#i have hit 60 books this year. we are three days into april. i have not been at the pinnacle of happiness this year so it is not that lol

[thebirdandhersong]

I remember talking to a friend last week and saying that if I'm reading obsessively it either means I'm extremely happy or extremely in need of help. alas goodreads my good pal you have GOT to be kidding me

[akane171]

Well, FUCK.

Got interested and started digging more about Cpt. Vernon Kraeger:

Cpt. Vernon Kraeger of George Company, 3rd Battalion, 501st PIR, was killed in action during the operations of the 101 Airborne Division in the vicinity of Eerde, the Netherlands on September 27, 1944.

Cpt. Kraeger is remembered by his men in the book ‘D-Day +60 Years: A Small Piece of History’;

“When you speak of the men of George Company, 501st PIR, there is a constant reference to the man who led them from the training grounds of Toccoa, Georgia, until his death midway through the Holland campaign. If a generational reference can be made, the loss of Vernon Kraeger was similar to the loss of President Roosevelt for the young men of George Company. They had never had another company commander, and most of them did not remember another President.

“When asked to remember their captain, they often speak of his death first, then tell stories that show their respect for his leadership, and for the man. According to Jack Urbank, Kraeger was from St. Louis, Missouri, and began his career in the Army, prior to WWII, as an enlisted man, where he served with a coast artillery unit in Panama. When the war started, Kraeger, like many other bright young men serving in the ranks, was offered the opportunity to go to Officer Candidate School. When Urbank first met his future company commander, in December 1942, Kraeger was a lieutenant serving as the executive of a ‘casual company’ where new recruits to the 501st were administratively brought into the regiment. Eventually, he was promoted to captain and given command of George Company.

“Kraeger was a small man. Virgil Danforth, in his description of the action on the advance to Pouppeville (Normandy, France) describes Kraeger as walking down the road shooting at Germans in the ditch ‘with a carabine that was almost as big as he was’.”

George Koskimaki, in his history of the 101st Airborne Division in the Netherlands, included several references to Kraeger by another George Company runner, Pvt. Jesse Garcia. He quoted Garcia regarding an action that took place in the Netherlands.

“We had a skirmish with Krauts in a woods. The captain was naturally at the front line (if not ahead of it and I was about 20 feet away). He received his first wound (in the Netherlands; as he had been wounded twice in Normandy), a bullet in the arm. The medic told him to go back to the rear medical unit; he refused. I remember he stayed at his position firing steadily with his carbine since we could see the Krauts not very far away.”

According to Jack Urbank: “We were in Eerde, Holland, when Captain Kraeger got killed. The company was set up with the rifle platoons in line and my mortars behind them. Kraeger was in the line with the riflemen and machine-gunners. A mortar round exploded near him and he got a small wound in his temple. One of the medics looked at him, and put a Band-Aid on his wound. Ten minutes later he crumpled over, dead. I helped carry him back to the aid station, where we undressed him, thinking he had been hit more than once. We could not find another mark on him. He must have died from internal bleeding from that small wound.”

Don Castona also remembers this moment: “I was right there when he (Kraeger) got it. It seemed like the bottom just dropped out. He just slumped over and said: ‘Well, goddam’ and died instantly.”

Cpt. Vernon Kraeger, born on April 2, 1911, in St. Louis, Missouri, left behind his (divorced) parents, William and Helen, and a brother named Everett. His brother Harry had preceded him in death in 1927. Cpt. Vernon Kraeger was killed in action on September 27, 1944, and died at the age of 33 years old.

Cpt. Vernon Kraeger is buried at the Jefferson Barracks National Cemetery of Lemay, St. Louis County Missouri (Section 79 Site 2200). He was probably posthumously awarded a Purple Heart.

Post from Facebook, here -> Three of the Last WWII Screaming Eagles

I've searched for Easy Company in Hell's Highway - so you don't have too.

Hell's Highway: A Chronicle of the 101st Airborne in the Holland Campaign, September-November 1944 by George Koskimaki

Just before the jump: “Colonel Sink, who was in plane#1, had been looking out of the door when something shook the plane and he saw a part of the wing whip loose and dangle in the breeze. He turned and said: ‘Well, there goes the wing.’ But nobody seemed to think much about it as they figured by now they were practically ‘in’ it”.

The Son bridge. Oh, look who is here: “A few minutes after the first groups headed on their missions, a Dutchman approached 1Lt. NORMAN DIKE, the assistant S-2 for the regiment and informed him that the two auxiliary bridges had been blown by the Germans several days earlier”.

Eindhoven. T/4 Donald G. Malarkey’s recollection of the advance by the 2nd Battalion is as follows: “We came into the city from the northeast with scattered resistance but rounded up a lot of prisoners on tips from the Dutch people. In fact, at one time, we had so many men going after holed-up Germans that we had to stop following their leads.”

Easy’s 1Lt. Robert Brewer being wounded. Hewas ordered by Capt. Clarence Hester (S-3 for the 2nd Battalion) to flank some Germans. He questioned with his poor French the school kids who asked their parents in Dutch and then translate it to French again about German positions (what a comedy, lol). He’s learnt Germans were sitting in some orchard. As he said, he had a little time to study the route, so he had map and bincons out as they were approaching.

“At the moment I was hit. A round entered my right jaw and exited my left neck. Both holes, just below the third molar from the back, spouted blood immediately and blood flowed from my mouth like a fountain. I knew I was going into shock. (…) I heard one of my men yell ‘Lieutenant Brewer’s dead! Get going to those trees ahead!’ and I remembered feeling good about that order. Someone was taking over.”

Sgt. Al Mampre (surgeon from 2nd Battalion) was the one who patched him along with Pvt. Holland (from E). “I was in the process of administering plasma to Brewer, which was very difficult because his veins had collapsed, when we were fired. Holland shouted that he was hit in the heel and scooted back to E Company in the ditch. Dirt was kicking up around and I heard the sharp crack and thought the plasma bottle was shattered. I looked up and found it intact in my hand, so I lay down beside Brewer. He was yellow in colour and not moving at all. In my best bedside manner, I said to Brewer ‘Are you dead? If so, I’m getting out  of here!’ He croaked back , barely audible and just understandable ‘No, but I don’t know why not.’ I said ‘Good, I’ll stay with you”.

Right after he was wounded too. Three Easy men came to help them but they were shot. In the end they were saved and taken to safety by some Dutchmen.

The 2nd battalion was sent to Helmond. Lipton: “When we got there it was seen that we were over-extended and outgunned, so after a forced march of several hours, we were immediately marched back toward Eindhoven.”

Generally speaking, there were a LOT of enemy tanks and they were fucked.

Don Malarkey: “We joined British tanks to attack toward Helmond where major German forces were reported. The German panzers and infantry had set up a semi-circle defence ,well concealed, on the west fringe of the city. The British tanks on the flanks and the 101st infantry were allowed to penetrate deep into the throat of the positions before the Germans opened up. We were well in front when all hell broke loose. We had several people hit – our platoon leader, Lt. “Buck” Compton, the worst. He took machine gun blast through the butt as we were told to pull back to Eindhoven. Compton, who had been a guard on the UCLA football team, was too big for a couple of people to move. He wanted to be left for the Germans and told us to get the hell out of there. However, we tore a door off a Dutch farmhouse, rolled him on it, and four of us dragged him up to the ditch along the road until we got him back to where he could get him on a British vehicle.”

Highway between Veghel and Uden

When the Germans cut the highway between Veghel and Uden, part of E Company was in Uden with Colonel Chase and Regimental HQ.  Captain Winters and 1/Sgt. CLIFFORD Lipton (I always forget this was his first name XD) were part of the advanced element. Sgt. Don Malarkey, a member of S/Sg. Bill Guarnere’s platoon, was caught in Veghel during the heavy shelling.

He said “The E Company members wondered about Winters and the rest of Company. The size and depth of the attack was so heavy we thought the rest of the company on the Uden side of the block would be wiped out as we assumed the enemy force had also sent a column to the  north. Captain Winters, in Uden, thought a similar fate had befallen us. He had positioned the rest of the company near a street intersection in shop buildings on the south side of the town waiting for the German tanks turn to the north. They had been able to view the assault on Veghel from a towering church steeple located near their position. Winters thought Veghel might be overrun so he discussed the possibility with the remaining elements of the company. Winters then decided they would make their stand, even if it was their last. Although the next 24 hours were tense, the Germans forces were routed and a last ditch defence of Uden did not have to be made”

Lipton recollected: “We set up a defensive plan and set booby traps and kept up fire from different positions so the Krauts would think we were a large force. Some British were there, too. Captain Winters told me to organize as many men I could find into one defensive position. I tried to manhandle one Britisher into the defence when he seemed to be reluctant and he stopped me short by pointing out that he was a major and not accustomed of being ordered by a first sergeant – even American.” – that’s our mama Lipton, people xD

St. Oedenrode

Lipton remembered how they were sent to find main Germans body. They were in a spread formation and were fired on in the middle of large open field. “We hit the ground, which was slightly rolling, and gave some cover to the men. I heard Bill Guarnere yelling and setting ip the 2nd Platoon machineguns and mortar in the middle of the area to fire on the woods. The tank fire was skipping right over me so I crawled for the woods we had just left when suddenly I saw someone standing right by me. I looked up and It was captain Winters, trying to pinpoint where the Kraut fire was coming from. Feeling somewhat foolish, I stood up and together we tried to evaluate the situation.”

Behind Americans, were Sherman tanks manned by British troops.

Lip continued: “The tanks could see the German positions and three of their tanks on the far side of the field, we yelled to our tanks to come up to fire on them. The British lead tank left the road and came forward through the trees.”

They yelled to the British tanks the Germans were right across the field, but for some reason the Shermans continued to move forward to open field.

Lip: “Within 15 seconds, a 76 mm shell from one of the German Panther tanks slammed into the British tank, hitting the shield around its 75mm gun and deflected up without penetrating it. When it hit, I was standing right by the tank and I must have jumped six feet and dove for cover in a ditch. I knew there would be more shells right away. They weren’t long in coming. The second shell came about 15 to 20 seconds later. The Sherman was open throttle in reverse to back into the woods again but it was too late. That second shell hit below the 75mm gun shield and penetrated the armour. The tank’s commander hands were blown off and he was trying to get out of the hatch using his arms when the third shell hit the tank, blowing him out and killing him and setting the tank on fire. It burned all night with its ammo exploding intervals.”

The same situation from Don’s perspective: “We had five tanks attached to us. We got the tank commander and took him to a sandy knoll where the Tiger could be seen clearly through a small opening in the trees. He brought a tank up, spun the tracks into the knoll so they could lower the 75mm cannon enough to get on the turret of the Tiger."

"When that was accomplished he suddenly decided he didn’t want to fire from that position because he would only get one shot and, if he missed, the Tiger would take him. About a hundred yards to the south there was a finger-sized trip of 25-foot tall pine trees. The strip was about 40 yards wide and ran for a distance of 200 yards. The tank commander decided to line his five tanks behind the trees and move through them together with all the Shermans opening fire from the edge of the pine trees prior to breaking out into the sandy field.”

“The 2nd Platoon spaced themselves between the tanks moving through them assaulting across the field to the Veghel road. (…) The Tiger, in rapid succession, poured 88mm shells into the woods, knocking all five tanks out in a minute or so. We were able to pull some of the crew  members out of the tanks. Several were on fire and we threw sand and blankets in them to douse the flames.  When the first machine gun fire rattled, our new platoon leader stuck his head in the sand and so ended his career with the 101st.”

“Platoon sergeant Bill Guarnere and squad leader Joe Toye controlled the men and completed the crossing. I had the mortar squad and was busy getting fire on a German machine gun position. Once the Shermans were knocked out, the Tiger jauntily pulled out. Its machine guns were of no use as they were below the crown of the road, which was fortunate for 2nd Platoon.”

Lipton concluded: “We set up a defensive position for the night and Captain Winters told us that he would personally see that anyone who knocked out one of the German tanks that night would get a silver star. We couldn’t find them, however, and the next morning when we attacked the German positions, we found they had all withdrawn.”

Meanwhile:

When General Tylor was wounded, after picking himself from the ground he said: “The sonsabitches got me in the ass!”

It was also mentioned when Major Oliver Horton was killed by a shrapnel as he approached the railroad station near Opheusden in the midst of the heavy fighting in the morning of October 5th. I got an impression from the book that he was really liked among the soldiers.

Operation Pegasus

Screaming Eagles were aided by British airborne engineers and Dutch underground members – jfyi.

E Company men were in the most suitable position on the line, that’s why they got the job.

David ‘Mad Colonel of Arnhem’ Dobey was absolutely fucking mad: wounded, taken a prisoner, escaped from hospital, contacted the Dutch underground, crawled the German lines at night and swam across the Neder Rijn to reach allies.

Malarkey: “In mid-October I was taken to Division HQ by my company commander, 1Lt. Fred Heyliger, for a meeting with G-2, the purpose unknown. We were escorted into a room that contained large wall maps and aerial photos. There were several British officers, together with our G-2 personnel, Lt. Heyliger and myself.”

“At the time of the meeting, I was the sergeant of 2nd platoon, having succeeded Bill Guarnere, who had been injured. Part of our platoon responsibility during the period included the night-time out-posting of an orchard and complex of farm buildings on the bank of Rhine, due north of the island village of Randwijk. It was one of the few areas the Division occupied that had Rhine River concealment. I was asked if mall British assault boats could be concealed in the orchard, so as not to be visible by the Germans across the Rhine of from the air. Also needed information on whether these boats could be brought in one night and used the following night. I responded to both questions in the affirmative and explained that there was a deep, high water overflown ditch that circled the  south edge of the orchard. It was 6 to 7 feet deep and 8 to 10 feet across. The bordering fruit trees spanned the ditch with their limbs, blocking visibility from the air.”

“Following the preliminary discussion, a somewhat dishevelled red-bearder British colonel was brought into the room and introduced. It was explained that he had worked his way through German lines and swam the Rhine the night before into the Division sector. He related that he had been working with and aided by the Dutch underground. They had a plan to effect the escape of as many as 140 allied soldiers, mostly British paratroopers, from German territory west of Arnhem. He laid out a detailed and elaborate plan that was to culminate in a river crossing through the 2nd Platoon sector a week later.”

“Dobey stated that all the troops were secreted in various Dutch homes, barns and buildings, some as far as fifteen miles from the projected crossing point. They would move each night toward the Rhine, led primarily by Dutch women. The line of direction was to be identified by firing each night, at midnight, of ten rounds from British 40mm gun from atop the dike, across the orchard, into the high ground west of Arnhem. The British assault boats would be placed in the orchard ditch the night before the crossing, which would occur at 0100 hours, the following night signalled by a flashing red light. Two men from 2nd Platoon, with rifles and tommy guns, would ride in each boat in the event German opposition was encountered.”

The following Monday night was set as the rescue attempt. Further precautions called for a machine gunners and riflemen from the 3rd Platoon to be positioned both east and west of the orchard on the banks of the Rhine for additional supporting fire. Two machine gun teams would accompany the rescue craft and set up position on both flanks on the enemy side of the river, to ward off any German troops who might rush forward to interfere with the landing operation.

Don: “All personnel were to be positioned in the orchard before midnight, at which time the Bofors gun would be fired for the final time. Following this, a corps of British artillery would blast the high ground west of Arnhem with incendiaries which would provide background light for the boast making the crossing. Then they were to be abandoned on the bank of the Rhine.”

“Colonel Dobey was asked how many soldiers could be oved in weeks’ period, to a specific assembly point. He stated it would be done by Dutch women travelling at night by bicycle. German forces were apparently not very suspicious of the Dutch women. Driving to our company area, I remarked to Lt. Heyliger that the plan seemed almost too perfect to have a chance. He said the British were exceptionally resourceful when they were concerned.”

Cpl.  Walter S. Gordon was one of the machine gunners involved in the flank operation: “One day while positioned on the bank, 1Lt. Fred Heyliger called a company formation and asked, or rather stated, he needed men to accompany him on some sort of mission. I don’t recall him asking for my volunteers but rather pointed to a number of us and that was that. He required two machine guns and a number of riflemen. PFC Francis J. Mellet was designated as one of the gunners and I was selected as the other. I recall we were later transported to a rear area and introduced to the canvas boats which were part of the British equipment. They were fragile and had plywood-like bottoms. We were asked to familiarize ourselves with the operation of the boats by paddling about on a small pond.”

48 hours before the operation the Dutch informed Dobey that Germans had ordered all able-bodied men in the village to report Monday morning to dig defences. For the British and Americans to appear for this detail would mean almost certain discovery and capture. Dobey decided to set the rescue ahead 24 hours.

Malarkey: “So far, all the pieces of the British colonel’s puzzle had fallen into place. ”

“At about 0100, Ed Joint who was with me on the boats, and I were sitting with our backs against a tree on the edge of the orchard, looking intently across the Rhine. Ed remarked that he did not see how everything could work without a hitch. I said he might be right. About two minutes later, Joint said ‘Look Sarge, a light!’ The red light was flashing as planned. I yelled at the crew and we shoved the boat into water. We were the first boat to cross.”

“I was in the bow with my tommy gun, fully expecting that some kind of opposition would be encountered. I was crouched down, so that my eyes could see over the bow. The fires in the distance provided a good background for any silhouette that appeared. About ten yards from the north bank of the rhine, I saw figures milling in the water and above them, a huddled group. I jumped in the river and met a British sergeant. I told him we would take ten men in each boat that was to be in the crossing.”

Sink: “Heyliger was in charge of fanning out his troops after he reached the other side, gathering in the fold, or inside the box, these people that were over there, corralling them toward the boats, putting them abroad, getting them back across the water, then gathering his men and getting them back, also.”

Cpl. Walter Gordon: “The idea was to establish two lateral outposts flanking the route which was to be used by the men rescued. The machine gun I manned was set up and rifle-men were stationed nearby. We lay there quietly and guarded the front which had been assigned to us. I do not recall how long we were posted but eventually we were summoned back to the boats which had transported us over the river.”

Malarkey: “I brought ten paratroopers in my boat. The most interesting one was a sergeant from the British 7th Armoured Division, who had escaped from German prison camp. He said, ‘Sarge, I’m all through. My wife has been a widow five times now, and she is not going to be again. He was from the famed ‘Rats of Tobruk’ and had been reported MIA several times in Africa and for the last time on the continent”

Cpl. Walter Gordon: “In spite of the fact we had been admonished to be quiet, we did a bit zealous on our return and paddled like demons. Each time a paddle made contact with the wood frame of the boat, it had the sound of a kettle drum. I was astonished that we were not heard in Berlin. Not a shot was fired.”

Malarkey: “The next morning all hell broke loose at the orchard and the bank of the Rhine as heavy German artillery devastated much of the orchard, buildings and all of the boats.”

And there is a nice memory of Sergeant Taylor from F Company about Strayer.

Taylor and a few other soldiers were on a patrol that went bad, they ended in the water on cold day and when they rerurned to the S-2 Battalion: “Gosh, it was cold riding back in the jeep as we were soaking wet. Colonel Strayer was back there. He gave us a cup of coffee and I think it was the best cup of coffee I ever had in my life. We were told to take off our wet clothes. Strayer threw a blanket around us.”

And that’s all about Easy and other familiar faces but there are some memories of other paratroopers that caught my attention:

Before jumping. “Pvt. C.D. Kreider had a feeling of impending doom. Sgt. C.D. Edgar related:  Kreider gave me his watch and wedding band and told me to  send them home to his wife as he was not going to make it. I told him: If you don’t make it, I’ll be with you and I won’t make it either. Kreider responded: Sarge – you are too mean to die!” It seems he was indeed too mean to die, because he survived the war xD

It was never mentioned in BOB, but a lot paratroopers came by gliders. Cpl. Michael J. Friel, medic for the 327th Glider Infantry Regiment, was in the co-pilot’s seat of Hillyard’s glider. He wrote: The pilot gave me instructions on how to land a glider in case he, the pilot, was disabled. This lesson occurred while the fight to Holland…

In Eindhoven, memories of Bert Pulles, a young Dutchman. He noticed soldiers passing by and asked ‘Are you English?’ Someone said: ‘No, we are Americans!’ My answers was ‘Even better!’. “I was so excited that I did not notice anything – just so happy to see American paratroopers that I could talk to. I am sure that I never noticed their ranks, if they had any, I just saw 12 or 15  young ‘gods’ who came to liberate us. The only thing I noticed was the proudly-worn Screaming Eagle patch on their left shoulder – a badge I will never forget”. 

Cpl. Pete Santini: “Pvt. Floyd Ankeny, a man who has been in the company almost since its beginning, gave his foxhole to one of the new men who had never been under fire before and calmly began to dig himself another hole. I questioned him later and asked him why he did it. His answer was: I thought the new man was a little frightened.” Who wasn’t?!”

