#i saw this shot during rewatch and it was just so pretty

[kimberleyjean]

The Ineffable Detective Agency Presents: What Happened in Before the Beginning?

Hello Good Omens clue hunters and detectives! I’m super excited to share what we’ve discovered in Before the Beginning. Read on if you want to see what no one else has spotted yet!

To put a long story short, something is “up” about Good Omens - Season 2 in particular. While the eagle-eyed have documented a number of odd things in Season 2 already (summarised here), I’ve never seen anyone call into question what was presented during the Before the Beginning scene. Let’s take a closer look shall we?

Remember this scroll to start the nebula? Well, guess what - it changes!

Here’s the first scroll we see on screen, I’m going to call this the “new” scroll. Note the straight edges and completely pristine look, like brand new paper:

Then suddenly, here’s what it looks like as they start up the nebula:

Whoa, that’s looking pretty old and ragged! It’s got rips, a bit of discolouration, several wavy bends running through it. That’s a significantly more worn scroll than we were just shown. Let’s show that in close up just to be sure:

Yup, that’s certainly not meant to be the same scroll!

During this scene, the old scroll is seen again during the close up of Aziraphale holding it. However, once Crowley instructs him to put it down, it’s the new scroll again. (And then at this point it disappears into hammerspace like in a cartoon, or drifts off into space, never to be seen again).

So... there's TWO scrolls?

Well, yes, but also, no. If you're wondering, “Are they both real scrolls? Are you telling me they had two on set?” the short answer is no, this was done with VFX. To explain why we know this, I’m going to hand over to our resident Art Director, @noneorother:

Hi all, @noneorother here. Sure. So it's mostly to do with the shadow inside the scroll curls and under the right hand side curl. You can see when it's the real scroll that the shadows are all orange or brown, because of sub-surface scattering:

It happens when light partially passes through a thin porous object like skin or paper. So when the scroll is new, it's real. Where they've added "scroll is old now" VFX on top of the shots, it's very well tracked, but there's no more sub-surface scattering because it's VFX, not filmed. So the shadows are now base-black inside the curl and to the right hand side of the image. This is the VFX scroll here:

They already perfectly tracked the astronomy animation into the center of the scroll, so they had all that tracking info just sitting around. It wouldn't have been very expensive to add the "old scroll" the way they did it (the cheap and dirty way).

Thanks @noneorother! So there we have it folks, the Good Omens team have intentionally designed some shots with the old-looking VFX scroll and some without. They had the assets created for the old scroll and the tracking to place it correctly, so how could they possibly make the “mistake” of adding it sometimes but not others? This wasn’t a budget thing. If it were budget related, they wouldn’t have created the old scroll VFX in the first place.

Personally, I think this discontinuity was to tell us, the dedicated rewatchers, that what we initially saw in S2 was not the whole story. There is something else at play during S2. Something that, depending on what we find, may make S3 even more enjoyable.

So, why do this? Is this scene being conveyed from different perspectives? Are we viewing different characters’ memories of the same event? If so, why would that be important? Is someone tampering with past events? Did “Before the Beginning” happen multiple times and we’ve seen a spliced together version? What do you think?

One More Question...

The other question worth asking here (which Aziraphale helpfully asks for us) is “which way up” does the scroll go? Look closely at the central rings.

Is it the top version (small rings to the right)?

Or the lower version (small rings to the left)?

... and what happens if you create a nebula upside down, I wonder? Here I’m reminded of the Nightingale Sang in Berkeley Square lyrics:

The moon that lingered over London Town Poor puzzled moon, he wore a frown How could he know we two were so in love The whole darn world seemed upside down

In a season where something is going "Down in the Up", and the answer to Gabriel’s mystery is achieved by turning the delivery box upside down, this is yet another up-down reversal we can add to the list!

..................................................................................

If you’ve been following our Good Omens posts up until now, you’ll be aware that this is not the only time scenes have been inconsistent or discontinuous. If this is new to you, please check out my summary post on Season 2 discontinuity here. For more of our posts, plus a collection of Clues and metas from all over the fandom, see here.

However, there is still more to come, so watch out for future updates. If you’re not currently puzzling over Good Omens and would like to join in, please do! We’d love to hear what you find - you can use the tag #ineffable mystery.

Special thanks to @noneorother, @embracing-the-ineffable, and to all the other lovely people at @ineffable-detective-agency (@theastrophysicistnextdoor, @ghstptats, @somehow-a-human, @lookingatacupoftea, @dunkthebiscuit @havemyheartaziraphale, @komorezuki, @251-dmr, @maufungi).

[vidavalor]

The Blitz, Part 3 Theory: The clues that suggest what it might be about & how it's affected what's come after it

I rewatched 2.04/The Blitz, Part 2 last night and a moment stood out to me that made me think I have an idea of what might happen in the flashback we all seem to have collectively agreed is almost certainly in S3-- The Blitz, Part 3.

When Crowley & Aziraphale are in the magic shop and Glozier is there in the background, the camera jumps to a pretty significant reaction shot for Glozier when Aziraphale tells Crowley that he has a Derringer hidden in a hollowed-out book in the bookshop. I think everyone sees that bit as important-- it's a literal Chekhov's gun sitting out there for the future story, after all-- but I was thinking about why it matters that one of the Zombie Nazis overheard this when they're... ya know... zombies. Their methods of murder tend to be a little more direct, yeah? lol What do they need a gun for when they eat people to death? But then it hit me why it will matter that Glozier heard this... it's not about the Zombie Nazis, exactly. It's about Furfur.

When we leave Furfur in 1941, he's just been embarrassed in front of The Dark Council by Aziraphale, who has swapped out the picture of him and Crowley for a flyer for the Ladies of Camelot, right? They literally laugh in Furfur's face. Furfur's entire plot in 1941 is about how he's been stuck in processing for millennia and he's trying to get out of it-- about how he's jealous of Crowley and the few others who get to go to Earth. He's dealt slight after slight after slight during this night in 1941. He fails to get proof against Crowley, who doesn't even remember him. He gets shamed and embarrassed in front of the higher-ups and his peers. His fledging... whatever it is exactly lol... with Shax-- who is the closest thing he has to a friend-- is damaged as she's gone out on a limb for him and he hasn't delivered. Most terrible, he's sure he's never going to get out of his miserable eternity of grunt work. He's *very, very, very* unhappy and boxed into a corner, right? So what does Furfur want, now that he's stuck in Hell forever and all of it is laughing at him?

Revenge. He wants revenge.

In the short term, he also wants someone to scream at, so he goes back up to Earth and finds the Zombie Nazis, who are roaming around London eating people. They can't go very quickly so they haven't gotten far and aren't hard to find lol. Furfur knows it's not exactly their fault that he was tricked by the angel as, technically, they completed the tasks they were given, but he's furious and he needs to vent it, so he starts yelling that he's going to revoke their zombie-life-on-earth clauses. (Even *the Nazi zombies* get to be on Earth and Furfur does not? Yeah, he's not going to be able to handle that...)

The Zombie Nazis, understandably after seeing that video he showed them in Part 2, start freaking out because they don't want that whole fly fate for all of eternity and they don't know how to reach anyone beyond Furfur so they'll do anything to keep Furfur from taking out his humiliation on them. Upon hearing that this is all about how Aziraphale tricked Furfur and got him humiliated by Hell, the Zombie Nazis start desperately suggesting that it's not too late! They can help Furfur still get Crowley and Aziraphale! Even if Hell thinks Furfur is a joke and won't listen to him about the angel and demon being involved, they can still help Furfur get revenge!

They bring Furfur to outside the bookshop to find Crowley and Aziraphale because that's where the Zombie Nazis say they saw them together earlier & they know Aziraphale lives there. Furfur's in a rage because through a side window, he's observing Crowley and Aziraphale drinking wine together by candlelight in what is the "I know you'd come through for me" scene from Part 2-- and Aziraphale even has the photo Furfur took of them earlier in his hand. (Insert here more of the recurring gag about Harmony lip-reading as now he's also looking through the window and probably gets a line like "he is saying it again! 'banana fish go-RILL-ah...'").

So Furfur is in a fur-furious rage here and is ready to murder these two but... there's just one *slight* problem...

He's a demon.

He can't get into the bookshop.

Aziraphale would have to invite him in and he's certainly not going to after their meeting earlier. But! This is when Furfur and the Nazis realize that there is someone in their group who *can* get in the bookshop...

....our fave fascist, Fraulein Greta Klauschmidt.

As "Rose", Greta recruited Aziraphale-- entering his bookshop when she was a human, invited in by Aziraphale. She can still get into the bookshop. (It's also a parallel to Shax tricking Aziraphale into letting her into The Bentley in S2.)

Once Furfur and the Nazis realize this, the question then becomes: okay, so if Greta can get into the shop, how is she then going to kill Aziraphale and Crowley? (*Especially* Aziraphale, whom Furfur really, really, really loathes at this point lol.)

This is when we go back to the scene that triggered this meta, which is that this is when Glozier then volunteers the information he overheard in the magic shop-- that there's a Chekhov's gun in the bookshop.

The Derringer works as a weapon here to do that because, as Furfur himself pointed out during the magic show earlier, if Crowley had shot Aziraphale in the face, it wouldn't just be paperwork but it might not be possible for them to "put him back together again"-- indicating that there are some things that can happen to angels and demons that are irreversible and can effectively kill them, more or less-- and a gunshot to the head is one of them.

(I'm also realizing as I'm writing this that that Glozier's *ear* falling off in the magic shop is another nod to him having *heard* important information and so far, we've only seen half of what he heard pay off-- the time and location of Aziraphale's performance in the West End. We're still awaiting pay off of the gun bit.)

My bet is that Aziraphale's Derringer in a hollowed out book is something he actually *showed "Rose" like the cinnamon roll idiot that he is* lol... so once Glozier brings it up, Greta remembers and she knows what book it's in and exactly where it is in the shop.

So Furfur still cannot get in but Greta can get in... which means Greta is now the most powerful character here. If Furfur wants Aziraphale dead, Greta can make that happen... *if* they cut a deal. What kind of deal? Well, the only thing Greta is going to want that she thinks that Furfur could give her is to not be a zombie, right? To be alive again? Reverse the clause in the paperwork and give her her life back. Whether or not Furfur can actually do this (and I'm not sure if he can or not, really, but I'd wager probably not), Furfur tells Greta that he can and she and the other Nazis believe him.

The plan is that the four of them go to the bookshop, where Furfur activates a miracle blocker card for a few hours surrounding the shop in an effort to limit Crowley and Aziraphale's powers and give the Zombie Nazis the advantage. Once the miracle blocker is in place, Greta goes inside while Harmony and Glozier make noise outside, in an effort to separate Crowley and Aziraphale to make it easier to kill them by attempting to lure one of them outside. Greta is to kill the one that stays inside the bookshop while Harmony and Glozier are supposed to kill the one that goes outside. (This will not happen according to plan at all, whatsoever, but it does seem like the most likely plan these four characters could form where they all have a role in it.)

So because Greta is the only one who can get inside, she has go to into the bookshop and be the one who can kill, most likely in their mind, Aziraphale. She'll still be a staggering zombie when the extremely bright Furfur sends her in there to obtain and fire a gun at a pair of supernatural beings lol but she manages to sneak in the back door without Crowley and Aziraphale really hearing the breaking & entering... or whatever noises the other two are making outside... as Crowley and Aziraphale are a little busy gazing at one another.

It would actually be a really funny, very Good Omens-y gag IMHO, if Greta is colossally unsubtle in entering the other side of the shop from where Crowley & Aziraphale are and is banging into stuff while Harmony and Glozier keep coming up with more and more insane noises outside... but Crowley and Aziraphale are too busy making heart eyes at one another to care or do anything about it. A very "did you... hear that?"/"oh, must be the war, let's go back to gazing" type of attitude with a steadily increasing series of sounds that are harder and harder to dismiss but they are trying, ok? lol. (This would also parallel Aziraphale ignoring the demons outside for as long as he could during The Ball in S2, until the bookshop begins literally breaking around them.)

So while we watch scenes of Furfur and The Zombie Nazis Hatch A Plot, the relationship tension between Crowley & Aziraphale is building as much as the plot tension. They intercut Furfur & the Nazis scenes with Crowley & Aziraphale having quiet, romantic, candlelit glasses of wine after their very intense and illuminating evening together. Each time we go back to Crowley & Aziraphale... they seem to be getting increasingly cozier. They sit a little closer, they get a little looser around one another. Crowley's glasses might come off. We get the sense that this is all Going Somewhere and it's somewhere they've never let themselves go before but after the events of Blitz 1 & 2 tonight? It's becoming increasingly clear to them that they will. There's virtual certainty that if *nothing else happens* to these two tonight and they're just left alone for once, they're at least going to kiss and what we're watching is them slowly enjoying the path there and them enjoying silently knowing that they're going to.

At some point, we hop from the Nazis back over to Aziraphale asking Crowley if he'd like a little music... Aziraphale might even have something *modern* kicking around, he's excited to tell Crowley (like he might have been totally not at all fantasizing about this exact Crowley-dashing-in-his-suit-with-a-glass-of-wine-smoldering-in-the-bookshop scenario when he bought this record from Maggie's grandfather recently lol)... and he goes over to the gramophone to put it on and now we've got Crowley and Aziraphale with candlelight and wine and music and they're each just taking step after slow little step that slowly acknowledges the romance at play here. Aziraphale's record is probably Glenn Miller. We know he likes big band and The Bentley played him "Moonlight Serenade" in S2 and Glenn Miller also recorded "A Nightingale Sang in Berkeley Square", so it's one record where "Moonlight" could play and then, eventually, so too could "Nightingale" without Aziraphale getting up and moving away from Crowley... and you better believe that when we get to "A Nightingale Sang in Berkeley Square" playing that Crowley and Aziraphale are a literal breath away from kissing.

It'd be completely perfect to them, right? Very romantic. They're there together, alone, they've survived the Nazis and Mrs. H and threats of Hell and have spent the night gazing at one another and now they're here and it's quiet and there's candlelight and it's the familiar, comforting bookshop that is home for both of them... the same place, ironically, that they will drink wine together and make eyes at one another *for decades* after this night-- without Aziraphale putting on The Song, of course-- and you know they will think about 1941 every. single. time. while never actually recreating it.

