#james b. kelly

[sesiondemadrugada]

Outrageous! (Richard Benner, 1977).

[ifuckinglovelemondemon-srs]

You know a characther is fucked up and traumatized when they are wearing one of these

Edit: half of this characther were put against my will

Edit 2: i reached the fucking tag limit

[valkyrieromanoff]

MASTERLIST✨:

✦ MASTERLIST: 31 DAYS OF SPOOKY ONESHOTS

↳ MICHAEL B JORDAN

✦ CASTING

synopsis: you do a casting test with Michael B Jordan.

↳ PEDRO PASCAL (+ CHARACTERS)

✦ INTERVIEW

synopsis: Pedro and you have starred in a movie together, and now you have to go through the interviews.

✦ IMAGINE PEDRO PASCAL X ACTRESS!READER

synopsis: you and Pedro answer some internet questions.

✦ PEDRO PASCAL X ACTRESS! READER

synopsis: when a question during an interview makes you uncomfortable, Pedro comforts you.

✦ GUESS THE LINE: PEDRO PASCAL x ACTRESS! READER

synopsis: you and Pedro play Guess the line.

✦ LAST HOPE - JOEL MILLER X READER

synopsis: when Reader needs medicine for her little son, Joel is her last hope.

↳ HAYDEN CHRISTENSEN’S CHARACTERS

✦ JAMES KELLY IMAGINE: THE MECHANIC AND THE SPOILED PRINCESS

synopsis: (18+) your car breaks down for the tenth time and James is your mechanic.

✦ BED CHEM (18+): JAMES KELLY X READER

synopsis: (18+) James is your neighbor at the trailer park, he sees you washing your trailer, and he offers to help. One hand washes the other, and you find yourself in a pleasant situation.

✦ LOVE BITES: ANAKIN SKYWALKER

synopsis: you want to give Anakin a love bite but you're too embarrassed to ask.

✦ CARE AFTER THE MISSION: ANAKIN SKYWALKER X F! READER

synopsis: Anakin takes care of you after a mission.

✦ DUTY BE DAMNED: ANAKIN X READER (18+)

✦ IN THE SHOWER: ANAKIN X READER (18+)

✦ ONLY ONE BED: AOTC ANAKIN X READER

synopsis: (18+) you and Anakin have to share a room with only one bed.

✦ ONLY BEGINNING: ANAKIN X READER (18+)

✦ PIZZA TIME: ANAKIN SKYWALKER X READER

synopsis: you and Anakin decide to cook together, but the problem is that neither of you know what you're doing.

✦ WITHDRAWAL: ANAKIN X READER

✦ PINKY PROMISE: ANAKIN x READER

✦ GOOD BOY: SUB! ANAKIN X F! READER

synopsis: (18+) Anakin finds you on a dark street at the Coruscant underworld and things move at a dangerous pace.

✦ Bad ideia right?: master!anakin x padawan!reader (+18)

synopsis: Sharing a room with your master didn’t seem like a bad idea, right? But when Anakin steps out of the bathroom with nothing but a towel hanging on his hips, things quickly spiral into uncharted territory. As the tension between you thickens and lines between duty and desire blur, you’re left questioning whether this might have been a very bad idea after all.

↳ BAD BATCH

✦ SLEEPING NEXT TO THE BATCH BATCH

✦ HOW BAD BATCH WOULD REACT IF YOU KISS THEIR NOSE?

✦ BAD BATCH: HEADCANON ABOUT A KARAOKE NIGHT

✦ 5 times you innocently sat on Hunter's lap (plus 1 you didn't)

↳ REQUESTS

✦ BABY, IT'S COLD OUTSIDE: ANAKIN X READER

synopsis: you've been sent to Orto Plutonia on a mission, but end up trapped in a frozen canyon. Fortunately, Anakin came to your rescue.

✦ 'SOKA: CAPTAIN REX X AHSOKA TANO

synopsis: Ahsoka and Rex meet again after years apart, and sparks fly between them.