Veghel

Cpl. Chester E. Otsby: “I felt a tug on my leg and there was a little boy with a red wagon. He was trying to tell me to put my radio in the wagon and he’d pull it alongside. I was trying to tell him as the best I could that I had to carry the radio. All of sudden it dawned on me that since the radio was broken what the heck,, it wasn’t doing an  good on my back so I obliged him by putting it in his little agon and we marched along. He was about the happiest little Dutch boy in entire country”.

Eerde

Pvt. Jesse Garcia, form G Company: “We were  dug around a perimeter and I was short distance from the captain Kraeger. Evidently I was dug in too deep. I didn’t hear him calling me. He crawled out of his foxhole and looked down in my position. I remember looking up and seeing the captain. He said: Garcia, if you dig that foxhole deeper, I’ll consider you AWOL!”

Another memory of that Captain. Pvt. Garcia accompanied him to the HQ, where the Captain talk to Colonel Ewell and Colonel Griswold. They came under a fire. Garcia wrote: “I don’t know if we were spotted by a few Krauts or not but they opened small arms fire. I hit the ground immediately. Neither Captain Kraeger or the Colonels ever flinched or jumped. I remember Colonel Ewell saying in his southern twang ‘Well, I guess we better take cover.’ They were real men in combat.”

PFC Monaghan: “Warren Reudy and I were down in a very small ditch when a shell exploded so close it covered us with dirt. After seeing that neither of us was hurt, I looked up and there on the road, just as calm as could be with not care in the world, was Captain Kraeger. I said ‘Hey, Captain, when are we going to get out of this mess?’ He replied very calmly ‘Don’t worry Monoghan, I got you in and I will get you out’. Well, that was all I needed, and he did get us out. He was one of the greatest leaders I ever met.”

And now, my fave story form the entire book:

Sergeant James E. Breier and the most hilarious action during whole Market Garden. He and a few other soldiers were on a patrol and noticed Germans waving a white flag, like they wanted to surrender. The Americans approached them to realize that the flag only appeared in the sun as white, but was orange in reality. They were taken prisoners but… they started to argue that the Germans were the prisoners not them xD Breier even argued with a German lieutenant xD He was even warned they were going to shoot him, if he would not shut up. The best thing? He bitched so hard, the Germans finally decided he came to them voluntarily and was not really a POW. So the next day, they took him to American lines and let him free xD

Conclusion of the whole Market Garden operation:

„The cost had been high again, just as in Normandy where 1,098 had been listed as killed. The KIA’s numbered more than 858 in Holland, 2,151 were listed as wounded and 398 were counted as missing or captured during the campaign.”

It's a very good book and if you are a fan of military non-fiction and memories of soldiers - highly recommended.

I've also read book 1 -> here.

[love-hope-faith-feels-like-a-lie]

Another one for you! What are your five "go to" GG episodes you find the most rewatchable? They Shoot Gilmores and The Lorelais' First Day at Yale are definitely both on my list, but I'm still trying to pick just three more from the zillion other episodes I love :)

Thank you for this. I really appreciate it💕 Right off the bat I’m going to apologies for how long this is. I couldn’t keep it to just five episodes and I had a need to explain why these are my most rewatchable episodes.

1) Forgiveness and Stuff (1x10) I’m such a sucker for Luke being there for his girls. The way he gives Taylor, the guy he’s thrown a frying pan at because he’s annoying and he hates him, the keys to his establishment just shows how much he cares and knew Lorelai needed him. It makes me happy. Plus it’s where we get the classic blue hat. Lorelai saying Luke always looks good and Luke saying “I can’t imagine anyone seeing you as a disappointment.” Such cute moments in this episode.

2) Dead Uncles & Vegetables (2x17) Just as I love Luke being there for his girls, I equally love when Lorelai and Rory are there for him. Luke and Lorelai are a cute married couple in this episode (and pretty much all episodes really) and you can’t convince me otherwise. Also, don’t we all just love the way Rory makes Jess help out. It’s so funny seeing him just let her and we all know he’s loving it.

3) A Deep-Fried Korean Thanksgiving (3x09) If you don’t join in when everyone is chanting ‘Jackson,’ then you haven’t been watching this episode right. I love getting to watch the girls go through their Thanksgiving traditions, especially Lorelai and Luke’s. The Lane and Dave moments are cute! The girls eating with Luke and Jess is adorable and they all look like a cute happy family. I adore the fact that Lorelai takes food from Luke’s plate. I’m telling you these people have been married since day one. Plus it’s Jess and Rory’s first Thanksgiving together as a couple and ain’t that cute! I love drunk Sookie! She’s funny and I can’t help but say her lines with her.

4) A Tale of Poes and Fire (3x17) It’s super fun seeing Michel interacting with Miss Patty and Babette. Lorelai screaming ‘Stella’ for Luke to come to the window is always fun to watch. But the best part is Lorelai telling Luke about her dream and how they smile while discussing it. Lorelai not being about to tell Luke that they kissed in her dream because it hits too close to home brings out the feels. Oh and Rory’s going to Yale!

5) The Fundamental Things Apply (4x05) Luke and Lorelai’s first movie night. I love how Lorelai teases Luke about not having watched many movies and not knowing what the FBI warning is. It’s so fun to watch. I love how comfortable they both look while they sit and watch Casablanca. Luke helping Rory out with her awkward date is cute, and a little Dad moment which fuels my ‘Luke has always been a father figure to Rory’ feels. The best moment is when Luke is sleeping on their couch and Rory says, ‘He looks comfy there, doesn’t he?’ and Lorelai looks like she doesn’t want to think about how comfy Luke looks because she doesn’t want to admit how much she likes seeing him there. And I’m definitely reading way too into that look but it makes me happy so it counts. 

6) The Incredible Sinking Lorelais (4x14) The proud and happy smile on Lorelai’s face when she’s looking at the gum wrapper with the Dragonfly’s first reservation makes it worth watching this episode. She’s adorable and I’m so proud of her. Lorelai wearing her Bon Jovi hat and Luke commenting on it is fun. The best part about this episode has to be, as Lorelai puts it ‘the meltdown in the park’ moment. Lauren Graham is so good at emotional scenes (and pretty much everything this woman does) that it always hits me when Lorelai is breaking down. Of course I love the fact Luke instantly knows something is wrong when he sees her and he’s there to comfort and support her. 

7) Let Me Hear Your Balalaikas Ringing Out (6x8) Lorelai jonesing for her colours is super fun and cute. Colin and Finn are funny when they’re drunk. ‘I’ve forgotten how to get into a car,’ always cracks me up. Then he appears. The man of the hour. Yes, Jess Mariano. It’s nice to have Jess back for this episode. I alway forget how much I love his interactions with Rory until I watch them again. I’m super proud of all he’s done and seeing him come back, showing his book to Rory and telling her that he couldn’t have done it without her is such a beautiful moment. Probable one of my favorite between the two. And of course seeing Jess questioning Rory and being able to wake her up and make her realise that she’s not acting like herself is the best. All that said, the part which I just love is when Paul Anka gets sick and Lorelai is in Rory’s room watching him sleep. Once again Lauren is just incredible and makes my heart hurt at hearing Lorelai say she's a bad mother. Luke being there to comfort her is an added bonus, especially the way he touches her hair to comfort her. 

8) Santa’s Secret Stuff (7x11) I know what you’re thinking, how is a season 7 episode where Lorelai and Chris are still together on my most rewatchable list? Well let me tell you why. I love getting to hear about Lorelai and Rory’s Christmas traditions, such as how they put green and red M&M’s in their cereals on Christmas day (which I did last year and let me tell you it be yummy) and getting to see the girls go through those traditions is nice. Gigi isn’t my favorite character (honestly have no opinion on the kid) but she’s adorable when she copies Lorelai as she says ‘The redcoats are coming.’ The fact Lorelai doesn’t think twice about helping Luke with the character reference warms my heart to no end and is just super cute. Talking about cute, Luke and April! These cuties! Always love any Papa Luke moment. Luke being a Dad is so cute to watch and I love April (just hate what the writers did with her storyline in season 6 but that’s a rant for another day). Love that she’s 60% atheist and 40% agnostic. This girl is so quirky and I’m so here for it. What makes this episode one of my most rewatchable episodes is that scene between the girls and Luke and April when they’re all out shopping. This scene is amazing because it shows how much Luke cares for Rory. He’s always cared about her and throughout the years has always given her gifts for her birthday and holidays and maybe they weren’t the best gifts, but the love is what counts especially since Luke finds going out to buy presents such a daunting task. It just makes me happy seeing how much Rory means to him. What makes me love this scene is the smile and just the look on Lorelai’s face. If that look doesn’t show how much she loves and admires Luke then I clearly need new glass. (side note: I actually do need new glasses but that’s besides the point lol) 

9) I’d Rather Be In Philadelphia (7x13) This episode just really shows how great Luke is. The fact the moment he finds out about Richard being at the hospital he just had to go and see if everyone is okay, to see if Lorelai is okay is next level cute and just reminds me why Luke is always going to be the better man. Yes, he has issues and has dealt with somethings in ways that I just want to punch him so hard his hat starts spinning like Daffy Duck's beak, but he’s always there for his girls even when he’s not with Lorelai which just further shows how much he cares and is generally such a great guy. I love that Luke let’s Emily give him chores to do and that it kinda feels like he’s part of the family because he’s helping out, but then I remember he’s not and that hurts. I love that he comes back with food and a fish bag. He’s a cutie. Love that Lorelai is happy to see him. Logan is there for Rory which is nice to see. It’s interesting to see how everyone deals with Richard being in the hospital this time around compared to in Season 1, mostly Emily. All her moments especially when she has a little breakdown in front of Lorelai, and then her talk with Richard hurts to watch but in a really good way.

10) It’s Just Like Riding a Bike (7x19) Lorelai’s dress at the start of this episode is the only reason I rewatch this episode endlessly. Ah well that and some other things too, I guess but mostly the dress. When Lorelai calls Sookie, that whole scene I personally feel like it presents a parent having to deal with sick children so well. Sookie’s place being a mess, her sniffing what I’m hoping is milk from the kid’s bottle and using it for her coffee, and also picking a lollipop from the tablecloth is really how life looks like for a parent just in general, let alone when their kids are sick. So it’s refreshing seeing this being presented in a realistic way. Luke and Lorelai car shopping is awkward but I love every moment of it, especially when Luke starts ranting and then they starts bickering. The smile on Lorelai’s face. Lord take the wheel because my heart can’t deal with the cuteness. The smile screams ‘I have him back’ to me and I love how happy she is about that. Luke doing everything in his power to make Lorelai be able to have her old car is just sweet, and have I forgotten to mention that this guy is just the best? I love it. 

Okay, I’m finally done and the fact you’ve gotten to the end of this is amazing. It was hard to narrow it down to just these because there are a lot of episodes I love and rewatch often, like a bunch from season 4 and 5 but these just happen to be the ones I go to when wanting to rewatch an episode. It really only occured to me once I was done that I have no season 5 episodes on this list and more season 7 ones which I’m not even sure why that’s the case but it is. They Shoot Gilmores and The Lorelais' First Day at Yale is definitely episodes I watch often, especially because they both have cute moments: ‘Another kid might be nice’ and 'Rory says thanks for everything, too,’ are some. Thanks again for the ask, It was a fun distraction. 💕

[jessilyria]

ABSOLUTELY EVERYTHING WE KNOW ABOUT THE UMBRELLA ACADEMY SEASON 2

Hello! This covers everything from trailers, promo pics, interviews, and articles. Pics and links will be included. The info is in vague chronological order (as much as it can be.)

Needless to say, this post contains SPOILERS and is LONG ^‿^

If you’d like a non-spoilery version with just the basic facts please check out my Umbrella Academy Timeline.

***********************************************************************

According to Steve Blackman, season 2 is about second chances and the endgame is still to stop the 2019 apocalypse (X).

The opening scene of season 2:

The siblings arrive in the past at different times, but all in the same spot - an alleyway with some dumpsters which leads out onto a high-street. 

Noticeable locations on the high-street include a beauty salon for black people, and an electronics shop which later on closes down and becomes a base for the group.

The order they arrive in is the order the promo pictures were released: Ben & Klaus, Allison, Luther, Diego, Vanya, Five.

It will likely take a while before the whole team is reunited, and possibly longer before the siblings begin to meet the new characters: “It was several episodes before we all started to interact with each other” (X).

Ben & Klaus land in February 1960 (X). As Klaus is sober, his powers continue to develop and he uses them to impresses some people. (X)

"Klaus effectively starts the hippie movement off early by founding a cult whose philosophy is based on the lyrics of pop songs that have yet to be written. “Don’t go chasing waterfalls. Please stick to the rivers and the lakes that you’re used to,” he tells one awed follower." (X)

"Destiny's Children! Let us commune with music." *starts whistling*

But Klaus isn’t as happy as he seems in this new life of cult stardom. “He can’t deal with the praise; it’s just become strangulating.” (X)

There’s also tension between Klaus and Ben, but its unknown whether this is because of the cult, because Klaus is "trying to rekindle his relationship with Dave" (X), or because Klaus’ evolved powers mean Ben can now possess him (X). Either way, Ben’s “determined not to be invisible to the ones he loves, willing to go further than ever before to make his presence known.” (X)

As Klaus is wearing the same outfit as the promo pics (and has a long beard which he later loses), its likely the following scene takes place early on.

Klaus: Now what? Ben: Remember when I told you the engine was overheating? Klaus: Yeah, well, being smart doesn't make you interesting. Ben: Neither does your beard.

Ben: You think I’m just going to keep following you everywhere for another three years? Klaus: Yeah, you are my ghost-bitch, remember?

*************************

Klaus: My skin was on fire! Ben: Good! I’ve got to get to San Francisco, I have unfinished business.

Allison is second to appear in 1961 (X). "Confused and looking for help, Allison walks into a diner and is greeted by a “Whites Only” sign, then chased across town by a group of white men until she finds sanctuary in a beauty parlour for Black women that doubles as a meeting place for civil-rights activists." (X)

Its been confirmed that the below image is from ep 1. (X)

Have you experienced discrimination by your employer?

She meets a man named Raymond Chestnut who is a “born leader with the smarts, gravitas, and confidence to never have to prove it to anyone. He has the innate ability to disarm you with a look, and is a devoted husband.” (X)

Luther appears on April 10th 1962 and lands on a dumpster.

He ends up working for Jack Ruby (X), a mysterious man who owns a nightclub (and who fatally shot Lee Harvey Oswald after Oswald was in custody for JFK's assassination). Luther’s job involves being a driver, bouncer, and underground fighter.

Its been confirmed that the following scene is from ep 1. (X)

Diego appears on Sep 17th 1963. One of the first things he sees is a televised address from President JFK.

He ends up in an insane asylum for stalking Lee Harvey Oswald and spouting “delusional claims” about JFK’s assassination (X). Its here he meets Lila Pitts, “a chameleon who can be as brilliant or as clinically insane as the situation requires”. She’s also "unpredictable, mischievous" and "sarcastic" with a "twisted sense of humour." (X)

Vanya appears on Oct 12th 1963 (X). “She arrives and gets hit by a car, driven by a woman (Sissy). She smashes her head on the cement... She remembers her name, but nothing else.” (X)

She gets a job on a ranch as a live-in-nanny for Sissy, a "fearless, no nonsense Texas Mom" who "married young for all the wrong reasons" and is "eager to rediscover what love has to offer." (X)

Because she has forgotten her past traumas, Vanya is “much more confident and more in touch with her emotional self” (X). She forms a unique bond with Sissy’s son, Harlan, who is non-verbal (X). Its been confirmed that the following photos are from ep 1. (X)

Vanya: I wish I remembered something.
 Sissy: The doctor said it would take time. Don’t push yourself.

Vanya is also slowly discovering her powers on her own.

Five appears with Hazel on Nov 15th after witnessing the world going down in nuclear explosions.

Five: What was that? Hazel: The end of the world, November 25th 1963. Five: And where am I now? Hazel: Dallas, ten days earlier. Five: ...I need to find my family.

But of course its not going to be that easy, the Commission is still out there and “will hunt us down wherever and whenever we go.”

In the trailer we are introduced to the head of The Commission, a fish named Carmichael. He sends three Swedish assassins, Oscar, Axel, and Otto, to hunt down Five and the others.

At some point they acquire a milk-truck and one of them dresses as a milkman. On a location shoot, the Swedes were seen in their truck outside a house in an urban area. They check a map and one of them pumps a shotgun (X).

Whilst searching for his siblings Five encounters a man named Elliot, an "alien obsessive (who) witnesses The Umbrella Academy's separate arrivals." He agrees to help Five find the others. (X)

“3rd EVENT, April 10th 1962″ is above photos of Luther arriving, “September 17th 1963″ is above photos of Diego arriving, and the right column are photos of Vanya arriving still in her White Violin outfit.

Five manages to find Diego in the asylum and they have a conversation.

Five: Listen to me very closely, you gibbering moron. You are not going to do a goddamned thing. Diego: Why not? Five: Because we have to stop the apocalypse. Diego: But that doesn't happen for another 60 years. Five: Not that apocalypse, this is a... new one. It followed us.
 Diego: *begins laughing*

At some point after this the Swedes storm the asylum.

“Who are those guys?!”

Diego and Lila seem to make their escape from the Swedes and the asylum pretty quickly however. Its been confirmed that the below pic is from ep 2. (X)

Based on Diego’s outfit and length of beard, the following two scenes take place around the same time. First, a heated car conversation which Five crashes.

Diego: You don’t know anything about me! Lila: I know everything. You are an open book written for very dumb children. Diego: I am n-not trying to b-be a hero, okay? Lila: Then why are you doing this?
 Five: *appears in the backseat* Because he is an idiot. Lila: Who the hell are you? Five: Hi, I’m his loving brother. Diego: Who left me to rot in the nut-house. Five: To protect you from yourself.
 Lila: Thats quite sweet. Diego: Okay. Both of you. Out.

And second, a dark encounter with a familiar figure...

Reginald Hargreeves & Pogo

The summary for episode 2 also mentions that “an incident at the bar leads Luther to Vanya,” and “Five finds an unsettling surprise in the film Hazel left behind,” which likely links to this image:

Its been confirmed that the following scene is from ep3 (X). Klaus is seen emerging from a river - now confirmed to be the River Ganges in India/Bangladesh which is considered sacred and purifying (X). Considering the series spans 10 days and is set in Dallas, this scene is very likely a flashback.

Note Ben in the background.

Klaus is also seen in similar attire in a wealthy looking house, which is potentially part of the commune where the cult operates.

Note Klaus no longer has his long beard.

And here’s Ben in what looks like a room in the same house. It's interesting to note that Ben (or the actor) is looking straight into the camera, implying its a first person point-of-view.

Apparently also in ep3 we have this delightful gem of Klaus being Klaus. (presumably theres a pool at the commune?).

Episode 3 also sees the Swedes chasing Vanya in a cornfield until she uses her powers to defend herself.

Thanks to this, Five is able to track Vanya down (X). It's been confirmed that the following pic is from episode 3. (X)

And based on Vanya's clothes, Five then takes her to a cafe to explain a few things.

Vanya: Are you gonna tell me what the hell's going on? Five: When you were a baby you were bought by an eccentric billionaire. He raised you in an elite academy with six other siblings with extrodinary powers, but in the year 2019 in order to avoid the apocalypse we jumped into a vortex and ended up being scattered throughout the timeline in Dallas, Texas. Vanya: ... Five: Any questions? Vanya: ... what do you mean the apocalypse?

At some point ollowing on from this (but unknown which ep) Luther and Vanya have this conversation:

Vanya: What caused the apocalypse? Luther: ... You did... but not alone. I was part of it, we all- Vanya: How? Luther: You got angry. Lost control, you... blew up the moon. It slammed into Earth wiping out everything.

In ep3 we see both Allison and Raymond actively involved in the protests against the segregation by taking part in a sit-in (X).

Allison: I’d like to be served, please.
 Waitress: *pointing to a Whites Only sign* Can’t you read, girl?
 Allison: Seven languages.
 Customer: Oh, you smart one, huh?
 *The door opens and many other blank protesters enter.*
 Allison: We’d like to be served, please.

However, it goes badly as "police brutally attack (the) peaceful protestors." (X).

The summary for ep3 says that “Allison reconnects with Klaus,” and in ep4 she is “searching frantically for Ray.” It seems, based on the following pics, that she finds Ray in jail and Klaus & Ben have a hand in getting him out.

Note the word "buearu" on the window and Ray in the background.

Based on Klaus' outfit, its sometime around this point he goes on a massive bender. We see him running with a bottle of whiskey, his gleeful cult following him, and dancing in a drinks aisle.

Note that Klaus is bleeding from his lip.

Following on from this, Klaus wakes up on Allisons floor, feeling worse for wear.

Ben: And how are we feeling this morning? Klaus: Ugh, peaches and cream, how are you? Ben: Curious. How many more rock bottoms are you going to have to hit before you start taking care of yourself?

In episode 4 “Vanya contends with a crisis at the farm.” Could this link to her developing romance as, despite Sissy still being with her husband (X), she and Vanya begin exploring a relationship?

The summary confirms that in ep4, “Five, Diego, and Lila crash a party at the Mexican consulate.” But the Swedes are still hot on their tail.

