will he make of her burgeoning romance with a journalist?

Talk about pure '80s cheese. This film feels like it was made to capitalize on the slasher cycle and the popularity of the Andrew Lloyd Weber Phantom of the Opera megamusical. It's not a particularly good movie, but it is dumb fun. I love how this Phantom makes free use of the goods available in the stores and how he spams his spin kick attack like he's in a video game.

Also, Pauly Shore is in this. He has a great scene talking about subliminal messaging in department stores, but is otherwise the usual Pauly Shore.

Hangover Square (dir. John Brahm, 1945)

Musician George Harvey Bone (Laird Cregar) is disturbed by long sessions in which he blacks out. He fears he may be committing murder, but is reassured by the police when he goes to them that isn't likely. Detective Dr. Allen Middleton (George Saunders) advises the overworked George take a break from composing. George does so by going to a pub where he meets the lovely Netta Longdon (Linda Darnell), a music hall entertainer who dreams of fame. George and Netta enter into a toxic relationship in which she uses him to advance her career while seeing other men on the side. When George discovers her treachery, his blackouts return-- this time in a far more violent form.

I'm starting to become fascinated by John Brahm, a director best remembered for his moody, macabre dramas in the 1940s. Hangover Square was his second and final collaboration with the talented but doomed Laird Cregar, who died two months before the film was released. It's as much a noir as a horror picture, drenched in that chiaroscuro lighting and urban dread so common to the classic cycle.

Cregar is astonishing in the lead role. Though handsome, he was a bigger man, so Hollywood refused to allow him to transition into leading man parts. He is marvelous here, passionate and sensitive, yet also sinister once his jealous rage takes over. I've seen Cregar in multiple films and he was truly fantastic, able to be comic as well as dramatic. Hollywood didn't deserve him.

Lastly, Linda Darnell's character sings this really catchy song when Cregar first sees her. I saw this film weeks ago but it is STILL STUCK IN MY HEAD.

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The Sealed Room (dir. DW Griffith, 1909)

In some nondescript time period (everyone's dressed like it's either the early 18th century or the middle ages), a king (Arthur V. Johnson) learns his mistress (Marion Leonard) is smooching with a musician (Henry B. Walthall). Jealous to the point of rage, he has the couple sealed in a small room where they suffocate to death.

The Sealed Room is a gem from the nickelodeon era, though I admit my liking for it comes from how extra all the performances are, even by the standards of the early silent period.

It also has one of my favorite instances of what I like to call "silent film logic"-- that is, scenes featuring action that would be very loud in real life, but in a silent film, you may not think about it as much. Here, the king has the lovers walled up alive in a small room, where they lounge unaware. And yet, there's workers slapping up a brick wall not ten feet away from them! It's very amusing.

Frankenhooker (dir. Frank Henenlotter, 1990)

When his girlfriend Elizabeth (Patty Mullen) gets hacked to death by an automatic lawnmower he built, medical student Jeffrey (James Lorinz) decides to resurrect her by killing sex workers for their shapely body parts then sewing Elizabeth's severed head on top. He does this by having his victims smoke explosive crack.

No, I'm not making this up.

I first heard about Frankenhooker from James Rolfe of Angry Video Game Nerd fame. It sounded so insane that I knew I had to watch it. It's-- well, it's definitely a bizarre movie with lots of crude humor and pitch black jokes.

Would you believe me if I said it was kind of an unsung feminist work? I definitely did not expect THAT angle coming in, but that messaging is definitely there. Jeffrey is a villain-protagonist through and through, even before he starts committing murder. We learn he was already demanding Elizabeth modify her appearance to suit his tastes before she got killed. He views women as more a collection of body parts than proper people. However, his misogyny does catch up with him in the end and his fate at the resurrected Elizabeth's hands is the very definition of irony. I don't want to spoil it.

It's definitely not for everyone, but if you have a sick sense of humor and some friends that share that humor, you'll have a good time.

Friday the 13th: Part 2 (dir. Steve Miner, 1981)

A summer camp close to the infamous Camp Crystal Lake is about to open. Little do the young, horny counselors know, Jason (Warrington Gillette and Steve Daskewicz)-- the boy that allegedly drowned long ago-- is still alive and he's mad his mama got decapitated in the previous film. Lots of people die.

I confess I have a hard time getting into these Friday the 13th films. I've read it took a few entries for the series to find its footing as gloriously dumb schlock, but the first one and this sequel were mostly boring for me. About all I liked was the last twenty minutes, when the heroine's background in child psychology comes into play. Otherwise, this gets a big meh from me. Not horrible, but nothing I can imagine I'll ever rewatch.

Corridor of Mirrors (dir. Terence Young, 1948)

A party girl (Edana Romney) becomes involved with a Renaissance era-obessed artist (Eric Portman). Their fetishistic relationship leads to heartbreak and murder.

Already discussed this one is great detail at my Wordpress blog. It's a great romantic thriller in the vein of Vertigo and Rebecca.

The Old Dark House (dir. James Whale, 1932)

During a thunderstorm, a group of unwary British travelers are marooned at the crumbling mansion of the Femm family, a collection of eccentrics who may be insane. Everything goes wrong: the hulking butler gets drunk and preys on the women visitors, the area may flood, the lights go out, and there may be a homicidal maniac imprisoned in one of the rooms upstairs. Will anyone survive the night?

I have raved about this film for a long time now. It's truly a favorite of mine in general, not just for the Halloween season. Both witty and chilling, it's an atmospheric masterpiece. The damp and mold are palpable.

What fascinates me most is the Femm family itself and the gaps in their backstory. This is one movie where I feel like there's a Tolstoyan novel's worth of drama with the Femms. It's hinted that the 102-year-old patriarch of the house (played in drag by actress Elspeth Dudgeon) used to host orgies there. The death of the seductive sister Rebecca at the age of 21 may or may not have been due to inter-family foul play. Morgan the butler has a close, even weirdly tender relationship with the homicidally insane brother Saul, suggesting a myriad of possible connections between them. It's very interesting-- I like that the movie doesn't fill in all the blanks.

A Game of Death (dir. Robert Wise, 1945)

Don Rainsford (John Loder), big game hunter extraordinaire, finds himself shipwrecked on a mysterious island. The owner is Erich Kriegler (Edgar Barrier), an urbane German who also enjoys hunting, though with a slight difference-- he likes hunting humans. Teaming up with other shipwreck survivors Ellen (Audrey Long) and Robert (Russell Wade), Don tries finding a way to escape before they become Kriegler's next wall trophies.

This movie is a pallid, watered down, shot-for-shot remake of The Most Dangerous Game, one of the crown jewels of 1930s horror, so of course, I am not fond of it. And yet, I rewatch it every few years, so it must have something going for it. So instead of tearing into it as I normally do, I'll list a few things I think are actually good about it:

I like that the main character initially tries tricking Kriegler into thinking he will hunt people with him. Very pro-active.