[thehauntedrocket]

Vintage Paperback - Daystar And Shadow by James B. Johnson (1981)

Art Ken W. Kelly

DAW Books

[iminmypeace]

[dweemeister]

The Strawberry Blonde (1941)

During the height of the Old Hollywood Studio System – when studios themselves contracted directors, actors, writers, and other craftspersons – Warner Bros. found its niche as the “dark” studio. Warners might not have invented the gangster picture, but they codified its archetypes and tropes, becoming synonymous with the subgenre. In the early 1940s, director Raoul Walsh (a film noir pioneer; 1940’s They Drive by Night and 1941’s High Sierra) was nearing the peak of his career and actor James Cagney (1938’s Angels with Dirty Faces, 1949’s White Heat) was perhaps Warners’ most bankable star. Walsh was known for his proto-noir works and crime dramas; Cagney arguably the era’s definitive gangster actor. By 1941, both needed something different to work with.

Adapted by brothers Julius J. and Philip G. Epstein from James Hagan’s pastoral stage play One Sunday Afternoon, The Strawberry Blonde was exactly what both men sought. The Strawberry Blonde – often billed as a romantic comedy because it is a much lighter adaptation than 1933’s One Sunday Afternoon (starring Gary Cooper and Fay Wray) – is a celebration of simple, unadorned love. Though not a gag-a-minute comedy, Walsh’s uncharacteristic film shines through the performances from Cagney and especially Olivia de Havilland (three years removed from The Adventures of Robin Hood and two from Gone with the Wind). It is a joyous and nostalgic production; perhaps it should be no wonder it was a career favorite film for Walsh and a highlight for Cagney.

The Strawberry Blonde occupies two time periods. The film is set in New York City sometime in the late nineteen aughts or early 1910s, but primarily told through flashback during the late 1890s. In the flashback, Biff Grimes (James Cagney) aspires to become a dentist and yearns for a strawberry blonde socialite named Virginia Brush (Rita Hayworth; whose singing voice is, in a fleeting scene, not dubbed for the only time in her career). Along with his buddy and soon-to-be business partner, Hugo Barnstead (Jack Carson), they go on a messy double date with Virginia and her friend, the nurse and suffragist-leaning Amy Lind (Olivia de Havilland). Upon first impressions, Biff considers Amy to be the less attractive, amusing, and sociable girl. When fate – or, more precisely, Hugo’s duplicity – intervenes, Biff and Amy find love together and marry. While Biff begins studying for a dentistry diploma by mail correspondence, the two navigate financial and personal travails. Despite the marriage, Biff harbors a stewing resentment towards Hugo and a lingering covetousness towards Virginia apparent in the film’s bookends.

Among the bit players are Alan Hale as Biff’s father; George Tobias as Biff’s and Amy’s Greek immigrant friend, Nicholas Pappalas; Una O’Connor as Mrs. Mulcahey; and George Reeves (a future television Superman) as a belligerent, loudmouth, mustachioed college man who – due to his sweater – I choose to believe is from Yale. The four actors listed here, all Warner Bros. contractees at the time, each have their memorable moments.

The Strawberry Blonde serves as a memorialization to the time of Walsh and Cagney’s upbringing, similar to Vincente Minnelli’s Meet Me in St. Louis (1944) at Metro-Goldwyn-Mayer (MGM) and, if one wants to draw a modern throughline, the Duffer Brothers’ Stranger Things. In many ways, the film also feels like a musical. There are numerous diegetic performances of songs – whether by our central cast or a band – popular during the turn of the century. “The Band Played On” (from which the film derives its title; “Casey would waltz with a strawberry blonde / and the band played on”), “Bill Bailey”, “The Fountain in the Park”, “Meet Me in St. Louis”, “Wait ‘Till the Sun Shines, Nellie”, and much more fill the soundtrack. Composer Heinz Roemheld’s (1942’s Yankee Doodle Dandy, 1947’s The Lady from Shanghai) work adapts many of these songs into a boisterous, energetic score. Roemheld knows when to dial his orchestra back during the film’s most intimate scenes, but this wall-to-wall score evokes the period. Ostensibly, according to the screenplay, it was a time of romantic walks and live music performances in almost all social settings. In a sense, these decisions make The Strawberry Blonde into a sort of half-musical.