Note the third Swede in the background, chasing Five?

After surviving this, they return to their base. The following pic has been confirmed as happening in ep4 (X).

At some unknown point the Swedes (or two of them) also go after Allison, though it appears she fights back (and kills one of them?).

"They weren't here to sell vacuums!"

Also at some unknown point, Allison and Luther have a catch up. Based on Luthers partially healed face, this is after his conversation with Vanya in ep2.

Luther: We did it again… apparently.
 Allison: Did what again?
 Luther: Ended the world.

Also at some unknown point Vanya and Diego reconcile: “I don’t remember what I did, but I’m sorry, if that means anything,” Vanya tells Diego as he threateningly juggles a knife. “It does,” he responds, before accepting her as a confidant he can turn to for advice on how to handle his feelings for Lila. (X)

It appears that ep5 is when the whole family finally reunites. The episode summary explains how “summoned to an emergency meeting, the siblings hatch very different plans for how to spend their last 6 days on Earth.” (I have no idea what order the conversation goes in as each bit is a snippet from a different promo vid).

Five: Klaus, is Ben here? Klaus: No, unfortunately ghosts can’t time-travel. Ben: Are you kidding me?

Five: (I/We) really screwed the pooch on this one, the whole going back in time and getting stuck thing. But the real kick in the pants here is… we brought the end of the world back here with us. Klaus: Oh my god, again? My cult is gonna be so pissed. I told them we had until 2019. Five: We have until Monday.

Klaus: Is it Vanya? Allison: Klaus! Klaus: What? Its usually Vanya.

Vanya: None of us are supposed to be here, right? I mean, what if its us?

Luther: Diego's been stalking Lee Harvey Oswald. Diego: Hey, you're working for Jack Ruby! Klaus: Allison has been very involved in local politics. Allison: Okay, you started a cult! Ben: Thank you!

“We have to make it right again, before everyone and everything we know is dead.”

Following on from this, Klaus, Vanya and Allison have some bonding time in the beauty parlour.

Vanya: How do you guys deal with this? Allison: What? Vanya: I mean all of it. Time travel. Seeing the dead...?

Vanya: I’m gunna tell Sissy that I love her… I don’t want any secrets.
 Klaus: Yeah? Allison: Yeah! Yeah, yeah, you’re right. Yes. Cos, y’know, if, if its all going to go tits up the least I could do is be honest with my husband. Klaus: Oh… does that mean I have to face my cult? I just hate group breakups, thats why I stopped dating twins.

“Klaus, Vanya, and Allison end a moping session by dancing together to Twistin’ the Night Away.” (X). Its been confirmed that the following pic is from ep 5. (X)

In episode 6, “Dave visits Klaus’ compound” and “the siblings meet their father for dinner” in a Tiki bar. Its been confirmed that the following pic is from ep 6 (X).

An interview with the cast has them talking about ‘the elevator scene’ and how hard it was to shoot because everyone kept cracking up. (X)

Five: All right, quick run down. Luther; super strength, Klaus can commune with the dead, Allison can rumour anyone to do anything-
 Diego: Yeah except she never uses it.
 Allison: I heard a rumour you punched yourself in the face.
 *Diego punches himself in the face.*
 Reginald: *looking at Vanya* And you?
 Luther: Uh, maybe we don’t… take Vanya for a test drive.
 Klaus: Oh yeah thats probably not a good idea…
 Vanya: What, I think I can handle it.
 *Despite everyones protests, Vanya explodes a fruit bowl.*

Based on Luther and Klaus’ outfits, the following scenes also take place sometime around the same time (ep6/7).

First, Luther pulls up to a house in an urban area, he gets out the car and has a conversation with a man (X). This is the same house where the three Swedes were seen in their milk-truck at night.

Note the gun and flask on the seat.

Next, Allison and Raymond deal with a body (of a Swede?) while Klaus & Ben don’t help. The summary of ep6 also mentions that Allison gives Ray a peek at her powers, which is maybe why he’s on board to deal with a body.

But what's the big flash that startles them? Well it may have something to do with all this craziness:

Note the chairs and people on the ceiling.

It’s hard to tell but since Ben is there, this could be Klaus being thrown backwards? The outfit certainly looks similar.

In an interview, the cast talk about how the room had to be painted completely white (then returned to normal), and how nice it was for the character of Ben to be able to share a moment with Vanya (X). This implies Vanya looses control and Ben is able to talk her down.

At some unknown point, it looks like the siblings all return to the academy.

Note that the background behind Klaus implies he’s sat in the same seat that he did as a child.

An interview asked the question "You all eat 'brain' at a family dinner..." (X) and in a different interview the cast talk about the brain acid trip (X). Could this be when that happens?

Either way, things likely don’t run smoothy. “Reginald still proves just as capable of preying on their deepest insecurities, while somehow leaving them attacking each other instead of him.” (X)

The summary for ep7 mentions someone named Carl issuing a warning to Vanya, and in ep8 it states that the FBI torture her, so its most likely the following images are from this time:

The tape recorder is turned off...

The figure from behind slaps a cloth over Vanya’s face as she takes on the appearance of The White Violin.

“A dimly lit room... Vanya is strapped to a chair. The floor is soaked with water. At the moment she is being tortured for information... After an electric shock the lights on the ceiling begin to flicker. “‘Is she doing that?’ asks a fearful FBI agent.” (X)

Also in ep7, “Five travels to 1982 to carry out his new mission”. Theres a possibility that Luther is also involved in this as a promo pic has snow surrounding the house, which I don’t think would happen in November in Dallas?

Five: I need a spotter. Luther: What is that? Like a wingman?

The summary for ep8 includes the fact that “Diego discovers what causes the apocalypse.”

“Everything in our new lives is connected to the plot to assassinate the president. That can’t be a coincidence.”

The fact we see the gun Five was going to use to assassinate JFK, implies this scene takes place on Nov 22nd, 3 days before the apocalypse. And we know from the summaries that in ep8 “Five concocts a risky plan to intercept another version of himself.”

Old Five, young Five (who’s still really old Five), and Luther.

However this may not go to plan as the summary for ep9 says, “the Fives plot against each other.”

And the summary for episode 10 is: “reeling from the events at the Dealey Plaza, the siblings head to the farm to help save Harlan.”

MOMENTS I CAN’T PLACE:

Someone flips over a table in what looks like it could be a distillery. Based on outfit and hair this could possibly be Lila, Klaus, or (less likely) Diego. Five is also there.

A similar (the same?) person flips over while avoiding gunfire. There are targets and what looks like training equipment, and the person shooting is standing under a large umbrella.

If the flipping person is Lila, then this may link to what the summaries reveal about her arc: In ep5 she confronts her mother, in ep6 the Handler is mentioned (albeit talking to Five), and in ep9 she learns the truth about her parents…

Five sneaks through a room with a camera and lights. On the blackboard the word “Pogo” is written, implying this could be Reggies house and this room is where he is teaching and studying young Pogo.

Diego walks into a control room. It looks like there might be 2-way glass. Could this link to ep8 when Diego discovers what cases the apocalypse?

Five is seen in a building with wooden panels on the walls.

Based on the background of this shot of Carmichael, the building could be part of The Commission.

“You...”

Five gets buried in rubble. Aidan looks chill about it though.

***********************************************************************

Well done for making it all the way! 

I’ve tried to avoid speculation as much as possible and keep the language suggestive. I don’t know all the facts, I WILL have made errors, probably many! So please take all this with a suggestive grain of salt, I am just a hooman trying to use her squishy brain.

Please let me know if you spot any errors, think of anything else I can add, or if you want more info about any specific event ^‿^

[nehawriter16]

2020 / 24

There are only 2 things I can do on an airplane – dose up on sleeping meds and pass out, or order one too many cappuccinos, keep my exhausted brain awake, and will it to talk to paper. The flight from JFK was in the afternoon and in the chaos of leaving for the airport early in the morning, I forgot to pack my pills.

Two cappuccinos in, my hands were shaking and begging to be typing out the Mrs. Maisel speed monologue that constantly runs in my head. Even though there is a month left in this year, I decided to do my annual New Years Eve post. Over the last 3 days, I’ve been drilling it down to go from gibberish to slightly readable.

Here it is.

Like the rest of the world, in January, I was blissfully unaware of the shitstorm that would follow. I got into several colleges on the East Coast for a Master’s in Finance degree. Every day, I would race down the stairs with my laptop and show my parents: another admit, another scholarship! On the surface, I was making pro and con lists for each one. Deep down, my heart had already picked Fordham in New York. It was New York. Nothing else would cut it.

The day after I turned 24 in January, I also met my (now ex) boyfriend on the internet. Completely by accident, he saw my profile because a mutual friend followed my writing. Two days later, she texted me and said he would like to talk to me. Did I want to talk to some boy studying in Paris? I was single and bored and already had my year laid out for me, so why wouldn’t I?

It moved quickly. Three months later, we had been speaking every day and were exclusive. We had not hung out in person. It was stupid, but I had never come across anybody who liked me as much as he did. In every relationship I had been in before this, I always knew I was more emotionally involved. I fell in love with his devotion to me – he would stay home (who stays home in Paris!) and choose to spend virtual time with me over going to clubs with his friends. I watched myself become the epicenter of his life and thought – this is how much I’ve always wanted to mean to somebody.

In March when the pandemic hit and India shut down, my father sent a car to pick me up from my internship in Bombay, where I had moved two weeks ago. I didn’t pack so much as my toothbrush – the driver brought me home and I had no idea that it would be months before I’d get to leave again.

Morales stayed high in the beginning – we thought it would end in 21 days, then 2 months, then 5. It has taken over the whole year now, and despite us gridlocking it into “2020,” we all know the first half of 2021 will also be filled with masks and sanitizers and not hugging your friends. I wonder if I will ever settle into somebody’s arms without cringing again.

March melted into April, that melted into one long drawl until suddenly it was August and college was beginning the following week. I found myself refreshing the US consulate’s website absent mindedly one afternoon, and all appointments that had been suspended suddenly showed you a tiny little bar that read “reschedule.” I screamed and clicked.

I had thought I would be spending the year stuck at home, awake and attending classes at odd hours. While my classmates went to happy hours in dive bars in Manhattan, I would be in my bedroom, still chained to my parents’ curfews and ultimatums. But then suddenly, I was standing before a US immigration officer in Bombay, and he was telling me I had been granted my student visa.

All that was left to do was book a flight to New York, and break the news to my boyfriend, who was on his way to my abandoned apartment at this very moment for our first date, 7 months after we first began speaking. He had come home in March when France went into lockdown, and it was starting to feel like a throuple with long distance, the third and very present member in our relationship.

I packed up the belongings I had left there, and we sat across from each other on the double bed. I kissed him first. There were roadblocks, and our personalities and views clashed on so many important things, but I loved him. Two days later, I said: I have to leave for New York in 3 weeks. He didn’t take it well.

In September, I landed at JFK. When the wheels of the plane made contact with the runway, I was smiling behind a mask I’d had on for 16 hours. On the Air Train to Manhattan, I felt a sense of happiness wash over me and toyed with the possibility that maybe I wouldn’t mind if it was just me in this city. I would be okay alone.

I found an apartment, a roommate, signed a lease in a beautiful building in Hell’s Kitchen, walking distance from college. I met lots of people from my class and instantly picked out the ones I wanted to become good friends with. I dove straight into academics and extra curriculars at college – after 5 months of nothing happening, life was suddenly exciting again.

When New York lit up every night, it felt like anything was possible. I started eating better and walking a lot. My hair grew out from the bad haircut I’d gotten the year before. Coffee was no longer just coffee, it was finding a new café and walking through Central Park. Drinks were not just drinks, they were about accidentally stumbling onto a secret bar in the East Village, finding favorite spots in the neighborhood, letting a cute waiter recommend a cocktail to me even though I was perfectly capable of picking one myself.

The boyfriend and I were fighting more than usual. I was getting tired of it. We had discussed a life together, but it was slowly and surely becoming clear to me that I would resent myself for making big compromises for a person who still had a lot of growing up left to do. As New York got cold, I did too – without trying. When one particular argument got really bad, I asked for a break from the relationship. He didn’t like it.

A week later, I woke up to a girl sending me screenshots on Instagram of her conversation with him (pre me asking for a break) on a dating app, and without getting into details, I will tell you it was not a conversation anybody with a girlfriend should have been having. I should have been broken in half on the inside, but now I could finally say, without feeling guilty – this relationship was not working, nobody was happy, and you were so unhappy you thought talking to other women was okay. I spent all of one day drinking with a friend in Central Park and sobbing myself to sleep.

But mostly, what hit me after the initial shock had died down was a tsunami of relief. I felt lighter, freer. I try not to think too hard about the trauma that comes from finding out that the person you think is so devoted to you, and definitely loves you more than you love them (or so you think) is being unfaithful, because it hurts a part of me that is already very bruised from all the things that have happened to me before. So I don’t.

But it was New York. I was young and smart and there was a wine shop down the block that sold $14 bottles of Moscato. I didn’t need much else to know I would be okay. At 20, I would have jumped right back into going on dates every other night to distract myself from what had happened, then never called any of those men back. At 24, this emotional speed bump resulted in a lot of quiet introspection in my bedroom. I spent a lot of time alone, on the phone with friends, and walking around the city. I had learnt to like my own company enough to not fill a suddenly empty void with anybody else’s, even though there have been several tempting offers in this past month, and sometimes, I have succumbed to them, but mostly I am very strict with who deserves my company.

It was nice to spend that second month in New York by myself. I owed absolutely nobody a single minute of my time. No one asked me questions, or called me and expected me to share my day unless I wanted to, and once I had worked hard and cleared out the things from my to do list for the day, time stretched out before me and I had the autonomy to decide the smallest thing down to who to meet, what to eat, how much to sleep.

I didn’t let my academics and ambition suffer – no matter what happens, I never do and I never will. The grades stay up – it’s built into my system. I am back home now and just 2 days in, I find myself wishing I hadn’t left New York. I was starting to build a life I liked there, and the only price I had to pay for it was a 4 pm sunset. It would have been slightly lonely, but I like the time I spend by myself. I worked hard to become like that.

This month, I will see my friends here at home. I’ve missed them. I can’t believe I grew up in this city and I already feel so alienated from it just from 60 days of living away. Is that how badly I wanted to leave?

I might be dramatic and fly back on my 25th birthday, so that I can say, “I was on a flight,” and ignore the slowly expanding bubble of dread that comes with turning that old. I like the ambiguity of airports and I’m the sort of inherently sad person who would love to be alone and unreachable on my birthday.

I acknowledge that my problems this year have been so small in the face of those of us who have lost family members, contracted the virus, had to give up internships or had jobs taken from us, been torn away from family, or had to make it through this alone.  

I feel almost guilty that good things have happened to me in a year that has predominantly been bad for almost everyone else. I feel apologetic, even though from 2017 to 2019, I was treated like life’s sick joke so I should deserve these good things that I worked hard for.

I definitely feel myself growing up, though. Emotionally I find I have a clearer idea of what I want from relationships and friendships, and I don’t second guess cutting off anybody who doesn’t serve that purpose or messes with my mental peace. I still have days when self-doubt comes over for a cup of tea, leaves me weak in the knees, but most days are free of it. I am also moving out of that chameleon phase where I mirrored what I thought a room full of new people would want from me, and I am unapologetically myself, irrespective of who’s watching.

Last year I remember wishing for something stupid, like “I wish there was somebody to kiss on New Years Eve,” because I’ve never had anybody to smack lips with when it’s midnight. This year, I don’t care. I’ll kiss myself in the mirror, for all I care. I love her. She’s my homie.

It’s been a weird year. I know who I was in 2019, and I remember wondering if I was proud of her. Things were still in purgatory then. But I steered my life and brought it back on track. This year, I am proud of myself without doubting it.

There’s no measuring scale for personal growth, but if there was, I feel at least a couple of inches taller in 2020.

[back-and-totheleft]

INSIDE a flimsy temporary office on a dusty movie lot here, a young man sits in front of a computer, showing off a three-dimensional rendering of the collapse of the World Trade Center. It was assembled by merging the blueprints for the twin towers — the before-picture, you might say — with a vast collection of measurements, including some taken with infrared laser scans from an airplane 5,000 feet above Lower Manhattan, just days after 9/11.

With a few clicks, Ron Frankel, who has the title pre-visualization supervisor for Oliver Stone's new 9/11 film, begins to illustrate the circuitous path that five Port Authority police officers took into the trade center's subterranean concourse, until the towers above them fell, killing all but two.

As Mr. Frankel speaks, behind his back a burly man has wandered through the door. He is Will Jimeno, one of the two officers who survived. He has been a constant presence on the movie set, scooting from here to there in a golf cart, bantering with the actor playing him and with Mr. Stone, answering questions and offering suggestions — a consultant and court jester. But he has never seen this demonstration before, he says, pulling up a chair.

Mr. Frankel, continuing with his impromptu show-and-tell, says the floor beneath Mr. Jimeno, Sgt. John McLoughlin and their three fellow officers dropped some 60 feet, creating a 90-foot ravine in the underground inferno. The difference between instant death and a chance at life, for each of the men, was a matter of inches.

Mr. Jimeno sits quietly, absorbing what he's just seen and heard. His eyes moisten. "I didn't know this," he says. "I didn't know this. I didn't know there was a drop-off here. This is an explanation I never knew about." He pauses. "We try not to ponder on it, because we're alive. But it answers some questions. That, really, played a big part in us being here." The countless measurements taken and calculations made by scientists and government agencies helped ground zero rescue workers pinpoint dangerous areas in the weeks after the attacks. The data also provided a fuller historical record of how the buildings collapsed and lessons for future architects and engineers.

Only a movie budgeted as mass entertainment, though, could harness all that costly information to reconstruct the point of view of two severely injured and bewildered men, who didn't even know the twin towers had been flattened until rescuers lifted them to the surface many hours later.

Their story, and those of their families, their rescuers and the three men killed alongside them, is the subject of Mr. Stone's "World Trade Center," which Paramount plans to release on Aug. 9.

The quandary that Paramount executives face is a familiar one now, a few months after Universal's "United 93" became the first 9/11 movie to enter wide theatrical release: How do you market a movie like this without offending audiences or violating the film's intentions? Carefully of course, but "there's no playbook," said Gerry Rich, Paramount's worldwide marketing chief. In New York and New Jersey, for example, there will be no billboards or subway signs, which could otherwise hit, quite literally, too close to home. And the studio is running all of its materials by a group of survivors to avoid offending sensibilities.

But Paramount, naturally, wants as wide an audience as possible for this film.

Nicolas Cage, who plays the taciturn Sergeant McLoughlin, says the movie is not meant to entertain. "I see it as storytelling which depicts history," he says. "This is what happened. Look at it. 'Yeah, I remember that.' Generation after generation goes by, they'll have 'United 93,' 'World Trade Center,' to recall that history."

Whether Mr. Stone set out to make a historical drama or a dramatic history isn't entirely clear. Mr. Jimeno and Mr. McLoughlin, who have both since retired from the Port Authority, say the script and the production took very few liberties except for the sake of time compression.

"We're still nervous," Mr. Jimeno said last fall, after shooting had shifted from New York and New Jersey to an old airplane hangar near Marina del Rey. "It's still Hollywood. But Oliver — it's to the point where he drives me crazy, trying to get things right."

There are many people of course who have been driven a little crazy for other reasons by some of Mr. Stone's more controversial films, "JFK," "Natural Born Killers" and "Nixon" chief among them. But in several interviews, sounding variously weary, wounded and either self-deprecating or defensive, Mr. Stone spoke as if his days of deliberate provocation were behind him.

"I stopped," he says simply. "I stopped."

His new film, he says, just might go over as well in Kansas as in Boston, or, for that matter, in Paris or Madrid. "This is not a political film," he insists. "The mantra is 'This is not a political film.' Why can't I stay on message for once in a while? Why do I have to take detours all the time?"

He said he just wants to depict the plain facts of what happened on Sept. 11. "It seems to me that the event was mythologized by both political sides, into something that they used for political gain," he says. "And I think one of the benefits of this movie is that it reminds us of what actually happened that day, in a very realistic sense."

"We show people being killed, and we show people who are not killed, and the fine line that divides them," he continues. "How many men saved those two lives? Hundreds. These guys went into that twisted mass, and it very clearly could've fallen down on them, and struggled all night for hours to get them out."

By contrast Paul Haggis is directing the adaptation of Richard Clarke's book on the causes of 9/11, "Against All Enemies," for the producer John Calley and Columbia Pictures.

Asked if that weren't the kind of film he might once have tried to tackle, Mr. Stone first scoffs: "I couldn't do it. I'd be burned alive." Then he adds: "This is not a political film. That's the mantra they handed me."

Mr. Stone says he particularly owes his producers, Michael Shamberg and Stacy Sher, for taking a chance on him at a time when he had gone cold in Hollywood after a string of commercial and critical disappointments culminating in the epic "Alexander" in 2004. "They believed in me at a time when other people did not, frankly," he says. " 'Alexander' was cold-turkeyed in this town, I think unfairly, but it was, and I took a hit. Nobody's your friend, nobody wants to talk to you."