(It's also why, when they're both wasted in the bookshop in S1's "Eleven Years Ago", Crowley is rambling on about bananas and gorillas and bouillabaisse/fish stew-- ya know, "banana fish gorilla..."-- and they're both so drunk and thinking about how they're almost out of time... and so they're both thinking of 1941 and wind up making those hilarious kissy faces at one another because they both obviously still want to actually kiss some 80 years after the night they almost did. Crowley also calls Aziraphale "baby" in the middle of his ramble. He might have called Aziraphale that in 1941, when they weren't drunk and were on their way to kissing. He also might have just wanted to, so it turned up in "Eleven Years Later" and might come up again later on in the present of S3, whenever they inevitably get to finally have a decent, uninterrupted, not painful kiss.)

Back in 1941, as we flip between Furfur/The Nazis and our heroes, maybe Crowley's even gotten comfortable enough to lose the glasses (though he can leave them on if he still has the hat on when they go to kiss so that he can take the hat off like a gentleman to kiss Aziraphale *swoon* and actually that's how Aziraphale died everyone surprise twist he's been dead since 1941 an a ghost this whole time lol)... and there's romantic big band on the record player and there was magic in the air and angels were dining at the Ritz when a nightingale sang in Bahhhrrrrk. Leeeeee. Square... and they're *almost* there, right? They're basically kissing. There is no way for either of them to ever legitimately pretend that was not was going to happen (even if they will try in the future lol) as their lips were a millimeter away and both of them want it and just like this and it's been six thousand years of pining and so, of course, that is when...

...Greta zombie-crashes into the room with Aziraphale's once-hidden Derringer aimed at them.

(Aziraphale's probably furiously muttering "oh good Lord" under his breath with a very different tone than in 1793 lol. That is his attitude, at least, if not the dialogue.)

So then they have to try to protect one another right and it's mild chaos for a moment as like Crowley starts looking out the window at Furfur and the rest of the Zombie Nazi Trio (paralleling his demons-outside-the-bookshop paranoia in S2) and realizes they were the noise while Greta is all "pity you both must die" again with a little smirk and Aziraphale is trying to calm her down and reason with her while also subtly trying to get close enough to get the gun and she probably fires but she's a zombie so she misses lol and he's like glancing over for Crowley and Crowley seems to disappear for a moment while Aziraphale stalls Greta and just when we think where the hell did Crowley go?! Aziraphale is about to be shot in the face!...

...Greta is shot in the face instead.

By Crowley.

With The Bullet Catcher.

And the bullet that was in Aziraphale's teeth a couple of hours ago.

Crowley has not so much has blown the fluff off a dandelion since he arrived on Earth six thousand years ago but you interrupt his first kiss with the angel and you. are. dead, you Nazi bitch...

I don't have a theory as to what happens after this beyond that we already know that Furfur is in Requisitions in the present now so he's going places lol. Also worth mentioning that Crowley or Aziraphale (I'd lean towards Crowley) could get shot by Greta's wild aim when they are trying to protect one another but it would be more of a graze that one could write a hundred h/c fics over than anything worth actually worrying about lol. It could be something like Crowley gets nicked but goes down as dramatically as he does in the paintball scene in S1 and Aziraphale is horrified but also fighting for his own life so he winds up focused on Greta and neither of them see Crowley slip away to come back with The Bullet Catcher... something like that. I'm just pretty sure that the fact that there are really *two* Chekhov's guns in the bookshop and that Greta is the only 1941 antagonist who can get inside it maths out to Crowley-- shooting her with The Bullet Catcher.

I'm not sure what happens to Harmony and Glozier. Aziraphale says in S1 that he's never killed anything so he can't kill anyone here and while I'm fine with Crowley mowing down Nazis with every Chekhov's gun left in the plot lol, I don't know that that's what happened or if, honestly, the two of them and Furfur just see Greta die through the window and run off. Maybe Aziraphale miracles the Nazis to Siberia. Who knows. But the main gist of it, I think, is that Crowley kills Greta when the Zombie Nazis and Furfur try to exact revenge on Crowley & Aziraphale and, in doing so, interrupt what would have been their first kiss and it's while "A Nightingale Sang in Berkeley Square" is on in the background so that every time the song comes up in the future, it's a reference to this near-kiss in 1941, adding layers to scenes from Soho 1967 to the end of S1 to the end of S2, etc...

Kind of makes Crowley desperately kissing Aziraphale in the middle of the bookshop while a vengeful Heaven, this time, is trying to separate them, even more aldkjlkfjlewje, yeah?

I'd also like to just throw in here that it's actually possible that all of this is the same but they *did* kiss... that they were kissing when Greta burst in. Part of me really wants that to be the case. That maybe they did get to have this kiss, if only because even if only a tenth of what I've said above is anywhere close to right, it's still pretty romantic and it would be nice if they got to have that, especially then, even if it was ultimately interrupted. It's Soho 1967, though, that convinced me that they came *very* close but ultimately didn't (and honestly, the only way they don't in 1941 if they get that close is if they're interrupted and an armed Zombie Nazi crashing through the bookshop feels about right lol.) It's this bit from Aziraphale to me that says they almost kissed but didn't:

The picnic was likely Crowley's 1827 date in Edinburgh. The Gabriel statue was there for amusement but you know Crowley had a picnic set up nearby. (It's not that weird-- people used to picnic in graveyards in the 1800s & the only time Crowley & Aziraphale would be able to together would be under the cover of darkness.) Then, they ran into Elspeth and the night took a turn. (Elspeth was also digging up bodies from graves, which is a parallel to zombies, hooking 1827 to 1941.) Dining at the Ritz-- literally going to The Ritz and eating together, which they do twice in S1-- is something Aziraphale would literally like to go do as a date as but it's also code in the 1967 scene for "perhaps, one day, we could finish 1941." He's telling Crowley in 1967 that he would still very much like to kiss him one day.

The near-kiss in 1941 would then also be what gives Aziraphale the motivation to eventually give Crowley the holy water in 1967. Back in 1863, Aziraphale didn't totally see that Crowley wanted holy water to protect them. By 1941, when they're staring at the corpse of a once-Zombie Nazi on the floor of the bookshop that Crowley just killed with the gun that's in his hands, it's a different sort of proof. 1941 becomes the era of 'here is proof that Crowley will literally kill to protect Aziraphale' and maybe it freaks Aziraphale out a little (as well as also turning him on a lot lol). Maybe that's why they spend the next years after that until the '60s together but not really together. Maybe that's why they don't have another chance at the kiss after 1941-- why they don't just try again-- because Aziraphale slows down a bit after it, afraid that Crowley could get hurt and that this is too dangerous, but he also understands now that Crowley is in love with him and when he hears in 1967 that Crowley is going after Holy Water, Aziraphale just gives him some, as a way of saying that he knows they're in love but this is impossible and they need to not pursue this in a way that will get them killed because he can't lose him.

A near-kiss in 1941 adds layers to 1967 Soho by adding an additional meaning of 'physical intimacy' to "dining at the Ritz". It adds even more weight to the end of S2 and the kiss and the "no nightingales" through to the Tori Amos angsty cover of "A Nightingale Sang in Berkeley Square" in The Bentley. There are other scenes (the end of S1 and others) that it touches as well, if indirectly, but maybe my favorite is this scene, which has already been given extra layers of meaning since The Blitz, Part 2 and The Bullet Catcher plot but lol now add in the idea that the rest of the story is that Crowley and Aziraphale were going to kiss and they were interrupted in the moment, shot at with at least one of them probably getting nicked, and then Crowley killed someone with The Bullet Catcher and tell me it doesn't make this already amazing sequence even more amazing:

[thechy-fychannel]

You said you think pre-infarction house was an addict-can you expand on that? What drugs were he hooked on and why did he fully switch to vicodin and never used others again? Did he ever reach a go-to-rehab level addiction? How did wilson handle that? And what was Stacy's attitude towards his addiction? I think she would have been a lot more forgiving than cuddy because 1. She herself is a smoker who goes back to cigarettes during hard time and 2. Unlike cuddy, she didn't have a small child to worry about.

Ahhh thank you sm, I love this question!!! Let's get into it ✨

So my theory is that house was abusing morphine prior to the infarction. here are my reasons for thinking so:

1. Three Stories- the entire reason house's infarction was as bad as it was is bc everyone except house was convinced he was just drug seeking at first. it makes absolutely zero sense for them to think that unless he already had a history of drug seeking. unless I misremember (anyone feel free to correct me if I'm wrong) he already worked at PPTH for a while before the infarction happened. so it was the same doctors he knew and interacted with every single day that saw him screaming in agony and chose to believe he was just trying to seek drugs and not actually in pain. he had to have a history, it just doesn't make sense otherwise for them to assume he was drug seeking.

2. one very specific line in No Reason (the episode where house is shot and the whole episode is a hallucination). when house, wilson, and cuddy are in her office and house is realizing they did something to his brain (the ketamine treatment) cuddy says this specific line: "You were out of control, you were shooting morphine!" This line has always stuck out to me and no one ever seems to mention it. It's very out of place bc the conversation they're having is about him being shot and them doing something to him while he was under. I think this was his brain connecting this event to the last time someone did something to him while he was unconscious, trying to rationalize these traumatic events.

3. In early s3 when the pain comes back, he begs cuddy to give him a shot of morphine in his spine (the scene where he drops his pants in her office and asks her in tears if the scar is all in his head too since she thinks the pain is all in his head.) cuddy gives him the shot and he comes back looking for another one later on, after the pain comes back again. she informs him that she never gave him morphine, it was saline. the fact that the pretend morphine worked suggests he had a mental dependency on it. I'm pretty sure this is the point where he goes back to vicodin (it's been a few months since I did my last rewatch so I could be wrong). I think had she actually given him morphine, he likely would've become addicted to it again. Just the thought of the morphine was enough to have him looking for more.

4. Wilson's tendency to jump straight to heroin use when he thinks house is on something other than vicodin. it happens more than once in the series when house starts acting just the slightest bit off, wilson leaps to the conclusion that he's on heroin. which is an insane leap to make unless it's something he's had to worry about in the past. I think the reason wilson would jump to heroin over morphine is if he knows what it looks like when house is high on morphine. If house used to abuse morphine, wilson would be able to recognize it and if he can't, it must be something much worse. this again plays into why I think he was an addict prior to the infarction even if it wasn't morphine, because who in their right mind would jump to their best friend using heroin if that person didn't have a long history of abusing similar drugs?

Now to answer your other questions:

Why did he switch to vicodin and not go back to others he may have been addicted to? I can tell you from personal experience that while morphine feels great, it makes you hazy and tired and out of it. I think once he was prescribed vicodin after his surgery and learned that he could function on it and not feel hazy, it was a match made in heaven for him (he says a few times in the show that vicodin doesn't make him hazy, so he immediately knows if he's on something else bc he feels hazy.) He didn't need to switch to anything else as long as he had access to vicodin bc he got the high, the pain relief, and no haziness. but when he got cut off of his vicodin during the tritter ordeal, he stole oxycodone (I think?) from wilson's dead patient. so if he didn't have vicodin, it's safe to assume he would go back to whatever he had access to.

Did he ever reach rehab level addiction? / What was Stacy's attitude towards his addiction? I think if we go based off his colleagues thinking he was drug seeking + cuddy saying he was out of control and shooting up morphine, I would say yes, it was rehab level addiction. But— I feel like if it had been that bad, stacy would've mentioned it in some sort of capacity during her arc when they were discussing their relationship. she never hints at him being an addict as far as I can remember. she loved and cared about house so much that she was willing to accept him hating her if it meant he was alive and healthy. I feel like if his addiction had been dangerous, she would've done anything to get him help the same way she did during his infarction. even if it meant going against his wishes and him hating her, she would've insisted he got help. so I'm conflicted on that question, honestly. I think maybe it depends on the perspective of those around him. maybe those at the hospital saw something stacy didn't, I'm not sure. but I agree with what you said about her being more forgiving and understanding of it than cuddy was. I think if he had been an addict while they were together, she would've given him an endless amount of chances until it became dangerous, that's when she would put her foot down and try to force him into rehab and their relationship probably would've crumbled for a whole different reason.

How did Wilson handle his addiction? I think house being an addict prior to the infarction plays perfectly into the theme of wilson emotionally neglecting his wives for house. we obviously don't have an exact timeline of his marriages aside from his first one ending just before house and wilson met, but it's pretty safe to assume that he was married to and even possibly divorced from bonnie before the infarction ever happened since he seems to have been married to julie for a little while in the beginning of the show.

[sidenote: here is my personal timeline HC for wilson's marriages.

Sam: 1991-1992 (canon)

Bonnie: 1993-1998

Julie: 1999 (before infarction) - 2005]

In the episode where house uses bonnie to get dating info about wilson, she says the iconic line, "You always needed him and he was always there for you. He had a wife waiting for him at home and you didn't care." And it just makes sense if the reason house always needed him was because of his struggles with addiction. house in general is a needy person who always wanted wilson's affection to himself, that much is clear, but wilson had to of had a good excuse to always run off for whatever it is house needed from him prior to him being disabled.

Getting into more specifics about how wilson would've handled his addiction back then— I think he would've handled it similarly to the way he did with the vicodin. he's an enabler unfortunately, he would've let house make excuses and made excuses for him because he tries to give house the benefit of the doubt that he can control himself. I think back then even more so, because house wasn't in pain and disabled, wilson had no reason to think house couldn't control himself. I think it's even possible that wilson was in denial about it too, he didn't want to believe his best friend was an addict and maybe he felt like he needed to protect house when others started accusing him of such. I think that may be why wilson asked cuddy to make that bet with house to find out if he was addicted to vicodin. he ignored it and denied it last time and he's enabled him for years since the infarction, he wanted to know if he was treating house's pain or still enabling an addict. the answer was both, which makes it no less complicated. but like with all of house's issues, wilson continues to stand by him and be there for him bc he loves him and wants him in his life, addict or no addict.