With his most recent movie being the film noir High Sierra (1941) with Ida Lupino and Humphrey Bogart, the transition from a largely outdoors-set crime drama to interior-heavy romantic comedy nevertheless suited Walsh. Walsh receives immeasurable help from one of the best cinematographers ever in James Wong Howe (1941’s Abe Lincoln in Illinois, 1963’s Hud). Howe’s signature high-contrast, low key lighting – generally associated with film noir – is not present much in The Strawberry Blonde. But what Walsh and Howe accomplish is making a bygone decade contemporary again. Outside the film’s romantic scenes including Cagney and de Havilland or Cagney and Hayworth, the film’s frames overflow with activity. With masterful use of blocking and mise en scène in these moments, Walsh and Howe’s frames are always dynamic, moving – but not swooping – alongside masses of extras and supporting characters rather than staying put, as if taking still photography. A static camera during Biff’s dates out on town would immediately render The Strawberry Blonde as a dusty artifact, a creaky throwback. Stationary cinematography has its uses when there are plenty of actors on-screen, but such a decision would make this remake too much like its 1930s original. Instead, in conjunction with Orry-Kelly’s (1951’s An American in Paris, 1959’s Some Like It Hot) outstanding costume design, the past leaps out of the history books and memories to be present again.

The notable instances in which Walsh and Howe keep their camera as rigid as possible are when Biff finds himself at the park bench where he and Amy first met. The set for the park also happens to be art director Robert M. Haas’ (1941’s The Maltese Falcon, 1949’s The Inspector General) plainest craftsmanship in the entire film. These scenes are the most obviously soundstage-bound moments – the too-perfect grass, the flatness, and lack of discernible lighting – despite the extras strolling in the deep background. The Strawberry Blonde’s park scenes mark the beginning and the renewal of Biff and Amy’s relationship, rendering them arguably the romantic highlights of the film. The contrast from these scenes to places such as the beer garden, the Central Park Zoo, or the Statue of Liberty make them the least “present” of the film. Some viewers less experienced in Old Hollywood (or those who, wrongfully, dismiss the style altogether) might complain about the obvious artifice in those park bench scenes with Biff and Amy, but my goodness does the aesthetic contrast make one take notice. Not only that, but the Epstein brothers’ dialogue for Cagney and de Havilland here is gently funny, and filled with warmth.

James Cagney, with his vaudeville background, was known for his physically exaggerated performances that nevertheless maintained a raw emotional core. That works to his benefit throughout The Strawberry Blonde, in which the character of Biff often sounds calm and measured, but his words bely fearfulness and bitterness. Despite the tough-guy gangster persona he often played in Warners’ gangster pictures, there are shades of Cagney’s later performance as George M. Cohan in Yankee Doodle Dandy here. Look at the grace in his dancing at the beer garden, a seemingly spontaneous cartwheel upon learning wonderful news, and how he putters about restlessly when conversing with Amy for the first time while expecting Virginia to show up. But also notice his weariness during the film’s bookends, how he accepts – but does not despair about – his station in life.

Olivia de Havilland is Cagney’s equal in this film, and a great foil to Rita Hayworth (whose character of Virginia is depicted as more conventionally attractive, but possesses a casual cruelty and vanity that gradually reveals itself). A middle-class nurse is an unusual role for an actress known at the time for mostly playing rich women and/or Errol Flynn’s love interest in swashbucklers or Westerns. As Amy, de Havilland curiously receives two “introductory” scenes in the film – both radically different from the other in storytelling function, reflecting the rarity of a second first impression and Biff’s tendency to see only surface details. Seemingly reserved but playful when she wishes to be, de Havilland’s Amy is an absolute delight of a character from the moment she appears. One crucial moment late in the film – in which Biff is dancing around an implied truth so that he can soften the blow for Amy – is heartbreaking acting from both. De Havilland’s movement and her glance outside the window in that scene epitomizes the agony in that moment. Knowing both actors’ resumes, I initially came into The Strawberry Blonde thinking that, on paper, Cagney and de Havilland would be a romantic mismatch. What a happy surprise it is to be completely wrong.

Unlike contemporary films that might take a nostalgic trip to a decade like the 1970s, ‘80s, or ‘90s, The Strawberry Blonde feels, at times, truly transporting. The incredible attention to visual details and especially the diegetic music (too often those newer nostalgia-driven movies resort to pin drops of non-diegetic music) help immensely. Though the film suggests an immigrant experience that would have been appropriate for turn-of-the-century New York, The Strawberry Blonde declines to say more about it – most likely a result of the original source material (“pickaninny”, a derogatory term that refers to black or dark-skinned children, is casually used in a song’s lyric).

At the center of this rich period detail lies an honest love between two people flowing through life’s currents. Sometimes their love is troubled with melodramatics, but they find ways to comfort and help the other with humor and goodness. Sure, it can be sentimental stuff. But it endures an upsettingly difficult test. The Strawberry Blonde has no designs to being other than a sincere love story and a fond lookback of another time. As such, it triumphs – with just one more chorus of “The Band Played On”, if you please.