I think Kriegler is a good villain. Not as memorably deranged and campy as Leslie Banks' Zaroff in the original film, but chilling in a more low-key way. His "the strong deserve to prey upon the weak" philosophy fits in nicely with Nazi ideologies-- no doubt what this wartime horror flick intended.

Um... I think Audrey Long is really pretty. I like her flow-y outfits.

... Yeah, that's it.

The Most Dangerous Game (dir. Ernest B. Schoedsack and Irving Pichel, 1932)

All-American big game hunter Bob Rainsford (Joel McCrea) is shipwrecked on the unlisted island of Count Zaroff (Leslie Banks), a Russian aristocrat and master sportsman who claims he now hunts "the most dangerous game" of all. Being a himbo, it takes Bob a while before he realizes that game is human beings. Unwilling to hunt alongside Zaroff when given the offer, Rainsford and fellow prisoner Eve Trowbridge (Fay Wray) wage a game with Zaroff: let loose into the island's thick jungle, if they survive the night without Zaroff or the terrain killing them, they'll go free. If not, Rainsford dies and Eve will become a rather different kind of quarry for the evil count.

Now, here's my favorite "hunter hunts people" movie! While "The Most Dangerous Game" has been adapted and ripped off multiple times for a century, the original is still hard to beat. The castle set drips with gothic grandeur. The jungle soundstage is thick and suffocating, and once the chase intensifies, it becomes like something out of a nightmare.

I actually think the climactic hunt is among the greatest sequences in all cinema. The editing is so dynamic and the images are brilliant. And when you consider this is still an early talkie, when films were still trying to rediscover their footing after silent cinema came to an end, it becomes even more remarkable.

Going on Letterboxd, I was shocked to find a lot of people on there have mixed to negative opinions about this movie, largely because they think it's too over the top and that it's messaging is too on the nose.

I mean-- yes, these things are true, but I don't see them as flaws. It probably helps that I love camp and melodrama, and am not ashamed to admit it. And regardless of the fervent camp on display, I still think the trophy room scene is creepy and the chase is super intense. I have probably seen this movie close to a hundred times and yet, the chase still has me shouting at the TV, willing the characters to run faster. That's damn fine filmmaking.

The Haunting (dir. Robert Wise, 1963)

A researcher of the paranormal brings a motley crew of ordinary people into the allegedly haunted Hill House. Both potential ghosts and the neuroses of the visitors bring on sinister events and ultimately tragedy.

I love this movie more and more. I already wrote a bit about my reaction this time around, though since then, I started rereading the source novel, Shirley Jackson's The Haunting of Hill House. Obviously, the book delves more deeply into Eleanor's psyche, but the film does a fantastic job of this as well. Given film is a visual medium, it can be a challenge to depict a character's interior state without delving into expressionism and this film does that well.

The Phantom of the Opera (dir. Terence Fisher, 1962)

Aspiring songstress Christine Charles (Heather Sears) and producer Harry Hunter (Edward de Souza) are drawn into a mystery at the London Opera House. A phantom is sabotaging any attempt to produce Joan of Arc: A Tragedy, a show allegedly written by the cold, snobby, rapey Lord Ambrose (Michael Gough). After some investigating, it turns out the Phantom (Herbert Lom) was once the meek-mannered Professor Petrie, whose music was stolen by Ambrose. Now, he wants only to see his opera done justice and only Christine's voice can make that happen.

I am very fond of this version of The Phantom of the Opera even though I think it has a myriad of dramatic flaws. Let's get the flaws out the way first. I think the film is a bit repetitive in retelling us Petrie's story over and over, at first through onscreen description and then through filmed depiction. I also think the ending is anti-climactic, like the writers didn't want to go the usual route of making the Phantom a homicidal maniac but they weren't sure how to make a properly dramatic finish without that characterization.

That out the way, this is a unique, even refreshing retelling in many ways. The Phantom/Christine relationship is no longer one of unrequited love-- in fact, Petrie seems wholly uninterested in romance or sex at all. He views Christine and himself as victims of the truly despicable Lord Ambrose: Petrie had his music stolen and Christine was sexually harrassed. Therefore, it is up to the two of them to wrest the opera back from Amrbose's influence and make it the production Petrie wanted. Petrie is one hard taskmaster. He is relentless in training Christine and at one point throws filthy sewer-water in her face when she faints.

But the Phantom is hardly an out and out villain here. He doesn't even kill people-- he has a convenient hunchbacked assistant to do that. No, the real baddie is Ambrose, among the nastiest villains in the Hammer canon. Ambrose never even kills anyone, yet he makes the blood boil with his wanton cruelty. Michael Gough (who I always remember best as Alfred in the Tim Burton Batman movies, as well as Batman Forever and Batman and Robin) is so good at being bad.

This version of POTO also has my favorite version of the Phantom's compositions. Usually, he writes a "burning" piece called Don Juan Triumphant, fitting his romantic obsession with Christine. Here, Petrie writes an opera about Joan of Arc, a virginal saint persecuted by powerful men-- a fitting subject for Petrie given his own persecution by an aristocrat. Joan's aria "I Hear Your Voice" is gorgeous and always brings me to tears, it's that beautiful.

Not a perfect film, but still a very good one.

#spooky season 2024 #thoughts #phantom of the mall #hangover square #frankenhooker #the old dark house #the most dangerous game #a game of death #the phantom of the opera 1962 #corridor of mirrors #friday the 13th part 2 #the haunting #the sealed room #horror #thriller #Youtube

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germanpostwarmodern · 3 months ago

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Zaha Hadid throughout her career pushed the boundaries of architecture: defying conventions Hadid pursued her very own idea of architecture as a flow of space. Although she operated in the context of the digital turn, her calligraphic drawings remained an analog basis of her work, just like her even more spectacular paintings: already during her student days at Architectural Association London she started painting as a means to explore the spatial potency of architecture. At the same time it offered the opportunity to work out spatial „grafting“ as introduced by her teachers Rem Koolhaas and Elia Zenghelis, a method that establishes both spatial and representational constructs that Hadid realized in the painting „Malevich’s Tektonik“ and the painting related to 59 Eaton Place.

Through the years her paintings went through different transformations but continued to remain an essential tool in the development of her architectural vision. In her recently published book „Zaha Hadid’s Paintings - Imagining Architecture“ scholar Desley Luscombe follows this development and provides in-depth analyses of key paintings and how they relate to Hadid’s architecture. Proceeding from the aforementioned early paintings Luscombe in six chapters e.g. covers „Grand Buildings“ from the mid 1980s and Hadid’s engagement with the urban character of London, the Berlin project for an office building on Kurfürstendamm and ultimately the MAXXI in Rome. In each of the chapters the author elaborates on the manifold aspects that informed the paintings, e.g. layered, relational architectural ideas, precedent images by, among others, Malevich and El Lissitzky, as well as the painterly implications directed at the viewer and his/her activation and interpretation. In so doing Luscombe achieves detailed analyses that pay as much attention to the autonomous artwork as they do to its architectural dimension, an approach that brings the reader closer to understanding the purpose of painting in Hadid’s oeuvre: in painting, just like the Suprematists, she used the pictorial space to investigate topics like the spatiality of urban experiences, the role of architecture in the city or the very nature of the architectural program. Accordingly, they go well beyond a concrete, realizable building and very much distill theoretical thoughts about architecture and urbanism into series of paintings.