[silentcryracha]

❍ ‗ Watching a movie with Han ‗ ❍

Pairing : Han Jisung x f reader

Summary : chapter five of a cute standalone miniseries. It's what it says in the title

Genre/ Warnings : scenario/imagine/headcanon, drabble, fluff, suggestive but no actual smut, everyone yaps and is a nerd, homebody! Jisung is real, some swear words

Word count : 600 words

A/n : none

ps: There could be grammar errors. Do NOT repost on other socials. Leave feedback if you feel like it, otherwise enjoy! ♡︎

masterlist

series masterpost

.・。.・゜✭・.・✫・゜・。.

Watching anything, not just a movie, but a tv show, an anime, a short, a music video, literally anything, is an experience.

Each one unique and requiring at least a whole five minutes of commentary.

He's the kind of guy who feels like his life changed completely after viewing a certain product. He will gen into it so much, from the possible lore or original material, the music, the character takes and analysis from twitter users. He's probably one of them

It's so funny actually because you can pretty much guess what mood he's in by the type of thing he recommends watching. A sad movie? He's in his feels and probably lowkey needs a good cry. A fun anime? He wants to have fun and not pay too much attention, probably just relax.

A horror movie? He either wants to try and scare you and then act like the knight in shining armor (he's actually shitting himself too, trust)

"Shit! They just did a jumpscare, I didn't expect one two seconds later!" a couple of popcorns jumping out of the bowl.

"Oh no did that ugly nun scare my princess?" he wraps your shoulders with his arm, voice comically condescending, "Does she want a kiss to make it better?"

"Don't even try it, Sung. I saw you jump too, loser"

A thriller or dramatic movie? Probably feels the need to overthink something other than his life, and most likely have a nice, interesting conversation.

He's also quite strict with seeing new episodes from a series he hasn't seen before. He doesn't like to watch stuff in your presence unless you are also watching them. He much prefers your company anyway, feels also a bit disrespectful and in general he probably wants to focus on the plot.

He's usually pretty silent and concentrated but if it's a rewatch or he's purposefully showing you something he just yaps. So much. He NEEDS you to feel things as he felt them, you know?

"Baby, there! Did you see that shot? It's so fucking genius actually, will be so important for the plot later on"

"Don't spoil!" you exclaim, annoyed.

"Yah, I didn't spoil, I just commented on how good the shot was!" he defended, as you rolled your eyes.

"Yeah, yeah. Shush."

But it's actually stronger than him, I fear.

"The composer using that bit of music during that scene..I know what they're doing"

"How can you hate someone so much but also enjoy their presence at the same time? Such good acting"

But don't get me wrong! He loves to hear you yap just as much. He's actually so in awe, looking at you with those big round eyes and an amused smile.

"Am I talking too much? Ah, sorry baby" you chuckle embarrassed as you catch yourself basically covering the audio of the movie.

He shakes his head with a smile, still with those adoring eyes. Like you could do no wrong, ever.

"No, my baby. You could be literally reading a cooking book, I don't care. You look too pretty."

But when you've both seen the movie/series in question and it's NOT a sad one...it's over. You both know damn well it's just part of the game foreplay at that point.

"Honey, how about we just chill and rewatch this? It was fun last time"

And just like last time, this time was indeed fun, since the movie was left on his own to the end credits as you were blowing each other's backs out.

It's a given at that point, I don't make the rules

.・。.・゜✭・.・✫・゜・。.

[isagrimorie]

Repeating on a theme on Seven's Borg implants (read here for previous posts)

Because I'm still obsessed with Seven's Borg tech and how much of her is organic. Supposedly EMH took out 82% of Seven's Borg tech and took out many over the years Seven still has a lot of working Borg tech and nanoprobes more than other xB around.

One thing I just noticed from Equinox, part 2 is how we see Seven's ocular implant without the casing:

This is where it makes it so obvious that Seven's head is mostly metal because that is a skin cut out showing what's underneath that skin. Also that there are various lights under there we didn't know about.

Look at how shiny Seven's metallic skull is without skin.

The configuration of Seven's head is mostly just metal.

In this Picard s2 prop - this Borg skull only has a fraction of what Seven has underneath her skin:

Seven's entire cranium is made of metal.

That is why when Narissa bashed Seven's head on the console Seven didn’t lose consciousness and only made Seven a little dizzy, and pissed her off more tbh.

An organic person would've had a concussion and maybe even died.

I wonder if Seven looks like a Terminator beneath the skin.

(This is brought to you by having just rewatched Terminator 1 & 2).

Because as we saw in Imperfections scratch the skin underneath and she seems to have metal exoskeleton as implants.

Speaking of further body horror-- Even when the Borg deadened Seven’s nerve endings, Seven still felt the pain of having her occipital ocular installed:

During or after her procedure, even with all the precautions that the body wouldn't feel a thing, Seven remembered feeling the pain. (It makes me wonder if Unimatrix!Annika felt the pain or it was something she could block out).

A fan theory I subscribe to posited that Seven is a Borg Queen candidate.

This would go a long way explaining why Seven has some form of individual identity and why the Borg Queen has a special interest re: Seven.

Aside from being assimilated at a young age, this would also account for the number of implants in her system.

Even among her own unimatrix, she was the one calling the shots and enforcing the Borg rules.

All the Borg Queens we've seen only have their heads and upper torso.

Seven might have been on her way to a similar fate. Her spine's already reinforced.

I'm pretty sure one or both of Seven's legs from the knee down are prosthetic legs ala Edward Elric.

(Also there was a VOY writer who seemed keen on blowing up Seven's legs -- the first version of The Raven has Seven becoming a terminator and to stop her the crew apparently needed to blow up her legs, and she had to crawl her way to Janeway—thankfully someone in the writer’s room said “WTF??”, Because WTF???I'm so glad someone went: No, dude).

As possible evidence that one or both of Seven’s legs are prosthetics: when she was unconscious during The Gift we can see there are wires on Seven's left kneecap.

And I don't know if that shin armor is exoplating or if prostheses have replaced her legs.

There's so much about Seven we don't really know about and I really want to know more about her functional Borg components and to settle, once and for all, if by Picard's time, she still needs to regenerate.

I'm on the camp that Seven still needs to regenerate.

/edited

[chronicsyd]

Yk… I feel like people have become So used to like TikTok doom-scrolling feeding their limited attention span and having most sapphic rep be TV-Y7 shows (She-ra, TOH, TLOK, etc.) that when they’re faced with a TV-14 show where they actually have to Pay Attention to little things like facial expressions over words instead of having constant exposition shoved in their face they don’t like it.

And this is not me saying you can’t be an adult and watch a TV-Y7 show, but you Do have to keep in mind that the shows target demographic Is younger viewers so they have to utilize stuff like exposition so younger viewers can easily understand it. And those shows have pretty black and white morals “Horde = Bad” “Princess Alliance = Good” all that fun stuff.

But Arcane isn’t like that, it makes you think deeper about what’s actually being told to you and I’ve had to do a couple rewatches myself to pick up on stuff I hadn’t noticed the first time. And putting those same black and white morals to the characters like these really does the show a disservice.

(I also think the "oh I don't like oppressor x oppressed" complaint to be Incredibly stupid because you could slap that onto practically Anything. Heterosexual relationships/Hetero-passing relationships? that's oppressor x oppressed because of men over women. Mixed relationships involving any white person? that's Definity oppressor x oppressed. Relationships involving a cis and trans person? yup oppressor x oppressed again. Reducing characters down purely to their socioeconomic status and occupation and ignoring all the nuance, complexity and logic of them and their actions frustrate the hell out of me because they refuse to think deeper than that.)

And I'd RATHER Caitlyn Show she's remorseful and changing through her Actions rather than a sob session of "I'm sorrys'" (Also, LAST time Caitlyn merely said words to Vi ("I won't"), her actions didn't reflect those words, so why would Vi trust a simple "I'm sorry" now? Not to mention we already got that "I'm sorry" plot beat when it came to Jayce and Viktor back in S1 with Jayce doing stuff like setting the Bridge Blockade (and No one wants to bring up the "oppressor x oppressed" thing when talking about Jayvik despite it being the same dynamic...))

(Let's also address that Vi never said "I'm sorry" to Jinx for joining the Enforcers. No, the "I'm sorry" in Ep 3 wasn't for That it was an "I'm sorry for what's about to happen" because they Both know that there's a high possibility that Jinx might be dead at the end of this fight, and I know this because Vi becomes defensive in Ep 5 when Jinx brings it up. Vi doesn't say "I'm sorry" for hitting Isha either (btw if you say Vi saw Jinx care for Isha as a "I'm a bad sister" then you just lack basic media literacy all together). Jinx never says "I'm sorry" for all the fucked up shit she does like kidnapping Caitlyn and forcing Vi to kill her. Also, Vi AND Caitlyn come up with the plan to take out Silco loyalists, Shimmer and Jinx so why the hell does Caitlyn have to apologize for that? Caitlyn admits that forcing Vi to take the badge was the wrong thing to do and gives an explanation as to why she wanted Vi to join her as an Enforcer, because Caitlyn's worry of "one of us comes back in a box" IS justified)

(I also think the time jumps have fooled the audience, because they feel that Caitlyn's scene with Ambessa in ep 4 is "a complete 180" when you have to keep in mind that Caitlyn's been watching how her actions have affected those in these 6 months that we haven't really been seeing her on screen; we see bits of her during the "Paint the Town Blue" montage and Even Then you see her damn near crying in one of those still shots and looking so exhausted and over it in another. Once again part of that "Arcane wanting you to use your brain to connect those dots instead of the show doing For you but the audience refuses to do so" kinda stuff.)

Also, do people need to go through their Own trauma, grief and anger in order to understand Caitlyn's actions/motivations? because it's kinda starting to look that way. Caitlyn wasn't maliciously manipulating Vi with the kiss and the "I won't" statement because when going through emotions like this, Caitlyn doesn't have the time to reflect on those actions and see how she is changing, it's more of a hope that she isn't changing in the way that Vi doesn't want her to (you have to remember that S1 Ep4-S2 Ep3 happens within the span of like a week, maybe two at the most; Caitlyn's not being given time to stop or think about what's she's doing or what's going on, she's merely going through the motions in a sense. So by the time we pick up Ep 4 and there's been months of shit happening under her watch, she's had Time to be like "I don't want to be this, I hate this and the person I've become in all this".)

(I mean we can have Another discussion of how a lot of hate is just performative activism. One of the reasons I Like Caitlyn so much is because she shows that even with good morals, someone from privilege can easily fall down that rabbit hole. Because that's happened to myself before. Despite being lesbian and mentally disabled I still come from certain privilege, while I don't come from aristocratic wealth, I still lived a life better than most and just being a white woman that also gives me privilege and I've had to do my own reflecting on how my thoughts and actions can affect others simply from that privilege; which is what Caitlyn's able to do herself over the course of the season, which it seems that none of these haters are able to grasp)

[strawberryj0y]

I just wanted to make this post to highlight a particular aspect of their relationship that I think can get overlooked, but when you read/watch their interactions, is glaringly obvious - Sae's softness towards Shidou.

When RyuSae met for the first time, the tension between them generated by the potential they saw in each other is palpable through the page!! Sae saw a demon he can work his magic on and Shidou saw an explosive path to freedom. A chance for both to finally be able to play the exciting soccer they've dreamed of. Their relationship initially began purely to satiate their own curiosity and egos (and boy, did they!!).

However, as they play together, we witness this adorable tenderness develop and manifest between them. This is surprising at first glance but, in hindsight, expected. I suppose you would grow to be soft-hearted with the person who's finally allowing you to play the soccer of your dreams. For two people who live and breathe soccer, this must mean everything.

And maybe this is why Sae really has a soft spot for Shidou and he shows it in his own little ways...like letting him do whatever and talk about whatever while he just observes and listens :')

Sae's just not harsh with Shidou (the closest we get is that incident where he threw him off his back LMAO but tbh with all the 'throbbing' Shidou was doing, it was warranted - but hey, Sae still sticks close to him immediately after, continues flirting with him throughout the match and even gives his number later soooo :D).

Amongst all the things Sae calls him, he never strays into actively mean territory. The most he does is call him demon and adds an appropriate descriptor (e.g., horny demon). But 'demon' is a pretty great descriptor for the life force that is Shidou Ryusei LMAO and what Shidou happily calls himself, so if anything, the way he uses it comes off as affectionate tbh c:

This is Itoshi Sae we're talking about, the guy who walked into a room, took one look at the chairman of the JFU and manager of the U20 team, and said this before calling their prized team shit:

The same guy who stood there in front of the entire U20 team and told them they sucked, specifically going in on poor Sendou and didn't let up about it during his convo with Oliver either LMAO

(since this post is very long already, i have some extra thoughts on the above panel that u can refer to here)

His poor manager after Sae said he'd rather die than play with Japanese forwards and spent the entire interview ruthlessly ripping into them LMAO

So this is the kind of guy we're dealing with here...

Yet when it comes to Shidou, he's suprisingly patient and gentle with him. Like when he's guiding his inspiration to lead him in the direction of the most explosive play possible:

Sae's just so okay with playing along with all of Shidou's antics; from helping facilitate his wild soccer visions and philosophy to indulging in back-and-forth flirtatious and sexual banter. The little shots we got throughout the match of Sae just standing closely next to Shidou between plays, seemingly chit-chatting away. This occurs even when he just judo-flipped him off his back and onto the ground, called him gross, yet we see him still sticking around right after, just conversing with him while he's on the ground.

This whole thing really struck me while rewatching the finale; Sae's beautifully cruel and calculated plays against the Blue Lock team combined with his merciless dismissal of Rin's awakening and immense efforts to be acknowledged by him, contrasted so starkly with that little conversation he had with Shidou afterwards, post-match. Where we see him taking the time to actually explain himself and his decisions to not pass to Shidou in that final minute, reassuring him that he fully intended to and deemed it the optimal play he envisioned, but unfortunately it just didn't work out.