Mr. Stone came forward asking to direct "World Trade Center" just about a year ago. He decided it would require a different approach from, say, "JFK." "The Kennedy assassination was 40 years ago, and look at the heat there, a tremendous amount of heat," he says. "I was trying to do my best to give an alternative version of what I thought might have happened, but it wasn't understood. It was taken very literally. 'Platoon,' I went back to a Vietnam that I saw quite literally, but it was a twisted time in our history.

"This — this is a fresh wound, and it had to be cauterized in a certain way. This is a very specific story. The details are the details are the details."

The details that led to the movie's making began in April 2004, when Andrea Berloff, a screenwriter, pitched a story about Mr. Jimeno's and Mr. McLoughlin's "transformation in the hole" to Ms. Sher and Mr. Shamberg. Ms. Berloff, who had no produced credits, was candid about two things:

"I didn't want to see the planes hit the buildings. We've seen enough of that footage forever. It's not adding anything new at this point. I also said I don't know how to end the movie, because there are 10 endings to the story. What happened to John and Will in that hospital could be a movie unto itself. Will flatlined twice, and was still there on Halloween. And John was read his last rites twice."

The producer Debra Hill, who had optioned the rights to the two men's stories, was listening in on the line. When Ms. Berloff was done, she recalls, Ms. Hill said, "I don't want to speak out of turn, but I think we should hire you."

Ms. Berloff and Mr. Shamberg headed to New York to meet with the two officers and their families, and to visit both the Port Authority Bus Terminal, where the men had once patrolled, and ground zero. In long sessions with the Jimenos in Clifton, N.J., and with the McLoughlins in Goshen, N.Y., Ms. Berloff says, she quickly learned that both families, despite the nearly three years that had elapsed, remained emotionally raw. "Within 20 minutes of starting to talk they were losing it," she says. "We all just sat and cried together for a week."

Before leaving, Ms. Berloff says, she felt she had imposed on, exhausted and bonded with the two families so much that she warned them that in all likelihood she would not be around for the making of the movie. "I had to say, 'The writer usually gets fired, so I can't guarantee I'll be there at the end,' " she recalls. "But I'd recorded the whole thing, and I said they shouldn't have to go through this with a bunch of writers. They'd have the transcripts to work from."

Ms. Berloff returned to Los Angeles, stared at her walls for a month, she says, and then wrote a script in five weeks, turning it in two days before her October wedding.

Ms. Hill died of cancer the following March. Mr. Shamberg and Ms. Sher moved ahead, circulating the script to Kevin Huvane at Creative Artists Agency, and to his partners Bryan Lourd and Richard Lovett. Mr. Lourd gave it to Mr. Stone, Mr. Lovett to his client Mr. Cage.

The agency also represents Maria Bello, who plays Mr. McLoughlin's wife, Donna, and Maggie Gyllenhaal, who plays Alison Jimeno. Ms. Gyllenhaal, who'd just seen "Crash," suggested Michael Peña, who made a lasting impression in a few scenes as a locksmith with a young daughter. (Mr. Peña did a double-take, he confesses, upon hearing that Mr. Stone was directing a 9/11 movie: "I'm like, let me read it first — just because you're aware of the kind of movies that he does.")

Given the need to shoot exteriors in New York in September, the cast and crew raced to get ready for shooting. The actors aimed for accuracy in different ways. Mr. Cage says he focused on getting Mr. McLoughlin's New York accent right, and spent time in a sense-deprivation tank in Venice, Calif., to get a hint of the fear and claustrophobia one might experience after hours immobile and in pain in the dark. Mr. Peña all but moved in with Mr. Jimeno.

Ms. Gyllenhaal had her own problems to solve. That April she had stepped on a third rail, saying on a red carpet at the Tribeca Film Festival that "America has done reprehensible things and is responsible in some way" for 9/11. She apologized publicly, then met privately with the Jimenos, offering to withdraw if they objected to her involvement. "We started to get into politics a little bit, and Will said, 'I don't care what your politics are,' " she recalls.

With Mr. Jimeno and Mr. McLoughlin vouching for the filmmakers, more rescuers asked to be included, meaning not only that dozens of New York uniformed officers would fly to Los Angeles to re-enact the rescue of the two men, but that there were more sources of information to replace Ms. Berloff's best guesses with vivid memories.

Ms. Bello, who had gone to St. Vincent's Hospital on 9/11 with her mother, a nurse, and waited in vain for the expected deluge of injured to arrive, contributed a scene after learning from Donna McLoughlin of a poignant encounter she had had while waiting for her husband to arrive at Bellevue.

Some of the film's most fictitious-seeming moments are authentic. Mr. Jimeno's account of his ordeal included a Castaneda-like vision in which Jesus appeared with a water bottle in hand. But Mr. McLoughlin recalled no hallucinations, or nightmares, or dreams: only thoughts of his family. "He kept saying I'm sorry — 20 years in the job, never gotten hurt, and here we go and I'm not going to be there for you," Ms. Berloff says. "So we tried to dramatize that."

Nearly everything else in the movie is straight out of Mr. Jimeno's and Mr. McLoughlin's now oft-told story: the Promethean hole in the ground, with fireballs and overheated pistol rounds going off at random; the hundreds of rescuers, with a few standouts, like the dissolute paramedic with a lapsed license who redeems himself as he digs to reach Mr. Jimeno.

And the former marine who leaves his job as a suburban accountant, rushes to church, then dons his pressed battle fatigues, stops at a barbershop for a high-and-tight, heads downtown past barricades saying he's needed and winds up tiptoeing through the perilous heap calling out "United States Marines" until Mr. Jimeno hears him and responds. Mr. Stone says he is adding a note at the end of the film, revealing that the marine, David Karnes, re-enlisted and served two tours of duty in Iraq, because test audiences believed he was a Hollywood invention.

Reality can be just as gushingly sentimental as the sappiest movie, Mr. Stone acknowledges, especially when the storytellers are uniformed officers in New York who lived through 9/11. And particularly when it comes to Mr. Jimeno and Mr. McLoughlin, who have struggled with the awkwardness of being singled out as heroes when so many others died similarly doing their duty, and when so many more rescued them.

"You could argue the guys don't do much, they get pinned, so what," Mr. Stone says. "There will be those type of people. I say there is heroism. Here you see this image of these poor men approaching the tower, with no equipment, just their bodies, and they don't know what the hell they're doing, and they're going up into this inferno, they're like babies. You feel saddened, you feel sorry for them. They don't have a chance."

Mr. Cage says he once mentioned to Mr. Stone that their audience had lived through 9/11: "That it's not like 'Platoon,' where most of us don't know what it's like to be in the jungle."

"He said, 'Well what's your point?' " Mr. Cage says. "And my point is that we all walk into buildings every day, and we were there, and we saw it on TV, so this is going to be very cathartic and a little bit hard for people."

Despite its fireballs, shudders and booms, Mr. Stone's film is also unusually delicate, from the shadowy intimacy of the officers' early-morning awakenings to the solemnity of their ride downtown in a commandeered city bus, to the struggle of their wives to cope with hours of uncertainty and then with false reports of their husbands' safety.

"It's not about the World Trade Center, really. It's about any man or woman faced with the end of their lives, and how they survive," Mr. Stone says. "I did it for a reason. I did it because emotionally it hit me. I loved the simplicity and modesty of this movie.

"I hope the movie does well," he adds, "even if they say 'in spite of Oliver Stone.' "

-David M. Halbfinger, "Oliver Stone's 'World Trade Center' Seeks Truth in the Rubble," The New York Times, July 2 2006 [x]

[alarajrogers]

And then one day you find, ten years have got behind you

A lot of people post hopeful, positive messages like “It’s never too late” and “You’re never too old” and I’m not gonna lie, at age 50 sometimes the only thing that keeps me going is the fact that Georgia O’Keefe was 70 before her art career began. But I’ve got a different message for y’all.

If there is something you burn to do, something that has consumed all of your ambitions for years, something you spend enormous amounts of time planning to do or thinking about doing... do it. Do it now. You suck at it? Doesn’t matter, you won’t get better until you do it. You don’t have time to do it? You’re going to be 50, 60, 70 someday and then you’ll really feel like you don’t have time and you could be a recovered cancer patient in the middle of a pandemic that kills people like you going “Oh shit, I never actually did the thing I wanted to spend my life doing!” YouTube can wait. Tumblr can wait. Spend at least some time doing it, as often as you can.

I wrote my first story when I was 4. (It was a fanfic. My OC paired up with my two favorite heroes as her best friends. Very environmentally conscious; it was the 70′s, so it was all about Pollution Is Bad.) I have wanted to be a published writer my whole life. Not just a writer -- I am a writer. I’ve written over 4 million words in my lifetime. How many of those are professionally publishable, though?... a hell of a lot fewer.

I have published four short stories in professional markets, one of which never actually went to press as far as I know and two of which were authorized fanfic. I have also been one of three authors on a published technical book that’s already out of date. I have not published any novels. I’ve made, lifetime, about $2500 on writing, which would be awesome if I was 24, but I’m 50. It would also be awesome if writing was just a hobby for me, something to do to relax, rather than the sole burning passion of my life and one of the reasons I was put on this planet and the highest ambition I have anymore. And it’d be fine if I never intended to publish original work and all I wanted to do was write good fanfic and become a niche BNF focusing on single favorite characters in each of the fandoms I join.

But it’s not fine, because I wanted to make a living at this, or at least make enough to justify not working full time anymore. And it’s not fine, because when I’m on, when I know my characters and I know what happens next and I’m focused and the flow is with me, I can write 1500 words an hour... which means if I did it 4 hours a day, 5 days a week, like it was a job, I could put out a novel in three weeks. Have I finished any novel at all since 1992 or so? No.

And it’s not fine because I’m 50, and I’m a cancer survivor, and I have diabetes, which ruined my mom’s life before cancer finally killed her, and I have depression, and I’m living in a pandemic, and not only am I not done with my life’s ambition, I’ve barely started. I spent my life writing fanfic and goofing off and letting work that really did not deserve so much time and attention from me steal my life. And yeah, we all know we could be hit by a bus tomorrow, but a pandemic that’s killed 160,000 of my fellow Americans and that our fucked-up, idiotic, sadistic, selfish black hole of leadership has no plan for fixing or even ameliorating is out there, and I could be dead within weeks. Anyone could, but I’ve got medical history here, and I’m the only driver in my family so “just stay home and self-quarantine” isn’t actually an option even though I work from home.

Most of you guys out there are young, or at least, a lot younger than me. And a lot of you are just doing what you do for fun, a hobby, a way to relax and pass time and enjoy yourself, and my message is not for you. You’re fine, keep doing what you’re doing. But if it’s your life’s passion to be a published author, or a comic book artist, or an animator, or whatever, then get out there and do it. Not to the exclusion of all else -- even your passion shouldn’t eat your life -- but don’t accept excuses from yourself as to why you haven’t done anything to move yourself forward in your ambitions in a couple of weeks. Because you just don’t have as much time as you think you do. Thirty years is forever when you’re 20 but it’s so much shorter when you’re 50. You’ll look back and think where did all the time go? and Why didn’t I do more of this when I was younger? Because no matter how hard I work right now, nothing’s ever going to give me those thirty years back. And yeah, I spent some of that time getting better at my craft, sure, but I could have been doing this twenty years ago. I’ve been planning this 52 Project for over ten years, I could have done it in 2010 instead of 2020. The novel I started in 2006? Why is it not done? If this is how I want to make my mark on the world, why did I think I had the freedom to just... not do it?

I mean... of the 19 stories I’ve published since April 3, 7 of them have been completely written brand-new since February, which works out to one complete story from scratch a month, and I’ve revised or completed 16 others (not all of which have been published yet, that includes my backlog), and I’ve got 8 more that I’ve worked on substantially this year but haven’t finished yet. I could have done this any time. I’ve written 100,000 words of original short stories this year so far and also half of a children’s chapter book. If I’d had output like this for my original work in any previous year, ever, I’d be a lot closer to achieving my dreams now.

None of us know how much time we have left, but even 80 years isn’t going to turn out to be all that much if you don’t do the thing you love and desperately want to be a success at. If you burn with the need to do a thing, do it. Do it now. Or real soon, anyway.

[papermoonloveslucy]

MOTHER-IN-LAW

November 4, 1949

“Mother-In-Law” (aka “George’s Mother Visits”) is episode #60 of the radio series MY FAVORITE HUSBAND broadcast on November 4, 1949. 

Synopsis ~ George gets a letter from his mother that she’s moving to Sheridan Falls. Liz has no doubt that means staying with them!  But when will she ever leave?

This was the tenth episode of the second season of MY FAVORITE HUSBAND. There were 43 new episodes, with the season ending on June 25, 1950.

Although similarly titled, this radio episode is not the basis for the “I Love Lucy” episode “Lucy’s Mother-in-Law” (ILL S4;E8) in 1954. 

“My Favorite Husband” was based on the novels Mr. and Mrs. Cugat, the Record of a Happy Marriage (1940) and Outside Eden (1945) by Isabel Scott Rorick, which had previously been adapted into the film Are Husbands Necessary? (1942). “My Favorite Husband” was first broadcast as a one-time special on July 5, 1948. Lucille Ball and Lee Bowman played the characters of Liz and George Cugat, and a positive response to this broadcast convinced CBS to launch “My Favorite Husband” as a series. Bowman was not available Richard Denning was cast as George. On January 7, 1949, confusion with bandleader Xavier Cugat prompted a name change to Cooper. On this same episode Jell-O became its sponsor. A total of 124 episodes of the program aired from July 23, 1948 through March 31, 1951. After about ten episodes had been written, writers Fox and Davenport departed and three new writers took over – Bob Carroll, Jr., Madelyn Pugh, and head writer/producer Jess Oppenheimer. In March 1949 Gale Gordon took over the existing role of George’s boss, Rudolph Atterbury, and Bea Benaderet was added as his wife, Iris. CBS brought “My Favorite Husband” to television in 1953, starring Joan Caulfield and Barry Nelson as Liz and George Cooper. The television version ran two-and-a-half seasons, from September 1953 through December 1955, running concurrently with “I Love Lucy.” It was produced live at CBS Television City for most of its run, until switching to film for a truncated third season filmed (ironically) at Desilu and recasting Liz Cooper with Vanessa Brown.

MAIN CAST

Lucille Ball (Liz Cooper) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Richard Denning (George Cooper) was born Louis Albert Heindrich Denninger Jr., in Poughkeepsie, New York. When he was 18 months old, his family moved to Los Angeles. Plans called for him to take over his father’s garment manufacturing business, but he developed an interest in acting. Denning enlisted in the US Navy during World War II. He is best known for his  roles in various science fiction and horror films of the 1950s. Although he teamed with Lucille Ball on radio in “My Favorite Husband,” the two never acted together on screen. While “I Love Lucy” was on the air, he was seen on another CBS TV series, “Mr. & Mrs. North.” From 1968 to 1980 he played the Governor on “Hawaii 5-0″, his final role. He died in 1998 at age 84.

Ruth Perrott (Katie, the Maid) was also later seen on “I Love Lucy.” She first played Mrs. Pomerantz, a member of the surprise investigating committee for the Society Matrons League in “Pioneer Women” (ILL S1;E25), as one of the member of the Wednesday Afternoon Fine Arts League in “Lucy and Ethel Buy the Same Dress” (ILL S3;E3), and also played a nurse when “Lucy Goes to the Hospital” (ILL S2;E16). She died in 1996 at the age of 96.

Bob LeMond (Announcer) also served as the announcer for the pilot episode of “I Love Lucy”. When the long-lost pilot was finally discovered in 1990, a few moments of the opening narration were damaged and lost, so LeMond – fifty years later – recreated the narration for the CBS special and subsequent DVD release.

Bea Benadaret (Iris) and Gale Gordon (Rudolph) do not appear in this episode. 

GUEST CAST

Hans Conried (Mr. Benjamin Wood) first co-starred with Lucille Ball in The Big Street (1942). He then appeared on “I Love Lucy” as used furniture man Dan Jenkins in “Redecorating” (ILL S2;E8) and later that same season as Percy Livermore in “Lucy Hires an English Tutor” (ILL S2;E13) – both in 1952. The following year he began an association with Disney by voicing Captain Hook in Peter Pan. On “The Lucy Show” he played Professor Gitterman in “Lucy’s Barbershop Quartet” (TLS S1;E19) and in “Lucy Plays Cleopatra” (TLS S2;E1). He was probably best known as Uncle Tonoose on “Make Room for Daddy” starring Danny Thomas, which was filmed on the Desilu lot. He joined Thomas on a season 6 episode of “Here’s Lucy” in 1973. He died in 1982 at age 64. 

Mr. Wood is the Cooper’s next door neighbor. He has eleven children. 

Eleanor Audley (Leaticia Cooper, George’s Mother) previously played this character in “George is Messy” on June 14, 1950. She would later play Eleanor Spalding, owner of the Westport home the Ricardos buy in “Lucy Wants To Move to the Country” (ILL S6;E15) in 1957, as well as one of the Garden Club judges in “Lucy Raises Tulips” (ILL S6;E26).

Peter Leeds (Deliveryman) was born in Bayonne, NJ, was also heard on “My Favorite Husband in “Too Many Television Sets” in October 1949 and “Dance Lessons” in June 1950. He will be seen as the Reporter questioning the Maharincess of Franistan in “The Publicity Agent” (ILL S1;E31). He starred with Lucy in the films The Long, Long Trailer (1953) and The Facts of Life (1960) with Bob Hope. Coincidentally, he also appeared in “Lucy and Bob Hope” (ILL S6;E1) as well as an episode of “Here’s Lucy” in 1971.

EPISODE

ANNOUNCER: “As we look in on Sheridan Falls and the Coopers,  Liz is in the living room reading a magazine as Katie the maid dusts around the room.”

Liz asks about the mail, but Katie is light-heartedly singing “April Showers.” 

"April Showers" is a popular song written by Louis Silvers and B. G. De Sylva in 1921. It it is one of many popular songs whose lyrics use a "Bluebird of happiness" as a symbol of cheer. The song was introduced in the 1921 Broadway musical Bombo, where it was performed by Al Jolson. That same musical introduced the song “California, Here I Come!” which was famously sung by the cast of “I Love Lucy” in January 1955.

Liz correctly assumes that Katie is so happy because Mr. Negley, the mailman, has flirted with her. Katie says they were “playing post office.”

KATIE: “He’s so creative. He said my mouth was like a postage stamp. Then he canceled me!” 

Katie hands her the mail and Liz finds a letter from her mother-in-law.

LIZ: “No one else addresses a letter ‘To George Cooper Only’ marked personal all over and then seals it with Scotch tape!” 

Liz says that George’s mother does not acknowledge their marriage, let alone address her as Mrs. George Cooper.  Liz decides to sneak a peak at what’s inside the envelope.

LIZ: “I can just see some of the writing. It says ‘Keep Out Nosy’!”

Lucy Ricardo was adept at secretly opening and reading sealed envelopes. In 1951′s “Drafted” (ILL S1;11) she uses the old fashioned steam method, but by 1960′s “Lucy and the Mustache” (LDCH S3;E3) she’s using knitting needles and holding the envelope up to a lamp. 

When George comes home from work, Liz doesn’t even bother with a kiss before giving George the mail. George opens the letter from his mother, which reads “say hello to what’s-her-name.” George’s mother is moving to Sheridan Falls and Liz wants to put her up at the Sheridan Arms (far away) but George proposes the Garden Court (two blocks away). 

That night, Liz wants to smooch in case they have to ‘ration their passion’. Liz is sure Mother will want to move in with them. Mother (Eleanor Audley) enters mid-smooch. Despite the clinch, Mother pretends she doesn’t recognize Liz as Mrs. Cooper! 

Mother ‘mother smothers’ George, much to Liz’s chagrin. George admits that they haven’t found her an apartment yet. Mother quickly agrees to stay with them - only for a few days.

LIZ: “It sounds longer when she says it.”

A Deliveryman (Peter Leeds) rings the bell to announce that they’ve finished unloading Mother’s things: 

LIZ: “Six suitcases, a trunk, an easy chair, a potted plant, a barrel of dishes, two crates of books - just enough for a few days. She’s landed! She’s moved her supplies up and she’s dug in for the winter. You can throw away your calendar, George. From now on, every day is mother’s day with us!”

Two weeks later, Mother is still there and Katie is ready to quit. George’s mother has changed everything in the kitchen around. Liz confides that she’s had no privacy with George. 

LIZ: “The three of us have been inseparable ever since she’s been here. I’m beginning to feel like one of the Andrews Sisters. I’d better go in and see how Patty and LaVerne are getting along.”

