#dark s03e08

[bladesrunner]

It's strange how Pan's here, but he won't show himself. I hope he's not angry with me. — I think he'll understand. And she will, too. My daemon, I mean.

HIS DARK MATERIALS (2019–2022) S03E08: The Botanic Garden

[not-so-mundane-after-all]

HIS DARK MATERIALS S03E08 'THE BOTANIC GARDEN'

[dr-futbol-blog]

The Gift, Pt. 6

Between McKay and Sheppard leaving the meeting room together and when we find them walking together toward Weir's office, there is another scene with Teyla talking about her issues with Heightmeyer. The two of them sure seem to be bonding over the course of this episode. In this session, her 'gift' as a metaphor for being gay is once more highlighted:

Teyla: I know that it is not my fault. There is nothing I can do about it. The fact is, I am really no different now than I was yesterday or last week. Heightmeyer: But you feel different. Teyla: Yes. I think the thing that I am most worried about is how people will perceive me.

While Teyla and McKay have been paralleled in the episode, there are also differences. Where Teyla tells Heightmeyer what her father thought of this thing that makes her different and how he told everyone that she was special, McKay seems to have had a very different experience with his father. Back when he was recording his video message in Letters from Pegasus (S01E17), McKay talked about a time he kissed a girl and how he almost caught mono. But then he says that he missed almost a month of school. It's possible that he was conflating two memories, the first time he kissed a girl and a time he got caught kissing someone that was not April Bingham. Because the missing nearly a month of school seems to be unrelated to the almost getting mono from her.

McKay told Carter that his parents hated each other and took it out on him which heavily implies that there was physical abuse in his childhood. So if he did get caught kissing someone that was not April Bingham, that was not a girl at all, there may have been a darker reason for why he missed almost a month of school. And the way Sheppard reacted to Teyla mentioning that her nightmares had not been this bad since the passing of her father earlier, what with his own father still being alive on Earth, it is also possible that Sheppard's dark look means that he knows about this incident--given also the fact that we later find out (McKay and Mrs Miller, S03E08) that he has seen and even possesses a copy of McKay's video message.

So, McKay and Sheppard then walk into Weir's office and I find this scene probably the most interesting in the entire episode. It's... weird. The dialogue seems clunky, and there is most definitely something going on that is not spelled out to the audience. There is something that is clearly left up for the audience to interpret for themselves--and this is not the last time this happens on the show.

They walk in through her open door and she tells them to wait non-verbally by pointing up her finger while she continues reading something. This could actually be interpreted as a little rude but Weir, also, must be feeling exhausted by now. Sheppard seems to be leading the way (where McKay was leading the way when they left the previous meeting), McKay follows him with his hands in his pockets like he's feeling relaxed. Notice that Sheppard places himself behind the chair with his hands on the backrest so while he leans forward on it, he again made sure there was a barrier between himself and Weir. This is probably not a conscious decision and I'm not convinced even the actor was doing it on purpose half of the time. They are also standing real close, let's say because of Weir's tiny office.

When they first walk in Sheppard has his brow raised, seemingly amused by what McKay was saying, "Even with Major Sheppard in the chair we weren't able to--" (it might be he was at least anticipating some kind of an unintentional entendre from McKay, or was just reminiscing what ever they had been doing by/at/on the chair) but his look turns more serious as they both notice Weir acting strangely. Also, McKay is the one who mirrors Weir physically, lifting up his own finger sarcastically.

McKay: Alright. Even with Major Sheppard in the chair we weren't able to-- What? What is that? Weir: Yeah, something you said made me wonder. McKay: I thought we decided there were more important things than-- Weir: Why did the Wraith scientist stop the experiments?

Because Weir doesn't answer right away and McKay has no patience to wait, he rounds up behind her to take a look at her screen. Note that Weir had just interrupted McKay twice. And as soon as McKay leaves his side, Sheppard turns to watch him go. Like his body actually almost takes off to follow him but he then makes himself stay put. There are marines standing just outside of her office that can see into it, it would seem weird to be that attached at the hip to McKay even though he clearly wants to be near him. He looks like someone just took away his favourite toy when McKay leaves his side.

Now, they came in to tell her about their non-progress with the command chair. We are to think that the two of them are just on their way back from the control chair room where they had tried to initialize the chair using Sheppard in much the same way they tried with Beckett earlier, only getting Sheppard to actually sit down on it. It seems as though they were not able to make it work. However, we don't actually know that that's where they are coming from, or are coming directly from there. They left the previous meeting together, they arrive here together, we have no indication of how much time has passed between these two scenes (Teyla has another session with Heightmeyer between them but that gives us little indication on the passing of time). Also, presumably they tried using Sheppard after they failed with Dr. Kusanagi but this also is far from certain. He could be reporting their failure to initialize the chair using Sheppard from any number of occasions.

All we know is that McKay and Sheppard have spent time with each other between the two scenes. They may have done anything. They may have talked about any number of things. Frankly, they look like they were coming back from lunch. But note that neither is wearing their ear piece which at least means that they wanted some privacy or that when they were in each other's company, neither had any need for anyone else to be able to get in contact with them. The fact that we saw Teyla remove her ear piece to get some privacy or confidentiality in her meeting with Heightmeyer earlier just calls attention to this fact, as does the way Sheppard turns his face here to show us that he's not wearing one. One scene that we know for certain that is missing is Sheppard sitting in the chair and McKay taking readings. This we know for sure did happen at some point even though we didn't get to see it. But they leave space and opportunity for more.

The fact that Weir interrupts McKay twice is interesting. It seems as though she is trying to keep her thoughts together which is making her act in a way that McKay might normally act. Note also that McKay is, for the second time in short order, the one who points out that they have more important things they should be doing, which is Weir's responsibility. It's what Weir should be doing. But instead she insists on pursuing the wraith mystery. Exhausted, they have sort of taken on each other's personality traits. The dialogue then gets real odd:

McKay: What would I have said that would make you think that? Weir: I don't remember. McKay: Well, it's a good point. I'm just wondering what I said. What have you got? Weir: Well at first, I thought it was because the other wraith caught him. Sheppard: They didn't? Weir: No. According to this, he stopped on his own.