Despite tha fact that Shidou responds to this with a playful jab about how it was Sae's fault for 'getting foiled by your little brother' . Then coming to the very Shidou-like conclusion of that final goal actually belonging to him so he's earned the right to his number, Sae still continues to play along. In fact, he flirts back ten-fold by saying "Hmph. At least let me shower first." (in the anime, earning a giggle from shidou)

He's doing all this after losing a match, btw!! Ofc Sae's not super torn up about the outcomes of this match because it never affected his career in the first place. However, he is an egoist after all, so he doesn't play matches to lose so I doubt he would been in the mood to justify his plays to anyone else. We've literally seen this guy pack his bags, getting ready to abandon the U20 team 45 mins ago, and we've been shown several times since he appeared for this arc, and even in his first appearance in chapter 4, how he doesn't spare his time or energy for anyone and everyone has to run on Itoshi Sae's time.

He'll even get up and walk out mid-interview without warning. The interviewers have to be on his time LMAO

It's all rooted in the fact that Sae genuinely respects Shidou, as a player and therefore as a person*. From his very first appearance in the manga and in every appearance since, we're reminded that Itoshi Sae rarely respects anyone, and he makes that painfully clear. So this is why Shidou can have his passes, jump on his back and envelope him in a sweaty full-body hug, demand answers and justifications from him after a loss, and can have access to initiate further contact with him beyond this match.

*since we know from his characterisation and also further backed up by the egoist bible, sae only knows football and is pretty clueless about anything outside of it. It's all his life revolves around so everything (including relationships w others and the corresponding feelings) has to stem from, be relative to and occur through the medium of soccer.

The foundation of their relationship is honesty. There are no pretenses between them, they've been transparent from the very first meeting (not that it would've gone any other way since these two are not the type of characters that can or will hide their true feelings for the life of them LMAO). They entered this partnership to satisfy their egos. When you're so honest with someone, whether you intend to or not, you will begin to trust them. Knowingly or unknowingly, you become comfortable with their company. Where there's honesty and mutual understanding, there's comfort and consideration which eventually manifests as affection.

Sae feels comfortable with Shidou, hence why he's constantly glued to his side. Sae has so much consideration for Shidou, hence why he stepped in when he was about to foul Niko, reminding him not to get red-carded, and offered him gentle but firm guidance and reassurance during that following free kick, encouraging Shidou to pursue the explosive path he's always wanted but couldn't yet tread. Now, when it comes to the affection part, I think Sae's style is more so the other party expresses their affection and he...allows it to happen. LMAO (bc as we've seen, there are infinite times where he doesn't allow it to happen)

So like allowing Shidou to jump on his back and hug him, actively listening to Shidou to give a starry-eyed declaration (of love) about how Sae's the first person to truly understand his freedom, never refuting and instead full-on indulging all of Shidou's shameless flirting and basically everything else I've already said in this post lol

In conclusion: Sae likes this guy. Like, really likes him. In fact, we know he liked him even before he knew him. He couldn't stand Japanese strikers, and considered none worthy of his passes, until he saw Shidou Ryusei after all :')

[technicolorfamiliar]

D O U B L E F E A T U R E !

The Cabinet of Dr. Caligari Dir. Robert Weine 1920 // Orlacs Hände (The Hands of Orlac) Dir. Robert Wiene 1924

I recently watched both, Caligari specifically because I was invited on a friend's podcast to talk about the film (I was totally normal about it and definitely didn't make color coded note cards about the making of the movie… I did, I did make color coded note cards). So I figured I would lump these two in one post to switch things up.

--- Even though we talked about the movie for an hour and change, the conversation we recorded for the pod easily could have gone longer. There's so much to unpack about The Cabinet of Dr. Caligari. Between its historical, cinematic, artistic, and cultural significance and legacy, but also the various players on and off camera, not to mention the film's genesis from concept to page to screen -- there's no shortage of rabbit holes to go down.

Something I wish I had brought up during the recording was the score: The score matters! These updated silent film scores really do affect the viewer experience, and they're so often hit or miss. Of course, the original score for Caligari has been lost to time, but I read that the premier of in New York had classical music (Prokofiev, Stravinsky, etc) played along to the screening; part of me thinks this would be fun to try to recreate. I have no memory of the music when I first saw the film in 2009, but when I rewatched Caligari about a year ago, early in my Conrad Veidt journey, I chose a version on Internet Archive (which is, as of late October, sadly still out of commission *cries in nerd*) and the updated score was almost entirely minimal strings, which created a suitably eerie effect. I couldn't find that exact version elsewhere, so I this time opted for the 2014 restoration that's on Kanopy. The 2014 score is… fine. It’s very busy, trying too hard to sound like a traditional movie soundtrack. There's another version with a really painfully bad guitar-heavy score that I couldn't sit through even 5 minutes of, and still another that's entirely synths. Apparently the new 4K UHD/Blu-Ray that was just released has two new options for the score -- hopefully at least one of them doesn't totally suck!

I noticed deep into my third time viewing the film that I hadn't reached for my phone once. These days, I'll occasionally pick it up and mindlessly scroll through social media while watching a movie. But I think Caligari and a few other silent films require closer attention since they're a purely visual medium. I found myself greedily devouring every frame of Caligari. No shot or scene feels wasted. Honestly, I feel like every movie should be 90 minutes long or less. Anything longer should be turned into a miniseries. But in all seriousness, Caligari is another film I want to physically walk into. It would be pretty easy to recreate these sets, life size in grayscale black and white. The more I think about this, the more I need it. So, so bad.

I also came away this time with a lot of questions, mostly about the main part of the narrative, the story Franzis is telling. But the framing device makes the questions pointless. If the main story is just Franzis's delusion, then the absurdity of the script is totally fine I guess? Except the script that Hans Janowitz and Carl Mayer wrote didn't have Franzis as a patient at the asylum, they hated the framing story twist that was forced on their movie, so all those weird parts of the script and character choices that I'm overthinking and reading too much into are rendered meaningless. It's all in Franzis's head! The story and the characters in it don't matter! Or else are just part of his subconscious! Face palm. Eye roll.

Does the movie even work without the framing device? It would be interesting to show an edited version of the movie without the first and last scenes to someone who's never seen it. And if the twist ending was supposed to dumb down the anti-authoritarian message of the script, I don't know that it's successful. In the end, I still have empathy for Franzis. And we still have an ambiguous ending: Caligari/The Asylum Director looks at Mad Franzis and says, "I know just how to cure him," and there's a creepy iris wipe in on Werner Krauss's face that maybe leads us to think Franzis isn't as delusional as we think he is. So like… even if the whole Dr. Caligari with his sleepy twink in a box story is fake, whatever is happening at the asylum is probably just as messed up if not worse.

Speaking of the twink in a box, I love that Conrad Veidt's German Expressionism is totally different from Werner Krauss's German Expressionism. They both trained and performed with Max Reinhardt, so their foundations as theater actors in the 1910s and 1920s were likely similar. But, regardless or in spite of that shared experience, they are diametrically different human beings and that comes across in their performances in this movie. These two actors are like the textbook definition of "showing" your art vs. "being" your art. Krauss as Caligari is like "ooOOOoo look how ooky spooky and evil I am!", whereas Connie's performance as Cesare, even though it's hyper-stylized, is infused with something deeper, something primal that feels believable in the context of the film.

If Cesare has been asleep his whole life, waking only to be fed Chunky Campbell's Soup and commit murder at Caligari's bidding, then no wonder he reacts the way he does when sleeping Jane finally brings him out of his trance. When she freaks out, he freaks out too because he's had no opportunity to learn how to behave like a human or how to filter his primal emotions in a socially acceptable way. He hasn't lived his life except to be a madman's puppet. He reacts to Jane's panic on instinct and impulse, his desire and fear feel feral, like he's more creature or an animal than a human man. He may not actually want to hurt Jane, but he reacts violently because fight or flight is a basic human stress response! He runs away and eventually collapses because his body can't handle the sudden onslaught of stress and emotion he's never before experienced! And this internal, instinctual tendency to violence is subtly alluded to in the final scene when Asylum Cesare both caresses and slowly picks apart the flowers he's holding. Ahhhhh, I have so many FEELINGS.

And that said… Connie's performance here is wild, but it's real in a way that Werner Krauss's work could never be because Connie was a spiritual humanist who cared deeply for others and Krauss was an anti-semitic piece of shit who therefore could NEVER dig deep enough into his soul or into the collective unconscious the way Connie did to breathe life into his characters. So everything Krauss is doing here and in The Student of Prague is all surface, it's "showing" the audience his training and his actor toolbox rather than bringing a level of honesty and in-the-moment groundedness to these roles.

This is not to say Connie's intense commitment to his work couldn't be, uh, excessive. I really hope Lil Dagover was being serious when she said he would lurk around the studio in character when off camera. Can you imagine? You go up to the craft services table for a snack. Suddenly you feel like you're being watched. You look up and he's looming over you in the shadows, his unblinking glazed eyes boring into your soul. God, I hope this happened and I hope whoever it happened to peed themselves a little.

I also wish we had a behind the scenes photo of Connie in costume with the Cesare dummy. I can't believe someone actually had to make that prop. It'll haunt me forever. (The 1920 Cesare Dummy isn't real, the 1920 Cesare Dummy can't hurt me.)

Bottom line: It's an important film, I appreciate it for both its timelessness and timefullness. But it's not a movie I need to revisit often, regardless of how enchanting Connie's nostril acting may be.

---

The first time I watched The Hands of Orlac, I was floored by the visuals, the staging, and the heavy eroticism. Up until that point, I hadn't seen very many silent films, certainly few as visually striking. I think my initial impressions of this film were somewhat muted on a second watch, but that may just because I knew what to expect.

This time, I wasn't as swept up in the magic of silent era German Expressionist cinema, although stylistically I'm still absolutely 100% obsessed. Art direction wise, this is my favorite between the surviving Wiene-Veidt films (I haven't seen Furcht and I don’t plan to). Orlac is like the darker, sexier, more grown up sister to Caligari's mall goth teen. It's Vampira vs Lydia Deetz.

Orlac is just as much if not more of a cinematic feat than Caligari. The production design and art direction alone feels more mature and in itself tells more of a story.

Very early in the film, we're thrown into a very impressive, very realistic train crash. Opening the movie this way was a really interesting choice -- we don't get to meet the characters before the accident that starts Paul and Yvonne Orlac on their doomed and bizarre trajectory. There is a brief establishing scene of Yvonne reading a really horny letter from her husband, and one of pianist Paul at his final concert before returning home. Then there's a very long sequence of the aftermath of the train crash that almost kills Paul, and this scene brings a level of realism you don't really get in other films of this genre/done in this style. The set construction looks expensive; the mangled train cars piled up in heaps may have been fabricated in the studio, but because of the lighting in the night scene, the billowing smoke from passing locomotives and fires from the crash, it looks pretty damn real for 1924. It's extremely effective and harrowing, especially as Yvonne races to the site of the crash and climbs through the wreckage to try to find her husband. The chaos of the scene, made all the more disorienting by the movement of search lights and the haze of smoke and steam, feels true to life. People are running around, pulling bodies from the ruined train cars, carrying them away on stretchers. Survivors look around dazed, clutching their belongings in shock. It's such a well directed moment in the film, but maybe not the first thing people remember about it. And I think it's inclusion is important because it offsets how weird the movie's about to get.

And boy, does it get weird. However, the doctor does say Paul suffered a skull fracture, so it's not a huge stretch to think he also has some kind of brain injury. So I wonder if that has something to do with how the filmmakers chose to show Paul's intense fear and paranoia, as well as the movie's shift in tone and style after his accident. The nightmarishness of the film, from the exaggerated performances to the set design, feels like an extension of whatever might be going on in Paul's head as a result of his injury.

Regardless, I love the choices the art director made. The set, especially the Art Deco mausoleum the Orlacs have for a home, is so perfect. The huge, cavernous rooms are completely unnecessary, but they make the characters look and feel so helpless, like dolls in a doll house. The lines of the walls and the furnishings draw the eye through the frame with just as much intention as the painted sets of Caligari. Even places outside their house become symbolic and iconographic. The news stand is just a window cut out of a massive wall of loose sheets of newspaper that takes up the entire frame. The interior of Orlac Sr.'s house is like a old, drafty castle, looking more like the home of an evil, miserly king. The tavern where Paul is confronted by Nera feels dank and subterranean, just a lamp or two removed from literal catacombs. The outer world is fully a reflection of poor Paul Orlac's inner torment and despair and I AM LOVING EVERY MINUTE OF IT.

The new music composed by Paul Mercer is perfect, too. It's all skronky violins and cellos, ominous percussion and piano. It's just atmospheric enough, creating moments of soundscapes, echoing footsteps, aural suggestions of the oppressive cave-like rooms where the story unfolds. There aren't really any memorable themes like in the updated score for The Student of Prague, but that works for this movie. I would buy this soundtrack and actually listen to it on its own, it's that good.

Everyone in the ensemble is basically on the same page in terms of acting style, no one feels out of place or miscast. Connie of course steals the show, but Alexandra Sorina as Yvonne gives him a run for his money. She's a good match for him, delivering an appropriately desperate and hysterical (and deeply, deeply horny) performance as the touch-starved wife. Their scenes together are maybe some of the best on screen romantic moments of Connie's silent film work because these two are wildly hungry for each other. This movie is so funny, it tells you immediately how horny it is; in the first 30 seconds of the movie, Yvonne gets a letter from Paul that says, "I will feel your body beneath my hands," like they're telling you straight up this is going to Horn Town. And the way she grabs at him, presses her open mouth to him, hovers over him in his hospital bed, she is DTF anywhere any time. And no shame, no shade, good for her. This is a sex positive film, and we love to see it. But she's not just the sexy wife, she's also totally ride or die for Paul. She truly trusts him and believes his absolutely buck wild story about being blackmailed by a dead psycho killer. What a gal.

Then there's Paul, aka Eraserhead Baby… because when he wakes up from surgery covered in bandages, he looks like the Eraserhead Baby. Connie is doing some of his finest nostril acting in this role, I have to say. As always, I am fascinated by his physicality and the choices he's making with movement and gesture. When his bandages are finally removed, he reacts as though drugged, his movements slow as though underwater or in a dream. And when he confronts his surgeon after discovering the original owner of his newly transplanted hands, he holds them out and away from his body as if they were coated in something dirty or disgusting. As Paul's life and sanity unravel, his hands and fingers are in almost constant motion, curling, twitching, clutching; his body language becomes more creature-like, moving in a way that calls up Cesare the sleepwalker -- interestingly, the two characters both seemingly at the mercy of forces outside their control.