My rating: 7.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL). Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[thenerdsofcolor]

A Los Angeles Theatre Review: 'Unbroken Blossoms'

There is a sense of tragedy to acknowledge that whenever there is progress made with any given historically underrepresented community in the United States, history always finds a way to repeat itself. Are we doomed to keep repeating that cycle? Such is the question presented in the East West Players production of Unbroken Blossoms, a world premiere play written by Philip W. Chung and directed by…

[ruleof3bobby]

COHERENCE (2013) Grade: B-

Felt like a classic sci-fi plot, like a classic Star Trek episode, just a level darker. Clever twist and ending. Got a little slow in the 2nd act. It's low budget but well produced.

[hotvintagepoll]

Alice Pearce (On the Town)— She is timid she is bold she is thirsty she is awkward she is me she is you she is everything. She is Alice Pearce and she was playing Lucy Schmeeler onstage in the Broadway hit ON THE TOWN, and Gene Kelly saw it and immediately knew two things: (1) he wanted to do a movie version and (B) only if Alice Pearce reprised her original role. And both things happened, hallelujah, so now we can enjoy forever her making an allergy-ridden mess of a blind date with Gene Kelly in the most relatable way possible, and if it doesn't scream SCRUNGLE in fifty-foot neon-lit all caps with a brass band fanfare and a side of fireworks, then I'm the New York subway system. *sneezes and laughs maniacally, somehow breaking a table in the process*

Frank Gorshin (Bells Are Ringing, That Darn Cat)—you ever get the intrusive thought “what if james cagney was a shrimp?” well when I do I start thinking about Frank Gorshin. as the hippie in bells are ringing and the bad guy in that darn cat he brings the itchy shrimp energy hard.

This is round 1 of the contest. All other polls in this bracket can be found here. If you're confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Alice Pearce:

Frank Gorshin:

[nico-di-genova]

Some interesting stuff from Portland Practice 1:

Rahal has apparently told NBC that he’d “love to have Rossi in the car”, but, “there’s more things in play than just picking out who you want in a car”

There is a limit on how much of the hybrid they can use on a lap, it seems like most of the drivers exceeded this limit by turns 5/6 and so the hybrid was not being deployed as much on the back stretch to the start/finish line.

Cars are experiencing front right lock-up like crazy, going off a ton in turns 5/6 and turn 1 is a bitch because if you hit the apex a certain way you’ll either: A. Fly through the air like kirkwood, or B: spin out like Rossi.

Alex is looking really strong, ran P1 for most of the first half of practice, finished P4 overall.

Pato came off the truck “really really weak” and spent most of practice trying to fix the car and change what they could. He feels better about practice 2.

Kirkwood got a drive through penalty for cutting T1 when Lundqvist kind of pushed him off. There’s a rule now that drivers cannot cut T1, if they run off they have to commit to the runoff area and wind through it where it will bring them out into T3. This is new for this year, and being done to hopefully cut down on the number of collisions in the T1/T2 area.

I expect T1 and T5 to be the biggest problems of the race, this might change depending on how practice goes tomorrow.

Alex’s Crew Chief made a comment about Christmas cards over the radio, which brought up Alex’s angry post-gateway tweet about “cutting people” from his Christmas card list. James retorted, live and on-air, “he doesn’t do Christmas cards, come on. Kelly might do Christmas cards on their behalf”. James will roast his best friend on live TV, he doesn’t care.

“Trading fastest lap back and forth with his bestie” - James about Pato and Felix passing P1 back and forth at the end of practice.

Someone on the commentary team made a joke about “meat cars” and James had to mute himself because he couldn’t stop laughing.

Rossi finished P4, Pato P9 and Siegel P19.

[marleneoftheopera]

Holiday Audio/Video Gifts!

For the holiday season, here are some audio gifts from various shows and one Phantom video! The link to them is here and the info is below the cut:

Happy holidays and I hope you are all having time for some rest!

Audios

POTO

Jon Robyns, Paige Blankson, Joe Griffiths-Brown, Kelly Glyptis, Matt Harrop, Adam Linstead, Francesca Ellis, David Kristopher Brown, Maiya Hikasa August 22, 2023; London

Tim Howar, Harriet Jones, Nadim Naaman, Lara Martins, Nicholas Garrett, Arvid Larsen, John Ellis, Valerie Cutko, Kelsi Boyden March 19, 2023; Greece

Josh Piterman, Corinne Cowling (u/s), Danny Whitehead, Katy Hanna (u/s), Ross Dawes, Kris Manuel (u/s), Sophie Caton (u/s), Paul Ettore Tabone, Georgia Ware October 17, 2019; London ​Matinee.