With Luscombe’s book Zaha Hadid’s paintings finally receive a proper scientific analysis that convincingly explains their meaning and function within the architect’s complex oeuvre. An eye-opening read!

#zaha hadid #architecture painting #architecture #england #architecture book #book #lund humphries

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jadeitelaire · 5 days ago

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Geographical Narratives: Mapping Leon S. Kennedy's Origins

-edit 03:30 GMT+8 2025/01/12-

To those who have sent me negative messages criticizing my use of AI: Well, yes, I use AI tools like ChatGPT Pro, Claude Pro and Perplexity Pro to assist me in analyzing and writing, along with resources like Google, Quora, YouTube, Reddit, extensively playing the games myself, and even drawing from my personal experiences, movies I've watched, and the knowledge I've gained over the years. I studied film production in my college with a focus on screenwriting and directing. I gather information, analyze it, and synthesize ideas to create something meaningful—and I don't see why that's an issue.

If you lack the initial passion, imagination or knowledge about Resident Evil, NOT A SINGLE TOOL—AI or otherwise—will enable you to create substantial content. I create this fanfic primarily to entertain myself and to share it with those who might also find resonance in it. I’m relatively late to the franchise (Oct 2024, yeah I know, what took me so long?), and since I don’t have close friends to discuss the games with, writing fanfic allows me to explore and connect with the world of Resident Evil in my own way. With a full-time job, I also use AI tools to enhance efficiency in my leisure time, so I can focus on the parts I enjoy most—crafting stories and delving into the lore. For me, it’s about enjoying the process and connecting with others who share the same passion. The fact that I leverage modern tools and technology to enhance my writing and analysis is a choice I make, and it doesn't concern you if you choose not to explore or utilize these resources yourself. Instead of focusing on how something is made, perhaps consider the effort and thought behind it. Innovation and creativity mean adapting to new tools and methods. Using AI—or any resource—doesn’t devalue the work; it amplifies what’s possible. And if we don’t see eye to eye, that’s fine. Party's over and the door’s over there if you need it. 🫶🚪

Ok pookies, here we go:

I. Geographical and Cultural Setting

Indianapolis as Leon's Hometown Indianapolis (population 740,000 in 1998) offers a compelling contrast to Raccoon City's metropolitan density (population 1.5 million). With its stable Midwestern character, open layout, and moderate pace, Indianapolis is an ideal environment for the Mitchell family's middle-class lifestyle. Its educational resources and affordable living costs made it a logical place for Leon to grow up in a foster home after the loss of his family.

The distance between Indianapolis and Raccoon City—about 360 miles (580 km)—adds to the narrative. It is far enough to signify a fresh start for a 21-year-old rookie like Leon, yet close enough to make the move practical. This geographical separation reinforces his desire for career advancement, while subtly highlighting the pull of Raccoon City's opportunities, including the prestigious Raccoon Police Department (RPD) and its elite S.T.A.R.S. unit.

Raccoon City: A Metropolis of Opportunity and Secrecy With a population of 1.5 million, Raccoon City stands as a major regional metropolis—smaller than Chicago (2.8 million) but significantly larger than Indianapolis. This population size positions it as a city significant enough to be deeply entwined with the operations of the Umbrella Corporation.

The use of both Chicago and Pittsburgh as references helps resolve the tension between:

Canon requirement (Midwest location)

Actual game portrayal (mountainous, cultural city with Neo-Classical buildings)

Urban development scale (major metropolitan area)

Though classified as a Midwestern city, Raccoon City's geography and economic characteristics diverge significantly from regional norms. Unlike the flat plains typical of the Midwest, the city is nestled within the dramatic Arklay Mountains, whose elevation changes and natural isolation evoke Pittsburgh's position within the Appalachian foothills. This unique setting provides the city with a scale akin to Chicago (the Midwest’s largest metropolis), while its geography amplifies a sense of both grandeur and seclusion. The Arklay Mountains, combined with frequent overcast skies, winter fog, and regular rainfall, create an atmosphere of foreboding—a natural curtain for Umbrella’s clandestine operations. This ominous tone, blending isolation with unease, tragically mirrors the fate that would ultimately befall the city.

II. Urban Development and Visual Identity

Architectural Heritage and Evolution Raccoon City's iconic police department building, converted from a museum, mirrors Pittsburgh's rich cultural architecture from the late 19th century industrial boom. Both cities feature grand civic and cultural buildings in the Neo-Classical and Beaux-Arts styles—impressive stone structures characterized by ornate facades, symmetrical designs, and elaborate interior layouts. This architectural heritage, with its European-inspired classical elements and decorative stonework, reflects the cities' prosperity during their respective industrial golden ages.

Modern Development and Infrastructure The Bright Raccoon 21st Century Plan transformed what was once a "sleepy country city" into a thriving metropolis of over a million residents. This is particularly evident in the remakes of Resident Evil 2 & 3, where the city demonstrates comprehensive urban infrastructure:

An extensive subway system with multiple lines connecting diverse districts

Modern commercial districts featuring impressive high-rises

The grand-scale police headquarters housing elite units like S.T.A.R.S.

Advanced medical facilities including multiple major hospitals

Various entertainment venues including shopping centers and sports facilities

Sophisticated underground networks originally built for municipal services

Urban Zones and Districts This rapid expansion created distinct urban zones:

A modern downtown core dominated by Umbrella's corporate presence

Historic districts preserving the city's industrial heritage

Diverse residential areas reflecting growing social stratification

Extensive suburban developments reaching toward the Arklay Mountains

Research and development districts housing Umbrella's facilities

III. Visual Representation and Media Adaptations

Film Adaptations and Metropolitan Character The city's metropolitan character is most prominently captured in film adaptations, particularly Resident Evil: Apocalypse, which utilized Toronto's urban landscape. The choice of Toronto as a filming location provided the perfect backdrop with its:

Impressive skyline reflecting modern urbanization

Dense commercial districts showing economic vitality

Sophisticated infrastructure networks

Mix of historical and contemporary architecture

The subsequent shift in visual representation seen in more recent adaptations, such as Welcome to Raccoon City (2021) filmed in Sudbury, presents a notably different scale that contrasts with this established metropolitan image. However, the grand urban scale established through the main game series and earlier adaptations remains the dominant image in collective fan consciousness, better supporting the city's role as a major hub of Umbrella Corporation's operations.