We don’t get to know what Paul was like before the accident, how much this traumatic event changed him. There's something this movie is trying to say about trauma and how it affects people. The doctor tells Paul, "Nature and a strong will can overcome anything." But if Paul sustained any kind of serious brain damage, who’s to say his personality wasn't affected, or that he wasn't fragile and suggestible to begin with? Either way, in the wake of the accident, Paul's vulnerability and circumstance makes him a perfect target for Nera's grift.

Even without being targeted by a sick weirdo con artist, it's no wonder Paul's really going through it. He tortures and punishes himself relentlessly for something that wasn't his fault! (Been there.) He puts on a recording of one of his old concerts and crumples in grief for having lost not only his livelihood but also his outlet for creative expression -- not being able to do what you used to creatively because of trauma is REAL. He's trapped in his misery. Even his handwriting is different, now a violent scrawl he imagines is due to the murderous acts his hands supposedly committed. He secretly retrieves the planted murder weapon in order to further convince himself he's somehow become evil, wielding it as through he committed the crimes of the dead man whose hands now belong to him. And the scenes where Yvonne comes to him, wanting to both devour and comfort him, he cannot bring himself to touch her. Clearly they love each other very much and their relationship was very physical, so the agony and yearning in his face when she embraces him is UGH IT'S SO GOOD. It's heartbreaking. There's a lot to unravel here about trauma, body dysmorphia, and intimacy that I'm interested to dig into during subsequent viewings.

Final thoughts: There's an annoying part of my brain that wants the movie to make sense, for the timeline to be clearer, for loose ends to be tied up. But I know that none of that really matters because this movie is better received as a dream or a nightmare. And by that logic, it doesn't have to make sense. The Expressionist beats are being hit particularly hard, but the surreal quality allows the filmmakers and cast to get away with it. For fans of Conrad Veidt, this is a must-watch, even before Caligari -- he gets more screen time in this film, gets to play with his silent film artist's palette, and gets to do pathos like he's the king of tragic, pathetic characters. He's gangly, glassy-eyed, and trembling like a small wet dog the whole time and it's superb. Despite not really getting a chance to know the Orlacs before they're thrown into their own personal hell of body horror and credit debt, they're both pretty sympathetic. From psychological commentary to the erotic visuals and tension, it's all very ahead of its time.

[bronx-bomber87]

Happy Monday Wonderful fandom. Are you still breathing after that little kiss teaser? Cause I was gonna pass straight out when I saw it haha We are a little over 3 weeks away from S6 premiere. Can you believe it? I need it to be Wednesday already for that trailer. Feels like we've been in this hiatus for years LOL But let's get back to the rewatch eh? Ahhhh the Valentines episode. So much goodness inside this one. From start to finish this ep is glorious. I knew from the promo alone was gonna be fantastic. The ep name is pretty apt. Off we go.

5x16 Exposure

We hit the ground running in this one. Just a glorious shot of them sleeping in Lucy’s bed. The many ways I love this. Clearly he’s living there part time at this point. Staying over more often than not. If the man has a key i’m sure he has a drawer at her place as well. No way he doesn't at this point. My guess is Kojo having lots of sleepovers at Auntie Genny's with the kids too.

I love how peaceful they look in this shot. His body pointed towards her's in slumber. His head is damn near on her pillow. So close to one another. That gravitational pull just innate. Even when Tim is sleeping he is drawn to her. Just the little things that make me squee so very much. The domesticity of this moment has me reeling. As does this entire season for them really.

Unfortunately their peaceful co-habitation is interrupted by Lucy’s phone going off. Tim groans sleepily. Asking who it is? Lucy says she doesn’t know as she goes to answer it. It sounds like a drunk dial. Lucy hops out of bed immediately. Tim reaching out to her side of the bed is so cute all sleepy. I vote for more sleepy Tim. Asking half awake if it was wrong number?

He watches Lucy moving in a panic and the sleep drops from him. Asking her what’s happening? Lucy informs him It was a distress call from a UC she trained with. We see Tim go from sleepy to fierce protector mode quickly. Hopping out of bed ready to back her play. He doesn’t even know what’s going on but he’s there for her. My damn heart. No hesitation whatsoever to back his girl up.

It’s written all over Lucy’s face how much she love this. Her appreciation and love for this man so apparent as he scrambles to join her. She didn’t ask him to and that’s what she’s loving here. He was coming whether she asked for it or not. He’ll always have her back. No matter the scenario. Also never be over the jammies and sharing a bed. I wanna squee into my pillow haha

Something about Lucy driving Tim’s truck that is doing things to me. Like another version of wearing his clothes. I love it sfm. Tim waiting in the backseat with his gun at the ready. Phew lord started off this ep strong af. Lucy jumps right into character. God she’s good at this. She gets Noah out of trouble fairly quickly cause she’s a Queen. Lucy gives Tim the all clear to get out of the truck. Noah walks up and introduces himself to Tim.

Mentioning it was impressive she got backup this fast. Lucy proudly announcing it helped he was sleeping in her bed. Heh. Yeah he was. Noah then puts it together saying he’s THAT Bradford. So many questions stem from this statement I have to say. Clearly Lucy spoke about Tim ad nauseam at UC school. Not only that but the way she spoke about Tim Noah doesn’t seem shocked they’re together now. She clearly wasn’t with Tim during UC school so this is so damn fascinating to me.

I wanna know what she told Noah LOL As does Tim. Saying he’s curious to know what that means… Getting a small taste of some jealous Tim here I don’t hate it. I adore Lucy’s full bodied ‘No!’ in reply to Tim wanting to know more. Gotta love how expressive Melissa is. From her face to her body mannerisms. Why she’s always been the perfect Lucy. Just embodying her so well. Also am I crazy to think that’s Tim’s flannel? Cause looks a little big on Lucy. A girl can dream right? It’s possible...probably isn't but I want it to be LOL

Lucy asks him what they just recused him from? He says ‘The Army of Freedom.’ It’s a militia group born in Victorville. Said his OP started about a month ago. Unfortunately hasn’t been able to breach their inner circle yet. Tim asks if he pushed little too hard tonight? Noah replies maybe…but he had to roll the dice. They’re about to move something big. He’s going to need a local assist.

Tim says he can set up at their station. We then get to see a little more jealous Tim come into play. I don’t hate it everyone. He’s also a little grumpy from the lack of sleep. Ha Not loving the 'hot pants' nickname clearly. Tim then makes the most obvious and dramatic eye roll at end. Clearly not amused by this inside joke of their’s in the least ha It’s ok love, you’re the only hot pants she wants. LOL

Jealously thy name is Tim Bradford in this scene though. He runs the gambit for emotions at the end here. He goes from confused in the cutest way about the nick name, then a little intrigued, but we end with his jealous dramatic eye roll haha I love this man so much. He is tired and over this rescue now. Goodness what a great cold open for them. Whenever we get the cold open usually gonna be a damn good ep.

I’ll never be over how excited they both get when they find each other in the station in this season. Way she speed walks up to him. It’s so cute. Lucy hears the end of Tim’s conversation. All she hears is ‘You’re kidding.’ Lucy asking kidding about what? Tim’s clipped answer throws her off for a moment. But she doesn’t let it deter her too much. Touching his arm sweetly. Saying he left so early. That she had a whole Valentine breakfast planned for them. Gah I love that so much I can’t even stand it.

Of course she did. Damnit Tim why did you leave so early? Tim telling her she was up late he wanted to let her sleep in. Which is very sweet actually. Lucy apologizes but says it was nice to catch up with Noah. Lucy asking ‘We didn’t keep you up did we?’ Tim continues his grumpy short replies. Lucy is picking up on all of your being grumpy vibes. Did you think she wasn’t going notice you beautiful fool?

Love of your damn life knows you better than you know yourself. We get a SECOND sweet arm touch. *squee* Clearly something off with him. So Lucy approaches it with another soft touch to start. Knowing it’ll get his attention. Then sweetly asks if he’s ok? He lies and says he’s fine. Her face saying it all. Knowing he’s lying to her she’s just not sure why… Believe or not this is growth for Tim. His terrible lying showing how much she’s opened him up. He was as closed off as possible when they met. Now he's out here expressing feelings even if he's trying hard not to.

Grey has Tim ride with Lucy and Noah today. Normally they’d be excited to ride together but you can feel the tension above. Mostly from Tim. He is an open book about how he feels about this today. Lucy is more concerned than she is tense in this scene. Wade wants Metro on scene ASAP for this situation. If he’s riding with Lucy and Noah that’ll happen. They’re looking for a random van that has explosive chemicals in it. It was meant for a meth lab Noah’s team took down. Now it’s floating around the city and needs to be found before it does damage.

Another great shot of their day starting in the shop. Reminding me of 5x08 opening sequence. Lucy can see Tim is acting off still. Being Lucy she can’t let that stand. Having no idea it’s her that’s put him in this foul mood. Being the sunshine human she is tries to get him to engage with some UC school stories. I LOVE her putting her hand on the back of his chair. Crossing that invisible line of theirs that existed for years in the shop.

Getting as close to him as possible without actually touching. When Lucy sees the story isn’t working she makes a joke. Then touches his shoulder. Gah it’s so cute. She wants to get him through whatever this is by just loving on him. Trying to get him to smile. Sadly Tim doesn’t respond like she wants. Thought she was going to get the normal sassy reply back from him and nada. Lucy withdraws her hand confused but determined to figure him out.

Lucy brings up Noah’s GF asking if he’s contacted her yet? He says no they broke up. Well that she broke up with him. Noah bringing up the elephant in the room that plagues them the rest of this season. Being a UC and being in a functioning relationship. I do adore Lucy being confident af in front of Noah about it. About them. Saying it depends on the couple.

Basically saying I’m sorry yours didn’t work out but mine will. She is all in and it shows in so many of her comments and decisions. I truly love it so very much. Noah makes a comment that has Tim shifting in his seat. Even turning the grumpy off for a moment. Looking over at Lucy when Noah tells her be a shame if she didn’t take the plunge.

So much being said in the looks above. The ever present issue they struggle to talk about is here. Rears its ugly head for first time since they got together. Gotta love Eric and Melissa’s chemistry especially in moments like this. Communicating so much without saying a damn word. Gah we’re lucky to have them.

This next part is glorious for so many reasons. Angela, Harper, Nolan, Celina and Aaron are all gossiping on an open channel. Tim interrupts because well it’s Tim. He’s already grumpy today so this is last thing he wants to listen to. Angela calling him out for being so damn surly. Because she wouldn’t be his best friend if she didn’t. Saying he should be basking in the glow of new love.

Look at Lucy when Angela says this. Heart eyes for days for that man sitting next to her. As transparent as glass. Celina giving into the continuous gossip asking what they’re doing tonight? I love Lucy snatching the radio out of his hand. Even mad as hell at her he allows it because it’s wifey. Nothing he wouldn’t do for that woman angry or not. Lucy projecting what Tim is thinking. Saying they’re not talking about this on an open channel.

Look at how he has rubbed off on her I love it sfm. Also something about her jumping in and defending his side. *sigh* Gah getting me all in the feels. Also look at the way Lucy is looking at him when she does chastise the group. So in love with that man. Heart eyes nation in this shop. We can also see Tim fighting a proud smile wanting to stay mad. When he’s so impressed with her for doing that. Let’s not discount Noah being chill af in the back. None of this affecting him whatsoever LMAO

Lucy can’t take it any longer and confronts Tim about it. We can see her studying his body language. Noticing how tense he is. He is broadcasting his feelings like a radio station. She knows something is amiss. Deep in her soul she knows something is off with her person. Love the way she is studying him then reaches out with a soft touch. Knowing it’ll get his attention and be an ice breaker into her asking. Her whole demeanor screaming 'Timothy my love what is going on?'

Lucy being as direct but soft as she can in her delivery. Telling him ‘Out with it.’ Tim ridiculous answer of ‘What?’ Like she hasn’t noticed him stewing all damn morning. You’re full of a lot of shit Timothy haha The disbelief on her face is so telling. Asking him what’s wrong with him today? He continues to be short with her. Lucy calling him the hell out on it. In a way only she can.

Noting he hasn’t even called her hot pants once. If Tim wasn’t being such a grumpus he would’ve been all over that. She is so right and knows him so damn well. Then she asks if it’s Noah? Is he jealous? Tim immediately saying ‘No.’ I mean it was a little last night…but it’s definitely not that now. It’s not helping but not the main problem here either.

Tim FINALLY fesses up it’s her he’s mad with. Lucy is taken back but it becomes clear when he brings up Metro. Lucy tries to deny it and Tim gives that disapproving stare he’s so good at. Lucy giving in and saying he was SO miserable riding the desk. That she had to do something for him. Tim then shoots back the optics of it aren’t great for him. Lucy shutting this down asking if it’s fragile male ego thing? I mean it is a little bit. It's not the whole reason IMO (I'll touch on that more later) but it is part of it. Tim has grown leaps and bounds. Truly he has.

But he also still has to deep stubborn steak in him. One built on pride and earning everything he’s ever gotten. This is making him question if he deserves the position he now has. Negative grooves in his brain he still defaults back to. Now I know some may have hated his reaction to this. I won’t lie it wasn’t great. His reaction reminds me of myself pre-therapy. I would shut down and be one worded. Lash out if someone tried to get me to talk. My whole body would emulate frustration and annoyance. Just like he has been. I so relate to him reacting this way.

Once again not the best but the man is still human. Tim has earned everything in his career with hard work and his strong skill set. This was a blow to his ego 100 percent. He’s not admitting to this but it was. Lucy smells BS and is letting him know as much. I love how she holds steady and strong despite his boiling anger. Even making a joke Tim is just mad she solved it better than him LOL I mean she did…Lucy saying ‘We’ just wanted to help. Tim getting more ramped up hearing this. Lucy cracks me up stumbling on her words saying we? I meant Me. Ha smooth…

This scene in his office is *chef’s kiss* I remember being excited this was their first fight as a couple. Because it’s so healthy to be fighting from time to time. Something neither of them had in their previous relationships. This was an important fight for them to have. They come out the other side of it stronger because of it. This is good angst. Productive fighting. I’ll take that any day damn if it moves them forward as a couple. This most definitely did.