So, the strangeness starts with the fact that we are never really explained what Weir means. McKay asks her what he might have said that made her think that and we never get the answer to it. There is nothing that we hear McKay say previously in the episode that directly relates to that premise. The closest thing that we hear him saying on screen that might relate to what Weir is thinking about was "So you think this Wraith scientist was trying to make humans what, more tasty?" but it is a stretch to go from this to the question "Why did the scientist stop the experiments?" And it's strange that they drop this piece of dialogue on us and then never resolve it. Why even mention it at all? They could have done the entire exposition dump without a reference to "something" McKay said. It's jarring. But the dialogue then gets even stranger:

McKay: See, now you've got me wondering why the rest of the wraith didn't want these experiments taking place in the first place. Weir: Exactly. McKay: Especially since they were supposed to be intended to improve things for everyone. Weir: Yes, that's what I'm saying. McKay: I just said it. Sheppard: Will you stop?

This is the most important part. The face Sheppard pulls here makes all the difference. You could interpret this as Sheppard stepping in for Weir, to defend her from McKay's need to be argumentative for the sake of being argumentative, or what ever is going on here. The dialogue is weird, and we never get a real explanation for what is going on. McKay is tired, and it seems to make his communication with Weir more difficult than usual. Weir is likewise tired and not able to communicate as well as a diplomat like her should. They are both being needlessly contentious. There's no real disagreement, they both do find this interesting and important, but for some reason they are still at odds. Like, the two of them are basically saying the same thing. They are talking about the same thing. They are having the same thoughts but even in spite of all of this, they are having a difficulty communicating here.

And what McKay and Weir are doing here is the opposite of how we see McKay and Sheppard communicate, even here in this very same scene. When they are thinking the same thing, they don't even need to speak. They can tell what the other person is thinking just by looking at them. And here, McKay and Weir are thinking the same thing and even though they are using their words, it still seems very difficult for them to find common ground. Even when you know a person very well and you're thinking about the same thing, the communication between the couple and a couple of colleagues is going to be different. This scene is fucking beautiful.

And Sheppard. The way he says "Will you stop?" and then gives McKay this look of "We have talked about this, we have just talked about this, what did I just say?" Earlier, Sheppard talked with Teyla about her needlessly snapping at Weir and almost biting his head off just for caring about her. Based on the look Sheppard gives McKay, they have had the same conversation. He told Teyla: "But you yourself admit it, that you're a little off your game. You snapped at Doctor Weir this morning in the Briefing Room for no good reason. Now you're biting my head off for caring that you might need help in dealing with the fact that it's been three days since you've had any sleep." McKay has gone days without sleep, as by his own admission. McKay is snapping at Weir for no good reason, check. McKay is off his game, to be sure.

It follows that he has also tried to bite Sheppard's head off for caring which has lead him to have the same discussion with McKay as he had with Teyla. And the way he's looking at McKay here, he is reminding him of this. He is saying "Will you stop?" not because McKay just suddenly crossed some line here what with him and Weir both being unable to communicate with each other, or because his own patience is wearing thin listening to the two of them. He is saying it because McKay is continuing to do something that he has already said something about previously. His "Will you stop?" is picking up a conversation that the two of them have been having off screen where we have not been party to it. In fact, it really seems like while they are talking with Weir, McKay and Sheppard are having an entirely different conversation with each other, what with McKay looking at Sheppard every time he says something to Weir. And here, too, the meek look he gives Sheppard in response speaks volumes. They are having another private conversation while the dialogue plays out through the words spoken.

And notice that while McKay and Weir are both culprits here, he only says it to McKay. It's not because he cares about Weir by coming into her rescue as her white knight and is thus chiding McKay, let's not even. It's because he feels that it's his responsibility to protect McKay even from himself. It's not his place to say anything to Weir but it is his place to say something to McKay--even if it was just in the role of his team leader. But he's not acting as his team leader here, he's doing the thing a spouse would do. He's saying, I know you don't even want to be doing this and you'll feel bad about it later so can we just not. He's saying, even you know this isn't you so just give it a rest. He's saying, I know you're tired but this isn't helping us. He's saying, you don't have to do this, it's just us here.

It displays such familiarity between them that in only three words and one look they are having at least a dozen different conversations between them that have no beginning and have no end, "apprehending one another's thoughts and exchanging ideas with extraordinary swiftness and perspicuity, contrary to all the rules of logic, without the aid of premises, deductions, or conclusions, and in a quite singular way." And it works, too. For the rest of their meeting, McKay keeps from being needlessly combative and tries to be constructive instead. The look that he gives Sheppard clearly says "You're right." It says, "I'm sorry" (to Sheppard, not to Weir). It says, "Thank you for reminding me."

Following this, they have a very professional, very productive discussion about the wraith's psychic abilities and using Teyla to tap into it. McKay looks concerned when Sheppard says that he had noticed the wraith having this network, and he could be thinking back to any number of encounters they have had with the wraith. Sheppard himself is likely referring to what happened at the end of Rising (S01E02) when the wraith were awakening around him, and if he is making a reference to that and McKay knows about this (as he seems to know a lot about Sheppard), his worry is warranted.

Sheppard also has a notable reaction to the thought of the wraith wiping out an entire planet, something he had just recently witnessed with Teyla:

Sheppard further has a somewhat curious reaction to Weir's statement that it seems as though the wraith are unable to read the minds of humans. Something clearly goes through his mind and he very almost looks at McKay, his eyes are already going there, before he stops himself from doing that. Let us recall that in Before I Sleep (S01E16) Sheppard was unsettled by the notion that someone could just look at another's face and know what they are thinking--like both himself and McKay have been doing even in this very same scene.

After this scene, McKay vanishes from the episode. We are given no explanation for his absence. He is mentioned briefly by Weir when she and Heightmeyer are in Teyla's private quarters (none of the men are present, I suppose due to reasons of propriety). She says "And McKay, he does have some doubts about the range of this telepathy" referring to the wraith psychic network, also indicating that their discussion went on for a while that we again didn't get to witness. But other than that, we are left wondering why he is not a part of the happenings in the rest of the episode. Granted, he's not precisely needed and there are so many characters that are present during Teyla's attempts at connecting with the wraith that for narrative reasons, it probably was better to leave him out. But usually we are given some reason for his absence, like he's doing something else in the meanwhile.

The last we see him, he is looking at Sheppard while Sheppard is looking at Weir, the two of them clearly excited about this possibility of tapping into the network to gather intel about the wraith. McKay does not look as excited as they do, he looks more concerned. Now, the reason Sheppard is looking at Weir so intensely is because he very much wants to do this (as we shall see later), and he needs to make sure that Weir is on board with the idea. He will take any edge they can get and if this is it, they are doing this. He is making sure that this gets done. Sheppard is not looking at McKay because he's not the one he needs to convince, manipulate, cajole or what ever he needs to do, to make sure they do this. He's also not looking at McKay because that's a side of him that he would rather not show him and he's trying to shield McKay from it by not letting him get that read right off of his face (but again, it's not because he doesn't want to look, the scene ends with his face turning toward McKay even when he's keeping his eyes fixed on Weir). But McKay seems to sense that something had just changed in him. There's a new fire in him. He knows this man and this change has him concerned.