Jeremy Stolle (u/s), Samantha Hill, Greg Mills (u/s), Michele McConnell, Richard Poole (u/s), Tim Jerome, Ellen Harvey, Christian Sebek, Kara Klein, Scott Mikita (u/s) March 9, 2013; Broadway Matinee performance.

John Owen-Jones, Deborah Dutcher, Matthew Cammelle, Bruce Montague, Charles Shirvell, Margaret Mary Kane (u/s), Janet Murphy, Jeremy Secomb, Lucy Middleton January 5, 2002; London

Love Never Dies

Tam Mutu, Celia Graham, David Thaxton, Daniel Dowling August 25, 2011; London Tam Mutu's last performance.

Les Miserables

Christopher Jacobsen (u/s Jean Valjean), Stewart Clarke (Javert), Katie Hall (Fantine), Will Callan (Marius), Lulu-Mae Pears (Cosette), Amena El-Kindy (Eponine), Luke Kempner (Thenardier), Claire Machin (Madame Thenardier), Dejan Van der Flyert (Enjolras), Alex Shaw (Gavroche), Clohe Sullivan (Little Cosette), Tom Hext (Grantaire/Majordomo), Adam Pearce (Bishop/Claquesous), Ellie Ann Lowe (Factory Girl), Jordan Simon Pollard (u/s Foreman/Bujon), Matt Dempsey (Bamatabopis/Lesgles), Annabelle Aquino, Hazel Baldwin, Emily Olive Boyd, Ben Culleton, Matt Hayden, Sam Kipling, Anouk Van Lake, Harry Lake, Ben Oatley, Jonathan Stevens, Phoebe Williams, Ollie Wray September 28, 2023; London 15,000th show in London and the 5th show for the new company.

Sunset Boulevard

Nicole Scherzinger (Norma), Tom Francis (Joe Gillis), David Thaxton (Max von Mayerling), Grace Hodgett Young (Betty Shaefer), Ahmed Hamaad (Artie), Tyler Davis (Sheldrake), Charlotte Jaconelli (Johanna), Jon Tsouras (Cecil B. de Mille) September 28, 2023; London

Rebecca

Laureen Jones (I), Richard Carson (Maxim de Winter), Kara Lane (Mrs Danvers), Sara Harlington (Beatrice), Neil Moor (Giles), Piers Bate (Frank Crewley), David Breeds (Ben), Alex James Ward (Jack Favell), Shrley Jameson (Mrs Van Hopper), Nicholas Lumley (Colonel Julian) September 27, 2023; Off-West End

POTO Video

Ian Jon Bourg, Olivia Safe (u/s), Kyle Gonyea 2001; Hamburg, Germany VOB files. One of the most legendary Phantom's opposite one of the youngest Christine's!

[usafphantom2]

50 years ago today.

On Sep. 1, 1974, Maj. James V. Sullivan and Maj. Noel Widdifield set a new world speed record from New York to London, as our friend Linda Sheffield Miller (Col Richard (Butch) Sheffield’s daughter, Col. Sheffield was an SR-71 Reconnaissance Systems Officer) on her Facebook Page Habubrats. It took less than two hours.

This mission might’ve been the ‘gateway plan’ to have SR-71 stationed in England. The United States was fortunate to be able to house two SR-71s at RAF Mildenhall years later. This was a huge help to have SR-71 in Europe [SR-71 Reconnaissance Operations at RAF Mildenhall was from April 1976 to 1990. Prior to Det 4 being established, UK permission was required for each sortie flown. According to the SR-71 Blackbirds website, the SR-71’s stay would be no longer than 20 days for each visit.

Prime Minister Margaret Thatcher announced that Det 4 would be a permanent SR-71 Detachment with two aircraft assigned. The UK remained in control of the more sensitive missions. The two aircraft Detachments ceased operations on Nov. 22, 1989. The last aircraft departed the UK on Jan. 18, 1990.

The US Government has given the United Kingdom an SR-71 #962 for public display at Duxford Imperial War Museum for its contribution to ending the Cold War.]. Blackbirds based at Mildenhall could fly around the Baltic Sea and take pictures of potential targets in the Soviet Union using their side-looking cameras [without crossing the Soviet border].