Lucy comes into his office ready to confront this problem head on. Their talk in the shop leaving too much left unsaid. Lucy is a lot like me and can't let sleeping dogs lie. She has to clear the air and confront things. I do love her patting herself on the back as she launches into why she did what she did for him. I mean she did spearhead a miracle for him. She just needs him to see WHY she did it.

His anger has clouded that all day and it's part of why she is here now. Tim barely looks up from his paperwork as she starts her explanation. Still so angry about this whole thing. Lucy starts out with saying she gets why he’s angry. He looks up at her finally. Lucy going on a mini rant about why she did what she did. That she did it masterfully (I mean she most definitely did) Kudos to her amazing brain.

Lucy finishes off saying despite all that she shouldn’t have done it behind his back. Tim being a sassy sass pot asks if that was an apology? My goodness Timothy. The salty sass. You can see there is still a lot of seething going on under the surface. Lucy immediately says yes. Tim not seeming less mad just replies ‘All right.’ Her apology feeling like it's made zero difference in his anger about what's happened. Also Lucy's 'Yes' doesn't seem whole hearted either because she's holding back and decides to let it rip instead.

We see this is not sitting right with her. So she backtracks and says ‘No!’ I love her for this. Could've taken his half hearted acceptance but she didn't. Knew it didn't feel right to her. She wouldn't be Lucy if she just let that happen either. Knowing things felt unresolved still and not being able to stand that. The whole purpose of her coming to him was the clear the air. Tim looks exasperated af with her reply. That famous he can't believe she just said that look. He's about to be taken to school and probably knows it.

Lucy launching into exactly why she is sorry but not sorry. I love this fireball of a woman. (So does Tim) That he never would’ve let her work her magic if he knew. She’s not wrong… Same goes for her. If Lucy had known he was taking that desk job she wouldn’t have allowed it. What makes these two dopes so perfect for one another. That she would’ve ended up transferring just to save him from himself. Which was what they were trying to avoid in the first place.

Lucy stands her ground and lets him know this worked out SO much better. I mean it really did. That if he can’t see that she’s sorry not sorry. This is where we see Tim turn the corner. What I love the most about this part is how she stood up so confidently. Strongly stood by her decision on what she did. Her sorry not sorry is perfect. Basically saying ‘I love you, you idiot and I don’t regret doing this for you.’

It’s not the apology that soothes Tim’s anger. No it’s her conviction in why she did this for him. Seeing that fire she has and he is feeling so lucky he gets to have her in his corner. Lucy is 100 percent unapologetically herself in this moment. Her standing up to him is one of the many reasons Tim fell for her in the first place. So naturally her ‘non’ apology is what gets it done. Not her I don’t really mean this but you’re mad at me one.

He loves that woman standing in front of him so much. It shows when she’s done. It’s why he’s smiling at the end of her ‘non’ apology. She is his rock, his compass and his sunshine lighting his path when he needs it. But mostly she is a guiding force in his life. Kicking him back onto the right path whether he realizes he needs it or not. Beautiful thing is she has his back. He’s so not used to this type of love and support. It's a throw back to 2x01 in a way with his reaction to it. How visceral and angry he was then and now. Once again doesn't see her protecting him and helping him as a positive thing. And just like in 2x01 he didn’t see it this way until she stood up. Smacked some sense into him. Let him know why she'd done it.

Doing it this time around because she loves him so much. Only wants the best for him. Let's not forget this man has been put second in all of his other relationships. His needs being put on the back burner to take care of those he loves. Had to suppress his emotions for years. When you let yourself start to feel after years of not it's a tidal wave that drowns you. It's overwhelming really. Luckily Tim has Lucy to drag him to dry land. So when he's taken care of he doesn’t know how to handle it. It's not something you just get used to in an instant. Just like in the beginning with Lucy when she would push him to open up. We got surly angry Tim but he eventually came around. This is no different. He isn’t used to be put first. His gut reaction was hurt and being defensive.

Not oh Lucy did this because she loves me. Because he probably in the back of his mind still doesn't feel worthy of that love still. And although he has grown. So very much. He still isn't used to having someone fiercely love and defend him the way Lucy does. That's why this scene was so important for her to back her decision. To make him see exactly why she did this. It’s why he’s smiling at the end of it. This beautiful, driven fireball is his and she’s in his corner. What’s hitting him is that realization. She put him first and put in a massive effort to do so. Not only for him but for them as a couple. He is so very lucky to have someone as wonderfully understanding as Lucy to love him through these types of moments.

I love how once the dust is settled they just morph back into them. How it should be. Fighting is meant to be cleansing. To confront the issue and then be done with it. Confrontation gets a bad rap. It’s meant to clear the air so both parties feel better after. Her cute. ‘So are we going to dinner or what?’ Haha They already missed her breakfast. She wants to do something with her man.

Tim couldn’t be cuter saying they are. But her outfit is missing a little something. Lucy being very confused by this. Saying 'What?' Then seeing the jewelry box in his hand and melting like butter. Tim could not be cuter handing it to her. Love struck as he gives her his gift. Telling her ‘Happy Valentines Day.’ The biggest grin on his handsome face. Lucy beaming right back at him. Her eyes screaming how much she loves this man.

She is so impressed with him. So impressed she’s shocked he picked this out LOL He knows his girl. Tim is offended asking her if it’s that shocking? Lucy soothing his ego saying ‘No.’ Letting him know he clearly has good taste. I mean he does. He is in love with her after all. He really did a good job. That is the perfect Lucy necklace so he nailed it. The man has noticed a trend is what she wears. Well done Timothy. Your girl is mighty impressed with your gift giving skills. How far you've come since your days with Rachel ha

It’s so intimate and sweet the way he puts it on her. Lucy is radiating joy as he does this. The way she looks at him while he puts it on and slides his hand down to adjust it. *heart clutch* She is revved up and wants to skip dinner now. More than ready to ‘Thank’ him for her gift. I love her being the one to suggest just skipping dinner and having her way with him instead. Tim saying 'No I'm hungry.' Lucy is feeling a little rejected like ‘Oh. Ok..’

Tim doesn’t let that feeling linger for long. Touching her back intimately mentioning she’s gonna need fuel for later. OMG. He just said that and I’m reeling. I rewound it I remember being so damn giddy. Basically saying she needs fuel to keep up so he can have his way with her. Tim Bradford talking about sex in his office. Not only that but they’re gonna have so many rounds he wants her fueled up. *fans self*

Lucy’s face is everything afterwards. She is blushing but also so ready for their night together. Man has some pent up tension to burn off but needs food first LOL Lucy is very ready to go to dinner now. Especially knowing what awaits her when they’re done hehe I can only imagine how antsy she was to get back to either his or her place following that dinner. I love how the writers constantly insinuate their sex life is spicy and active af. I adore it so much. I mean did we really expect anything less? Doesn’t make me love it any less though.