Underground Infrastructure Network The city's elaborate subterranean networks serve multiple purposes:

Original municipal service tunnels from the industrial era

Modern subway system connecting major districts

Repurposed sections serving as Umbrella's hidden facilities

Complex drainage systems utilizing the natural river convergence

Emergency infrastructure incorporated into older networks

IV. Population Impact and Catastrophic Scale

Metropolitan Dynamics Raccoon City's population created perfect conditions for both Umbrella's control and the eventual catastrophe. This scale was large enough to justify extensive viral research facilities and enable rapid infection spread through dense urban areas, yet small enough for Umbrella to maintain significant influence over local politics, economy, and public safety.

Disaster Implications The city's population density proved crucial in several aspects:

Infrastructure Impact: Dense population networks facilitated rapid viral transmission

Crisis Management: Urban density accelerated infection rates beyond containment capacity

Evacuation Complexity: The sheer number of residents overwhelmed evacuation procedures

Federal Response: The risk of 1.5 million potential infected spreading beyond city limits justified the extreme measure of nuclear sterilization

Scale of Catastrophe The population size of 1.5 million directly influenced the disaster's progression:

Rapid viral spread through densely populated areas

Overwhelmed emergency services and healthcare facilities

Failed evacuation attempts due to massive population movement

Justified federal government's extreme containment measures

Created a crisis too large for local control but contained enough for complete sanitization

V. Umbrella Corporation's Strategic Operations

Control and Corporate Influence Raccoon City's size proved perfect for Umbrella's operations:

Large enough to justify extensive research facilities and corporate presence

Small enough to maintain significant political influence

Complex enough to hide suspicious activities

Isolated enough to contain potential incidents

Developed enough to support advanced research facilities

Historical Context and Operations In 1968, the same year Umbrella was founded, Leon's father joined the company's logistics brach as a mid-level manager in Indianapolis. By 1985, his discovery of suspicious shipping patterns led to the tragic elimination of Leon's family, demonstrating Umbrella's ability to quietly remove threats while maintaining its legitimate facade.

Strategic Geographical Separation The calculated distance between Umbrella's research facilities in Raccoon City and its distribution center in Indianapolis represented more than a mere logistical decision—it was a deliberate corporate strategy of calculated compartmentalization. By establishing physical and operational distance between its most sensitive functions, Umbrella created a sophisticated buffer against potential external scrutiny.

Indianapolis offered an ideal distribution hub: centrally located, with robust transportation infrastructure that allowed seamless nationwide pharmaceutical product movement. Meanwhile, Raccoon City's isolated topography provided the perfect environment for confidential research, shielded by complex geographical features and an urban landscape marked by industrial decline and bureaucratic opacity.

This geographical strategy served multiple purposes: it dispersed corporate risk, complicated potential investigative trails, and maintained the appearance of a conventional pharmaceutical enterprise. Mid-level managers like Leon's father, positioned within these carefully constructed operational networks, remained vulnerable yet critically positioned—close enough to observe irregularities, yet expendable enough to be silenced without widespread alarm.

The separation was not just about efficiency, but survival—both of the corporation's interests and its most dangerous secrets.

Threat Neutralization Protocol The choice of middle management in logistics rather than pharmaceutical executives as targets reveals Umbrella's calculated approach. Unlike high-profile executives who mainly dealt with paperwork, mid-level logistics managers had direct access to physical evidence of suspicious activities. Their position made them more likely to notice irregularities while being easier to "handle" without drawing attention. Their relatively lower profile in the corporate hierarchy meant their sudden "unfortunate accidents" would raise fewer questions than the death of a senior executive.

Economic and Social Contrasts The economic and social dynamics between these cities in the 1980s-90s prove revealing. Indianapolis, with its stable social order and emerging status as a logistics hub, served perfectly for Umbrella's legitimate operations. Its straightforward crime patterns, community oversight, and robust public security made it ideal for maintaining a clean corporate image. Meanwhile, Raccoon City struggled with industrial decline: unemployment, deteriorating infrastructure, organized crime, and corruption. These conditions, combined with its isolated geography and complex underground infrastructure, made it perfect for Umbrella's questionable research activities.

VI. Impact on Leon's Character Development

Career Choice Context The contrast between Indianapolis and Raccoon City shaped Leon's career aspirations. This is particularly evident in the Resident Evil 2 Remake, where his reference to Raccoon City as a "big city" reveals much about his background:

This perception is particularly evident in a key moment from Resident Evil 2 Remake, where Leon tells Claire "It's a big city...there has to be [survivors]." This seemingly simple line reveals much about his background and character.

Why? Allow me to shed more light on this 👇 Moving from Indianapolis to Raccoon City reflects:

The genuine awe of someone stepping into a larger metropolitan area

The optimism of a rookie officer facing his first major assignment

The appeal of joining a more prestigious police department

His untested perspective is shaped by:

Moving from a modest Midwestern city to a major urban center

The allure of RPD's specialized units like S.T.A.R.S.

The promise of career advancement and new opportunities

Psychological Journey As a 21-year-old rookie, Leon embodied a mix of optimism and naivety. His outsider perspective made him uniquely observant of the city's contrasts—its modern developments overshadowed by systemic corruption, its bustling streets tinged with unease, and its apparent prosperity marred by corporate control. His first day would transform this optimistic rookie into a hardened survivor, marking the beginning of his relentless quest for truth and justice.

VII. Conclusion

The contrasting dynamics between Indianapolis and Raccoon City form a rich backdrop for Leon's journey. The geographical and social differences between these cities not only shape his character development but also underscore the broader themes of ambition, resilience, and the devastating consequences of unchecked power. The tragic irony of Leon unknowingly walking into the same darkness that had changed his life thirteen years earlier adds a profound layer to his story of personal growth and determination.

The scale and complexity of Raccoon City, with its population of 1.5 million, proved to be the perfect setting for both Umbrella's machinations and Leon's transformation from an optimistic rookie to a hardened survivor. This carefully constructed urban environment, with its blend of historic architecture and modern development, its extensive infrastructure networks, and its hidden facilities, created an ideal stage for the tragic events that would unfold during that fateful September of 1998.

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Note: This analysis combines canonical information with real-world contexts to create a coherent background setting for my ongoing Resident Evil fanfiction "The Berthing". By examining the real-world geography and socioeconomic conditions of Indianapolis and Pittsburgh in the late 1960s-90s, I aim to construct a plausible foundation for Leon's journey from his childhood tragedy to his fateful assignment in Raccoon City. This research particularly supports the Mitchell family arc in my story, where Leon grows up in a middle-class Indianapolis foster home before his eventual move to Raccoon City. As a non-American citizen and only been to NYC one time so far, I've researched these locations and their cultural aspects carefully, but I welcome insights and discussions from readers familiar with these places. Your perspective would be valuable in enhancing the story's authenticity. Lastly, I'd apologize for any grammar or typo mistakes since English is not my native language!