On September 1, 1974 Major James V. Sullivan, 37 (pilot) and Noel F. Widdifield, 33 (reconnaissance systems officer) flashed across the starting line (radar gates in New York) at approximately 80,000 feet and speed in excess of 2,000 miles per hour. Exactly 1 hour 54 minutes and 56.4 seconds later, they had set a new world speed record from New York to London England.

The average speed was 1,807 statute mph over the 3,461 statute mile course, slowing to refuel one time from a specially modified KC-135 refueling tanker. The aircraft was placed on static display at Farnborough Air Show for 1 week. It marked the first time the secret plane had been on public display outside of the United States. ”Kelly” Johnson, the aircraft designer, was on hand for the event. He remarked, “It (the SR-71) has exceeded all my expectations.”

Another historic speed record was set on the return trip to the United States. Captain Harold B. Adams, 31 (pilot), and Major William Machorek, 32 (reconnaissance systems operator), set a speed record from London to Los Angeles. They returned the Blackbird 5,447 statute miles in 3 hours 47 minutes and 39 seconds for an average speed of 1,435 miles per hour. The difference in the two speed records was due to refueling requirements and having to slow over major US cities.’

Even so a large number of people in Los Angeles reported broken windows due to the sonic boom. One of those people was actress, Zaza’s Gabor, who complained bitterly about her broken windows. To appease her Captain Adams and Major Machorek went to Zazas Home to apologize. They brought their wives with them. Zaza only allowed the SR-71 Crew to come into her home! The wives had to sit in the car. Very bad manners on the movie stars part.

The trip from New York to London 50 years ago became a beautiful friendship between allies, the United States and Great Britain .

We both worked hard to win the Cold War.

This article was originally in the aviationgeek club written by Linda Sheffield. published by Dario Leone

Artwork by Force Graham

@Habubrats71 via X

[fandom-oneshots-etc]

Requests are OPEN🎉

Dear All,

Requests are now OPEN! Please feel free to send in your requests. I have listed the characters that I write for below the ‘keep reading’ line. A few things to remember:

I do NOT write ships like Buddie etc. I only write Reader-Inserts.

I only write for characters mentioned in the list as well as any that have been added under the Additional Characters sections on my Masterlist.

I have not yet written SMUT fics, but I am not opposed to doing so.

I do not currently have an uploading schedule, but I will try to get any requests done ASAP.

That’s all there is to say, so feel free to request!

Thanks,

Emily xoxo

Complete Character Masterlist

9-1-1

Eddie Diaz

Evan Buckley

9-1-1 LONE STAR

Carlos Reyes

Judd Ryder

TK Strand

AVENGERS

Bucky Barnes

Loki Laufeyson

Peter Parker

Steve Rogers

Thor Odinson

Tony Stark

BRASSIC

Vinnie O'Neil

CASTLE

Javier Esposito

Kevin Ryan

Richard Castle

CHICAGO FIRE

Kelly Severide

Matt Casey

CHICAGO PD

Antonio Dawson

Jay Halstead

CHRONICLES OF NARNIA

Edmund Pevensie

Peter Pevensie

Prince Caspian

CRIMINAL MINDS

Aaron Hotchner

Derek Morgan

Spencer Reid

FATE THE WINX SAGA

Riven

Sky

FRIENDS

Joey Tribbiani

HARRY POTTER

Draco Malfoy

Fred Weasley

George Weasley

Harry Potter

Ron Weasley

James Potter

Remus Lupin

Sirius Black

HIGH SCHOOL MUSICAL

Troy Bolton

LETHAL WEAPON

Martin Riggs

OUTERBANKS

JJ Maybank

John B. Routledge

Rafe Cameron

Topper Thornton

RIVERDALE

Archie Andrews

FP Jones

Jughead Jones

Reggie Mantle

Sweet Pea

RIZZOLI & ISLES

Frankie Rizzoli

SHAMELESS

Carl Gallagher

Kevin Ball

Lip Gallagher

SHERLOCK

Mycroft Holmes

Sherlock Holmes

SONS OF ANARCHY

Chibs Telford

Happy Lowman

Jax Teller

Juice Ortiz

Opie Winston

Tig Trager

SUPERNATURAL

Castiel

Crowley

Dean Winchester

Sam Winchester

TEEN WOLF

Derek Hale

Stiles Stilinski

THE ORIGINALS

Elijah Mikaelson

Klaus Mikaelson

Kol Mikaelson

THE VAMPIRE DIARIES

Damon Salvatore

Jeremy Gilbert

Matt Donovan

Stefan Salvatore

Tyler Lockwood

TWILIGHT

Carlisle Cullen

Edward Cullen

Emmett Cullen

Jacob Black

Jasper Hale

Paul Lahote

Seth Clearwater

YOUTUBERS

Colby Brock

[iminmypeace]

