#mayor julius

[daisymeade]

I just need you all to recognize that Bioware brought Simon Templeman, VA for Loghain Mac Tir, back to voice Mayor Julius, the guy you can force to join the Wardens.

[it-happened-once-in-a-meme]

Edward Nygma x Ides of March 😂 (Incorrect Quote with a Little Nygmobblepot)

Tumblr really is that weird little social media platform that makes you edit a long-dead historical figure into a DC show and think "Yup, people will definitely like this" 🤭😂

Spoilers for Gotham S03 E12:

Edward Nygma: Why should Oswald get to hobble around like an emperor penguin while the rest of us try not to get smushed under his feet? What's so great about Oswald, hm? Isabella was just as smart as Oswald. OK, Isabella was just as...cute as Oswald.

I totally liked Isabella just as much as I liked Oswald. And when did it become OK for one person to be the boss of everybody, huh? Because that's not what being mayor is about! We should totally just stab Oswald!

Bonus: My previous attempts:

And this gem, with a very memeable Caesar:

[gayhomersimpson]

How many characters are you using?

1. Homer Simpson

2. Angry Ricky

3. Officer Lou

4. Don Brodka

5. Seymour Skinner

6. Grady Little

7. Lionel Hutz

8. Rex Banner

9. Joe Quimby

10. Grayson Mathers

11. Coach Krupt

12. Julius Hibbert

[xtruss]

History of Earth Day & Arbor Day in Parks

First Annual Earth Day Birthday Parade and Celebration in Union Square on April 22, 1970

Earth Day began in 1970 as a way to raise awareness about environmental issues. Gaylord Nelson, a U.S. Senator from Wisconsin, and Denis Hayes, a young environmentalist, joined to organize events across the country and "shake things up." Following that first Earth Day, which was celebrated by 20 million people across the country, President Richard Nixon created the Environmental Protection Agency.

For the first Earth Day on April 22, 1970, thousands participated in various sanctioned events in New York City. Fifth Avenue was closed to traffic from Union Square Park to Central Park, and 14th Street between 3rd and 7th Avenues was transformed into an "Ecological Carnival."

First Annual Earth Day Birthday Parade and Celebration

Union Square Park served as the focus of numerous Earth Day observances and teach-ins throughout the metropolitan region. Over the day, some 100,000 people were estimated to have thronged to the square in one of the largest demonstrations there since the socialist rallies of the 1930s. The empty streets resulted in at least one picnic spread at the intersection of 57th Street and Fifth Avenue, and Mayor John V. Lindsay repeated the idea during the summer of 1970 when he closed Fifth Avenue to traffic for four successive weekends. The City also banned cars for the day in Central Park in Manhattan, Brooklyn's Prospect Park, Forest Park in Queens, and Silver Lake Park in Staten Island.

First Annual Earth Day Birthday Parade and Celebration

Earth Day became a global event in 1990; the event has been celebrated in earnest with tours, events, and volunteer opportunities at parks across the city since 2000. For NYC Parks, Earth Day is a chance to honor our green spaces and how we care for them, and to raise awareness about how we are working to shape a greener future for our city.

Youthful zeal and environmental activism join forces as celebrants hoist a tree at Union Square Park on the first Earth Day, April 22, 1970. Photo by Daniel McPartlin; courtesy of Parks Photo Archive.

Arbor Day Observed in the City

Arbor Day, celebrated on the last Friday in April, dates to 1872 when it is said that over one million trees were planted in Nebraska. Julius Sterling Morton, originally from upstate New York then living in Nebraska, was instrumental in establishing the day. New York State has been celebrating Arbor Day since 1888, and Arbor Day has been celebrated at NYC Parks for years. In 1906, Arbor Day festivities were held in playgrounds, "thereby inculcating a true love for nature," according to the 1906 Annual Report.

Planting Trees for New York City

With the support of Big Bird, Mayor Bloomberg helps plant the first tree of the MillionTreesNYC initiative, October 9, 2007. Photo by Daniel Avila.