Now, while we have nothing to base it on, we can propose three reasons for why McKay is away for the rest of the episode. First is that he is simply busy, he is working on the control chair or some other project during this time. This is very likely. Second, he is sleeping. He has finally been able to get some sleep and the reason for this might be that Sheppard was finally able to wrestle him into bed. He certainly could have done with some sleep. This is possible. And third, Sheppard felt that it was better that he not take part in this due to the potential danger in attempting something that has never been done with regards to the wraith. The reason for this could simply be strategic--if one is attempting to psychically connect with the wraith, having the person with the most intricate, most detailed knowledge of their defenses present might be a liability. They don't know how this psychic network works, and McKay and everything he knows about Atlantis is the last thing they should make available to be psychically scavenged by the wraith.

McKay is much too important to the city (as pointed out by Zelenka in the following episode) to risk him needlessly even if Weir claimed that the wraith would be unable to read the minds of humans. And this is true regardless of how you interpret McKay and Sheppard's personal relationship. But given how protective we have seen Sheppard be over McKay, trying to protect him from all things and everyone including himself, it would make sense for Sheppard to not allow him to take part in this experiment. John Sheppard is known for taking chances with his own life but he is not taking chances with McKay's life, and this is something we see again and again. This is something that culminates at the end of this season. And the way Sheppard was looking at Weir, he seems fully ready to step out of the path of angels if it should be needed here. And he wants to protect McKay from that, too.

Continued in Pt. 7

[woodsfae]

B5 s03e08 Messages From Earth table of contents • previous episode

We open on some morning military grousing, and a secret note and delivery from a chef! And it's real bacon and eggs from Marcus, because she helped him get an id card. And she said "Surprise me!" That's cute. What a rascal, casually able to arrange for highly perishable foods to be shipped out to B5 before they spoil. I wonder if he just liberated some senator or ambassador's expensive export shipment. Faked it spoiling or something.

And switch to Marcus, who is involved with shenanigans! Er, an actual fight through some narrow rooms and corridors! Hope he doesn't suddenly have a corpse on his hands. Disposing of a body on a space station isn't the easiest thing in the world.

Maybe we'll get G'Kar and Delenn back this episode? I would also like to see Na'Toth, if she hasn't died and I missed it, like I missed Ko'Dath's!

Last episode a Ranger or some sort of intelligence contact told Marcus things were up on earth and any Rangers in the area should move away from Earth for awhile, and now in this episode, there's speculation about President Clark having been involved with the deceased president's assassination.

Love seeing G'Kar! Boo prison. And good for Garibaldi for visiting him. I hope Garibaldi has been actually learning Narn. And he says he's trying although he wishes there was a translation! G'Kar says the Book of G'Quan cannot be translated and must be read in its mother tongue. Good for Garibaldi. He's been earning a lot of Conditional Brownie Points lately for good behavior. I appreciate the check-in with G'Kar. Hopefully he's making lots of progress in his telepathy while he's in the slammer.

G'Kar is using his prison sentence to meditate and write a book. Very productive! I bet the book will be a banger. Or perhaps is actually secret intelligence he's gathering with his new telepathy! Also, what a drama llama, fading back into the shadows when Garibaldi asks to read it. "When it is done…" *fades into shadow* I don't think it was meant to indicate a leaning towards The Shadows, though.

Garibaldi got a message about a package. The same one Marcus was expecting "in a week" last episode, perchance?

The package is, as I suspected, a person. Dr Mary Kirkish. She's on several hit lists. And I think Sinclair sent her? What a funny pan down the table at really awkward angles for every single one of their faces. The assembly of senior Rangers (?) plus Dr Kirkish the archaeologist.

Her team discovered an artifact at least a thousand years old buried on Mars. A Shadows' ship, in fact! And Earthdome says they've never seen ships like the one Sheridan released hyperspace footage of. Dr Kirkish says they must be lying, because she personally discovered one. Almost everyone who knew about the ship on Mars is dead or missing! The Shadows must have been building strength all over the galaxy for a long time. Someone touched the ship and he died instantly. Earthdome came and went, then a Shadows ship came and dug up the buried one. More confirmation that being in the physical presence of the Shadows feels wrongbad on an instinctual level, and triggers fear and loathing whether seen, heard, or in close physical proximity. It seems like even recordings of the shadows has that effect to some extent. I wonder how they shield their allies from it. Morden didn't seem to be badly effected by a fear/loathing aura when there were some in his holding cell with him.

Delenn is taking Dr Kirkish under her protection, it seems. Lennier swoops her away to safety. The Minbari probably do have better security than the humans can manage. So far it seems like they're probably less likely to work with the Shadows than humankind, too. Since they have historical and religious teachings of mortal enmity about the Shadows.

Zack Allen gets even more opportunities to be a collaborating bootlicker on screen! Joy.

Delenn going to John Sheridan quietly, alone, in the dark, asking if he's sure he wants to go through with something. With…?? I kinda wonder if they'll randomly get married like this, with very little on-screen buildup.

I must have missed some information earlier, because I didn't know Earthdome had any access to the crashed, 1,000 year old Shadow ship. But Sheridan and Delenn want to go through Earth's defense grid, go to the Shadow ship while evading all of Earth's defenses, and destroy the Shadow ship before President Clark can get his corrupt and fascist hands on it.

Dang, what an escalation! Acting directly against Earth, while trying to hide it! Dr Franklin will fake Sheridan, Delenn, and Lennier's deaths if they fail! Or they also might die! Damn. High stakes. I love how this show has huge leaps of plot when I'm least expecting it.

Delenn and John are being cute on the bridge of the White Star, as they should be.

Some Earthforce fascist is telling the Night Watch that Earth Dome is going to start making arrests of disloyal people within two months. He's demanding the Night's Watch start higher and more invasive levels of investigations into and volume of reporting people. Here's Zack Allen's latest moral checkpoint to fail! And they want to know if any of their informants know where the captain is! So they've already sussed him being perhaps away? Or they dislike that he frequently keeps his whereabouts confidential?