[btr-rewatch]

Big Time Rush Season 1, Episode 16: “Big Time Fever”

Highlights: Orange!James, Bongo!Logan, and Jennifer!Carlos

Also, some ramblings about each of the boys' various emotional dysfunctions.

I feel like this is one of those episodes that typically makes the list of people's favorites. Let's see if it's still as funny as I remember it being.

We begin at the Palm Woods pool. The guys are eager to beat the heat but discover the pool empty, save for Bitters, who is floating around happily. Why? He's put up a sign which reads, "Adult Swim No kids allowed"

Well, guess what. Our clever Kendall takes advantage of the lack of punctuation and creates his own loophole. He swiftly changes it to, "Adult swim? No, kids allowed!"

This is a scene I've always remembered, and it's one of my favorite Kendall moments in general. He's such a menace (affectionate). No rules can confine him.

As a quick little side note: can I just point out how dinky the pool actually is? For a place like the Palm Woods, home of the "future famous", it sure has a teeny tiny pool. It's like...the size of a regular backyard in ground pool, not something that would be at an upscale apartment complex. Just something that's always irrationally bugged me.

Camille comes over and says how great it is that Hollywood hasn't changed the guys, since the environment usually takes its toll on people after a few months. But Kendall, Carlos, and Logan are still the same lovable goofballs they've always been.

Oh, and then James shows up, and he's orange.

He's come down with a raging case of Hollywood Fever. Camille shares that Guitar Dude and The Jennifers met the same fate, becoming permanently altered by the "illness." Kendall decides it's nonsense and attempts to shut this whole business down right away.

"James, you're orange, and you look like a freak," he says. I love Kendall so much.

Unfortunately, the heartfelt, sensitive words have no effect on James, who thinks he looks great.

There's also a B plot going on involving Katie taking advantage of the heat wave by selling snow cones, but idk how much of that I'll cover. I don't remember if it's all that interesting. Guess we'll see as I keep watching.

Later on, at the studio, Kelly and Gustavo are reacting as expected to Orange!James.

Gustavo pulls them aside for a chat, telling them that the image he's going for with the band is NOT, "Three normal boys and a tangerine freak."

Tangerine Freak would be a good band name.

Gustavo orders Kendall, Carlos, and Logan to fix James before he replaces him.

After learning the tanning spray dissolves with water, the guys arm themselves with water guns and set out to hunt their orange friend down. Carlos goes to the pool, where he runs into The Jennifers, who are missing one member (she's gone to Iceland). Bereft without their friend, the remaining Jennifers note that Carlos is the right height to fill her role. So, yeah. Carlos is a Jennifer now.

Back in the lobby, Kendall and James engage in a Matrix-style battle in which James successfully dodges the water gun, and Kendall soaks everyone in the lobby.

Over at the park, Logan's own efforts to find and fix James are quickly thwarted when he has a brief conversation with Guitar Dude and is promptly sucked in by the alluring power of bongos.

Also, it's hilarious to me how easily Logan does a 180 personality-wise. He shows up with his water gun all serious, prepared to help turn James back to his normal, non-orange self, but Guitar Dude is all, "Hey, man, what's the point? Let James be orange if that's what he wants. How about you chill out and find Logan."

And that's all Logan needs.

Anyway, we return to the pool, where Carlos is having second thoughts about becoming a Jennifer. He claims he's too nice, to which the girls work to convince him being nice gets him walked all over. They tell him the only people who make it in Hollywood are the ruthless ones. This convinces Carlos that he should stick with them and become a "tiger shark."

After another disastrous recording session, Gustavo sees how serious the problem has become. He, Kelly, and Kendall decide to divide and conquer, but not before Gustavo yells at Kendall for not taking charge and being able to fix things.