The Andrews Sisters were a very successful trio of singing sisters during World War II with 19 gold records and sales of nearly 100 million copies. In 1937, the sisters scored their first big hit with “Bei Mir Bist Du Schoen.” In addition to “Boogie Woogie Bugle Boy,” their best-known songs included “Don’t Sit Under the Apple Tree” and “Rum and Coca Cola.” The trio officially broke up after the death of LaVerne in 1967, when a suitable replacement could not be found. Patty Andrews guest starred on “Here’s Lucy” as herself in 1969. The plot had Lucy Carter and her daughter Kim (Lucie Arnaz) stepping in for the other two singers for a charity show. During a poker game in “Be a Pal” (ILL S1;E2), Lucy calls her two queens ‘sisters.’ When Fred looks at his newly-dealt hand he quips “You can tell your two Andrews Sisters not to wait up for LaVerne.”

In the living room, Liz finds Mother and George laughing about old times back home. Mother mentions Betty Johanson, a girl George ‘knew slightly’ a dozen years ago. Mother adds that she ‘hasn’t changed a bit.’

Later, Liz tells George that Katie has quit due to his mother’s meddling. George thinks Liz is out looking for an apartment, when Liz saw going to the movies at the Strand Theatre. At first Mother denies going to a movie, but Liz tricks her.

LIZ: “Well, if you were tired, you should have gone to a show. There’s a good one at the Strand: ‘Tokyo Joe’ with Clark Gable.” MOTHER: “Gable? No, it was Humphrey Bogart, I....”  

Mother has been caught in her lie, so she fakes illness and goes to her room. 

Tokyo Joe is a crime film directed by Stuart Heisler and starring Humphrey Bogart. It premiered October 26, 1949, a week before this broadcast. At the time, Clark Gable’s film Any Number Can Play was still in theatres. 

Liz dissolves into tears at the prospect of her mother-in-law staying forever and runs next door to talk to Mr. Woods (Hans Conried) about it over a cup of tea. Mr. Woods says the same thing happened to him with his mother-in-law. 

MR. WOODS: “She moved out after the birth of our eleventh child!” LIZ: “Is that the only cure?”

George comes over to find his wife and Mr. Wood acts as intermediary, shouting at George through the window. They are successful at patching things up. George has told his mother to leave and (unbelievably) she’s graciously agreed to go. Just as she’s about to leave, she gets a spell and faints.

LIZ: “George! Look out!  A mouse!  Running across the floor right near your mother’s hand!” 

Mother jumps up and runs away from the invisible rodent. Liz tricks has tricked her again!  But when Mother sprints across the room, she trips and sprains her ankle!  Six weeks of recuperation ahead!  

GEORGE: “How did this happen?” MOTHER: “I tripped and fell over my suitcase!  Someone put it by the front door!” LIZ: “Oh, no!”

his ending is identical to the play and film The Man Who Came To Dinner by Kaufman and Hart. In it, Sheridan Whiteside is a bombastic houseguest is finally convinced to leave when he slips on the ice and must stay on to recuperate, much to the frustration of his hosts. The 1939 stage play and 1942 film featured Lucille Ball’s friend Mary Wickes as Whiteside’s nurse.  

In the bedtime tag, Liz and George are asleep in bed. Liz wakes George to wonder why he’s smiling. He’s dreaming about the most beautiful creature in the world: a rainbow trout! 

LIZ: “If I ever find one scale on your lapel I’ll swim upstream to mother. Goodnight, George!” 

End of Episode

[dejayoonw]

part 27 : static screams | loser baby

playlist drabble

taglist: @whiskeyandcashton @xxxanimangxxx @hannahdinse8 @scarredbytheworld @strapsforyoonie @sunrisemcp

"i'm watching, i'm waiting, i'm aching, suffocating. i'm breathing, i'm speaking, can you hear me? i'm screaming for you."

"Your phone has been going off, babe." yoongi mumbled while lightly shaking yn, as if his deep gravely voice wasn't enough to wake her. they'd decided to spend their saturday studying which had ended in them taking a three hour nap on his bed. yn rolled over, blindly reaching for her phone when it started ringing again. without checking it she answered the call ready to go off on whoever was blowing her phone up.

"Who the hell,"

"Yn, thank god. I need to see you. Can you meet me in the library?" jeongguk interrupted, ignoring her cursing. he knew her well enough to know he'd woken her up just by the sound of her voice but he couldn't really care less. his adrenaline was far too high to worry about her nap schedule.

"What? Why?" yn said rolling back over into yoongi who gladly welcomed her, wrapping his arms around her waist. the shock of hearing jeongguk’s voice not quite sinking in yet.

"It's kind of a long story, please just come, it's important." jeongguk pleaded, his voice full of desperation. yn's mind finally seemed to begin working properly, racing with the possibilities. had something happened with him and taehyung? the idea of jeongguk needing support had yn sitting up and gathering her things without a second thought.

"Okay, I'll be there soon." yn told her friend, worry clear in her voice. jeongguk could feel the guilt welling up in the pit of his stomach as they ended their call. yn was none the wiser, thinking something was seriously wrong when the real trouble had yet to begin. yn looked over at her boyfriend who was now sitting at the edge of his bed watching her with concern. "Oh shit, yoongi, I'm sorry I didn't even ask,"

"Don't even finish that sentence. You don't have to ask me to do shit." yoongi interrupted, almost offended the thought had even crossed her mind. in all honesty it made him happy to see her and jeongguk getting back on good terms, even if the younger boy clearly hated yoongi, that was yn's best friend. it was clear to him how much he meant to her, the only thing that mattered to yoongi was that yn was happy.

"You're the best, I don't know what's going on with Guk but maybe if it's not late when I get back to the dorm we could sneak up to the roof?" yn suggested, stepping in between yoongi's parted thighs, her hands wrapping around the back of his neck while a playful smile toyed at her lips. yoongi's let his hands rest on the backs of her thighs, squeezing lightly.

"I guess I could check my schedule." he teased making her swat at him lightly with a laugh. With one last peck yn left yoongi's room, heading straight for the library.

-

"Hey Guk, is everything okay? I'm sorry it took me so long I was, oh, hey Jin." the library was mostly empty since it was a saturday, the only person besides the three of them being the elderly librarian who was currently taking a nap at her desk. yn had spotted jeongguk at the back of the room quickly but she'd missed jin sitting at the other end of the table. quickly she realized something was up and it was most likely not relationship problems. "What's going on?"

"Um, well there's a lot we have to tell you, do you, you might want to sit down." jeongguk was nervous, something yn rarely saw but wasn't exactly a stranger to. normally he'd only get this way when his parents would catch them doing magic in the back yard, or that time he had a crush on kim mingyu who shamelessly flirted with jeongguk before he'd come out. if jeongguk was this nervous yn could only imagine what he had to say, so she took the seat across from him, glancing back and forth from him and their older friend while both seemed to avoid meeting her gaze.

"To start, I should tell you that everything we tell you right now, it has to be kept a secret. It's against the law to speak of it and if we get caught it'll be bad for all of us." jin said quietly, finally moving to the seat next to jeongguk. jin cast an invisibility spell over the three of them, making yn wonder what on earth she was here for. it was then yn noticed the folder and yearbook in his hand, she froze when she saw the familiar book jin held, it was the same one she’d looked at towards the beginning of the semester.

"Why do you have a yearbook from 1994?" yn asked her eyes not leaving the solid white book with the schools logo printed on the front.

"1994 was the year my parents graduated, same for jeongguk's dad. the next year jeongguk's mom, and your parents graduated. the six of them were all friends, kind of like you jeongguk, jimin and taehyung, they grew up together, came to this school and graduated as best friends." jin's confession took a moment to hit yn. the jeon's, who had been more like parents to her than her own aunts had known her real parents. if this was true why had neither of them had ever mentioned it before? they always acted like they hardly knew her aunts and had even listened to her when she’d talk about her parents like it was the first time they’d heard of them.

"The jeon’s, they knew? But they never,"

"They couldn't say anything. Your parents death was a tragedy and it effected everyone. When it happened there had been so many other things leading up to it. Witches were scared to leave the coven, they started keeping their children from training, many even 'going off the grid'. So in attempts to fix everything there were rules put in place. Most of them made sense, some didn't. One of them being that no one was ever allowed to speak of august the fifth, the day your parents were murdered." yn choked on her own breath, the bluntness of jin's words being nearly too much for her to handle. she'd never heard the story of her parents death, she'd always thought it was strange that no one seemed to know anything about it. everything jin said so far was adding up to the vague pieces of information she'd gathered so far.

"Who, who killed them? How do you know all of this?" yn managed to choke out.

"My parents told me when I was in high school. The woman that killed your parents was called Min Hayoon. She was Jaesun's mother." jin said slowly, in hopes of giving yn time to process the news. jeongguk on the other hand, he let his adrenaline get the best of him.

"Yoongi's aunt. His aunt killed your parents yn, and he didn't tell you." yn's mind was spinning from it all. there was no way it was true, yoongi wouldn't do that to her. he couldn't, could he? "It's the truth, look we even have proof."

the file was slapped open to show pages of information on min hayoon. yn's eyes scanned the page, praying this was some kind of sick joke. but there it was, laid out on old faded legal paper was the dreadful truth.

January 6th, 1997: Min was charged with first-degree murder, feeding on other witches, also accused of practicing dark magic

April 17th, 1997: Min was sentenced 60 years to life in the Maleficarum Carcerem(prison of witches)

July 4th, 1997: Min moved to isolation for behavioral issues

August 4th, 1997: Min escaped during transfer back to main facility

August 5th, 1997: Min executed by magic, unknown source. Min family chose not to investigate further

"There's a picture of Yoongi's aunt with your dad, they were obviously friends in school or maybe even something more." jeongguk added pushing the old yearbook in yn's face not even noticing the tears in her eyes. "Shit Yn, your aunts, they're not even human. They were born witches but they lost their powers that night. They worked together with your parents, my parents and Jin’s parents to protect you from her. They knew she was coming. Your mom and mine put a protection spell on you, connecting you to me, that way as long as I was kept safe you would be too, my mom was eight months pregnant with me at the time. Yn that's why I've always had that protective instinct over you."

"How long have you known?" yn asked, eyes snapping up to meet jeongguk's. he was talking like this wasn't new information to him. she hoped jin had only filled him in that day but the way his eyes filled with relief the more he spoke, like he’d been holding it in for a while made her skeptical.

"Um, well I, Jin hyung told me a while ago," it was as if the initial high from finally being able to spill everything had worn off and he'd just noticed yn's appearance. her eyes red from holding back tears, her mascara smudged slightly from the few that had managed to slip past. aside from the obvious signs jeongguk could see the pain in her eyes and it was then he realized how wrong he'd been in the way he went about all of this. "I just couldn't tell you before, I wanted to but I,"

"So why now?" yn questioned her anger building up. she felt betrayed. jeongguk was supposed to be her best friend, he knew her better than anyone. he'd held her many times in their years growing up while she cried over her parents. he knew how she longed to know them.

"Well because you, you were dating Yoongi and he's obviously not who he says he is." jeongguk stuttered only now realizing how stupid he sounded. he glanced over at jin who was visibly cringing, clearly sharing similar thoughts with his younger friend. "I just could sit by and watch him hurt you."

"What and you thought this wouldn't hurt me?" yn asked, her head falling to the side slightly. she felt so much pain in that moment for so many reasons. "How long?"

"Not that long, really,"

"How long, Jeongguk." yn demanded, her voice raising slightly. jin was watching everything unfold nervously, not sure where this was heading. he wanted to speak up but his mouth seemed to be glued shut.

"Since the first week of school." jeongguk said quietly, hanging his head, not able to meet yn's eyes.

"It's my fault, I wouldn't let him tell you yn, I made him promise." jin finally said in attempts to take some of the heat off the younger boy. the fire in yn's eyes when they met his told him that he'd probably done more damage than helped.

"Oh he promised? Well okay then. I guess I'll forgive the fact that my best friend of eight years found out how my parents died and didn't tell me. I'll just get over him knowing how hard it's been for me going on not knowing anything about them besides a handful of vague details, knowing how lost I've felt my whole life, and still choosing not to tell me because he made a promise to a guy he had just met."  yn's anger progressed with every second. she had never been so mad at jeongguk in her life, she'd never been so mad at anyone. how could he do this to her? how could he walk around knowing the one thing she longed to know and choose not to tell her? "God, I don't even know who you are anymore. You know I've been so upset because it's clear to me that we've been growing apart and I was so torn up thinking I was losing you, but now? I wouldn't bat an eye if I never saw you again."

"Yn, please don't say that, you don't, you don't mean that you're just mad." jeongguk pleaded, his voice cracking in fear. he hoped that he was right but somewhere not so deep down he knew he was probably wrong. jin felt his own heart break for his two friends, he couldn't help but blame himself in all of this. if he had just kept what he knew to himself jeongguk wouldn't have been betraying yn to begin with. or if he had just told her himself neither of them would be this hurt. he thought he was doing the right thing but seeing yn's cold eyes staring into jeongguk's pleading ones was proof that he'd completely fucked up.

"No Jeongguk I'm not 'just mad'. I'm hurt, I feel betrayed. Over the last eight years we've been in a handful of arguments, and each one I've forgiven you if you were the one in the wrong but this time, no. This is the last time you lie to me, and don't you dare say you didn't lie because I flat out asked you if you'd heard anything about my parents when I found out they were from different factions and you said no." by now the tears jeongguk had been keeping in had pushed their way past the dam he'd built up. yn was right, he'd betrayed her. he ruined their friendship and there was likely no going back. "You should go, I want you to go. Both of you."

yn could feel the rage coursing through her veins and the longer she looked at them the worse it got. jeongguk had seen this look before, once upon a time he was the sole person that could pull her back down from these fits, now he was the one causing it.

"Yn please I,"

"I said go!" yn snapped, her voice along with her hands slamming down on the table was comparable to a clap of thunder. unintentionally she sent every book in the library flying off the shelves. jin's feet were moving faster than his mind, his invisibility spell breaking as soon as he turned away. jeongguk was frozen in place, his heart breaking at the sight of his best friends pain. her eyes burned with anger and sadness as she continued to scream and tear the room apart. he knew this was his fault. he forced himself to watch the teacher detain her with a spell and carry her out of the room not even registering the second one coming in to drag him behind them, this was his fault.

[paralleljulieverse]

Darling Lili in New York, or Where Were You the Night Julie Andrews Played Radio City Music Hall and Stole Manhattan’s Heart?

This is the second in a series of commemorative posts to mark the 50th anniversary of Darling Lili, the last of the 1960s Julie Andrews screen musicals. In the preceding post, we looked at the film’s fraught production history up to and including its World Premiere at Hollywood’s Cinerama Dome on 23 June 1970. Here, we turn attention to the film’s New York bow which took place a month later on 23 July at the city’s fabled Radio City Music Hall. 

Nicknamed “the show place of the nation”, Radio City Music Hall was for much of the mid-twentieth century the venue of choice for big event film releases. The theatre’s monumental size, architectural opulence, state-of-the-art technology, and pre-show stage spectacles made it “the quintessential motion picture palace,” and Hollywood studios jockeyed to secure bookings at “the Hall” for their most prestigious pictures (Goldman, 97-98).

During the late-60s, Paramount, the studio behind Darling Lili, enjoyed a run of extremely successful summer bookings at Radio City Music Hall. Its 1967 release, Barefoot in the Park broke house records for the longest run at the Hall with a 12-week season, only to be bested the following year by another Paramount comedy, The Odd Couple which ran for 14-weeks (”Trouble”, 114). It was something of a PR coup, therefore, when, in January 1970, Paramount announced with much fanfare that Darling Lili would make its official premiere as the summer attraction at Radio City Music Hall later in the year (”Par Gets”, 3). The deal even made the front cover of Boxoffice magazine with a photo of Frank Yablans, Paramount general sales manager, proudly signing the booking contract with Music Hall president, James F. Gould (″Sign of Summer,”, cover).

Barely had the ink dried on the deal, however, when Paramount changed tack. Hit by the toughest industry recession in decades and spooked by a precipitous downturn in the market for big-budget roadshow films, Paramount execs implemented a wholesale revision of studio operations, including a brutal hard-prune of their production and release schedules (Dick, 120ff). By April, earlier plans to give Darling Lili a high profile release had been ditched and, in its stead, Paramount decided to offload the film cheaply as part of a bundle of eight titles slated for saturation release during the summer off-season. Dubbed the “Big Summer Playoff,” the aim was to issue the films widely and quickly so that they could “saturate every major and minor market with single-house firstruns and key city multiples” (“Paramount’s Summer Playoff”, 5). In an era when important films were typically given carefully staggered roll-outs, it was an unorthodox move that fuelled advance perceptions of Darling Lili as a bomb of such magnitude that even its own studio had lost hope. As one newspaper commentator put it, Paramount “seems to have dumped the expensive movie rather than spend any more on it” (Taylor, 21-E).

Radio City Music Hall, by contrast, stuck to its original plans to exhibit Darling Lili as a high-profile summer spectacular. With Paramount having started to issue the film haphazardly to theatres across the nation in June, the opening of Darling Lili at Radio City on July 23 would no longer be a world premiere -- that honour was hastily devolved to Hollywood’s Cinerama Dome  -- but the Hall persisted in proudly billing its run as “the New York premiere”. As Variety wryly noted: “Music Hall has never played a pic which hasn’t been a New York first, although perhaps someone there thought the tourists may have thought Lili was otherwise in that the film opened nationally a month ago” (”New York”, 20).

While not strictly a roadshow presentation, Radio City Music Hall exhibited  Darling Lili with all the trappings of a hardticket prestige release. Seats were available via a mix of both premium reserved and general admission with special complimentary programs issued to patrons at all sessions. The theatre screened the film in wide-gauge 70mm with 6-track stereophonic sound, one of only two US venues to do so. Projected on the Hall’s 70′x40′ motion picture screen -- the largest indoor screen in the world at the time -- the film would have looked and sounded amazing (Goldman, 99). As an added point of appeal, screenings were supported by one of the Hall‘s famous live stage entertainments: in this case, a Spanish-themed spectacular with symphony orchestra, flamenco dancers, guitarists and, of course, the legendary high-kicking Rockettes (Jose, 54). In addition, the Hall lavished Darling Lili with a solid promotional buildup, taking out full page ads in key newspapers, and using strategically-placed billboards and transit ads around town.

It was an old-school approach of event-style cinema showmanship that paid off handsomely. Even before Darling Lili opened at the Hall, there was “an unprecedented advance demand” for tickets, leading the theatre to double the number of reserved seats from 900 to 1,800 for all sessions. “We’ve added reserve seats on a few occasions previously,” observed a theatre rep, but “only during the heavily crowded Christmas and Easter holiday seasons” and never...during the summer,” adding that he had “no idea” what had generated the extraordinary advance demand (Weiler, 37). 

The good news continued when the film opened on July 23 with a box-office rush that broke all house records, prompting the theatre to increase reserve bookings even further to 2500 seats in an effort to accommodate the clamour for tickets (“’Lili’ Hitting Peak,” E-2). As Variety commented:

“Radio City’s Darling Lili...is the summer blockbuster all the auspices hoped it would be, with $285,000 or close expected for kickoff session. Pic is curious in that its longtime postproduction shelving had spurred rumors of disastrous artistic results. But film has shown legs in crosscountry openings and both critical and word-of-mouth opinion in Manhattan has been mixed at worst. Some response is downright enthusiastic” (“’Lili’ and Revue,” 9).

Darling Lili continued its bullish box-office run in New York, long after any initial novelty buzz should have subsided. Weekly grosses inched higher for a few weeks before settling into a very healthy $200K+ per week plateau. Come mid-August, Variety noted with thinly-veiled surprise that:

“Radio City Music Hall is experiencing a slight phenomenon with its current Darling Lili attraction. It’s not unusual during the summer tourist season for popular Hall programs to maintain or build grosses...but few remain in such a narrow range as has Lili to date. First week tally of $280,000 was a non-holiday record. Second was upped to $288,000. Now third session is headed for $280,000....70mm projection and sound are plus-values in a package which Hall president James Gould predicts will run until late September” (“N.Y. Full,” 9).

In the end Darling Lili did run at Radio City Music Hall until late-September -- September 23, to be precise -- when it closed to make way for the pre-booked Sophia Loren-vehicle, Sunflower. Across its 9-week run, the film grossed in excess of $2million in ticket sales, making it one of the theatre’s biggest summer hits to date (“Picture Grosses,” 15). 

The commercial success of Darling Lili at the Hall was music to the ears of the film’s star who, in a rare moment of unguarded hubris, admitted to a measure of self-satisfaction at news of the booming box office receipts:

“‘I’m not so interested for myself,’ she explained, ‘but I’m happy for Blake. He has been so maligned about this picture that I am delighted he is receiving some vindication...I think he managed to make a vastly enjoyable film...People are entertained by it; the Music Hall figures seem to prove that.’ [T]he actress had mild reproof for the releasing company, Paramount, over its handling of the film: ‘Three weeks before the opening, there was no advertising campaign. None whatsoever. Paramount didn’t seem to know how it was going to sell the picture--or if. I simply can’t understand an attitude like that’” (Thomas: 13).