It's pretty cute that Sheridan is an argumentative person, until faced with Lennier's gentle logic. Lennier is right, Sheridan should get some rest. But I also don't know how the Minbari sleep SO vertically. There's comfortable slant, and then there's a whole forty-five degree angle!!

Cute little bedtime confidences being shared here! On smaller than twin-sized 45 degree angled meditation tables. Sheridan's adorable story of his dad standing outside in the wee hours of the morning spraying the hose on the roof so John could get some rest the night before a big test still seems more comfortable and sleepier than these Minbari beds.

Hah! He's so blown away by the idea that you can ask a smart speaker to play rain sounds. But also, what an intimate little hand hold across the void between their uncomfortable tables. Delenn is gonna love human beds once she adapts to the cultural difference. Or at least I hope she does! Get a comfy night's sleep, girl.

John has been sharing personal tidbits with Delenn, but she tends to share about herself but describing what Minbari in general do. I have my fingers crossed for her opening up about her past to some degree. She is open, and does share what she currently feels with those she trusts, but she really does not talk about her past at all. iirc, at this point we've only seen her past in flashbacks, and not through her own words at all.

This is a highly productive fight Susan and Marcus are having. Let's honestly say our feelings at each other at a relatively high volume, but not really shout!

Dang, that Shadows ship is not fucking around. It absorbed an EarthDome person, went insane, and started destroying everything around it. Is there another isolated jump gate they can destroy it with?

The bootleg videos of this are gonna spark so many conspiracy theories, lol.

Lennier's getting sassy in the face of near-certain death by Jupiter-crumpling! But Sheridan has a stressful MO of only winning unwinnable fights by barely surviving an overwhelmingly destructive force.

They're being accosted by Sheridan's old ship, the Agamemnon! Is the White Star large enough to carry its own jumpgate? Lol, I'm perfectly in time with the plot being revealed. They're gonna try to escape with only a little explosion caused by them activating the jump engine. Is the Agamemnon going to follow them through somehow? Seems…not?

I like that Delenn and John are both suggesting batshit insane and unhingedly dangerous plans now. And that they support each other in this highly risky behavior! I wanna see what they goad each other to do. They really seem to bring out "limits? What the fuck is that?" sort of attitudes in each other.

Zack Allen's wobbly moral backbone continues to be bendy as fuck. And the Night's Watch leaders really want to know why Sheridan's quarters haven't been accessed in four days. He and Delenn should just claim he was at her place if it ever comes up.

Zack Allen just kinda sorta took a moral stand! He refused to snoop on Sheridan, and got quite a scolding for it. It's so pathetic I can't even say well done Mr Allen. It's the most he's done, and it's so piddling. You gotta start somewhere, though. Choose to be better, then keep choosing. I'll applaud him if he keeps choosing to be better instead of diving headfirst down the fascism slide.

Of course Earth is using the Shadows ship getting away from them and the White Star's incursion as an excuse for more fascism. They would use absolutely anything that happened as an excuse. I really hope there's a ton of videos of the EarthDome and Shadows events and the destruction afterwards floating around on the 24th century thepiratebay equivalent.

Dang! A lot happened this episode! It was really a huge escalation for them to take the White Star up against Earth Dome directly. So far they've had huge successes when going out in the White Star to do stuff, and I wonder if that means they're going to start taking some losses and failing at some of their missions. Things have been going a little too well for them lately. And that concerns me!

next!

[adultswim2021]

Moral Orel #38: “Passing” | November 7, 2008 - 12:15AM | S03E08

The second of two consecutive backstory episodes, this one has a similar structure to the previous premiere Help. This one briefly rehashes the “Ol’ Gunny” scene from Nature (part one), so it can pause to throw to the flashback, which makes up the vast majority of the episode. And like “Help,” the flashback gives us new meaning to a scene we’ve already watched. The aforementioned scene has Clay about to bestow Orel with Ol’ Gunny, a pistol he says has been passed down to each new generation of Puppington patriarch. 

The episode focuses on Clay’s childhood. At 12 years old he’s a very obnoxious and coddled child who, like Orel, is deeply religious and believes in the “lost” commandments. Clay’s father, Orel’s grandfather, tries to get Clay to man up and hold Ol’ Gunny for the first time. Clay refuses and cites various lost commandments to get out of this rite-of-passage. His mother is aghast to find out her “precious only ever” was subjected to such horrors, and scolds papa Puppington (whose name is Arthur. I’m just gonna call him that from now on, okay). 

Arthur just seems like he’s trying instill some kind of adult reality into little Clay, who prefers his doting mother to him. Arthur is relegated to second fiddle to Clay, who seems to be the one who wears the pants in the Puppington household. Arthur's dinner, for example, is Clay’s leftovers, which he eats in the study while wistfully looking at pictures of he and his wife before they had Clay.

Meanwhile, Clay and his mom spend time looking at a photo album. Clay, for the first time ever, is curious about the pages that come before his birth and browbeats his mother into letting him see them. There he finds multiple photos of his mother, pregnant, which she confesses were miscarried pregnancies. That means Clay technically wasn’t really her only child, even though those other children were never actually born.

We also establish two other important things: his mother has a weak heart and can’t get too excited. Also, she has an aversion to talking about death, and bans the word from her house to the degree that she scolds Arthur for inadvertently using it when he separates the syllables of the word “loaded”.

Clay acts out after finding out that his mommy behaved selfishly enough to attempt to have other children that weren’t him. He pulls a reckless prank by shooting off Arthur’s gun and using his ketchup (hilariously named “It’s just ketchup”) to make it look like he’s lying in a pool of his own blood, dead. His father, using reason and logic to determine the prank, cajoles the boy out of the possum act. His mother believes Clay's recovery to be a miracle. She's so overjoyed that her heart gives out and she collapses in religious fervor and dies.

Clay and Arthur’s relationship becomes strained after that, with Arthur resenting Clay for taking his wife away from him. Arthur starts craving attention from his father, who won’t even hit him for not being “worth it”. Clay steps up his spiteful behavior and succeeds in getting backhanded by his father, which he accepts as proof that he is, indeed “worth it”. Each time he gets smacked he smiles to himself, as though he's being loved. The flashback ends with Arthur telling his son that Ol’ Gunny is tainted with his mother’s blood, and that there will be no traditional coming-of-age hunting trip with the two of them, a time-honored tradition that he now declares to be dead.

Clay takes in Ol’ Gunny, and keeps it, twisting his father's gesture into something else. When we cut back to the present, Clay yanks Ol’ Gunny out of Orel’s hands, and gives him a different one, disappointing Orel.