Which like. Ok. Kendall's the most level-headed one, the leader, etc. And this is me reading too much into a kids show again, but this poor guy! It's not enough that Kendall personally puts the pressure on himself to be the Fixer of Everyone's Problems Always—he regularly has that pressure put on him from the people around him too.

When is it Kendall's turn to be taken care of? When does HE get to rest and not have to manage the lives and decisions of his family and friends?? Huh??? WHEN?

One by one, each of their plans fail. Kendall's attempt to lure Logan back to Normal-ville using math has no impact whatsoever, the therapist hired for James ends up a similar shade of orange, and Carlos resists Kelly's shopping cart slingshot with the help of the Jennifers. But! It should be noted that of the three boys, Carlos is the ONLY one who wavers. He really wants to join in on the fun, and if not for the Jennifers, he likely would have.

So, we've got James, who is masking his own feelings of insecurity and inadequacy by covering himself with orange tanning spray. Logan, who desperately needed permission to shed his anxious, uptight, genius status but swung way too far into hippie mode. And Carlos, who (deep down) feels ignored and "less than," and quickly fell into the world the Jennifers offered him: one of status and importance and leadership. Then there's Kendall, who has NOT fallen victim to Hollywood Fever because he's carefully constructed a very secure wall around himself that won't allow him to be anything but the strong, responsible "man in charge" that he's had to be since he was a child and his dad walked out.

Or, as Gustavo says, Kendall "has a normal brain, and his friends have the brain of a cricket."

Listen, Kendall is a lot of things, but normal isn't one of them.

Kendall firmly rejects Gustavo's offer to go solo and announces he's going to the ice rink to think things through. This is a lightbulb moment for Kelly, who realizes that Kendall's connection to his roots has been the factor that saved him. They decide to save Carlos, Logan, and James through the Power of a Snowball Fight.

Turns out, all three cricket-brains just needed to be pelted by some ice in order to shed their newfound personas.

And with that, all is set right with the world again.

This is one of the best episodes of the first season, though it does lend itself to additional questions. Was this a one-and-done battle with Hollywood Fever, or did the group have to face it any time homesickness reared its head? What about Guitar Dude and The Jennifers? Did anyone try to cure them? Did any of the boys find themselves mourning that brief period in time when they weren't "themselves"? Carlos and Logan especially! Because those feelings must have still been there. Carlos still has those feelings of being pushed to the side and forgotten about. Not being considered important. And Logan still needs an outlet for all the stress he deals with on a regular basis—the pressure of being the Smart One.

And James. Well, I don't quite know about James. There is a LOT going on there. Super confident facade, the whole pretty-boy thing going for him. Determined and passionate and full of himself. But he's not. He's scared, deep down. He doesn't know who he is if he's not the most talented or the coolest or the most handsome. Part of him wants to hide away under several layers of Cuda Mangerine Action Tan Spray. There's also, like...other stuff I wonder about with James, like his tumultuous upbringing—super controlling, always put-together, superficial mother and a father who (I think) ended up with a much younger woman? I might be making that up. But I do know that his parents had such a bitter divorce that they didn't even speak. James is also an only child! That is...a lot to deal with growing up, and I'm sure there was damage done.

Not to mention any additional hardships James had to deal with growing up as someone whose personality and interests often skewed from what one might consider "traditionally male." I'm sure he was protected as much as possible by his buds, but there might have been times bullies still made their way through—finding an easy target in the boy who was so into fashion and modeling and had dreams of being a pop star.

Anyway! I hope Mama Knight (who was completely absent from this ep) heard of the day's events and sat with each of the boys to have a heart-to-heart. They certainly all needed it.

[closetdbisexual]

in honor of autism awareness month i will now list some characters i think are autistic

barry berkman

fox mulder

dana scully

gregory house

james wilson

allison cameron

lawrence kutner

diane nguyen

bojack horseman (also he has bpd. ok.)

annie edison

abed nadir

troy barnes

adrian monk

dale cooper

will graham

patrick bateman

stanley the stanley parable

chell portal

GLaDOS

OJ haywood

nicholas angel (his special interestt is. being a cop)

john kramer saw (his special interest is killing people)

cameron ferris buellers day off

veronica sawyer

artemis fowl

charlie kelly

mark s severance (not mark scout)

irving b severance (irving bailiff also) (is that really his name .?)

orel puppington

running out of characters. uhhh

that one fox from fantastic mr fox

alan resnick alantutorial

bill hader real life

nathan fielder real life

i dont know any other characters who exist ever sorry