#resident evil #leon kennedy #chreon #chris x leon #fanfiction #fanfic #ao3 #leon s kennedy #geography #culture #raccoon city #amwriting

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brown-little-robin · 4 months ago

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Top five aspects of mp100 that you wish had been further expounded upon/developed?

oooh, excellent question! I actually have very few questions about mp100, at least not ones that I want answered. One of the biggest strengths of the mob psycho 100 story is how much it leaves underexplained, I think. But here goes:

What happens with Shou after World Domination arc! PLEASE, I WANT TO KNOW WHO HE LIVES WITH. I might find this out from the fanbook, but it's in Japanese, I'm still a very beginner, and I haven't gotten to translating Shou's page. But regardless of the fanbook, I wish that we had confirmation of Shou's living situation within mp100 canon!

Mezato outside of the LOL cult! I know we only see her from Mob's perspective and the LOL cult is the thing that connects them, but I wish we'd had a second person's perspective on her at least once—like how we learn about Tsubomi's independent spirit from Dimple and Ritsu. Does she have siblings? What's her life like??

The different types of ghosts and spirits out there. They seem to mostly follow Buddhist and Shinto rules, underlying the central concept of "modern internet-inspired paranormal culture". Is the tunnel spirit a kami? By the end, is Dimple's existence sustained by whatever mysterious forces cause a human soul to linger on Earth (unfulfillment?), or is he now a being who is created by human belief, like the urban legends such as the Dragger? What about Matsuo's pet spirits, were THEY human? could they be healed/redeemed somehow? or are they doomed to the spiral?? It doesn't matter and it's better not explained but I WANT to know. praying hands emoji.

Okay, and I thought about this a lot, but I can't think of anything else I want to be further developed?? I think mp100 was pretty well paced, honestly, and the mysteries are a big draw for me! So I shall now list three things that are huge mysteries that I do NOT want to know more about:

Teru. I think Teru has the perfect amount of development. We know EXACTLY enough about him to guess about the rest. Teru is the shell of a star containing a black hole of information and that's how I like it.

Minori's future. I'm glad we don't know what happens with Minori. Because she parallels Minegishi—they're the two people who do horrible things and get forgiven and released to do their own changing... or not. We know Minegishi got an honest job and seems to be trying his best. Minori? Unknown. (at least in canon proper. again, I haven't read most of the fanbook yet). she could be regressing. I like to imagine that she does regress into being mean because it's the only way she knows how to be, and that she only really ends up changing in her young-adulthood.

Future careers!!! I love that we don't know where any of the main crew ends up in their future. I love that the furthest ahead of the canon wrap-up we see is six months. I don't want to know Mob's career, or Ritsu's or Tome's or Teru's or Shou's. I don't know!! I like that it's open to speculate!!!

#mob meta #mob-blogging

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universitypenguin · 5 months ago

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If the Call of Duty characters were in the Olympics…

Price would compete in the Modern Pentathlon. As one of the youngest cadets to ever graduate from the Royal Military Academy, John received a well-rounded education that helps him master the multiple sports that comprise the Modern Pentathlon. His experience as a leader and soldier, combined with his innate adaptability, makes him particularly suited for this event. The pentathlon demands a unique combination of physical prowess, tactical decision-making, and mental resilience, all of which are qualities that Price has honed during his military career. Whether it's fencing, swimming, equestrian show jumping, shooting, or running, Price's ability to perform under pressure and his endless pursuit of excellence would undoubtedly make him a top contender.

Gaz would compete in the Triathlon. With an impressive tolerance for physically and mentally demanding tasks, Kyle is highly skilled at maintaining the right mindset and pushing forward when others would’ve given up long ago. Known for his endurance and adaptability, Gaz’s ability to transition between different skills highlights his speed and agility. The Triathlon, which requires proficiency in swimming, cycling, and running, suits Gaz’s all-around athleticism and mental toughness. His grueling military training and his enjoyment of high-pressure environments have prepared him well to tackle the physical and mental challenges of a multi-sport event. His ability to remain focused on long-term goals and his determination to overcome any obstacle in his path would make him a natural in this demanding endurance competition.

Ghost would compete in Shooting. With his background in marksmanship and sniper training, Simon "Ghost" Riley is well-suited to the sport of shooting. Ghost’s ability to maintain perfect stillness and his sharp, focused sight are critical in competitive shooting, where precision is key. His calm, composed demeanor under pressure—some might even call it “cold”—allows him to block out distractions and shoot with deadly accuracy. Years of sniper training in the SAS have conditioned Ghost to thrive in situations where split-second decisions mean the difference between success and failure. His ability to remain collected in high-stakes situations would serve him well in the Olympic shooting events, where patience is just as important as physical skill.

Soap would compete in Judo. Having spent his younger years as a goalkeeper in football (soccer), Soap developed the agility, balance, and quick reflexes essential for Judo. Judo is a sport where competitors always have to be thinking one step ahead of their opponent, and Soap has proven himself to be a smart tactician, willing to take risks. His background in the SAS, where he earned a reputation for his speed and precision in urban warfare, makes him particularly adept at the grappling techniques and strategic movements required in Judo. Soap’s combative spirit and hands-on approach, coupled with his ability to anticipate and counter his opponent’s moves, would make him a formidable competitor on the mat. His resilience and quick thinking under pressure are exactly what judokas need to excel in this demanding sport.

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thebluestockingfirefly · 3 months ago

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Spock's Death and Funeral

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If William Shatner ever doubts his importance in the Star Trek universe, look at this. The genuine emotion here is gutwrenching.

This is why the Pine/Quinto films didn't work. I like the cast of those films and their portrayals, but those films tried to hyper speed the relationships and pretend they had the same impact, and it didn't work. Spock shrieking KHAAAAAAN and Kirk sacrificing himself felt meaningless, firstly because there was no real logic to that swap, and secondly because Kirk's sacrifice felt hollow. He was barely the captain. He was still building a relationship with his crew (I love Karl Urban as Bones, though).

And regardless of anything else, magically bringing Kirk back to life with super blood dramatically undercut everything from the TOS movies. They killed off Spock because they didn't know if Leonard Nimoy was going to be back for the fourth film, and dammit, that loss felt real. By the end of Wrath of Khan, Spock was dead, and Kirk had real feelings about that. There was a damn funeral and everything. New Trek was just all lol we stuck Kirk in Sickbay and gave him super blood and he's totes fine now.

I enjoy SNW because they actually spend time on developing the crew's relationships. Spock would hijack the Enterprise to take Pike to Talos IV and it would be believable because the show has spent that time with the two men.

Anyway apparently in my spare time I actually want to write a whole lot of analysis about Star Trek, so let's mark that one on the 'future career goals' bingo card.

#star trek #star trek tos #tos #st tos #kirk #james t kirk #jim kirk #captain kirk #spock #wrath of khan #strek #babies #my boys #happy place #Youtube

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imgonzoingrightnow · 2 months ago

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I’ve unlocked the secret bonus the nanny episodes. (I found out the Russian version of the nanny has an additional 25 episodes and a season 7 and I translated the season 7 episodes synopsis. Furthermore I’m transcribing and translating um.. at least one episode)

Here are the episodes synopsis for all 40 season 7 episodes. And a guide on the names and stuff.