I do think this one succeeds in being both darker and funnier than the previous episode. The scene where Clay’s mother describes her various miscarriages and how Clay came to be is a perfect distillation of how dark and how funny this one is. 

In addition to shedding light on the scene from Nature, this one also sheds light on the previous episode, when Clay tells Bloberta that his parents are dead. This turns out to be not entirely true; Clay’s father is still alive when he says this. He also says that they're deaths "wasn't exactly a bloodbath" (or something similar). That's also correct; it's just ketchup.

There were in fact meant to be episodes this season in which Arthur comes to live with Clay and stays with Orel in his bedroom. Reportedly, he was going to pass away while staying with Orel, and Orel was meant to dabble in becoming goth. I recall Dino describing Orel’s goth phase as being cute. Beforel Orel, the post-series special, deals with Orel meeting Arthur.

Arthur is a great character and is one of Moralton’s few atheists. When his wife is being wheeled out of the house, he grimly tells his son there’s no heaven. Clay brattily tells his father that he’ll go to hell for saying there’s no heaven. lol

44 NIGHTS OF OREL

The 44 Nights of Orel was fairly top-heavy with premieres. So, we only get one episode that aired before this one: Maturity. This was the first episode to explicitly portray Clay as a troubled soul.

[cashmere-caveman]

Hera Lindsay Bird, from “Having Already Walked Out On Everyone I Ever Said I Loved” | Being Human S03E08 "The Wolf-Shaped Bullet"

image descriptions under the cut

start of image description

Image 1. A screenshot from Hera Lindsay Bird's poem "Having Already Walked Out On Everyone I Ever Said I Loved” that reads as follows: "Having already walked out on everyone I ever said I loved I have so little left to say to you I pause for a moment at your door My eyes pouring out across the darkness"

Image 2: A screenshot from being human season 3 episode 8, "The Wolf-Shaped Bullet". After the timeskip, Mitchell is standing across the street from the house the others still live in, illuminated only by the head lights of a passing car.

Image 3: George, who has seen Mitchell, leaves the house.

Image 4: George and Mitchell stand facing each other in the dark street in front of the house.

Image 5: A screenshot of the same poem as before. This one reads: "I can hardly believe this I can hardly believe this life Every time I knock you let me in"

Image 6: A screenshot from the episode again. George and Mitchell stand facing each other as they did in image 5, but now they stand inside the house in front of the illuminated bar.

end of image description

[timelesstimesgoneby]

Episode Season 1 Disc 1 S01e01 Fear in a Desert City 1960 S01e02 The Witch 1960 S01e03 The Other Side of the Mountain 1960 Disc 2 S01e04 Never Wave Goodbye (1) 1960 S01e05 Never Wave Goodbye (2) 1960 S01e06 Decision in the Ring 1960 S01e07 Smoke Screen 1960 Disc 3 S01e08 See Hollywood and Die 1960 S01e09 Ticket to Alaska 1960 S01e10 Fatso 1960 S01e11 Nightmare at Northoak 1960 Disc 4 S01e12 Glass Tightrope 1960 S01e13 Terror at High Point 1960 S01e14 The Girl from Little Egypt 1960 S01e15 Home Is the Hunted 1960 Disc 1 S01e16 The Garden House 1960 S01e17 Come Watch Me Die 1960 S01e18 Where the Action Is 1960 S01e19 Search in a Windy City 1960 Disc 2 S01e20 Bloodline 1960 S01e21 Rat in a Corner 1960 S01e22 Angels Travel on Lonely Roads (1) 1960 S01e23 Angels Travel on Lonely Roads (2) 1960 Disc 3 S01e24 Flight from the Final Demon 1960 S01e25 Taps for a Dead War 1960 S01e26 Somebody to Remember 1960 S01e27 Never Stop Running 1960 Disc 4 S01e28 The Homecoming 1960 S01e29 Storm Center 1960 S01e30 The End Game 1960 Season 2 Disc 1 S02e01 "Man in a Chariot" 1960 S02e02 "World's End" 1960 S02e03 "Man on a String" 1960 S02e04 "When the Bough Breaks" 1960 Disc 2 S02e05 "Nemesis" 1960 S02e06 "Tiger Left, Tiger Right" 1960 S02e07 "Tug of War" 1960 S02e08 "Dark Corner" 1960 Disc 3 S02e09 "Escape into Black" 1960 S02e10 "The Cage" 1960 S02e11 "Cry Uncle" 1960 S02e12 "Detour on a Road Going Nowhere" 1960 Disc 4 S02e13 "The Iron Maiden" 1960 S02e14 "Devil's Carnival" 1960 S02e15 "Ballad for a Ghost" 1960 Disc 1 S02e16 "Brass Ring" 1960 S02e17 "The End Is But the Beginning" 1960 S02e18 "Nicest Fella You'd Ever Want to Meet" 1960 S02e19 "Fun and Games and Party Favors" 1960 Disc 2 S02e20 "Scapegoat" 1960 S02e21 "Corner of" 1960 S02e22 "Moon Child" 1960 S02e23 "The Survivors" 1960 Disc 3 S02e24 "Everybody Gets Hit in the Mouth Sometime" 1960 S02e25 "May God Have Mercy" 1960 S02e26 "Masquerade" 1960 S02e27 "Runner in the Dark" 1960 Disc 4 S02e28 "A.P.B." 1960 S02e29 "The Old Man Picked a Lemon" 1960 S02e30 "Last Second of a Big Dream" 1960 Season 3 Disc 1 S03e01 "Wings of an Angel" S03e02 "Middle of a Heat Wave" S03e03 "Crack in a Crystal Ball" S03e04 "Trial by Fire" Disc 2 S03e05 "Conspiracy of Silence" S03e06 "Three Cheers for Little Boy Blue" S03e07 "All the Scared Rabbits" S03e08 "An Apple a Day" Disc 3 S03e09 "Landscape with Running Figures" part 1 S03e09 "Landscape with Running Figures" part 2 S03e10 "Set Fire to a Straw Man" S03e11 "Stranger in the Mirror" Disc 4 S03e12 "The Good Guys and the Bad Guys" S03e13 "End of the Line" S03e14 "When the Wind Blows" Disc 1 S03e15 "Not with a Whimper" S03e16 "Wife Killer" S03e17 "This'll Kill You" S03e18 "Echo of a Nightmare" Disc 2 S03e19 "Stroke of Genius" S03e20 "Shadow of the Swan" S03e21 "Running Scared" S03e22 "The Chinese Sunset" Disc 3 S03e23 "Ill Wind" S03e24 "With Strings Attached" S03e25 "The White Knight" S03e26 "The 2130" Disc 4 S03e27 "A Taste of Tomorrow" S03e28 "In a Plain Paper Wrapper" S03e29 "Coralee" Season 4 Disc 1 S04e01 "The Last Oasis" S04e02 "Death is the Door Prize" S04e03 "A Clean and Quiet Town" S04e04 "The Sharp Edge of Chivalry" Disc 2 S04e05 "Ten Thousand Pieces of Silver" S04e06 "Joshua's Kingdom" S04e07 "Second Sight" S04e08 "Wine Is a Traitor" Disc 3 S04e09 "Approach with Care" S04e10 "Nobody Loses All the Time" S04e11 "Right in the Middle of the Season" S04e12 "The Devil's Disciples" Disc 4 S04e13 "The Blessings of Liberty" S04e14 "The Evil Men Do" S04e15 "Run the Man Down" Disc 1 S04e16 "The Other Side of the Coin" S04e17 "The One That Got Away" S04e18 "Concrete Evidence" S04e19 "The Breaking of the Habit" Disc 2 S04e20 "There Goes the Ball Game" S04e21 "The Ivy Maze" S04e22 "Goodbye My Love" S04e23 "Passage to Helena" Disc 3 S04e24 "The Savage Street" S04e25 "Death of a Very Small Killer" S04e26 "Dossier on a Diplomat" S04e27 "The Walls of Night" Disc 4 S04e28 "The Shattered Silence" S04e29 "The Judgment" part 1 S04e29 "The Judgment" part 2