Anyone else just in shock we got all these goodies still? I keep saying feels like a fever dream because it does. In the best way possible. After last episode this was start to finish incredible.

~~~~

Side notes-non Chenford

Wesley accidentally hiring a beautiful woman to guard him is hilarious. A non pregnant Angela wouldn’t be amused. A very pregnant one is ready to wring his neck.

Celina’s murder case gets brought back up. This SL is so good. It was my turning point for her as a character I needed that to care and give her more depth.

I did love how all the couples started off rocky and ended up fine by the end was growing a little from it. I do love Nyla and James so much.

Thank you forever and always to those who like, comment( love dem comments) and reblog these. S5 been so fun to analyze thank you all for still being invested in these all these months later. See you all in 5x17 :)

[the-obnoxious-sibling]

brilliant minds locked-in syndrome guy episode let’s gooo

it may be fandom-brained of me to think it, but the first roman flashback had me thinking “are these guys about to fight or kiss?”

i was wondering how they were gonna get this patient’s consent to be involved in the study, given the givens—gotta say, i’m impressed with how close to my real-world experience of the consenting process it went!

another bit of real-world accuracy: the hospital administrator more excited about the study bringing attention & funding to the institution than what it’ll do for the patient 🙃

really enjoyed the palliative decision-making discussion. some investor may see it as a waste of a surgery, but ericka was absolutely right that the patient’s autonomy a) was the point of the surgery b) needs to be respected. ignoring his wishes would make the surgery a waste.

oh shit, my first thought was right? 🥺 on one hand, tragic foreign gay can feel overplayed—yes, we know, it’s not safe to be queer in many places—but this is a kind, queer show, i want to believe they can do this earnestly and sympathetically.

wolf with tears in his eyes seeing them reunite??? 🥺🥹🥺 i love him

aw, wolf. you gotta respect his wishes, man!

“you saw me when no one else did. which is ironic, because they tell me you can’t see faces. and because it seems like you don’t see me at all anymore.” he’s seeing the gay happy ending, he’s seeing love and hope, and—forgetting that there are other considerations.

carol and nichols reemphasizing the point ericka made earlier makes me pretty sure i know how this episode ends. wolf be professional! you can cry in private about it later!

(show interrupted by an ad for an aldis hodge-led crime show? also starring isaiah mustafa?? a shame it’s based on patterson novels, i don’t really enjoy his style.)

augh, dying with dignity, dying at home—i get it, but wolf deciding to make this happen at his home is very… wolf of him.

jacob! you can’t just ask a man whether he’s ever let anyone into his heart! that’s rude!!

ROMAN SHIPS WOLFNICHOLS??? W H A T

(also: “carol’s not actually that tall she’s just obsessed with high heels” lmao wolf, stop being so funny so fast, i almost missed this one)

not the star map on the ceiling because alex and roman bonded over astronomy 😭😭😭

“my favorites, vega and altair” oh my god, wolf is an unbelievable hopeless romantic

not wolf literally telling the tanabata story, I Cannot

(well, the chinese version, idk that one’s name. google says qixi?)

not higher love!!! i’m gonna c r y

ugh okay, researcher not being informed that their patient is dead is shitty and against protocol (that’s a reportable event even when it’s unrelated to the study device) but this guy having zero concern for the patient in the face of ~proving the value of the work to his investors~ is shittier.

like, have alex say something to the investors if you need good pr. how he spent months in nyc with no idea where roman was or what happened to him, and within a week of getting the chip the team was able to find him, and let them say goodbye. there’s a sob story that’ll make them feel good about how they spent their money!

likewise i see where his mom’s coming from but she cannot keep combining talking to wolf as her employee and talking to him as her son. it’s unprofessional, yeah, and it also makes things so messy. she can’t be surprised that he brings up his father as a gotcha when she does that.

the “privilege” to prioritize the patient in front of him—ugh, shut up forever, he’s a neurologist, not a public health specialist or an er doc doing triage. he’s supposed to prioritize the patient in front of him, it’s not a symptom of his childhood trauma

cringing at the van-ericka scene. felt totally unrelated to the rest of the episode—i went and rewatched the ceiling stars scene on a hunch, turned out i looked away during a ten second shot of ericka looking at jacob and van looking at her. (imo it should have been a longer shot if it was gonna be end-of-episode important.) making the empathic white boy suffer for suffering’s sake… sigh. i am just not interested in this love triangle.

but, talking of love stories i am interested in… we’re really ending the episode immediately after the kiss, huh? okay. OKAY.

[the5n00k]

M*A*S*H and the power of pure unadulterated sorrow

(this series is marketed primarily as a comedy! :D what a scam! /hj)

⚠️long post⚠️

I want to point out one of my favorite aspects of this series which is how different it presents its drama compared to other shows marketed as dramas that I've seen. ESPECIALLY modern film

The last movie I can remember portraying this sheer level of raw grief and despair was Hereditary. Such a powerful film about how grief can tear a family apart, it's honestly uncomfortable to sit through because of how well written and acted some of the scenes with the family are. And that's the point; tragedy isn't pretty. So many times you will see characters die on screen and the actors around them reacting to it with a single tear or burying their face into their stone cold main protagonist's shoulder. I have been craving that Hereditary level of despair from something for a long time now. That raw emotional breakdown that completely shatters the mask of a usually well put together facade.

Then my friends recommended M*A*S*H to me.

Yes you can make all the "crying breakfast friends" jokes you want about how often I latch onto a heart wrenching emotional moment in a show but I can't help it when it's so well executed. I can see a million silly Disney sidekicks die and feel nothing but this show has made me cry even on rewatch. And that is RARE for me, usually it's a one and done thing but this show still manages to tear me to pieces.

Not saying the show doesn't have any fun in it, of course it does, that's how the emotional moments hit harder. If you never saw the characters at their highest highs, seeing them at their lowest would just become numbing and unengaging.

Spoilers ahead obviously, I'm going to be talking about a lot of really important character moments throughout the show please if you are at all interested watch the show and come back. It's 11 seasons but it's well worth your time

Something that has always been powerful to me has been grown men crying. Perhaps it's because I never really had a good emotional connection with any men in my life and always saw them as stronger (emotionally) than someone who is erratically emotional like myself. Especially during the timeframe this is set (the 50's) and shot in (70's-80's) I was not anticipating the level of raw acting talent from the guys in this show. Especially once you get past season 4 and shit really starts hitting the fan

To see these grown men who take so much pride in their important positions as doctors and men and who they are just break down weeping like a scared child. It never ceased to break something in me. I cried the hardest at the amnesiac soldier who lost his brother (FANTASTIC scene it should have won 60 awards) but the two characters that have always stood out to me with this particular subject have been Hawkeye and BJ

Clearly if you've watched the entire show you understand what I'm talking about and obviously the other cast members have their moments (Winchester my beloved one day I will put you under a microscope and pick you apart) but for this subject, I'm going to use the two of them as examples because I consider these moments the most prominent to me personally

I'll start with BJ because there's a lot to unpack with him and simultaneously not a lot at the same time. Because he's so closed off and disconnected from most things happening all the time, choosing to opt out of anything whenever he can unless provoked, characters don't really know that much about him. As an audience, you're forced to pick apart his little mannerisms and priorities to see where his head's at. Some people might not like that but frankly I love it. He's a simple character on the surface but underneath, he's a terrified father and husband trying to keep his head down long enough to snap out of the nightmare that is war and wake up at home. I relate to him in that way, just trying to stay in my own corner and occupy myself until I have to wake up and do it all over again. Coping with the monotony is slowly driving him crazy

Then in Period of Adjustment, he gets a letter from his wife about how she and their daughter Erin saw Radar at the airport when he got sent home. And his thin thread of stability finally snaps. He's pissy for the entire day and doesn't want to tell anyone why, he'd rather just go through the motions and repress it just like everything else. But it keeps outwardly affecting everything around him whether he likes it or not. Then, at his lowest, he physically assaults his best friend in their own tent and destroys their only lifeline, the still they use to (poorly) make gin, and runs out.

After getting so intoxicated he can't stand up, Hawkeye finally finds him again and laughs that he's wearing a helmet to see him, still trying to make light of how much he's suffering. He tells him he's sorry for punching him and Hawkeye sits down with him. He finally is completely and truly honest for probably the only time in the entire series. He is completely vulnerable and open and tells him what's been bothering him. His infant daughter mistakenly called Radar her dad. The first person she ever called dad wasn't him. And he breaks down. He barely got to see her when she was born before he got drafted, he missed so many milestones of parenthood with her already and she ends up calling someone else dad. BJ tells Hawkeye he is furious at Radar and knows it's not his fault but he's still jealous. He even mentions how he's envious of Trapper, Hawkeye's old bunkmate from before he got there, which is still a huge sore point for him because of how abrupt his departure was. But he doesn't reprimand him for speaking badly about two people he'd considered close friends. He holds him closer and lets him cry. This isn't a single tear cry, this is a full vulnerability twisted face cry of pure pain. He can't say anything to ease the pain either, nothing he could say right now could help his friend. He just has to let him work through it.

They rebuilt the still together but BJ still remains broken. This is sort of touched on in Goodbye, Farewell, and Amen when he tries to get sent home before Erin's second birthday and misses it. It's not held on but you can obviously tell that he's still barely holding onto mental stability whenever he brings up his family. If you go into this series thinking every conflict has a resolution or closure of some kind I have bad news for you lol it's safe to assume when he went home, there was a rough adjustment period reclaiming his place in the house since Peg took on so much responsibility by herself but we don't really know what happened after everyone went home.

My next example is from Bless You, Hawkeye and I always rag on this episode with my friends but the scene between him and Sidney physically shook me. Everybody probably talks about That One Scene with Hawkeye and Sidney from GFA so I'll refrain from using it as an example here, I think this one is more appropriate for the point I'm trying to make anyways.

Hawkeye has never been mature. At all. His entire character is built on being obnoxious and causing trouble. Unlike BJ, he will share nearly anything about him when asked. Except when it's serious.

In comes everyone's favorite coping mechanism, ✨ unconscious repression! ✨

Again, a part of his character that got used again in GFA, whenever something upsets him in a way he can't manage, he buries it. He rewrites the memory into something happy or positive. So when a wounded soldier soaked in dirty water smelling of mold and musty clothing triggered a psychosomatic response, nobody knew why.

Processing scenes like this is something I remember so vividly from my first watch. Seeing all the pieces fall into place until that sinking feeling fills you is something this show is so good at.

Hawkeye starts talking to Sidney about something from his childhood; being out on a lake with his cousin Billy when he was seven. He claims Billy saved his life by pulling him out of the water but the more he talks, the more his story changes. It gets to a point where even he realizes he wasn't saved. He was pushed. Billy had to have been around 13 at the time, old enough to know how mean pulling something like that is. The way he admits it is when the gravity really sank in for me. His voice breaks, he starts loudly and violently sobbing like a scared child, he's probably been holding in this breakdown for 20ish years. In any other show, I could see them trying to play this for laughs. Oh Hawkeye, you shouldn't be so upset by a silly prank from when you were a kid! Look at this grown man break down! What a baby! But they don't treat it like that. It's treated completely seriously, it's allowed to play out and he slowly works through grief for someone he idolized in his childhood, anger, and acknowledgement. It was a permanent scar that wasn't allowed to heal.

This wasn't the first time in the series Hawkeye has cried but it was the first time he truly let it out. Every other time he knew he'd have to pick himself up, dust himself off, and keep going. I'm not certain if he properly processed anything he went through in Korea because he kept (pardon my language here) drowning himself in alcohol and burying himself in work and antics. So his eventual breakdown just. Getting it all out in one gutteral, primal cry, borderline screaming was cathartic for both him as a character and myself personally. Very rarely do I ever get a moment to have an emotional release like this so I also bury myself further into my job and hobbies until I can't feel what's bothering me anymore. His man's father better have booked him therapy when he got home because I know for damn sure this jackass won't do it himself

Overall, I'll say it again, the actors in this show are insane. None of the emotions felt cheap and the way the characters are written feels accurate to how most people approached the horrors of war and the mental health crises that followed. I'm so happy this show exists. I'm a little disappointed in myself that it's taken me this long to give it a chance but I love it nonetheless. I'll make a post about the characters specifically sometime like I said I would, I just want to make sure I do everyone justice and I'm not just repeating what everyone already knows. I want to add to this wonderful community that I'm happy to see is still active on this app/site and I hope you all enjoy my ramblings lmao there is more where this came from

[freddiecorleone]

it's time again for my favourite genre of post: tumblr user bee brotherdusk theorises wildly during the Foundation midseason!

on the menu this time is Poly and Constant's Imperial Vacation From Hell, or "oh god, I just wanted to make sure one of my favourite guys was going to be okay, but somehow I ended up sending over two dozen increasingly frantic messages to the discord while everyone else was asleep, pepe silvia-style"

(today I learned that grandpa joe shows up when you type "pepe silvia" into the gif search. deserved)

I'm gonna stick this under a readmore as it gets pretty long and image heavy, and potentially contains big spoilers for upcoming episodes, and I know some people want to watch the show completely unspoiled. all theories are based on official promotional videos already released by apple. no leaks or insider book knowledge here!

so I sort of stumbled into this theory in three stages, and I'm going to stick to that template as I talk through my analysis here, starting with:

Part 1 - I'm Genre Aware Now And Everything Hurts

let's be real, nobody saw Hari's (apparent) death coming in the last episode. death is far less of a concern in this show than in others, as the narrative all but guarantees the long-term survival of its core characters. Hari (apparently) dying so quickly after having his body restored was a massive shock, and jolted us out of the complacency that the show had lulled us into.

when the title and description of next week's episode dropped, fan concern quickly turned to Poly, who @gaal-dornick and @aquitainequeen noted has started to exhibit the classic symptoms of Tragic Mentor Figure Disease:

also, there's, y'know, The Guillotine Situation as shown in Trailer 1:

Poly's death seemed so likely that I was beginning to dread the coming episodes, but something was nagging at me; I had a vague memory of seeing a trailer where he was on Terminus and in a situation that we haven't yet seen him in. maybe he does survive his brush with Brother Day, then? I started rewatching all of the trailers, teasers, and character spotlight videos that Apple released in the run-up to season two, and came across something way wilder than I'd expected:

Part 2 - Star Bridge 2: Council Boogaloo

I found another camera shot of Poly and Constant's apparent execution in the Brother Dawn character spotlight video - note the pillars in front of the crowd, the flags in the back, and Dawn, Sareth, Demerzel, Dusk, and Rue standing on the platform behind Day and the prisoners.

note also the onlookers in the maroon robes, who are also visible in the guillotine closeup I posted above...

...hey, it's the Galactic Council as seen in 2.06, with their GILF-y leader at the front in both scenes!

remember how terrified Cleon XII was of their judgement in the season one finale? we still don't know what their exact deal is, but they're clearly big cheeses politically if XII of all people is afraid of them:

here's yet another angle of the execution from Trailer 2 - same setup, same arrangement of Empire on the podium:

let's see what happens in that shot, will we? ..... oh

... did an explosion just go off in the heart of Trantor and potentially take out the entire galaxy's government in one go???? (I mean, Empire are probably fine with their auras and nanobots and backups, but I'm not feeling too good about the Council's chances right now...)

wait - the pulse and shape that appear on the horizon bear a striking resemblance to the new Foundation whisper ships - especially Poly and Constant's ship, Spirit Rising, which is currently in the hands of Hober Mallow...

why did he take their ship, again?

holy fucking shit Hari Seldon you insane rat bastard (admiring, horrified, impressed). what have you DONE. a blade in case the religious hand of friendship doesn't work out, you say??

(sidenote: this was literally the Anacreon plan for the Invictus in the first season - the scale of the destruction would have been magnitudes worse due to the Invictus' size, but same concept)

honestly, I kind of hope the entire Council perishes in the Mallowpocalypse, if only because it would make this exchange in 2.06 deliciously ironic:

the worst detectives in the world finally found their shared braincell and made a deduction! I'm proud of them!

also, Glawen literally saw this coming in 2.04 and Bel brushed him off. ¯_(ツ)_/¯ sad!

regarding casualties - I think this shot from Trailer 1 is the aftermath of the blast. Day was standing much closer to the explosion than the rest of Empire and Dominion, and so would have taken more damage, aura or not. I also see Sareth, Rue (?), and Dawn - jury's out on whether being dead is the latest item added to Dusk's rapidly expanding list of problems?

a direct attack on Trantor would also explain why Day goes on a personal tour of the Outer Reach and ends up on Terminus, screaming for an audience with Hari Seldon (Trailer 1 again):

and hey, Poly's right behind him! he's Empire's best chance of getting a personal audience with the Prophet, after all. Poly also pops up in Day's character spotlight video, in what I'm guessing is the execution scene again, judging from the collar and the guard restraining him. it might even be the aftermath of the blast, since the shot is pretty chaotic and dusty looking. what's got him so upset?

... and it was at this moment that I realised that while Poly is present in the later Terminus scenes with Day, Brother Constant is not, and I started to worry that I'd been focusing on the wrong person the whole time, leading to...