Julie’s chiding of Paramount for its poor handling of Darling Lili was not mere sour grapes. Once the studio had decided to issue the film as part of a summer saturation bundle, it effectively abandoned any semblance of cogent or even halfway organised marketing. As outlined in our earlier post, there was little rationale to the film’s distribution. Lili appeared suddenly and briefly at second-run theatres and drive-ins across disparate suburban and provincial areas, while major metropolitan venues didn’t get the film till much later, if at all. In many markets, the film was booked for a fleeting season of a week or two – in some cases, just a few days -- and it was frequently paired as a double-bill with a host of poorly selected partner titles (Caen, 6-B). 

The studio’s approach to promotion was no better. A generic pressbook and merchandising manual was issued, but it was very bare-bones and perfunctory. In the absence of a clear marketing plan, local exhibitors were left to promote the film more or less any way they liked. Advertisements were frequently altered to pitch Darling Lili in diverse, and often contradictory, ways. The main advertising art provided by Paramount -- with its central image of Julie in mid-song set within a sepia frame of art nouveau swirls -- positioned the film principally as a nostalgic star musical with touches of adult romance. Many local exhibitors took a very different approach. Some tried to reframe it as wholesome child-friendly fare: “This summer’s one and only total family entertainment;” “It’s Julie at her best! It’s for your family” (“This Summer,” 24). Other theatres pegged it as “a man’s movie,” stressing the action and warfare elements with taglines like “See the Best Dogfights of World War I” or “If you enjoyed Blue Max you’ll love Darling Lili” (“Man’s Movie”, 13; “Palms”, 64). Some exhibitors even openly recycled graphics from The Blue Max and other WW1 action films, with one Florida venue going so far as to revive the film’s original working title: Darling Lili, or Where Were You the Night You Said You Shot Down Baron Von Richtofen? (“Amusements,” 11A).

Elsewhere, exhibitors implemented a rash of dubious promotional incentives such as “twofers” or free entry to "one child under 12...with the purchase of one adult admission to Darling Lili” (“Capri”, 2D). A theatre in Fort Lauderdale offered “free admission to World War I veterans in uniform during matinees Monday through Friday” (“’Darling Lili’ Ducats,” 5D). Possibly well-intentioned gestures but it was bottom-barrel marketing that fostered an unfortunate aura of abject desperation around the film that likely turned off more patrons than it enticed. 

Against this sorry backdrop of shambolic distribution and ham-fisted marketing, the meticulous handling of Darling Lili at Radio City Music Hall served as a strikingly singular counterpoint. The remarkable commercial success of the film at that venue -- which, if reported figures are to be believed, represented well over a third of the film’s entire US grosses (“US Films,” 184) -- can only be attributed in good part to the care and professionalism with which the Hall managed the film’s exhibition. One can’t help but wonder, therefore, how different the overall commercial fate of Darling Lili might have been had Paramount exercised a more discriminating distribution plan, affording the film the kind of special-event release it enjoyed in New York. It’s unlikely Lili would ever have been a major hit -- it was simply too narrow in appeal and out-of-step with the rapidly changing times -- but it certainly could have gone much further in recouping costs and might even have realised a modest profit. At a minimum, it would have helped redeem the film from its unjust reputation as the “Edsel that almost bankrupted Paramount Pictures” (Rosenfield, 5).

As a coda to this account of the exceptional history of Darling Lili at the Radio City Music Hall, it is interesting to note that the film fared well in New York not just commercially but also critically, Some of the film’s best US reviews came from New York critics -- a surprising turn-of-events given how notoriously hostile the East Coast critical establishment had been to Julie Andrews’ earlier screen musicals. Wanda Hale of the New York Daily News gave Darling Lili three-and-a-half stars out of four, writing:

“Radiantly beautiful, elegantly turned out, Julie Andrews graces Radio City Music Hall in a burst of song and dance, adventure and romance...[I]t’s Darling Lili everybody loves, so will you, you Music Hall patrons--you and the family” (Hale, 39).

Vincent Canby (1970) of the New York Times found Darling Lili “a pure if not perfect comedy” with “a lot of perverse charm and real cinematic beauty.” He continued: 

“Although Julie Andrews (the film, not stage, star) has always struck me as a very mitigated delight, she may be the perfect centerpiece for this sort of fantasy. That is, her angular, aggressive profile, combined with her coolness and precision as a comedienne and a singer, give the immediate, comic lie to the adventures of a supposedly irresistible femme fatale. She thus is immensely funny...” (16).

In a rare honour, the New York Times afforded Darling Lili a second review from Roger Greenspan (1970) who argued for the film as a minor masterpiece of refined, borderline philosophical, sensibilities. “[O]ne very bright critic I know...has already compared the film, ecstatically, with Max Ophul’s great Lola Montes,” he remarked before launching into his own rhapsodic paean:

“To her characterisation, Miss Andrews brings a precision of gesture that matches Edwards’s directorial precision and that constitutes one of the most excitingly controlled expressions of theatrical presence I have ever seen in a movie. Not cold; elegant, finely drawn, perfect of its period--and yet inward, self-sustaining, as if already committed to that gorgeously contemplative state of transport that is the subject of the movie within the movie to look for in Darling Lili” (S2-10).

In a similar move, the inaugural issue of the New York-based cinephile journal, On Film devoted not one but two essay-tributes to Darling Lili from Stuart Byron and Mike Prokosch respectively. The former gushed:

“Darling Lili comes at the end of the big-budget musical cycle, and it [is] one of the only...good things to come out of the whole rotten effort to reduplicate The Sound of Music. But in any case, a masterpiece it is--Blake Edwards’ most beautiful film to date and surely his most meaningful. ... Edwards is the first director to utilise Julie Andrews’ full resources. Her rapid manner of speaking becomes the neutral fulcrum of her moods--it is sincerity hiding danger, or bitterness hiding love. Her singing, however tender on the surface, always gives the impression of concealing a quick intelligence ready to spring forth when needed” (Byron 1970, 31, 34).

Prokosch (1970) was equally smitten, calling Darling Lili “the only work of art Hollywood ha[s] released in 1970″:

“First. one must forget one’s preconceptions of Julie Andrews and look at the way Blake Edwards, the film’s director, casts his wife with remarkable shrewdness: Lili Smith is a young British singer caught in a situation she cannot master. What more natural part could Julie Andrews want? ... Darling Lili is really gutsy in its formal expression...Edwards’ control of the...formal means at his disposal--stylized lighting and colour, split-up background compositions, and especially cutting--displays a...complete knowledge of their emotional effect. What makes Darling Lili unique among recent releases, though, is its careful structuring. Almost every sequence...takes a clear place in the design of the film” (96).

If it sounds like these critics were a little woozy on the then new wine of auteur film theory, a measure of sobriety was served by none other than Andrew Sarris, chief architect of American auteurism, who filed a somewhat  more reserved, but nevertheless appreciative, review of Darling Lili for the Village Voice:

“Darling Lili is cinema a la folie, a rhapsody of romantic madness amid the current cacophony of absurdist dissonances, a sentimental valentine from Blake Edwards to Julie Andrews complete with gypsy violins and a Snoopy sub-plot about the Red Baron and the Dawn Patrol...but I’m afraid it won’t work for most audiences on any level. Its ingredients -- romance, satire, musical comedy, deadpan farce -- mix without blending. The song numbers don’t soar high enough and the prats don’t fall hard enough. But Darling Lili is never less than likeable, and its graceful professionalism is especially refreshing in this long hot summer of assorted crudities” (Sarris 1970, 47).

Despite his reservations, Sarris still included Darling Lili in his end-of-year list of the best films of 1970 -- as did several other Village Voice critics: Stuart Byron, Richard Corliss, Stephen Gottlieb, and William Paul (Sarris 1971, 59). 

Now, if only the critics and audiences west of the Hudson had shown Darling Lili half-as-much love as the crowds at New York’s Radio City Music Hall, who knows how different the course of Hollywood history -- or at least that of the Julie Andrews screen musical -- might have been...

Sources:

“Amusements Today.” Florida Today. 2 October 1970: 11A.

Byron, Stuart. “Darling Lili.” On Film. 1: 1, 1970: 30-34.

Caen, Herb. “It’s News to Me.” Hartford Sentinel. 5 August 1970: 6-B.

Canby, Vincent. “Screen: ‘Darling Lili’ Sets the Stage for Pure Comedy of Romantic gestures.” New York Times. 24 July 1970: 16.

“Capri: Florentines! Something Wonderful! Has Happened to the Movies!” Florence Morning News. 12 August 1970: 2-A.

“‘Darling Lili’ Ducats Pared for Retirees.” Fort Lauderdale News and Sun-Sentinel. 27 June 1970: 5D.

Dick, Bernard F. Engulfed: The Death of Paramount Pictures and the Birth of Corporate Hollywood. Louisville, KY: University of Kentucky Press, 2001.

Francisco, Charles. The Radio City Music Hall: An Affectionate History of the World's Greatest Theater. New York: E.P. Dutton, 1979.

Goldman, Harry. “Radio City Music Hall.” Journal of American Culture. 1 1, Spring 1978: 96-111.

Greenspan. Roger. “Oh! What a Lovely Spy.” New York Times. 9 August 1970: S2-1, 10. 

Hale, Wanda. “Darling Julie Sparkles as Musical Spy.” Daily News. 24 July 1970: 57.

Jose, “House Review: Music Hall N.Y.” Variety. 29 July 1970: 54.

“’Lili’ and Revues, Tally Darling 285G.” Variety. 29 July 1970: 9.

“’Lili’ Hitting Peak.” Boxoffice. 10 August 1970: E-2.

“Man’s Movie.” Winona Daily News. 7 August 1970: 13.

“N.Y. Full of Tourists; Divided Between ‘Darling’ and ‘Denmark’.” Variety. 12 August 1970: 9.

“New York Sound Track.” Variety. 29 July 1970: 20.

“Palms Advertisement.” Arizona Republic. 31 July 1970: 64.

“Par Gets Hall’s Summer Spot for its ‘Darling Lili’.” Variety. 21 January 1970: 3.

“Paramount’s Summer Playoff Strategy: 5,000 Bookings for Eight Major Films.” Variety. 3 June 1970: 5.

“Picture Grosses: Broadway.” Variety. 23 September 1970: 15.

Prokosch, Mike. “On Film/Feature Film: Darling Lili.” On Film. 1: 1, 1970: 96-97.

“Radio City Music Hall’s All-Time Boxoffice Darling.” Variety. 5 August 1970: 12.

Rosenfield, Paul. “Reconcilable Differences.” Los Angeles Times-Calendar. 12 July 1987: 4-5.

Sarris, Andrew. “Films In Focus: ‘Darling Lili’.” The Village Voice. 13 August 1970: 47, 52.

________. “Films In Focus” The Village Voice. 21 January 1971: 59.

“Sign of Summer.” Boxoffice. 26 January 1970: cover.

Taylor, Robert. “‘Lili’ Can Be Charming.” Oakland Tribune. 27 June 1970: 21-E.

“This Summer’s One and Only Total Family Entertainment.” Tucson Daily Citizen. 5 August 1970: 24

Thomas, Bob. “Julie Andrews Praises ‘Lili’.” Courier-News. 15 September 1970: 13.

“Trouble in Paradise.” Newsweek. 25 October 1971: 113-115.

“U.S. Films’ Share-of-Market Profile.” Variety. 12 May 1971: 36-38, 122, 171-174, 178-179, 182-183, 186-187, 190-191, 205-206.

Weiler, A.H. “Big ‘Darling Lili’ Advance.” New York Times. 23 June 1970: 37.

Copyright © Brett Farmer 2020

[tswiftdaily]

New Reputation: Taylor Swift shares intel on TS7, fan theories, and her next era

Snakes begone. The 29-year-old superstar is back with a new album and a new outlook on life. We go inside the pop monarch's latest chapter.

THE PALM TREES ARRIVED IN FEBRUARY, seven in all, set against a pastel blue backdrop with superimposed stars. It appeared that a new Taylor Swift era was upon us — that the old happy-go-lucky Taylor was not, in fact, dead. Or did it? It wasonly an Instagram photo, just one more picture in an infinite content scroll. But it also came from a pop star known for prodigious hint-dropping, whose fans turn every piece of info into an online archaeological dig.

As expected, the summery post sent Swifties sifting through each detail with a fine-tooth comb. What did the trees symbolize? An overdue vacation? A recently purchased beach house? A secret palm-frond collection? Or maybe, as many surmised, it was new music. One Twitter user predicted that the number of stars in the background of the photo hinted at a single drop: “There’s about 60/61 [stars]️. There’s 61 days until April 26, FRIDAY, a SINGLE RELEASE day!” Another said it was the unofficial announcement of her next LP: “Okay so in this picture there are 4 palm trees on the left (4 country albums). There are two palm trees on the right (2 pop albums). There is one large palm tree in the middle. This represents her new album.” These may sound like ludicrous conspiracy theories — for the record, they were mostly correct — but they fit firmly within the Taylor Swift Musical Universe (it’s like the Marvel Cinematic Universe but with more guitars and fewer Stan Lee cameos).

“I posted that the day that I finished the seventh album,” says Swift about the photo. “I couldn’t expect [my fans] to know that. I figured they’d figure it out later, but a lot of their theories were actually correct. Those Easter eggs were just trying to establish that tone, which I foreshadowed ages ago in a Spotify vertical video for ‘Delicate’ by painting my nails those [pastel] colors.”

It’s now April, and the 29-year-old pop star is in a Los Angeles photo studio, giving her first sit-down magazine interview in three years. She wants to discuss the art of placing hints inside her work, as well as the upcoming record, which she recorded as soon as she finished the Reputation Tour. She’s also keen on detailing her own obsessions, talking up the TV shows, books, and songs that help shape her outlook on life.

Over the past 13 years, Swift has perfected the pop culture feedback loop: She shares updates about her life and drops hints about new music, which fans then gobble up and re-promote with their own theories, which Swift then re-shares on her Tumblr or incorporates into future clues. It’s like a T-Swift-built Escher staircase of personal memories and moments that tease what’s next. “I’ve trained them to be that way,” she says of her fans’ astute detective work. Swift is a pop culture fanatic herself (see: the jean jacket she’s wearing on the EW cover) and has an innate understanding of the lengths her audience will go to be a part of the original creation. “I love that they like the cryptic hint-dropping. Because as long as they like it, I’ll keep doing it. It’s fun. It feels mischievous and playful.”

Through this approach, Swift has designed the ultimate artistic scavenger hunt — and it’s easy to get swept up in its drama, even if you don’t listen to her music. Her moments aren’t always hidden, either. Sometimes Swift highlights aspects of her world just so fans feel like they’re on the journey with her. Like the time in March 2018 when pop singer Hayley Kiyoko was accused of shading Swift after mentioning her name during an interview. On Tumblr, Swift re-shared a fan’s post, adding commentary that defended Kiyoko, which immediately dispelled any conflicts between the two artists; Swift’s post subsequently received more than 29,000 notes. Four months later, she invited Kiyoko on stage during the Reputation Tour to sing her hit “Curious.” Kiyoko returned the favor when she had Swift join her that December at a benefit on behalf of the LGBTQ organization the Ally Coalition to perform “Delicate.” Fans of both artists were elated by the mutual support.

The feedback loop also extends outside of music. In October 2018, Swift broke her silence about politics by publicly endorsing two candidates for office in her adopted state of Tennessee, while encouraging her followers to register to vote. She kept up the civic momentum through Election Day when she asked fans to post selfies after voting; Swift then eagerly re-promoted her favorites on Instagram stories.

This practice of sharing and re-sharing and sharing again is why listeners consider Swift one of the world’s most accessible pop stars, someone willing to not only interact with her audience but invite them to secret listening sessions, or make the occasional surprise visit to their wedding or prom. It’s a symbiotic relationship, one that, as Swift tells EW, helped her dig out of the darker era of reputation. “It’s definitely the fans that made that tonal shift in the way I was feeling,” she says. “Songwriters need to communicate, and part of communicating correctly is when you put out a message that is understood the way you meant it. reputation was interesting because I’d never before had an album that wasn’t fully understood until it was seen live. When it first came out everyone thought it was just going to be angry; upon listening to the whole thing they realized it’s actually about love and friendship, and finding out what your priorities are.”

Then, during the Reputation Tour, she had an epiphany: that despite the caricature that she thought had been created of her, there were many people who saw what others had simply refused to. “I would look out into the audience and I’d see these amazing, thoughtful, caring, wonderful, empathetic people,” she says. “So often with our takedown culture, talking s— about a celebrity is basically the same as talking s— about the new iPhone. So when I go and I meet fans, I see that they actually see me as a flesh-and-blood human being. That — as contrived as it may sound — changed [me] completely, assigning humanity to my life.”

At tour’s end, she channeled that positive energy into the studio, recording the new album in just under three months. But the fast pace won’t mean a short LP. Swift confirmed that her seventh record (she hasn’t announced a title yet; the working nickname among fans is TS7) will include more songs than any of her previous releases. “I try not to go into making an album with any expectation,” she says. “I started to write so much that I knew immediately it would probably be bigger.”

The project will also feature a mix of old and new collaborators (on the candy-coated lead single “ME!” Swift brought in Panic! At the Disco frontman Brendon Urie and coproducer Joel Little, both of whom she had never worked with), but she is unsurprisingly coy about doling out much more information, as if doing so would break the carefully honed T-Swiftian feedback loop. “There’s a lot of a lot on this album,” she says. “I’m trying to convey an emotional spectrum. I definitely don’t wanna have too much of one thing…. You get some joyful songs and you get the bops, as they say.” There’s also, she adds, some “really, really, really, really sad songs,” but “not enough to where you need to worry about me.”

She gives us one more clue: The true distinction between TS7 and reputation is in the delivery. “This time around I feel more comfortable being brave enough to be vulnerable, because my fans are brave enough to be vulnerable with me. Once people delve into the album, it’ll become pretty clear that that’s more of the fingerprint of this — that it’s much more of a singer-songwriter, personal journey than the last one.”

The past month has seen a deluge of Swift activity, from the release of the new single to dropping more hints in interviews about the record and its title, which is apparently hidden somewhere inside the “ME!” music video (current fan guesses include Kaleidoscope and Daisy). But if the Easter eggs from the pop star seem like a business-as-usual routine, she says this album does indeed mark a new era of her life, where she’s been better able to prioritize what’s important to her.

“Our priorities can get messed up existing in a society that puts a currency on curating the way people see your life,” she says. “Social media has given people a way to express their art. I use it to connect with fans. But on the downside you feel like there are 3 trillion new invisible hoops that you have to jump through, and you feel like you’ll never be able to jump through them all correctly. I — along with a lot of my friends and fans — am trying to figure out how to navigate living my life and not just curating what I want people to think living my life is. I’m not always able to maintain a balance, and I think that’s important for everyone to know about. We’re always learning, and that’s something that I also had to learn — that I’ve got to be brave enough to learn. Learning in public is so humiliating sometimes…. Do I feel more balanced in my life than I ever have before? Um, probably yeah. But is that permanent? No. And I think being okay with that has put me in a bit of a better position.” Strong words to live by, to quote, to re-share, to tweet back to her, and see if she’ll respond.

(x)

[path-of-my-childhood]

New Reputation: Taylor Swift shares intel on TS7, fan theories, and her next era

By: Alex Suskind for Entertainment Weekly Date: May 9th 2019

Snakes begone. The 29-year-old superstar is back with a new album and a new outlook on life. We go inside the pop monarch's latest chapter.

THE PALM TREES ARRIVED IN FEBRUARY, seven in all, set against a pastel blue backdrop with superimposed stars. It appeared that a new Taylor Swift era was upon us — that the old happy-go-lucky Taylor was not, in fact, dead. Or did it? It was only an Instagram photo, just one more picture in an infinite content scroll. But it also came from a pop star known for prodigious hint-dropping, whose fans turn every piece of info into an online archaeological dig.

As expected, the summery post sent Swifties sifting through each detail with a fine-tooth comb. What did the trees symbolize? An overdue vacation? A recently purchased beach house? A secret palm-frond collection? Or maybe, as many surmised, it was new music. One Twitter user predicted that the number of stars in the background of the photo hinted at a single drop: “There’s about 60/61 [stars]️. There’s 61 days until April 26, FRIDAY, a SINGLE RELEASE day!” Another said it was the unofficial announcement of her next LP: “Okay so in this picture there are 4 palm trees on the left (4 country albums). There are two palm trees on the right (2 pop albums). There is one large palm tree in the middle. This represents her new album.” These may sound like ludicrous conspiracy theories — for the record, they were mostly correct — but they fit firmly within the Taylor Swift Musical Universe (it’s like the Marvel Cinematic Universe but with more guitars and fewer Stan Lee cameos).

“I posted that the day that I finished the seventh album,” says Swift about the photo. “I couldn’t expect [my fans] to know that. I figured they’d figure it out later, but a lot of their theories were actually correct. Those Easter eggs were just trying to establish that tone, which I foreshadowed ages ago in a Spotify vertical video for ‘Delicate’ by painting my nails those [pastel] colors.”