[ao3feed-imzadi]

A Light in the Darkness

A Light in the Darkness https://ift.tt/DlCPn3b by SapphireOne Two missing scenes from mid-way through Picard S3E8: Surrender. These scenes are slotted in right before the conference table scene with our TNG legacy characters. A proper reunion between Deanna and Beverly, as well as a proper comfort/smut reunion between Will and Deanna. Words: 1449, Chapters: 1/2, Language: English Fandoms: Star Trek: The Next Generation, Star Trek: Picard Rating: Mature Warnings: No Archive Warnings Apply Categories: F/M Characters: William Riker, Deanna Troi, Beverly Crusher, Worf (Star Trek:TNG/DS9), Raffi Musiker Relationships: William Riker/Deanna Troi, imzadi - Relationship Additional Tags: Imzadi (Star Trek), Missing Scene, Canon Compliant, Reunions, Reunion Sex, Best Friends, Blood and Injury, Shower Sex, Hurt/Comfort, Sassy, Conversations, Interlude, Fluff and Smut, Light Angst, Oral Sex, Hand Jobs, Episode: s03e08 Surrender (Star Trek: Picard), Empath, Telepathy, Telepathic Bond via AO3 works tagged 'William Riker/Deanna Troi' https://ift.tt/DpdG1VP April 18, 2023 at 09:34PM

[regulusrules]

SAY IT LOUDER FOR THE PEOPLE IN THE BAAAACKKKK

Istg I've been saying this from the moment I finished Merlin and will not stop saying it because YES.

And if you don't believe this, here's a list of why it adds up:

Morgana's character type from the very beginning was the rebellious archetype, not the villainous. Her character opposed the wrongdoings of Uther and even Arthur at times (ex: s01e04 when she told him go pull yourself out of your ass and do the right thing to save Merlin) which is typical of the outlaw archetype that guides people to what they see as right and wants nothing in return.

She genuinely cared about Arthur. In s01e07 when she saw him die in her vision, in real horror she did everything to stop Arthur from pursuing Sophia. "If anything happened to Arthur, I'll find you, no matter how long it takes." You cannot fake such care. She was even planning on outing herself to Uther just to save Arthur and when Gaius warned her against this she outright told him "I don't care. I don't have a choice. I couldn't live with myself knowing I'd let him die." Like, come on.

I could cite every good deed Morgana did, but it's not about centralising her morality as much as it's about highlighting how it juxtaposed boxing her in the role of the villain. Sure, she could be considered a grey character from the start, but never outright nefarious. She didn't harbor ill intentions towards human beings, which is really evident in s01e10 going with Merlin to fight for a village that wasn't her own. And yes this could be because of her warrior side that wishes for glory and to contribute, but at the same time because she genuinely cared and wanted to make a difference.

Later in S3, when she returned after the whole debacle with Morgause, there is nothing that Arthur did by then that should have changed or erased her stance. Uther we get it. Merlin we get it. But Arthur? Absolutely zero sense. Zip. Nada. Why would she deliberately try to kill him in S03e08 when he never did anything to hurt her? Why, if not that she was controlled just like Gwen was when she killed the stable hand Tyr and absolutely didn't give two shits about it? When she tried to kill Arthur just because something in her drived her to do so. I swear, in my mind it makes sense.

Someone could try to refute this by explaining that Morgause died, so how come the enchantment wouldn't die with her just like everything else does? Well, it's because it was not an enchantment. The Dark Tower causes hallucinations that causes one to lose their mind. So this explains how extreme the situation must have been for Morgana to be unable to break its effect alone after Morgause died so much later after being exposed to that effect for so long. It was her only reality. Morgana was left with only one version where all of the people she once cared about meant nothing because she was nothing to them. This extremity of apathy could not have been caused by only Merlin poisoning her. Simply, this was induced then unhealed.

Morgana's character was supposed to be a Femme Fatale but ended up being the villain when they didn't have new characters to bleed. Her being a femme fatale 100% coincides with how they portrayed her in s1 and 2 because she was more of a powerful woman than anything. They could have allowed her to be the absolute top notch of that category, but what can we say.

Last thing: Morgana's death. I know this is a bit far-fetched, but when Merlin thrust the sword in her, you could see for just a millisecond her last expression being a form of relief, not just betrayal or hurt or or. Could it have been because the sword with the dragon breath relieved her from the curse just for a moment?

Basically, BBCM did not stick to the Arthurian legends AT ALLL in the beginning (which is more reason why we loved them for it), and could have easily carried on this headcanon and given her a redemption arc. But nooo, let's follow legends in the last freaking second and scar our audience for eternity. Absolute blast

And if I theorize that Morgause took Morgana to the Dark Tower while she was recovering from the poison? What then?