Constantine - Niles

Zhanna - CC

Maxim - Maxwell

Vika - Fran

Shatalins- Sheffields

Denis - Brighton

Masha - Maggie

Ksyusha - Gracie

Baba Nadia - Yetta

Prutkovsky- Morty I think idk

Galya- Val

Liubov Grigorievna-

Season 7 episodes (some exist in original show)

1: According to urban planning plans, the Shatalins' house is subject to demolition. Vika took up the housing issue. However, none of the houses viewed suits the newly-made Mrs. Shatalina. Vladimir Vladimirovich Prutkovsky unexpectedly manages to solve the outcome of the struggle for real estate.

2: According to urban planning plans, the Shatalins' house is subject to demolition. Vika took up the housing issue. However, none of the houses viewed suits the newly-made Mrs. Shatalina. Vladimir Vladimirovich Prutkovsky unexpectedly manages to solve the outcome of the struggle for real estate.

3: Shatalin Jr. fights there and admits that he wants to follow in his father's footsteps. But Denis will have to wait with his production career and first go... to the Suvorov school. Zhanna has a new suitor.

4: Vicky's noisy behavior at the moment of intimacy with Maxim becomes the cause of their quarrel. Shatalin will still have to reconsider his conservative views. To achieve cooperation with a famous American playwright, Maxim just needs to become more uninhibited.

5: To appear at a meeting with school friends accompanied by a young handsome man, Zhanna turns to an escort agency. Extremely upset Konstantin tells Vika about everything. Together they find a way out of a situation that is offensive to him.

6: For several months Maxim has not been able to find a sponsor for his new production. Vika suffers from his inattention. Having fallen under the influence of Prutkovsky, Maxim became a fan of gambling and restaurants. What will make Shatalina return to his old life?

7: A neighbor, the mother of a prodigy boy Moti, comes to visit Vika. Motya demonstrates talents in all areas at the same time: from playing chess and musical instruments to acrobatics. Vika decides to start developing Shatalin's children immediately. Denis and Masha manage to turn away, but Ksyusha is forced to learn to play the cello. Moreover, the insatiable Vika makes Ksyusha a participant in the television contest of young talents, where she fails with a bang...

8: Denis came on vacation from the Suvorovsky school and asks his father to let him and his friends go to St. Petersburg. Maxim refuses. Vika intervenes, but also gets a refusal. Denis touches Vika: he says that his father does not take her opinion into account, and that she is still just a nanny. Baba Nadia and Prutkovsky advise Vika to get her way by refusing Maxim to have sex. But in the bedroom, seeing Maxim, Vika can't stand it herself and pounces on him. The next day, Vika hires a new nanny, and she, on Konstantin's advice, goes to the club for a prestigious party. But there she finds neither friends nor a decent occupation. In her absence, children have questions in which only she can help. The new nanny, feeling unnecessary, quits. In the evening, Maxim confesses to Vika that he loves her both as a wife and as a nanny.

9: Maxim believes that Vika allows children too much, moreover, she defends Maxim's interests. Masha brings her boyfriend Mikhail to visit. Maxim is conservative, Vika is on the contrary. There is a quarrel. By night, the passions had subsided. But the next day Maxim finds out that Masha decided to move in with Misha and, what is even more outrageous, Vika allowed her to do so. A storm eruped. Vika went to see her dad for advice. Dad's advice helped. The family is together again. Moral foundations have not been violated.

10: Vika receives a long-awaited invitation to the party of Rublev's wives. There she finds out that it's not enough to be just the wife of a rich man. A woman must necessarily have her own business: a club, an art gallery or a restaurant. Vika decides to open a restaurant. Maxim gives her money for premises and promotion. Finally, the restaurant is ready to receive the first visitors. But there are no visitors. To attract the public, Vika will repurpose her establishment into a Peruvian restaurant. But the exotic doesn't attract customers. Zhanna invites restaurant critics to write positive reviews about the restaurant. Zhanna's sudden benevolence alarms Vika. And not for nothing! However, Zhanna's cunning eventually turns into a benefit...

11: Things are not going well at Vicky's restaurant, and the workforce, consisting mainly of Viki's relatives and friends, goes on strike. And at this time, Maxim comes up with the idea to stage the musical "Bremen Town Musicians" in the style of "chanson" and invite the star of this specific genre - Sergei Kylo to the main role. As a result, the musical fails. Sergei Kylo's "Roop", which financed the production, is dissatisfied and demands a refund. Shatalin's life is under threat. But Vika finds a way out, and the musical, which failed on the theater stage, with great success called "Bremen Tourers" begins to go on the stage of restaurants!…

12: There was a disappearance in the theater where Maxim stages the musical. To find the thief, Zhanna gets Maxim's permission to rumage through the biographies of employees. And he finds out that Vika never graduated from school, and Konstantin has a criminal record. In order to improve her reputation and get a certificate, Vika goes to the senior class of the school where Masha studies. Vic's school is the center of attention. She has a lot of friends and suitors. And she spends all her free time with them. She really likes going back to school. What about Masha? She's not in their company. None of her former friends pay attention to her. And Masha is doing homework alone. The passing of the laboratory chemistry workshop is approaching. Will Vika hand it in?

13: Maxim and Zhanna are preparing a new comedy production with the role of a butler. And Konstantin really wants to play this role. But Maxim is categorically against the fact that the family participates in his productions. Zhanna still persuades Maxim to listen to Konstantin. Why does she need it? To once again rejoice over him. Konstantin fails at the audition. Konstantin and Vika are indignant, they consider it unfair. They have an idea to deceive and make fun of Maxim and Zhanna. Vika, having changed into a man, successfully passes the audition for the role of a butler. And he is already going to take off his wig and beard, but after hearing words of delight from the producers, promises of a bright future and the amount of fees, he decides to wait.

14: His university friend, a lucky businessman Vlad Sablin, came to Maxim. They get drunk all evening, and the next day Maxim goes on a business trip urgently. Vlad comes to the house and tells Vika that Maxim hastily forgot to write him a check for half a million dollars. Vika writes a check, Zhanna objects. On the same day, Vika and Zhanna find out that Vlad is all in debt. Zhanna rubs her hands - finally Vika is thrown out of the house. Vika goes to Vlad's house in despair. Vlad is ready to return the money, but an inner voice tells Vika that he should be given a chance. Meanwhile, Konstantin receives a letter about the inheritance. He will inherit the title and estate. Konstantin became proud, stopped working, started shopping expensive. Later it turns out that there are plenty of other applicants for the title, and the estate is unprofitable.