It’s now April, and the 29-year-old pop star is in a Los Angeles photo studio, giving her first sit-down magazine interview in three years. She wants to discuss the art of placing hints inside her work, as well as the upcoming record, which she recorded as soon as she finished the Reputation Tour. She’s also keen on detailing her own obsessions, talking up the TV shows, books, and songs that help shape her outlook on life.

Over the past 13 years, Swift has perfected the pop culture feedback loop: She shares updates about her life and drops hints about new music, which fans then gobble up and re-promote with their own theories, which Swift then re-shares on her Tumblr or incorporates into future clues. It’s like a T-Swift-built Escher staircase of personal memories and moments that tease what’s next. “I’ve trained them to be that way,” she says of her fans’ astute detective work. Swift is a pop culture fanatic herself (see: the jean jacket she’s wearing on the EW cover) and has an innate understanding of the lengths her audience will go to be a part of the original creation. “I love that they like the cryptic hint-dropping. Because as long as they like it, I’ll keep doing it. It’s fun. It feels mischievous and playful.”

Through this approach, Swift has designed the ultimate artistic scavenger hunt — and it’s easy to get swept up in its drama, even if you don’t listen to her music. Her moments aren’t always hidden, either. Sometimes Swift highlights aspects of her world just so fans feel like they’re on the journey with her. Like the time in March 2018 when pop singer Hayley Kiyoko was accused of shading Swift after mentioning her name during an interview. On Tumblr, Swift re-shared a fan’s post, adding commentary that defended Kiyoko, which immediately dispelled any conflicts between the two artists; Swift’s post subsequently received more than 29,000 notes. Four months later, she invited Kiyoko on stage during the Reputation Tour to sing her hit “Curious.” Kiyoko returned the favor when she had Swift join her that December at a benefit on behalf of the LGBTQ organization the Ally Coalition to perform “Delicate.” Fans of both artists were elated by the mutual support.

The feedback loop also extends outside of music. In October 2018, Swift broke her silence about politics by publicly endorsing two candidates for office in her adopted state of Tennessee, while encouraging her followers to register to vote. She kept up the civic momentum through Election Day when she asked fans to post selfies after voting; Swift then eagerly re-promoted her favorites on Instagram stories.

This practice of sharing and re-sharing and sharing again is why listeners consider Swift one of the world’s most accessible pop stars, someone willing to not only interact with her audience but invite them to secret listening sessions, or make the occasional surprise visit to their wedding or prom. It’s a symbiotic relationship, one that, as Swift tells EW, helped her dig out of the darker era of reputation. “It’s definitely the fans that made that tonal shift in the way I was feeling,” she says. “Songwriters need to communicate, and part of communicating correctly is when you put out a message that is understood the way you meant it. reputation was interesting because I’d never before had an album that wasn’t fully understood until it was seen live. When it first came out everyone thought it was just going to be angry; upon listening to the whole thing they realized it’s actually about love and friendship, and finding out what your priorities are.”

Then, during the Reputation Tour, she had an epiphany: that despite the caricature that she thought had been created of her, there were many people who saw what others had simply refused to. “I would look out into the audience and I’d see these amazing, thoughtful, caring, wonderful, empathetic people,” she says. “So often with our takedown culture, talking s— about a celebrity is basically the same as talking s— about the new iPhone. So when I go and I meet fans, I see that they actually see me as a flesh-and-blood human being. That — as contrived as it may sound — changed [me] completely, assigning humanity to my life.”

At tour’s end, she channeled that positive energy into the studio, recording the new album in just under three months. But the fast pace won’t mean a short LP. Swift confirmed that her seventh record (she hasn’t announced a title yet; the working nickname among fans is TS7) will include more songs than any of her previous releases. “I try not to go into making an album with any expectation,” she says. “I started to write so much that I knew immediately it would probably be bigger.”

The project will also feature a mix of old and new collaborators (on the candy-coated lead single “ME!” Swift brought in Panic! At the Disco frontman Brendon Urie and coproducer Joel Little, both of whom she had never worked with), but she is unsurprisingly coy about doling out much more information, as if doing so would break the carefully honed T-Swiftian feedback loop. “There’s a lot of a lot on this album,” she says. “I’m trying to convey an emotional spectrum. I definitely don’t wanna have too much of one thing…. You get some joyful songs and you get the bops, as they say.” There’s also, she adds, some “really, really, really, really sad songs,” but “not enough to where you need to worry about me.”

She gives us one more clue: The true distinction between TS7 and reputation is in the delivery. “This time around I feel more comfortable being brave enough to be vulnerable, because my fans are brave enough to be vulnerable with me. Once people delve into the album, it’ll become pretty clear that that’s more of the fingerprint of this — that it’s much more of a singer-songwriter, personal journey than the last one.”

The past month has seen a deluge of Swift activity, from the release of the new single to dropping more hints in interviews about the record and its title, which is apparently hidden somewhere inside the “ME!” music video (current fan guesses include Kaleidoscope and Daisy). But if the Easter eggs from the pop star seem like a business-as-usual routine, she says this album does indeed mark a new era of her life, where she’s been better able to prioritize what’s important to her.

“Our priorities can get messed up existing in a society that puts a currency on curating the way people see your life,” she says. “Social media has given people a way to express their art. I use it to connect with fans. But on the downside you feel like there are 3 trillion new invisible hoops that you have to jump through, and you feel like you’ll never be able to jump through them all correctly. I — along with a lot of my friends and fans — am trying to figure out how to navigate living my life and not just curating what I want people to think living my life is. I’m not always able to maintain a balance, and I think that’s important for everyone to know about. We’re always learning, and that’s something that I also had to learn — that I’ve got to be brave enough to learn. Learning in public is so humiliating sometimes… Do I feel more balanced in my life than I ever have before? Um, probably yeah. But is that permanent? No. And I think being okay with that has put me in a bit of a better position.” Strong words to live by, to quote, to re-share, to tweet back to her, and see if she’ll respond.

You can read the original article HERE.

[marshmallowgoop]

Doing yearly writing reviews isn’t really a thing. But once you start doing ‘em, it doesn’t feel right to stop, you know?

Seeing progress in other arts is of course a lot easier than seeing progress in writing, but I think there is some forward movement for me, especially when I also consider my compilations from 2017 and 2018.

In regards to 2019, I’ve selected various kinds of writing for this post: analytical essays, opinion pieces, news articles, creative fiction, and maybe some works that can’t be categorized so easily, too. It was a very difficult year on many fronts; I dealt with job struggles, financial insecurity, destroyed relationships, medical hardships, seemingly endless cyberstalking and online harassment. 

But there were good things, too. New friendships. New passions. New outlooks. I feel like I’ve learned and grown a lot more in these past couple of months than I have in a long, long time.

The end of 2019 is more than just the end of one year. It’s also the end of a decade. But I think the best advice I’ve received all decade comes from this year:

✄ Sometimes, you have to say yes to saying no.

✄ If you can’t do something well, do something poorly!

✄ The best option may be to simply not engage.

✄ You don’t have to apologize for disappointing others.

✄ Your worth isn’t measured by how much you “accomplish.”

✄ You have rights: the right to have your needs and wants respected, the right to make mistakes, the right to determine your own priorities, the right to not be responsible for the actions or problems of others, the right to express yourself, the right to be human. It’s not selfish or narcissistic to stand up for your rights.

And, since it is the end of the decade and all, here’s also a comparison between one nerdy fandom essay from August 2010 and another from August 2019:

2010 (with added spaces because yes, this really was just a huge block of text originally):

Also, in my own opinion, nobody really gave a damn for Xion all that much save for Roxas. I mean, yeah, Axel cared a little, but in the end, he got totally mad at her, got mad any time she was mentioned, got mad whenever Roxas worried about her, got mad when she showed up at the clock tower. She was his friend, yeah, and he didn’t want her to go, but in the end, he would have chosen Roxas above her anytime.

The other “mean villains” didn’t really care. Luxord didn’t care, Demyx didn’t care, Xaldin got exasperated once at her, but overall didn’t care, Xigbar didn’t care, Xemnas outright said he didn’t care, Saix was rather cruel to her, but really, in the end, he didn’t give a damn for her. The others weren’t around long enough to have an impression on her. I think even Riku didn’t really care all that much for her, in all honesty. He just wanted his best friend back.  

Also, you have to keep in mind that we played the game through Roxas’ perspective, and it’s in my personal belief that he fell in love with Xion. And if you’re in love with someone, when she gets into a coma, or goes missing, or ignores you, you’re gonna be upset, and talk about it. So Roxas did. 

But you know, he doesn’t actually do a lot of it until the end of the game. Before that, it’s all about the THREE of them. He loves his friends (even if he doesn’t know it), and he wants them to be together forever, but when Xion goes missing or whatnot and they can’t ALL have ice cream together, he gets upset.

2019: 

I’ve written more on the subject here, but to keep it short, Ryuko only tries to take Nui’s life when she’s convinced herself that she’s a monster, and her development is less about her becoming less okay with killing people and more about how she won’t let her anger and rage control her. What makes Ryuko’s attitude so different in the end isn’t that she’s reconsidered her thoughts on murder but that she’s composed. Come episode 22, Ryuko ain’t saying that she’s gonna kill anyone to sound tough or to intimidate. She keeps her cool even against her worst enemies.

But that’s just what I think! Maybe I’ve interpreted the character all wrong. But Ryuko’s freak-out after she goes berserk and hurts others in episode 12, her devotion to defending even people she’s just met… I just struggle to see her as someone who’s actually a-okay with killing. The fact that Ryuko’s perfect fantasy in episode 20 depicts her as a sweet girl without any of the violent tendencies that she has in reality also points this way; not to mention, Ryuko outright admits that her picking fights and causing trouble are bad things when remarking on her childhood in episode 8.

And Ryuko? She doesn’t want to be bad. All the poor girl’s ever wanted is love, and I can’t imagine she’d ever think that getting angry and killing people would get her a lot of that.

Progress may be slow, but it does happen.

At least, I think so.

Image Texts

January 2019

And personally? I find that sweetness just absolutely, utterly charming. When I understood what the rap was trying to communicate, I couldn’t imagine listening to the song without it. Heck, even before I understood, I found the “without rap” edits empty and barren. No matter how “silly” the lyrics might come off, the unabashed cheese is fantastic. The rap section that I was once “meh” about legitimately became my favorite part of the song.

Plus, I really can’t stress enough how sad the song is when it’s purely Ryuko. The official [nZk] remix replaces Senketsu’s rap with a reprise of Ryuko’s first verse, which recounts how she and Senketsu met. And it’s tragic! She says, “But I’m all alone,” and she is. Senketsu isn’t singing with her, no matter her claim that she can hear his voice. Considering what happens to Senketsu in the end, his absence in the song hits even harder.

Full post: https://marshmallowgoop.tumblr.com/post/182361051017/oomoj-marshmallowgoop-the-rap-is-good

February 2019

The focus then shifts away from Ragyo, but Kill la Kill ain’t at all done with building the audience up yet. As the scene moves to the following day, viewers are met with quick, close-up shots of Uzu’s note to Ryuko, timed right to the beat of “Blumenkranz.” Uzu wants to duel, and we soon get to see his full request in an engaging low-angle shot where Ryuko looks up to this sign looming over her. The weight and gravity of the situation is effectively conveyed: the smooth transition from Ragyo to here, as well as the music and shot composition, let us know in no indirect terms that this fight isn’t something to be brushed off. Uzu’s duel is a big deal, and it’s very much connected to Ragyo’s expansive empire.

And the tension just keeps growing. Ryuko’s reaction to Uzu’s note is presented with a dramatic canted, high-angle shot. The camera—which is just slightly tilted—peers down at both Ryuko and the sign, communicating a sense of danger and unease. Viewers already know that the upcoming battle is important, but here, we also understand that it’s not going to be easy.

Full post: https://marshmallowgoop.tumblr.com/post/182841724817/all-the-discussion-around-episode-6-of-kill-la

March 2019

Kill la Kill the Game: IF is currently being featured at the 2019 Game Developers Conference that runs until March 22nd in San Francisco, and a flurry of new gameplay videos are now available for viewing. Notably, these videos feature full English subtitles for the character dialogue for the first time since EVO 2018 last year and never-before-seen stages, such as what seems to be the Fiber Castle in the Kiryuin Manor.

Full post: https://marshmallowgoop.tumblr.com/post/183766224117/kill-la-kill-the-game-if-gameplay-footage-from

April 2019

I mean, Kill la Kill ended over five years ago now. There’s been fairly minimal new content ever since—an OVA in September of 2014, a few pieces of merchandise here and there, a small crossover with Grand Summoners last year. And then, not even 11 months ago, out of seemingly nowhere, there was confirmation for a full-blown Kill la Kill video game. That we now know will be released in just 14 weeks!

Lots of jokes were made about the announcement for a game so many years after the series finale, but, like, seriously, as a longtime Kill la Kill fan, it’s hard to wrap my head around. Ever since the show ended, I’ve dedicated over half a million words to writing about it, spent tens of thousands of yen on books and Blu-rays and CDs, devoted nearly 60 GB to my own GIFs and edits. I’ve loved this thing to death. I’ve always found more and more that I want to write and create from this series, but I never really imagined nor expected that we’d ever get much more official content from the original creators themselves. And now we are getting so much more, and???

Full post: https://marshmallowgoop.tumblr.com/post/184228103137/kill-la-kill-the-game-if-releases-on-july-25th-in

May 2019

Kiznaiver: Oh, I was so excited to love this show! I was lucky enough to see an advanced screening of the first two episodes, and I was totally hooked. It was drop-dead gorgeous—and probably the prettiest series Trigger has ever put out—and I was very intrigued by the plot and characters. I remember just coming back to my hotel room at like 3:00 am after the premiere, utterly filled with excitement. I mean, Kiznaiver  was directed by Hiroshi Kobayashi, the episode director behind the two episodes that got me hooked on Kill la Kill (episodes 5 and 18)!

But… my excitement quickly died. The story tried to develop way too many characters in way too little time, and I never enjoyed the romantic pairing of Katsuhira and Noriko, finding it shallow, undeveloped, and nonsensical (in a bad way), which… kind of ruins a lot of the series when that’s arguably the heart of the whole thing.

Kiznaiver is still super, super pretty, though. That last episode’s animation got me shook.

Full post: https://marshmallowgoop.tumblr.com/post/184700944732/so-have-you-watched-the-other-stuff-studio-trigger

June 2019

I do recognize that many, many matters do not warrant conversation. I do recognize that the phrase “I’m just trying to have a conversation” can be—and has been—utilized as a means of directing criticism away from inflammatory, unacceptable, inhumane remarks. I in no way feel that hateful, discriminatory comments should be promoted.

Simultaneously, however, “conversation” should not automatically be a dirty word in the field of analyzing and seriously engaging with fiction, and thoughtful reactions should be supported and striven for. Nothing in fiction is ever black and white. There are so many nuances and complexities to the storybook realities of our media. I want commentators and critics of fiction to be passionate about listening, considering, and rethinking those nuances and complexities. Isn’t that why we do this work at all? To share our own point of view and open ourselves up to others?

Full post: https://marshmallowgoop.tumblr.com/post/185289615202/we-need-to-change-the-way-we-seriously-discuss

July 2019

Initially, I was really bummed by this lack of development. But as I thought about things more, I… didn’t mind so much. If this dream or universe or whatever is something that Satsuki “experiences” before the events of the anime, of course she won’t grow as a character here. Maybe this game is kind of the Kill la Kill prequel I’ve been begging for for over half a decade.

And as much as I didn’t get anything, I thought the ending bits between Ryuko and Satsuki were so good.

Like, I suppose Ryuko’s absorbing the Life Fibers or something?? But wow, pretty.

And the part where they talk before Satsuki disappears? That’s my kinda anime bullshit. It’s the kinda anime bullshit I wanted from the OVA between Ryuko and Senketsu.

Full post: https://marshmallowgoop.tumblr.com/post/186648065467/goop-plays-kill-la-kill-the-game-if-satsuki

August 2019

That book, Log. 2, is a fan doujin from Kotaro Nakamori, who worked as an animator and animation director in Kill la Kill. There’s a bunch of assorted fanart in there, and I wouldn’t be at all surprised if Nakamori is a fan of Urusei Yatsura and wanted to make a little crossover between that series and Kill la Kill.

Personally, though, as someone not too familiar with Urusei Yatsura, I kinda just saw the image as oni-Satsuki (with oni being demon/ogre-like creatures in Japanese folklore). Oni are traditionally depicted wearing tiger skin loincloths, and Lum herself is definitely basically a space oni. So, I saw the cover and got super excited about oni-Satsuki because I love oni a lot, haha.

Fun fact: character designer Sushio has also drawn Kill la Kill characters as oni for setsubun, a celebration that’s held on the last day of winter (February 3rd). During setsubun, you might see folks dressed up like oni—who get beans thrown at them in an effort to bring in good luck and chase naughty demons away.

Full post: https://marshmallowgoop.tumblr.com/post/187228888187/do-i-see-satsuki-wearing-lums-outfit-in-your-last

September 2019

Though I don’t see it much anymore, I remember lots of comparisons between Ragyo and the villains of Saturday morning cartoons back in the day. She was described as a generic, two-dimensional “evilz for the sake of evilz” baddie and criticized for her simplicity.

And though I did admittedly agree to an extent—I craved a lot more depth and insight, particularly in regards to her haunting line about “still having something of a human heart” whilst brutally attacking her own daughter in the final episode—I also found Ragyo to be a remarkably compelling, powerful, and horrifying villain even without tons of backstory and explanation. Perhaps my write-up on her first scene in episode 6 best details why; this woman has such a presence, and the visual language of the series amplifies that presence spectacularly. Ragyo’s intimidating and scary without the audience even needing to know anything about her.

And… I’d say that’s a good villain. That’s exactly what a villain should do.

Full post: https://marshmallowgoop.tumblr.com/post/187987858537/on-ragyo-kiryuin

October 2019

And, though there are no visuals, so I can’t be sure if it’s an “Ocean of Light” or not, the fourth Drama CD also has the same kinda deal happening. In the CD—which takes place immediately after Ryuko learns the truth of her origins—Ryuko’s pain manifests as an explosion of light that knocks both her and Senketsu unconscious and pushes Senketsu away from her. The sound effect here is familiar, and I’m personally convinced that this is another “Ocean of Light” moment.

Which brings me to the “light” part of the terminology. Light is often associated with good, yes, but light is also associated with heat, and heat is associated with pain. In the Drama CD, Ryuko’s light is so hot that Nui even remarks that Senketsu “almost burned” from it, and when Mako embraces Ryuko after swimming through her “Ocean of Light” in episode 12, Ryuko’s touch scorches Mako’s skin.

I’ve already written an essay on the symbolic and narrative use of fire, warmth, and heat in Kill la Kill (that you should totally read because it’s actually maybe Kinda Good, Maybe), and relating to that, I see the “Ocean of Light” as a physical representation of Ryuko’s fiery spirit. That fire can be used for good, and that fire can also be painful, but no matter what, that fire is a part of Ryuko.

Full post: https://marshmallowgoop.tumblr.com/post/188247077227/i-always-wanted-some-explanation-you-are-smart

November 2019

She looks around her cottage. Her eyes find the walls and the furnishings. Her eyes find the scratched floors and stained wood. She does not voice it to the once-emperor, but she had never been able to remove the stains from the attack. Her son's blood has painted the brown wood red. It is a reminder of what she cannot remember. It is a reminder of the past she has forgotten.  

“This home feels so desperately lonely,” she admits. “I do not know who is missing. But it is not complete.”  

The man is quiet. He did not expect to find himself feeling sympathy for the woman's plight. Perhaps she is a fool, to have given her heart to a demon. But kindness ought not be punished, he thinks. Or has he grown so cold that he believes it should be?  

December 2019

🏀 Michiru and Shirou’s relationship may be the focus, but Nakashima emphasizes that Michiru’s relationship with Nazuna is also involved in the story in a big way.

🏀 Nakashima stresses the importance of depicting teen girls realistically. Two women screenwriters are on board: Kimiko Ueno and Nanami Higuchi. Both wrote for Little Witch Academia. Ueno also wrote for Space Patrol Luluco, and Higuchi was behind the production reports in Trigger Magazine (and, interestingly, wrote the script for the anime adaptation of BEASTARS).

🏀In regards to Michiru and Nazuna’s relationship, producer Naoko Tsutsumi (also an animation producer for Kiznaiver and Little Witch Academia) provides input as well. Nakashima says that they greatly value and take to heart the opinions of the women creators.

Full post: https://marshmallowgoop.tumblr.com/post/189928986922/otomedia-winter-2020-bna-brand-new-animal

[sciencespies]

Five years of thirst: S.Africa's Eastern Cape battles brutal drought

https://sciencespies.com/environment/five-years-of-thirst-s-africas-eastern-cape-battles-brutal-drought/

Five years of thirst: S.Africa's Eastern Cape battles brutal drought

Dessicated: An aerial view of Adelaide Dam in Eastern Cape Province, gripped by a brutal drought

South African farmer Steve Bothma heaved a sigh of relief when the weatherman finally predicted rain.