[ilovetextingandscones]

and I think to myself

                                what a wonderful world

[tv-moments]

Dark

Season 3, “Paradise“

Director: Baran bo Odar

DoP: Nikolaus Summerer

[not-so-mundane-after-all]

HIS DARK MATERIALS || s03e08 'The Botanic Garden'

[sweetbuckybarnes]

Hospital Trips

Pairings: Captain Killian Jones + Emma Swan

Summary: Emma slips whilst in the shower calls Killian in a 'damsel in distress' moment, and she has to go to the hospital.

Killian was sketching out the bay of Storybrooke when his telephone device started ringing, and with a smile on his face - he saw the face of Emma, Henry had taken a picture of his Swan one night at Granny's.

"Swan! To what do I owe the pleasure?" Killian said, bringing the phone to his ear, he felt like his face would split from the smile on his face.

"I need you to go find my dad, I slipped in the bath, I think I need to go to the hospital," Emma said into the phone, and that's when Killian heard the shower still running and the occasional slip of her foot against the tub.

Killian got up from the table/desk and started scrambling around for his jacket. "I. I'll be there as quickly as possible, love," Killian promises as he makes his way out of his room at Granny's and quickly stop at the station to get David. 

Killian barged into the Sherriff's station and saw David sitting behind the deputy's desk (on any given day, Killian would have laughed to himself that David is the deputy to his own daughter), but his worry for Emma short-circuited his brain.

"Emma called, she's slipped and we need to get her to the hospital," Killian says, rather quickly pulling David from his paperwork, and up to look at Killian.

David scooped up his car keys, the pair ran out of the door and made their way towards the loft. 

Killian and David arrived at the loft, they heard the running walker from the bathroom - and Killian made his way over. "Swan?" He called, and a shout back allowed him in.

He saw the woman he'd fallen rather hard and fast, laying in the bathtub, with a fluffy bath towel wrapped around her.

"Hey," she gave him a smile, and Killian offered his hand and hook - knowing she's got more of a chance of getting out of the tub with both of his arms rather than one.

"I think I've dislocated my shoulder," Emma said, Killian had taken one look at it - and knew that she had, he had seen many different dislocated bones during his time in the navy and his pirating days. 

Killian had helped Emma into a flowy blouse (that he'd swiped on the way out of his room, one that was from his aforementioned pirating days) and something called 'yoga pants', that David handed to him, when Emma was propped up against him and was handed the pants.

Killian lifted Emma up off her feet and carried her out of the bathroom and down to the car with David trailing after him. 

David and Killian went up to the counter and got a form to fill out. "From what the nurse said, you'll be seen after Leroy who claims to be having a heart attack, but appears well enough to be playing Doodle Jump on his phone..." David tilts his head, thinking for a second and then shook it, looking back to the form.

"Describe illness or injury," Killian said, as David began filling out some of the information on the form - however, he didn't know the majority of Emma's life (there were still gaps in between stories).

"I dislocated my shoulder," Emma said, as Killian rested his arm around her, rubbing her side.

"And how did the accident occur?" David said after he finished writing down what he knew.

Emma looked over at her father. "You already know that," she says, tilting her head back and looking at the ceiling.

"Cause of accident: Slipped in the tub," David said, making Emma roll her eyes.

Killian noticed that David had missed out some of Emma's medical history. "Okay, medical history," Killian said, Emma chose not to say anything that her father didn't put down some of her medical history...

"Dia- Diabetes? What the bloody hell is that?!" Killian says, looking at the form that David held.

"It's to do with the insulin in your body, and no," Emma explains.

"Kidney disease?" Killian raised an eyebrow to look down at Emma.

"No," Emma said, and she knew that she would have to explain some of these to Killian later.

"Migraines?" Killian asked, having heard that weird before, he'd been around Emma when she'd had a migraine before (Milah had some with the sun shining on the ocean, bouncing back into her eyes).

"Getting one," Emma complained, resting her head on Killian's shoulder.

Killian's eyes widen when he saw the next question. "Are you pregnant?" He asked, looking down at Emma, he knows they've done... things... And she had promised that with 'modern medicine' that she wouldn't get pregnant (at some point, he hopes that she will have a child with him, he's holding out hope).

"No," Emma shut down quickly, rolling her eyes (maybe one day she would have a baby with Killian, but not right now).

David looked over at his daughter and looked at her face. "Are you sure? You look a bit puffy," David commented, remembering how Snow looked when she was pregnant with the woman who was sat in the chair next to the pirate with a dislocated shoulder.

Killian knew from the moment that what David had just said, he wouldn't be a man alive - and considering the withering glare that Emma gave her father, she really wasn't happy. "Change migraine to yes," she stated looking away from her father.

Killian knew that he was in trouble with what he was about to ask the woman he is seeing and is absolutely crazy about. "When was your last menstrual period?" He said, Emma's eyes widened and she silently gasped.

"Oh. Next question!" She exclaimed, rolling her eyes, and looked away from her father.

"I'll put 'In Progress'," David said, making Emma fling her head to give him the look at him, and Killian brought his arm around Emma and calmed her down. "Okay, moving on to psychiatric disorders. List all major behavioural diagnosis, e.g. depression, anxiety, etc." David said, making Emma roll her eyes once again, and look at her father.

"Oh my God, what the hell does this have to do with my stupid shoulder?!" She exclaimed, resting her head on Killian's shoulder, as he gently massaged her shoulder.

"Episodes of sub-psychotic rage," David commented, making Emma sigh extremely heavily.

She looked at her father and then looked straight ahead. "Ass," she's 30-years-old, despite the fact that this is her father - she really didn't like people calling things out on her that wasn't true.

"Possible Tourette's," David wrote down. 

Dr Whale and simply took Emma's hand and popped her shoulder back into its socket - then bandaged it up and sent the three on their way.

The three arrived back in the loft, Henry got up from his place on the chair, ran over to his mother, being careful of her arm and hugged his birth mother.

"I'm ok, kid, Dr Whale just popped it back in, I'll be fine," Emma said, running her fingers through her son's hair - smiling as he looked up at her with a happy smile on his face.

"I'm happy you're ok, mom," Henry said into her other shoulder and she rocks him back and forth - as she pressed a kiss to his head.

[beguuu]

Words can't fathom my love for Dark, the best part about it being that you know how and when the characters die and yet the fact that each of their lives give meaning to someone else's is beyond beautiful going against the fact that death isn't the only that gives meaning to our lives.