Part 3 - What About Constant?

oh no. the question of Constant's safety has been hanging over both Poly and the viewer since 2.02. oh no

I thought I might have caught a glimpse of her in the Teaser 1 video - being restrained in the background as Day does his infamously-giffed-to-hell Big Steppy on Hober's throat - but I still wanted more concrete proof of her wellbeing.

and finally I found her in the Pillars of Foundation video, alive and well, but -

HER NECK!! HER NECK!!!

if Constant's life is just barely saved by Hober showing up in the nick of time to prevent her decapitation by an insane tyrant I will literally never be normal again. romance. that's romance. (also incredibly shitty of Vault!Hari to take her blind faith and turn her into a pawn for the Empire to slaughter, but I guess that's expected behaviour from him by now.)

... I was literally about to hit post on this theory, but I just realised; that scene in Teaser 1 where Day is facing down a bishop's claw... we all assumed he was being attacked by a wild beast in the Outer Reach - but what if he's lying in the ruins of the podium on Trantor, and the bishop's claw is a freed Beki going on a rampage? god I hope this happens. imagine being Emperor of the Galaxy, about to perform some casual executions before dinner, and suddenly you're flat on your ass with a Hell Dinosaur about to bite your face off. incredible scenes

and that's all I've got! TLDR; Hari knew that the emperors and Galactic Council would become increasingly paranoid and aggressive as the Empire contracted, and would jump at the chance to publicly end an attempted religious takeover by the "barbarian" Outer Reach. That mass gathering at the execution would be the perfect time to strike with a whisper ship, a technology which the Empire has no idea even exists. This enrages Day into visiting Terminus to deal with the Foundation in person, and potentially destabilises the Empire further if the Council have been wiped out. Empire's structure and dignity are decimated without a single shot being fired - and if there is going to be an eventual, physical war, the Foundation is now in a much better position to fight it.

again, this is just me making a theory and connecting everything together with red string etc etc. I haven't attempted to explain everything, such as the Spacers' or Riose's involvement, and have doubtless got some details wrong - but I'm really excited by how things are connecting and can't wait for next week's episode :}

[lieutgore]

tuunbaq terror and Erebus :)

tuunbaq - were you frightened by the show? which scene do you find the “scariest”?

i wouldn't say i was frightened by it much, but i was pretty creeped out on my first watch! the only time i really jumped was during the sickbay scene where david young sees the netsilik shaman. the scene in episode ten where they're all chained up and hickey spouts his nonsense was also super harrowing to me. and the fucking diving scene too!!! how could i forget that. underwater corpses have always spooked me and oh my god i was petrified when i saw billy oren slowly floating towards collins with his arms suspended. i still like to look away during that specific scene <3

terror - which ship would you rather be on, terror or erebus?

i really can't think about this one too hard or i'll be here all day but i'd have to say erebus!! my buddy graham gore is on there. but i'd also love to be on terror so i could bitch out with thomas jopson. i'd have a fucking hoot of a time either way

erebus - what scenes are your favourite and least favourite from the show

this is a very specific moment and not really a full scene but i love the bit during the carnivale fire where fitzjames stares directly into the blaze in his full britannia get-up. i really like the congreves scene too, AND the scene in episode five where they man the cannon and blanky says 'first shot's winner, lads.' insane moment for me. there's certainly more i'm forgetting but that's just off the top of my head!

i'm really not sure if i have a least favorite!! the reason i dislike any scene is because it's hard to watch, not because of the writing or directing or anything like that. but on those grounds, the last two episodes are superrrr painful to rewatch for me. like they hurt so fucking bad. the scene where edward tried to get the camp to rescue crozier really got me too. like wow

[pencil-peach]

GWitch Onscreen Text: Episode 7

This is part eight of my attempt to transcribe and discuss all the monitor text in g witch! Because I got worms! We're on episode 7, "Shall We Gundam?"

Now then. Shall we? (Gundam?)

Not text, but in the opening, Vim tells the Peil Witches that it's despicable of them to breach the Cathedra Agreement, only for one of them to respond that she believes he would know something about that himself. This is our first hint towards the existence of the Schwarzette.

Now to the real text, we see a mockup of the Pharact of it's systems in this opening as well.

Here, we see that the Pharact is 19.1m and 57.1t.

The Blue and Red labels are tough to make out, but they each respectively say the same thing. I'll make my best guess: Blue labels: G-O | SYS-GUND CHH Red Labels: GUND FORMAT | CORAX UNITS

The Corax Units are the name of the Pharacts GUND Bits, and we know those use the Gund Format, so that checks. We saw 'CHH' on 4's data graph, still not sure what it means though.

I think the floating red text says GA - MS//RACT, but I can't be sure. The big label in the center says GUND-ARM FP/A-77.

Not text, but I think Sarius and Delling is another relationship I wish we got to see more of. Delling actually worked directly under Sarius within Grassley before eventually becoming President of the entire Group.

During the scene in the greenhouse, we get a look at the program on Miorine's monitor. No way to read the actual text on it from this shot, but we do see Miorine verify the name of one of the brands of fertilizer before presumably typing it on the screen, so it's probably safe to assume it's tracking the general maintenance of the tomatoes.

We never get a completely clear shot of the Incubation Party Invitation (Because it just can never be easy) But I'll make my best estimate of it from the shots we DO get.

TEXT: SUBJECT: INCUBATION EVENT PARTY INVITATION & APPLICATION GUIDELINES FROM: BENERIT GROUP PROTOCOL MANAGEMENT OFFICE

INVITATION The Benerit Group has the great honor of inviting you to the 15th Incubation Event.

Off topic but this scene has one of my favorite Miorine Noises in the whole show. It's so good. Take a listen. She is Flabbergasted.

TEXT: 15th INCUBATION EVENT PARTY Hosted by BENERIT GROUP

Pretty...

The Mobile Suits on display aren't named, but the one in the back right is actually the YOASOBI Collaboration Version of the Demi Trainer.

(YOASOBI are the musical duo that composed Shukufuku)

I wont bore you with a 1 to 1 transcription of the text of this first presentation, so here's the general overview.

This is PRESENTATION No. 001 for the Incubation Party from TENGRIFF SOLUTIONS. They're asking for 100,000,000 to develop an INTEGRATED FIRE CONTROL SOFTWARE. What that means generally is that they want to develop a software that can automatically correct/redirect an MS's aim to a specific target, in both Individual and Team based MS Operations. The benefits of this system are: AUTO TRAJECTORY CORRECTION AUTO CORIOLIS CORRECTION AUTO GRAVITY CORRECTION FIRE CONTROL FORMS BATTALION HIGH SPEED TARGET DATA LINK HIGH PERFORMANCE SPOTTING SYSTEM ALL ENVIRONMENT CONTROL SYSTEM

Unfortunately this project did not meet the 75% formation requirement and DIED

Funny Shaddiq Expression. I don't think he ever makes a face like this for the rest of the series.

[Pointing] One of the two times throughout the series we see any pat of Notrette. The only other time is in the second season opening.

We see VIM JETURK on Lauda's screen when he's calling him. (The "Accept" button actually darkens when Lauda taps it)

This scene is our first look into Nika's role as a go between for Shaddiq, and also how it'll be a main point of conflict between her and Martin, as he's the one who sees the two of them talking.

(Also, Shaddiq has a habit of abruptly lowering the tone of his voice to signify a change in his demeanor. If you ever rewatch the series again, try and listen for it ! He does it all the time)

TEXT (Top to Bottom) BENERIT GROUP NETWORK CONNECTION ^ ACCESS REQUEST ACCESS POINT: STAGE SCREEN LINE CODE: 2915.455X.eX STATUS: APPROVAL PENDING LINE CODE: Yds2.4006.40 LINE CODE: 2945.Rr50.52 LINE CODE: KL40.024c.R2

Miorine's phone when she requests access to the Stage Screen

When she gets approved and begins connecting, her phone displays this loading screen called SYNCHRONIZE

And the stage screen is displaying that same loading screen for a split second before fully connecting.

Miorine explains what this all means in the show proper, so I feel it'd be redundant to explain it, but here's the presentation anyhow.

We also see the UI of the program Mio is using in the presentation. She only uses the MEMO tab, but we see that there's a TEXT and PICT tab as well.

When Miorine takes the phone back from Delling, the investment status has reached 3%, meaning he invested 7,200,000,000 in the company. Mama Mia !

Business Successfully Formed!

But it seems that they only reached the bare minimum amount, 75%. So of the 240,000,000,000, she requested, the company earned at LEAST 180,000,000,000

We also see that Miorine’s presentation is only the 5th one of the night.

And that's all! Thank you very much! Unfortunately I can't leave anymore images because I've somehow reached the image limit :(

Instead I leave you with this: Go back and watch the scene where Miorine and Suletta see Prospera and Godoy. After the scene where Suletta greets him, they keep drawing his face wrong. Okay! Goodbye....!

Click here to go to Episode 8!

Click here to go to the Masterpost!

[ozmaonabadday]

I’ve taken some time to gather my thoughts, and I’m sure I’m not going to say anything that anyone else hasn’t already said, but I figured I’d share my thoughts nonetheless, because were a community, and that means we care about each other.

I was introduced to Rooster Teeth near the end of middle school, by the same friend who introduced me to Neon Genesis Evangelion, and forever changed the trajectory of my life.

We watch Red Vs Blue season 5 while I was staying the night, and I was absolutely hooked.

I went back and caught up on the rest of the series, and honestly, I think I related to Church way too hard.

Few years passed. I saw they’d put RvB on Netflix, and feeling nostalgic I rewatched it. Out of curiosity, I decided to check out what RT had done after that, only to discover they’d put out SEVEN MORE SEASONS, which I of course immediately binged, like a gluttonous beasty.

It was in the bittersweet aftermath of that binge session that I decided to give RWBY a shot. I’d seen it advertised under RvB playlists, and out of desperation for more of anything like RvB, I decided to give the Red Trailer a shot.

Now this was during the hiatus between Volume 2 and Volume 3, shortly after Monty’s passing, and in those days I was nowhere near as online as I am now, but RWBY is definitely a huge part of why I am online. I tore through the first two Volumes. I started making fanart, I tried to introduce my friends to the show. I desperately googled any information I could find about when Volume 3 would be coming out (this is when I learned about Monty’s passing, and his impact on some of my favorite moments in RvB).

When V3 was announced, I immediately subscribed to RT first. And have been following RWBY ever since. I watched each episode as it came out, I would binge the entire series (some times multiple times) before a new volume came out. I joind RP servers, I created oc’s, I created a LOT of fanart. I have a yearly tradition of drawing a Ruby Rose piece just to check my progress as an artist. Just last year I started writing fanfic. I’ve got a bit of merch. I love RWBY. Don’t get me wrong, I’ve kept up with RvB pretty well, and I watched a bit of Camp Camp and Gen:Lock, but RWBY is my shit.

I know a lot of people are sad, scared, and confused right now. I know I was when I found out yesterday. I didn’t exactly keep up with the nitty-gritty of what was happening with RT as a studio, and a lot of the projects didn’t really strike my fancy, but there were a lot of things I adored from RT. I’m sad to see them closing their doors, and I’m just as desperate for information as the rest of you.

But we’re a community, and that means we care about each other.

I care about you.

I don’t care who you ship with who, I don’t care if you hate my favorite character, or what head canons you have for which characters. I care about you, and I’m glad you’ve been a part of this community for as long as you have been. I’m glad to have known you, even remotely. I’m glad to have seen your fanart, or gotten mad at your hot takes, or laughed at your incorrect quotes. I’m glad we’ve been a community.

This isn’t a declaration of defeat. I don’t know the future of RWBY any better than the rest of you do.

This is an acknowledgment, and an expression of gratitude. CRWBY may have made the series, but you all made this community. As much as it can sometimes be a dumpster fire, you make me proud to be a part of the FNDM.

So, I guess… thanks.

[toa-kirhan]

TATMR Rewatch

Saw this post appear on my dash again and felt like rewatching the movie again. Thoughts while rewatching a twenty-four year old film about magic talking trains included below.

Btw, if you want to watch this fever dream for yourself, the whole thing is on Youtube w/ ads:

Starting off and- hey it's Diesel 10! You remember Diesel 10, right? What a "blast from the past," right? Right?

I miss the hammy, over-the-top New Jersey accent they gave Diesel in this movie. The slimy, manipulative voice they gave him later on is fine, but c'mon, the guy's got a giant claw coming out of his back. There's nothing subtle about him. Give us our big dumb tantruming baby back!

Interesting to see Gordon shake w/ fear after seeing Diesel, considering how much flak people gave the last couple seasons of the show over the engines 'gesturing' w/ their bodies (same w/ Thomas sneezing later on).

The two ends of the universe: Anytown, USA and a remote island off the coast of England (I know its implied that Sodor is part of a separate magical dimension in this movie, hush).

That said, filming in the rustic British countryside really doesn't scream America:

Also what's that line about Shining Time being separated from Sodor by "oceans of time"? Dym like time zones (crossing the Atlantic) or time travel? The show is canonically set in the 50s-70s, afterall.

It's a shame that they didn't use the original Shining Time theme for the introductory shot. Not sure if it'd fit, but it's still a shame. Include it during the credits at least.

Oh, that fish is not having a good time.

Stacy Jones! c:

Billy Twofeathers (wdym he aways looked like that, hush)! c:

S/o to James' androgynous voice in this movie.

Diesel 10 is going to dominate you... sorry.

I know they recut this movie after audience testing, but it is odd having the mystery of the lost engine w/ Burnett's backstory revealed to the audience right at the beginning of the movie, only for it to continue being treated as a mystery by the rest of the cast until the climax.

That said, they still did an admirable job w/ it, considering they cut out one of the main antagonists. There's a few repeated story beats (Burnett and Diesel giving Lady's backstory back to back) and lines that don't quite work (Burnett telling Diesel, the magic talking train, he'll fail bc he "doesn't believe in magic"), but nothing too distracting.

Jumping from that slow, melancholic scene w/ Burnett to Diesel w/ his fucking goofy theme playing is fantastic.

Mr. C Humming the OG theme tune is a really cute touch.

Free Moby Dick!

"Stacy, where did you find this painting?" Mr. C, I'm pretty sure that's a drawing.

I can't get over Baldwin chewing the scenery in this movie, he's just constantly goofing off in front of the camera, picking up and talking to random props. I know all of it is prob in the script, it is a kid's film after all, but its just so silly that I love it.

I like the implication that Burnett was just a kid that Mr. C talked to and chose to entrust w/ Lady's secret, just like all the kids he'd (well, another Mr. Conductor), interact w/ on Shining Time.

Lily! c:

Bluebird! c:

Now there's the America I know! Cars everywhere!

I remember too many of these lines.

The scene w/ the angry painting of Topham calming down each time they cut back to it after Mr. C puts back the hat was and still is the best one in the movie imo.

Lady Hatt's portrait is still just one of the wooden figures lmao.

I have a deep-seated memory of constantly repeating the scene of Mr. C reflexively batting the ball he was just roleplaying w/ out of his hand and scolding it.

Nvm the scene of Diesel busting through the shed wall still goes hard as hell, esp. when Mr. C's magic starts failing (same for all of Diesel's action scenes tbh).

Here it is, the infamous sugar scene:

Also that face. :O

Jesus, why did they put this scene into the movie?

Hearing Stacy say that and start sobbing is genuinely upsetting.

I didn't even notice the railway (sorry, railroad) got replaced w/ a road in this scene.

It's interesting to think about how in the workprint, an older Lily was the narrator, meanwhile Mr. C would still out here constantly breaking the fourth wall by talking straight to the audience.

Very interesting low self-esteem James moment b/w him and Mr. C. It's a shame that isn't explored more in the actual series. James is usually portrayed as vain, not insecure.

Mr. C, you're on a railway. Why are you hiking in the woods to get to a windmill?

Bertie saying "vroom vroom vroom" after every one of his lines is the best decision they ever made.

James: "Mr. C's not at the Windmill. I looked!" Point proven.

Even though they lean into the sick Henry angle, it's nice to see he still has that edge to his personality, at least for two out of three scenes.

Presented w/o context:

Why does Junior have a Scottish accent? Is he from Ringo's side of the family?

Mr. C is in charge of this entire railway rn and he's just sleeping outside on the fucking ground having an existential crisis.

Hey Lily can play the harmonica! I need to break out mine again and harass people w/ my inability to play.

There he is! P.T. Boomer! I remember reading SiF all the time going over all the scenes left in after they axed that entire plotline like that freeze-frame of Stacy w/ the picture of Burnett, Boomer, and Tasha.

Lady's ghost whistling still works as is, but just imagine hearing it thru out the film w/o that knowledge. Much more haunting.

They did Toby so much justice in this film. Consistently a wise voice of reason that gets his own spotlight moment vs Diesel.

I... I forgot this movie included a version of "Really Useful Engine" in the middle of it.

I know the film was criticized for how much focus it put on its all new human cast, but I actually really enjoy these scenes. Maybe bc they're part of the quintessential Magic Railroad experience.

That said, w/o the inclusion of Boomer, the human plot lacks tension or stakes for much of the runtime. The Sodor plot (thru the character of Mr. C) is doing all of the tension-building for the whole movie. As it stands, there's little reason for an audience to actually get invested in that part of the story as is outside of just liking the characters.

Man, this film's special effects have not aged well.

Oh yeah, Annie and Clarabel only get a single line in the entire movie. :/

Oh Alec finally gets to start acting serious towards the end of the film. It really helps the tension building.

Mr. C: "No he is not a dog. Let's just say he's a puppy in need of a good trainer," while Junior is kneeling in front of him w/ his tongue out panting. I get that it's meant to be a short little gag but wtf is this movie?

It's my favorite character! Tumbleweed!!!

OMG TUMBLEWEED APPEARS IN A SECOND SCENE! I FORGOT ABOUT THAT!

CGI Thomas just out here chilling on top of a cliff in the real world.

Thomas falls down and almost dies and Lily doesn't notice at all.

The smelter's yard continues to be the best set in this entire series. With the lighting turning the steam red it looks genuinely hellish.

Burnett: "Well Lady, this is your shining time too." Hey they said it!

The viaduct collapse scene is so good! It feels so real and weighty. Props to the props department.

Burnett: "Now we'll always remember our shining time together." 🌈🌈🌈

God, this movie is so cute! Really fun watching it again in full some all these years later.

HEY WHAT THE FUCJK IS THAT CREDITS SONG?!?

HELLO??!?

I've legitimately never heard this before. I must've just stopped watching at the credits as a kid. this movie just ends w/ a 2000s pop dance song. okay. sure.