15: Vika continues to revolve in the company of Rublev wives and look for a decent occupation. Now she announces that she is going to open an art gallery. From her neighbors, Vika finds out that it is now fashionable to discover new names among the gallery workers. Vika makes everyone at home to demonstrate their painting skills. The result does not please Vika and she turns to a professional artist. But the situation there is no better. As a result, Maxim's youthful drawings are demonstrated at the opening of the gallery. But the fire alarm goes off and the pictures are flooded with water...

16: Maxim wants to involve one of the stars, Sergei Kurnosov, in his production. Meanwhile, journalist Makar Polivalov writes an unpleasant article about the upcoming production. They say that all famous actors refused to participate in it. But if Kurnosov reads this article, he can also refuse. Maxim finds the strength to restrainedly ask Polivalov on the phone to change his mind and not write such articles anymore. At this moment, Vika bursts into the office, grabs the phone, is rude to Polivalova and hangs up. The next day, an article appears that completely discredits Maxim's plans. In it, Polivalov operates with information that was known only to the household. Vika and Konstantin suspect Zhanna's suitor. To report this, Vika again bursts into Maxim's office, where he is just going to sign a contract with Kurnosov. Maxim asks her to come out, but Vika, seeing Kurnosov, asks for an autograph. And just on the newspaper with an article that Kurnosov shouldn't have seen.

17: Vika dreams of a status car. Maxim is ready to buy her a car on condition that Vika gets a license. Vika offers Maxim to just buy her a license, as all her acquaintances do. But Maxim is categorically against it. Then Vika buys the license herself, but tells Maxim that she honestly passed all the exams. Maxim wants to check for himself how Vika drives the car. Vicky has only a few days to prepare and hand over Maxim driving. She takes night driving lessons from Konstantin. Maxim, who doesn't know why Vika runs away to the butler at night, starts to get jealous...

18: It seems to Vika that her relationship with Maxim has lost its former novelty. Maxim has completely earned money, pays little attention to her, sex has become commonplace. The children and Konstantin leave for the weekend, Vika and Maxim stay home alone. Vika wants to use this chance to light the fire of love and voluptuousness again. But it turns out to be not so easy.

19: At night, a Labrador dog is found in the Shatalins' yard. Ksyusha is delighted and wants to keep her. Vika follows her lead. Maxim is categorically against it and asks everyone to actively join the search for the owner. Zhanna notices that the dog looks like Koni, the Prime Minister's dog. After Zhanna's call, his friend from the Prime Minister's security has no doubts. What luck! Now they will meet the prime minister. But grandma Nadia disappoints everyone - the prime minister has a bitch, and this is the cable. Masha finds a photo of Nikolai Baskov's dog on the Internet. And the night guest looks a lot like him. Maybe his master is Baskov?

20: Maxim is waiting for a visit from his old friend from Paris - Countess Tarnovskaya. Vika is convinced that the Countess is an old woman. But it turns out that the countess is Maxim's childhood friend and his age. Appearing in the Shatalins' house, she begins to seduce Maxim. Vika is jealous and buys herself a fake family tree, according to which the Prutkovskys are an ancient Polish noble family. It comes to the fact that Vika is presented to the Moscow noble assembly. Dad, who appeared at the wrong time, involuntarily contributes to the exposition of Wiki. Maxim saves the situation.

21: Vika is watching the new neighbors. It seems to her that they are Chinese spies. Vika connects Galya to the spy. They get their hands on a parcel addressed to the neighbors. Opening the parcel, Galya and Vika find warm socks and lard in it. They decide that it is through lard that the neighboring spies get important information. To "split" them, Vika invites neighbors to visit. Here she tries to give her neighbor a drink, but the neighbor doesn't let her do it. Cunning questions also do not bring results. Galya starts entertaining the neighbors alone, while Vika does a search in the neighbor's house. Galya dances in front of the neighbors, sings, shows the shadow theater... At this time Maxim returns. After that, all misunderstandings are resolved. The fact is that the neighbors behaved so intensely with Vika only because of her strange behavior they considered Vika a spy...

22: Konstantin suffers because Zhanna doesn't pay attention to him. To interest her, Konstantin composes a story about the fact that he has a twin brother, with whom they were separated in early childhood. Now this brother is a major American producer. Having glued his mustache, Konstantin portrays his own brother and even has success with Zhanna. It comes to the point that Konstantin begins to be jealous of Jeanne for himself, that is, his fictional brother. He leads Zhanna to a restaurant, where the deception is revealed.

23: Vika takes Galya with her to the next meeting of Rublev's wives to look better against her background. At this meeting, Vika criticizes the book, the author of which is the Rublev lady present here, writing under a pseudonym. She offers Vika to write at least one book herself. Vika agrees. But her personal literary talents are clearly lacking and Vika turns to a professional - an unemployed writer Kolbaskin for help. Meanwhile, Galya is becoming an increasingly popular figure in a social party and even displacing Vika from there...

24: Maxim is extremely unhappy with what the press writes about Viki's scandalous antics. And he advises her to behave more cautiously and not to undermine his image. The family returns from a picnic and discovers that they forgot their dad in the forest. After a while, he appears all in soot. He says he extinguished a forest fire alone. No one believes him. But the next day TV correspondents come to the Shatalin's house and invite Prutkovsky to the TV show to tell about his feat. A very good moment to raise Vicky's image. Vika persuades her father to say that they extinguished the fire together and goes to the studio with him.

25: Maxim trusts Vika to organize the presentation of the new musical. Zhanna is convinced that Vika will not be able to cope. And if anything, Zhanna will help her not to cope. Vika and Galya surprisingly quickly find a room, musicians - everything so that the presentation takes place at the highest level. But Vika accidentally leaves her mobile phone in the living room. The administrator is calling her. Zhanna takes the phone. The administrator asks to confirm the order by five o'clock, otherwise he will cancel everything. Zhanna promises that she will certainly give Vika all the information. He writes a note to Vika in incomprehensible handwriting and hides it under a pile of papers so that Vika can't notice it right away. The presentation is under threat of disruption.

26: It seems to Gala that she is being chased by a maniac. And Vicky's credit card is running out of money. Maxim doesn't want to tell Vika the code from his safe, because he's sure that Vika will forget it. Vika swears that she will be able to remember the code. Maxim names the combination of numbers, and says that there will be a gift for Vicky in the safe. She will have to get this gift for dinner. But Vika forgets the code. In order not to embarrass himself in front of Maxim, Vika decides to break into the safe. Prutkovsky recommends Vika to contact their relative - a professional bear cub named Grizzly. He blows up the safe and instead of Vic's gift he finds only a burnt fragment of something unknown…

27: Vika meets her old acquaintance Katya, who is now known as Evelina Gimenei, a specialist in family relations and author of books on this topic. Vika persuades Maxim to take a training course on strengthening marriage. But it turns out that these activities are a way to get as much money as possible from trusting couples...

28: Zhanna is having a charity ball. Arriving there, Maxim finds out that he is declared "the prettiest bachelor of show business", and every dance with him brings a decent amount to the fund. When the news about it reaches Vicky, she breaks her head and rushes to the ball.