[redwheelbaerrow]

[timelesstimesgoneby]

EPISODE Season 1 DISC 1 S01E01  "The Teeth of the Barracuda" 1960 S01E02 "Bad Man on Campus" 1960 S01E03 "My, What a Pretty Bus" 1960 S01E04 "When Smitty Comes Marching Home" 1960 S01E05 "You Can't Tell the Players Without a Programmer" 1960 S01E06 "A Time to Love, a Time to Cry" 1960 DISC 2 S01E07 "Find Tara Chapman!" 1960 S01E08 "The Price of Terror" 1960 S01E09 "A Quiet Weekend in the Country" 1960 S01E10 "Love" 1960 S01E11 "Twinkle, Twinkle, Little Starlet" 1960 S01E12 "The Guru" 1960 DISC 3 S01E13 "The Sunday Drivers" 1960 S01E14 "Hello Mother, My Name Is Julie" 1960 S01E15 "Flight Five Doesn't Answer" 1960 S01E16 "Shell Game" 1960 S01E17 "Fear Is the Bucking Horse" 1960 S01E18 "A Hint of Darkness, a Hint of Light" 1960 S01E19 "The Uptight Town" 1960 DISC 4 S01E20 "A Reign of Guns" 1960 S01E21 "A Run for the Money" 1960 S01E22 "Child of Sorrow, Child of Light" 1960 S01E23 "Keep the Faith, Baby" 1960 S01E24 "Captain Greer, Call Surgery" 1960 S01E25 "Peace Now – Arly Blau" 1960 S01E26 "A Seat by the Window" 1960 Season 2 DISC 1 S02E01  "The Girl in Chair Nine" 1960 S02E02 "My Name Is Manolette" 1960 S02E03 "An Eye for an Eye" 1960 S02E04 "Ride the Man Down" 1960 S02E05 "To Linc – with Love" 1960 S02E06 "Lisa" 1960 S02E07 "Confrontation!" 1960 DISC 2 S02E08 "Willie Poor Boy" 1960 S02E09 "The Death of Wild Bill Hannachek" 1960 S02E10 "A Place to Run, a Heart to Hide In" 1960 S02E11 "The Healer" 1960 S02E12 "In This Corner – Sol Alpert" 1960 S02E13 "Never Give the Fuzz an Even Break" 1960 S02E14 "The Debt" 1960 DISC 3 S02E15 Sweet Child of Terror 1970 S02E16 "The King of Empty Cups" 1970 S02E17 "A Town Called Sincere" 1970 S02E18 "The Exile" 1970 S02E19 "Survival House" 1970 S02E20 "Mother of Sorrow" 1970 DISC 4 S02E21 "The Deadly Sin" 1970 S02E22 "A Time for Remembering" 1970 S02E23 "Return to Darkness, Return to Light" 1970 S02E24 "Call Back Yesterday" 1970 S02E25 "Should Auld Acquaintance Be Forgot!" 1970 S02E26 "The Loser" 1970 Season 3 DISC 1 S03E01  "The Long Road Home" 1970 S03E02 "See the Eagles Dying" 1970 S03E03 "Who Are the Keepers, Who Are the Inmates?" 1970 S03E04 "‘A’ Is for Annie" 1970 S03E05 "The Song of Willie" 1970 S03E06 "Search and Destroy" 1970 DISC 2 S03E07 "Just Ring the Bell Once" 1970 S03E08 "Welcome to the Human Race, Levi Frazee!" 1970 S03E09 "A Far Away Place So Near" 1970 S03E10 "A Time of Hyacinths" 1970 S03E11 "The Judas Trap" 1970 S03E12 "Fever" 1970 DISC 3 S03E13 "Is There Anyone Left in Santa Paula?" 1970 S03E14 "A Short Course in War" 1970 S03E15 "Kicks Incorporated" 1970 S03E16 "A Bummer for R.J." 1970 S03E17 "The Hot, Hot Car" 1970 S03E18 "Suffer, Little Children" 1970 DISC 4 S03E19 "Is That Justice? No, It's the Law" 1970 S03E20 "A Double for Danger" 1970 S03E21 "Welcome to Our City" 1970 S03E22 "The Comeback" 1970 S03E23 "We Spy" 1970 S03E24 "The Price of Love" 1970 Season 4 DISC 1 S04E01  "The Sentinels" 1970 S04E02 "Cricket" 1970 S04E03 "Home Is the Streets" 1970 S04E04 "Survival" 1970 S04E05 "Color of Laughter, Color of Tears" 1970 S04E06 "The Medicine Men" 1970 DISC 2 S04E07 "The Sands of Anger" 1970 S04E08 "The Poisoned Mind" 1970 S04E09 "Exit the Closer" 1970 S04E10 "Whatever Happened to Linc Hayes?" 1970 S04E11 "And a Little Child Shall Bleed Them" 1970 S04E12 "Real Loser" 1970 DISC 3 S04E13 "Death of a Nobody" 1970 S04E14 "Feet of Clay" 1970 S04E15 "I Am My Brother's Keeper" 1970 S04E16 "Deal with the Devil" 1970 S04E17 "Kill Gently, Sweet Jessie" 1970 S04E18 "Shockwave" 1970 DISC 4 S04E19 "No More Oak Leaves for Ernie Holland" 1970 S04E20 "The Cave" 1970 S04E21 "The Wild Weekend" 1970 S04E22 "The Tangled Web" 1970 S04E23 "Outside Position" 1970 S04E24 "Big George" 1970 Season 5 DISC 1 S05E01  "The Connection: Part 1" 1970 S05E02 "The Connection: Part 2" 1970 S05E03 "The Thunder Makers" 1970 S05E04 "Yesterday's Ashes" 1970 S05E05 "A Gift for Jenny" 1970 S05E06 "Taps, Play It Louder" 1970 DISC 2 S05E07 "Eyes of the Beholder" 1970 S05E08 "Good Times Are Just Memories" 1970 S05E09 "Corbey" 1970 S05E10 "Can You Hear Me Out There?" 1970 S05E11 "Another Final Game" 1970 S05E12 "Crime Club" 1970 DISC 3 S05E13 "The Twain" 1970 S05E14 "Belinda, End of Little Miss Bubble Gum" 1970 "S05E15 ""Kristie"" 1970 C" S05E16 "Sanctuary" 1970 S05E17 "Run, Lincoln, Run" 1970 S05E18 "Don't Kill My Child" 1970 DISC 4 S05E19 "Death in High Places" 1970 S05E20 "Put Out the Welcome Mat for Death" 1970 S05E21 "Scion of Death" 1970 S05E22 "The Night Holds Terror" 1970 S05E23 "Cry Uncle" 1970 S05E24 "And Once for My Baby" 1970