His excitement was short-lived. Just a few days later, the forecast changed. It was back to cloudless sunshine.

In South Africa’s Eastern Cape province, no one can remember the last proper downpour. Some say it was five years ago, others six.

“This is a disaster,” said Bothma, 51, who in his three decades working the land has never seen such dry weather.

“Older people who are 70 or 80 years old would tell you exactly the same thing,” he added.

Southern Africa is grappling with one of the worst droughts in decades—the outcome of years of absent or erratic rainfall, and temperatures that have reached record highs.

Millions are facing hunger due to poor harvests and dwindling livestock.

“It is usually beautifully green at this time of the year,” said Bothma, as a hot gust of wind swept through his sheep pen.

“But now even the pine trees are dying.”

South Africa is one of the world’s driest countries at the best of times.

Rapid urbanisation and growing water consumption have placed a strain on water reserves and caused the coastal city of Cape Town to almost run dry in 2018.

Farmer Steve Bothma separates male and female merino sheep—the animals are being sold for slaughter because of the drought

But the ongoing drought has compounded the situation.

Dam levels dropped dangerously low in October, prompting President Cyril Ramaphosa to call for “drastic measures”.

South Africa is in “a dire situation”, said Ramaphosa in October, highlighting that five out of nine provinces were badly hit.

To the slaughterhouse

Bothma has had to cull around 60 percent of his merino sheep, including lambs.

Because of the drought, he could only afford to keep 2,000 as “breeding stock”.

“Usually I keep them until they are five or six years old,” Bothma explained, as his staff selected animals for the next trip to the slaughterhouse.

The price he gets for his merino wool has plunged by around 40 percent over the past year due to the drought and a foot-and-mouth disease outbreak in the north of the country.

“The wool is full of dust and not very strong,” said Bothma.

A carcass of a cow that died from starvation near Adelaide Dam

Years of dry weather have left scars in the landscape.

Arid fields flanked the windy gravel road leading to the nearest town of Adelaide, tucked at the bottom of a mountain range.

Cows chewed pieces of wood and sheep ambled in search of food.

In town, livestock roamed the streets and nibbled at scorched grass on the golf course.

The nearest dam dried up at the start of the year.

‘Can’t wash’

Some of Adelaide’s 15,000 inhabitants had been without running water for seven months.

A South African aid group, Gift of the Givers, has been helping by delivering water to the area since April.

On a recent water mission, hundreds of people In the township of Bezuidenhoutville rushed up with an array of empty bottles, buckets, iceboxes and even paint cans.

“We are keeping it for food and drink,” said Rodney Douglas, 59, pushing a wheelbarrow piled high with plastic jerrycans.

Thirst: People stand in line for water in Bezuidenhoutville township

Assanda Sais, 38, complained that she could only spare enough water to bathe once a week and that her house was “smelling”.

“We keep dirty water to flush,” she explained.

Bezuidenhoutville’s local middle school has had to shorten its week by half a day due to the lack of water.

Many children were missing class altogether.

“Kids have to help parents to carry water,” said teacher Zeenat Gangat, sweltering as the sun beat down on the container walls of a classroom.

“They can’t wash,” she added. “They complain about stomach issues.”

Poor infrastructure

Local authorities have tried to ease the situation by connecting sections of the town to a reservoir fed by Fish River, around 50 kilometres (30 miles) away.

The water is allocated on a rotational basis, but even then the pipeline to the river is way too narrow.

The hot way home: A young man pushes a wheelbarrow with bottles filled with water

Adelaide deputy mayor Bornboy Ndyebi said the town’s pipelines were in poor shape, and Thandekile Mnyimba, who heads the regional district of Amathole, told AFP that water trucks supplied by the government had broken down.

South Africa’s main opposition, the Democratic Alliance (DA), has accused the ruling party of acting too late.

“It is only when the dam reached a very low level – around four percent—that they woke up,” said DA councillor Ernie Lombard.

Ramaphosa has sought to pin the blame on years of poor governance under former president Jacob Zuma, whom he succeeded in 2018.

“Corruption in the water sector has in no small part contributed to the situation we currently face,” he declared.

‘Can’t sleep at night’

Water insecurity could become “the biggest developmental and economic challenge facing this country,” Ramaphosa added.

Adelaide is already suffering from South Africa’s ailing economy, marked by low growth and chronic unemployment.

Close to 70 percent of the small town’s inhabitants are out of work. When houses go up for sale, they stay on the market.

The dry lands: An aerial view of the dam floor

The manager of Adelaide’s only hotel said she was worried if too many rooms were booked at the same time, as “it takes two weeks to do the washing”.

On nearby farms, high-yielding avocado trees now barely produce 10, low-grade fruit instead of 50.

Helpless farmers watch their animals succumb to thirst and hunger. Alton Snaer has lost nine of his 15 cows.

“I can’t sleep at night,” said the retired farmer.

Bothma feared that more months without rain would force him “to close the books”.

“Farmers are taking their life,” he said, eyes reddened by the dust.

Explore further

South Africa urges water restrictions as dam levels drop

© 2019 AFP

Citation: Five years of thirst: S.Africa’s Eastern Cape battles brutal drought (2019, December 14) retrieved 14 December 2019 from https://phys.org/news/2019-12-years-thirst-safrica-eastern-cape.html

This document is subject to copyright. Apart from any fair dealing for the purpose of private study or research, no part may be reproduced without the written permission. The content is provided for information purposes only.

#Environment

[kaleid-tay-scope]

New Reputation: Taylor Swift shares intel on TS7, fan theories, and her next era

Snakes begone. The 29-year-old superstar is back with a new album and a new outlook on life. We go inside the pop monarch's latest chapter.

Alex Suskind

May 09, 2019 at 12:00 PM EDT

Peggy Sirota for EW

THE PALM TREES ARRIVED IN FEBRUARY, seven in all, set against a pastel blue backdrop with superimposed stars. It appeared that a new Taylor Swift era was upon us — that the old happy-go-lucky Taylor was not, in fact, dead. Or did it? It was only an Instagram photo, just one more picture in an infinite content scroll. But it also came from a pop star known for prodigious hint-dropping, whose fans turn every piece of info into an online archaeological dig.

As expected, the summery post sent Swifties sifting through each detail with a fine-tooth comb. What did the trees symbolize? An overdue vacation? A recently purchased beach house? A secret palm-frond collection? Or maybe, as many surmised, it was new music. One Twitter user predicted that the number of stars in the background of the photo hinted at a single drop: “There’s about 60/61 [stars]️. There’s 61 days until April 26, FRIDAY, a SINGLE RELEASE day!” Another said it was the unofficial announcement of her next LP: “Okay so in this picture there are 4 palm trees on the left (4 country albums). There are two palm trees on the right (2 pop albums). There is one large palm tree in the middle. This represents her new album.” These may sound like ludicrous conspiracy theories — for the record, they were mostly correct — but they fit firmly within the Taylor Swift Musical Universe (it’s like the Marvel Cinematic Universe but with more guitars and fewer Stan Lee cameos).

“I posted that the day that I finished the seventh album,” says Swift about the photo. “I couldn’t expect [my fans] to know that. I figured they’d figure it out later, but a lot of their theories were actually correct. Those Easter eggs were just trying to establish that tone, which I foreshadowed ages ago in a Spotify vertical video for ‘Delicate’ by painting my nails those [pastel] colors.”

It’s now April, and the 29-year-old pop star is in a Los Angeles photo studio, giving her first sit-down magazine interview in three years. She wants to discuss the art of placing hints inside her work, as well as the upcoming record, which she recorded as soon as she finished the Reputation Tour. She’s also keen on detailing her own obsessions, talking up the TV shows, books, and songs that help shape her outlook on life.

Over the past 13 years, Swift has perfected the pop culture feedback loop: She shares updates about her life and drops hints about new music, which fans then gobble up and re-promote with their own theories, which Swift then re-shares on her Tumblr or incorporates into future clues. It’s like a T-Swift-built Escher staircase of personal memories and moments that tease what’s next. “I’ve trained them to be that way,” she says of her fans’ astute detective work. Swift is a pop culture fanatic herself (see: the jean jacket she’s wearing on the EW cover) and has an innate understanding of the lengths her audience will go to be a part of the original creation. “I love that they like the cryptic hint-dropping. Because as long as they like it, I’ll keep doing it. It’s fun. It feels mischievous and playful.”

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Through this approach, Swift has designed the ultimate artistic scavenger hunt — and it’s easy to get swept up in its drama, even if you don’t listen to her music. Her moments aren’t always hidden, either. Sometimes Swift highlights aspects of her world just so fans feel like they’re on the journey with her. Like the time in March 2018 when pop singer Hayley Kiyoko was accused of shading Swift after mentioning her name during an interview. On Tumblr, Swift re-shared a fan’s post, adding commentary that defended Kiyoko, which immediately dispelled any conflicts between the two artists; Swift’s post subsequently received more than 29,000 notes. Four months later, she invited Kiyoko on stage during the Reputation Tour to sing her hit “Curious.” Kiyoko returned the favor when she had Swift join her that December at a benefit on behalf of the LGBTQ organization the Ally Coalition to perform “Delicate.” Fans of both artists were elated by the mutual support.

The feedback loop also extends outside of music. In October 2018, Swift broke her silence about politics by publicly endorsing two candidates for office in her adopted state of Tennessee, while encouraging her followers to register to vote. She kept up the civic momentum through Election Day when she asked fans to post selfies after voting; Swift then eagerly re-promoted her favorites on Instagram stories.

This practice of sharing and re-sharing and sharing again is why listeners consider Swift one of the world’s most accessible pop stars, someone willing to not only interact with her audience but invite them to secret listening sessions, or make the occasional surprise visit to their wedding or prom. It’s a symbiotic relationship, one that, as Swift tells EW, helped her dig out of the darker era of reputation. “It’s definitely the fans that made that tonal shift in the way I was feeling,” she says. “Songwriters need to communicate, and part of communicating correctly is when you put out a message that is understood the way you meant it. reputation was interesting because I’d never before had an album that wasn’t fully understood until it was seen live. When it first came out everyone thought it was just going to be angry; upon listening to the whole thing they realized it’s actually about love and friendship, and finding out what your priorities are.”

Then, during the Reputation Tour, she had an epiphany: that despite the caricature that she thought had been created of her, there were many people who saw what others had simply refused to. “I would look out into the audience and I’d see these amazing, thoughtful, caring, wonderful, empathetic people,” she says. “So often with our takedown culture, talking s— about a celebrity is basically the same as talking s— about the new iPhone. So when I go and I meet fans, I see that they actually see me as a flesh-and-blood human being. That — as contrived as it may sound — changed [me] completely, assigning humanity to my life.”

At tour’s end, she channeled that positive energy into the studio, recording the new album in just under three months. But the fast pace won’t mean a short LP. Swift confirmed that her seventh record (she hasn’t announced a title yet; the working nickname among fans is TS7) will include more songs than any of her previous releases. “I try not to go into making an album with any expectation,” she says. “I started to write so much that I knew immediately it would probably be bigger.”

The project will also feature a mix of old and new collaborators (on the candy-coated lead single “ME!” Swift brought in Panic! At the Disco frontman Brendon Urie and coproducer Joel Little, both of whom she had never worked with), but she is unsurprisingly coy about doling out much more information, as if doing so would break the carefully honed T-Swiftian feedback loop. “There’s a lot of a lot on this album,” she says. “I’m trying to convey an emotional spectrum. I definitely don’t wanna have too much of one thing…. You get some joyful songs and you get the bops, as they say.” There’s also, she adds, some “really, really, really, really sad songs,” but “not enough to where you need to worry about me.”

She gives us one more clue: The true distinction between TS7 and reputation is in the delivery. “This time around I feel more comfortable being brave enough to be vulnerable, because my fans are brave enough to be vulnerable with me. Once people delve into the album, it’ll become pretty clear that that’s more of the fingerprint of this — that it’s much more of a singer-songwriter, personal journey than the last one.”

The past month has seen a deluge of Swift activity, from the release of the new single to dropping more hints in interviews about the record and its title, which is apparently hidden somewhere inside the “ME!” music video (current fan guesses include Kaleidoscope and Daisy). But if the Easter eggs from the pop star seem like a business-as-usual routine, she says this album does indeed mark a new era of her life, where she’s been better able to prioritize what’s important to her.

“Our priorities can get messed up existing in a society that puts a currency on curating the way people see your life,” she says. “Social media has given people a way to express their art. I use it to connect with fans. But on the downside you feel like there are 3 trillion new invisible hoops that you have to jump through, and you feel like you’ll never be able to jump through them all correctly. I — along with a lot of my friends and fans — am trying to figure out how to navigate living my life and not just curating what I want people to think living my life is. I’m not always able to maintain a balance, and I think that’s important for everyone to know about. We’re always learning, and that’s something that I also had to learn — that I’ve got to be brave enough to learn. Learning in public is so humiliating sometimes…. Do I feel more balanced in my life than I ever have before? Um, probably yeah. But is that permanent? No. And I think being okay with that has put me in a bit of a better position.” Strong words to live by, to quote, to re-share, to tweet back to her, and see if she’ll respond.

[rpgsandbox]

Welcome, Heroes!

This Kickstarter will fund the release of Prowlers & Paragons Ultimate Edition, the second edition of our superhero roleplaying game, and the companion volume Pinnacle City’s Most Wanted, a compendium of villains and information about Pinnacle City.

We also hope to fund two supplements: Modern Gods, an epic modern-day superhero sandbox setting by Sean Patrick Fannon, and Blood & Justice: Shadows of Nocturne, a gritty and mysterious "Iron Age" superhero setting by Bill Keyes.

If things go really well, we have a few surprises in store, as well.

Originally released in 2013, Prowlers & Paragons proved to be a sleeper hit that developed a loyal fan base and made its way onto a few “Best Of” lists, despite its cult status.

After five years of playing, expanding, revising, and updating the original game and listening to your feedback, Mastermind Len Pimentel called in "Henchman #1" Sean Patrick Fannon to help him create Prowlers & Paragons Ultimate Edition.

The spirit of the game remains the same, but the rules have been taken apart, refined, and carefully put back together. The new and improved rules have more depth than the original game engine, but they make for a faster, easier, and more exciting experience.

GAME MECHANICS

Want a preview of the game? Download the free Quickstart Rules here!

Prowlers & Paragons Ultimate Edition is designed to let you play any kind of superhero game you can imagine. Because we aren’t tied to a specific world, setting, or property, we made sure you can play characters of any power level, from street-level vigilantes to iconic mega-heroes who deal with intergalactic threats. Whether you're dodging bullets or battleships, we've spent the last five years finding the perfect balance of abstraction and crunch to make sure the game is just as fun either way.

We also made sure you could tailor the rules to suit your style of play. From lighthearted Saturday morning cartoons, to modern day comic books or superhero movies, to the dark and grittier side of supers, you can do it all in Prowlers & Paragons Ultimate Edition.

Character creation is fast and flexible, using a simple point-buy system that gives you lots of choices and enough detail to make those choices matter. Once you know what you’re doing, you can throw a character together in minutes and create exactly the type of hero you want to play.

Don’t know what you want to play? We’ve all been there. That’s why there’s an optional Random Hero Generator to help you get going. Or you can use one of the 15 fully playable heroes provided in the core rules.

Prowlers & Paragons Ultimate Edition uses ordinary 6-sided dice and a simple yet robust dice pool mechanic that makes action resolution fast and exciting. The rules allow for both narrative and traditional success-or-failure based task resolution, letting you play however you prefer. In fact, you can use both methods at the same table!

Whether narrative or traditional, the rules are designed to keep you in your character’s head. When you play Prowlers & Paragons Ultimate Edition, you aren’t playing an author, narrator, or comic book publisher: you’re playing a hero!

Combat is fast and cinematic, striking a balance between abstraction and simulation that gives players meaningful choices without bogging them down. We’ve even used these rules to run epic battles with hundreds of combatants on the table!

If you're ready for that preview, you can download the free Quickstart Rules here!

READ ALL ABOUT IT: TESTIMONIALS!

We introduced Prowlers & Paragons Ultimate Edition to Bruce Harlick, Steve Peterson, and Ray Greer, three guys who know a thing or two about superhero roleplaying games, and here's what they had to say.

BRUCE HARLICK (Editor, Writer, and Designer for Champions and many other tabletop and electronic games): "P&P is an elegant super heroic system that is loose enough to let people play larger-than-life heroes while still providing enough crunch during conflict resolution to be totally satisfying. It's like a bridge between the crunchy games of the 80s (Champions) and the modern day aesthetic. It plays fast and fun and players' actions are only limited by their character conception -- and their imagination. Two toasts from Foxbat's Secret Lair on this one!”

STEVE PETERSON (Co-Creator, Champions; Original Partner, Hero Games): "P&P is a smashing amount of superheroic fun that I've enjoyed playing. And did I mention fistfuls of dice?  If you like a game that's fast-moving and gives you the feel of your favorite comic-book heroes, P&P delivers.”

RAY GREER (Writer & Designer, Champions; Original Partner, Hero Games): “I really had a fine time with the playtest. It offers a really interesting balance between flexibility and customization for character creation. And it is rich in detail without feeling like a miniatures game for combat. The highest compliment I can pay is that if we were designing Champions today, there are several ideas I’d have liked to steal wholesale.”

THE CORE BOOKS

When our diabolical plan comes to fruition, the two core books we'll be releasing as part of this Kickstarter campaign are the Prowlers & Paragons Ultimate Edition Core Rules and the Pinnacle City's Most Wanted villain sourcebook.

Let's take a look at each!

Prowlers & Paragons Ultimate Edition is a full color book that contains everything you need to roleplay in any kind of superhero setting. It includes …

Streamlined rules designed to help you create exactly the hero you want to play, from street-level prowlers to iconic paragons and everyone in between.

An optional Random Hero Generator for when you just don’t know what kind of hero you feel like playing.

A simple and intuitive system for advancement that lets you decide how quickly the heroes develop and ties advancement to reaching milestones in the story.

A core game engine that allows for either a narrative action resolution or more traditional action resolution system, and in fact lets you use both in the same game.

A fast-moving combat engine that emulates all the action and excitement of comic book combat. Plus optional rules to make your superheroic slugfests as four-color and fantastical or gritty and realistic as you like, letting you set the tone of your game.

A huge list of weapons, armor, gear, and vehicles you can use in your games, plus rules for superheroic gadgets, customizing your gear, and building your own headquarters.

Guidelines for using the game’s narrative ruleset to handle disasters, hazards, hostile environments, and other extreme conditions and situations.

A massive library of animals and extras—some ordinary and others less so—plus 15 fully fleshed out villains and 15 ready-to-play heroes.

Loads of advice, tips, tricks, shortcuts, strategies, and suggestions to help you create nefarious villains, exciting adventures, memorable campaigns, and game sessions that feel like a comic book stories instead of super-powered dungeon crawls.

Designed as a combination rogues gallery, adventure supplement, and setting guide, Pinnacle City’s Most Wanted is intended to help make life as easy as possible for gamemasters. Within its pages you’ll find …

An assortment of opponents and supervillains of varying power level, from street-level criminals to cosmic beings that threaten the entire planet, if not the entire galaxy.

Every villain described in enough detail to let you use them as they are, but with enough room for you to make these characters your own and fit them into your game word.

Every villain's entry also includes a description of an important location in Pinnacle City or in the greater Pinnacle City Universe, plus a number of adventure seeds.

A variety of groups, organizations, and peoples, from assassins’ guilds to ninja clans, organized criminal enterprises to shadowy government agencies, technological overlords to supernatural underworlds, hidden races to alien invaders, and more.

As with villains, every group, organization, or people is described in enough detail to give you a taste of who they are while leaving room to make them your own, and each description includes additional adventure seeds.

To combat all these menaces, the book introduces readers to AEGIS, one governmental organization the heroes might actually consider their ally. Maybe.

Last, because players may one day grow tired of doing the right thing and yearn to take a walk on the wild side, the last Chapter of this sourcebook includes rules and advice for playing the villains and running villainous games.

The main purpose of this Kickstarter is to give these books the treatment they deserve and provide you with the best product out there, one filled with full color artwork by amazing artists. As of the time this Kickstarter went live, the status of each book is as follows:

Prowlers & Paragons Ultimate Edition is already complete, fully written, edited, and ready for layout.

Pinnacle City’s Most Wanted is nearing completion. Should it fund, we expect the book to be fully written and edited and ready for layout within 30 to 60 days after completion of this Kickstarter.

Modern Gods [stretch goal sourcebook] is nearing completion. Should it fund, we expect the book to be fully written and edited and ready for layout within 30 to 60 days after completion of this Kickstarter.

Blood & Justice: Shadows of Nocturne [stretch goal sourcebook] is nearing completion. Should it fund, we expect the book to be fully edited and ready for layout within 30 to 60 days after completion of this Kickstarter.

Kickstarter campaign ends: Mon, April 8 2019 5:00 PM BST

Website: Evil Beagle Games