29: Maxim and Zhanna are going to fly to Paris on business, and Vika wins a voucher "Honey Weekend in the Cleopatra Cave" - a former pioneer camp, and now an elite holiday home. Many Wikin acquaintances have already visited this place and were satisfied. Maxim and Zhanna's trip to Paris is disrupted. Maxim goes with Vika to the "Cleopatra's Cave", where instead of the promised exotics, they are waiting for a completely "Soviet" service and stupid contests. And Zhanna remains to find out with Konstantin: which of them was more often "threwn" in her personal life.

30: The old chair that Maxim got from his great-grandmother turned out to belong to Prince Dolgoruky himself. Maxim gives a chair to the museum in the hope of becoming a member of its board of trustees. The solemn ceremony of his acceptance as a member of the trusteeship The council should take place in a few days. Ksyusha breaks Vika to go to the museum and look at her great-grandmother's chair. In the museum, Vika is photographed next to an armchair, accidentally drops a massive candlestick and it smashes the chair to pieces.

31: Vika and Maxim are invited to the wedding of Vikina's cousin. But Maxim's plans suddenly change. Together with Zhanna, he flies to Jurmala for a competition of young performers. In Jurmala, it turns out that all the hotels are overcrowded and one of the rooms they booked was occupied by Alla Pugacheva. Maxim and Zhanna will have to spend the night in the same room. It's about the night. Maxim and Zhanna decide who will sleep where. At this moment, jealous Vika climbs out from under the bed. And immediately an equally jealous Konstantin appears from the closet. Now they will have to spend the night in one room for four. And who stayed at home with the children then?

32: The Shatalins have new neighbors, the Kuskov family couple. He is an oil oligarch, she is a famous ballerina in the past. And also their daughter Juliet is the heiress to the oil and gas throne. Ksyusha comes to her house with Juliet and Konstantin treats the girls with his signature pancakes. Juliet is delighted. Vika dreams of getting to know such status neighbors better. She sneaks to their housewarming party and even invites the Kuskovs to her place. Vika is aware that the Kuskovs annually arrange a yacht trip for their friends and want to get into this circle. The Kuskovs really invite you to take part in the cruise, but not Maxim's Vikui, but... Konstantin. Konstantin also receives a tempting offer to work as a butler for the Kuskovs.

33: Vika has nothing to do. The children are already adults and do without it. Konstantin does all the housework. At this time, a bell rings in the Shatalins' house. The little girl got the wrong number. She says mom forgot to pick her up from school. Vika rushes to the rescue and brings the girl to her place. When it turns out that today is the girl's birthday, Vika arranges a real holiday for her: with a chic cake, a clown, pony riding and even an elephant. In the midst of the holiday, Maxim appears and has found the girl's mother. It turns out that the girl's birthday was a few months ago, and these calls from school to an unfamiliar number are just a way to have an interesting time, since the girl's mother is in business and is at work all the time. Nevertheless, Vika and the girl break up as friends.

34: Vika dreams of getting into the prestigious Rublev fitness club, which is run by a handsome man from glossy magazines Tony Prince. And here's a lucky case - his car suddenly catches fire right in front of the Shatalins' house and Konstantin saves his idol. But the money lying in the glove box can't be saved. Tony saved this money for filming a methodical film about fitness. Vika decides to produce this movie. Maxim agrees after some hesitation. Vika and Tony become business partners. But then Vika notices that Tony shows no business interest in her at all.

35: Galya broke up with another suitor and is now in a deep depression. She moves to Vika's house, and in a couple of days all the household members moan from her whining and whims. Maxim demands that Vika kick out Galya. But Vika feels sorry for her friend and leaves the house with her. Maxim regrets that he behaved so heartlessly. And the enterprising Prutkovsky lures considerable sums from Maxim - allegedly in order to persuade Vika to return. In the end, everything falls into place. Galya is brought out of depression by the shawarma seller, and Maxim and Vika are together again.

36: Maxim's musical should go on tour to St. Petersburg. But the trip is on the verge of collapse, since the star of the musical, actress Olga Bobkova, can't go. Vika manages to find out the reason for the refusal - the star has a small son who has no one to leave with. No nanny can stand talking to a little bully for more than a day. Vika decides to shake up the old and work as a nanny. The actress is ready to go on tour. She brings her son to the Shatalins' house and it turns out that this "baby" is already sixteen years old! At the same time, he behaves like a six-year-old child. However, Vika shows a remarkable pedagogical talent and in two days the boy is literally unrecognizable!..

37: Konstantin decides to sell Maxim a play written by his friend and become a co-producer of the production. And all this in order to get rich and attract Zhanna's attention. But Maxim reacted to it coldly. Vika advises Konstantin to just confess his feelings to Zhanna. Konstantin believes that he can't do it until he gets rich. Then Vika offers Konstantin her help in staging the play. They pretend to be Maxim and Zhanna and start the production. A devastating article appears in the yellow press, which lists all their mistakes and miscalculations. This is a serious blow to the image of the Shatalin agency. Vika plays a scene of despair in front of Max and reports failure. Maxim is correcting the situation. After the successful premiere, Konstantin proposes to Zhanna.

38: Vika and the doctors were wrong - there was no pregnancy. It's just that Vika ate too far. Vika and Maxim decide to correct this mistake and conceive a child. Dad believes that Max's sperm at his age are no longer so active and advises Vika to turn to the Chinese doctor Fu. Vika buys the necessary roots from Dr. Fu to increase sperm activity and a whole box of special almond cookies for mutual attraction. Vika and Max don't get out of bed. Vika constantly checks whether she is pregnant with the help of a test. By chance, the cookie gets to Konstantin and Zhanna and a passion flares up between them.

39: Vika still wants a baby and is worried that she can't get pregnant. It seems to Maxim that it has turned into an obsession. He offers Vika to get distracted, go to the ski resort, where he was invited, among others, by the Prime Minister of Russia himself. Vika is delighted - she will get acquainted with the Prime Minister himself. Before the gala dinner, Maxim is afraid that Vika will blunt out something. However, at dinner, the premiere liked Vicky's immediacy so much that he invited Vic to go skiing with him a few days later. Maxim, on the contrary, he sheditated, carried all sorts of nonsense, which is why after the meeting he began to worry even more. Maxim teaches Vik to go skiing. Suddenly, Vika can't resist and rolls down at great speed. Maxim is behind her. As a result, they find themselves waist-deep in snow in a crevice. Afraid of freezing, they warm each other with love. A few days later, when there are only a few hours left before the walk with the prime minister, Vika finds out that she is pregnant. And he is in a hurry not to the prime minister, but to Maxim, to "the main man in his life".

#the nanny #choonanigans #niles the butler #cc babcock #fran fine #maxwell sheffield #Important note Maxwell and Fran get married at the end of SEASON 6

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