Inspired by the million trees planted in Nebraska in 1872, NYC Parks and the New York Restoration Project launched MillionTreesNYC in 2007. The goal of the citywide public-private program was to plant and care for one million new trees across the city. In his support for this tree initiative, Mayor Michael Bloomberg pointed out that trees help clean the air and reduce the pollutants that trigger asthma (an endemic problem in underserved areas of the city) while also cooling streets, sidewalks, and homes on hot days, and increasing property values and encouraging neighborhood revitalization. In 2015, thanks to help from NYRP, additional partners, our many volunteers, and nearly 50,000 New Yorkers who helped plant trees in our parks, on neighborhood streets, and in their own backyards, we planted our millionth tree.

Some 20 million people took part in the first Earth Day protests held across the United States on April 22, 1970. In New York City, the streets near Union Square Park were turned into an "ecological carnival" in one of the largest demonstrations the city had seen in decades. Photograph By Santi Vissalli, Getty

In the last 20 years, Parks has worked to diversify New York City’s street tree species to make our urban forest stronger and more resilient. We currently plant over 200 tree species that are well suited to the urban environment because they’re able to withstand soil compaction, drought, flooding, air pollution, high pH soils, and strong winds. More information can be found on our Approved Species List page, the NYC Street Tree Map, and our 2015 Street Tree Census Report.

[vael-fire]

Who is Rook?

We have no Keep to keep our memories this time my friends, so I made a thing. Use it as you will, take pieces, use parts, do the whole damn thing, whatever. Thanks to @mageofquandrix for the backup on this!

Leaving the spoilery part beneath the cut.

Who is Rook?

Name:

Pronouns:

Race:

Faction:

Class:

Specialization:

Before The Veilguard

Where was Rook born? Who were their childhood family and friends? What did they spend their free time doing as a child? What did they want to be when they “grew up” if anything.

Where and how was Rook educated? What did they enjoy learning; what did they dislike learning? Who did they admire most? Who was an example of what not to do or be?

How did they experience gender as a young person? Did they grow up in an environment of strict gender roles and expectations or were they allowed to be themselves? 

What was their take on sexuality as a young person? Did they experiment with romance or find it entirely uninteresting?

What was their take on spirituality as a young person? Did they grow up around one particular religion and if so how did that affect their beliefs?

What childhood fear(s) did Rook carry with them into adulthood?

How did Rook become involved with their chosen faction? Who did they meet first, and how, and where, and why did they join up?

Was Rook interested in finding a life partner of some kind when they joined their faction? Why? Who were their best friends and how did they meet? Who were their rivals, who did they trust?

Did Rook have any scars or tattoos? What’s the story behind them?

Did Rook ever strongly identify with a particular nationality, city, race, creed, or religion? Is this something they explored on their own or a tradition that was passed down to them? Did this identity evolve as they grew into adulthood?

Lightning Round - PREGAME VERSION

Favorite scent:

Favorite food:

Favorite animal:

Favorite book or story:

Favorite drink:

Favorite item of clothing:

Favorite keepsake:

Favorite place:

Favorite person:

Favorite little treat:

During The Veilguard (HEAVY SPOILERS BENEATH THE CUT)

Act 1: Signs and Portents

What was Rook’s status with their own faction at the beginning of the game? Why were they recruited by Varric?

What did Rook think of Varric when they first met? Did Rook support Varric’s choice to confront Solas alone?

Did Rook take Neve or Harding with them when they went to interrupt the ritual themselves? Why?

How did Rook engage with stories of the elven gods at the beginning of the Veilguard? Were the familiar or strange? Was it disorienting to have them rewritten or did it make no real difference to them?

What was Rook’s instinctive reaction to having Solas in their head and dreams? How did Rook respond when Solas asked them why they should be the one to lead the Veilguard?

Did Rook think Neve was right about needing more investigation before acting or that Harding was right that there was no time to spare? What made them think that?

What did Rook decide to do with Mayor Julius of D’Meta’s crossing? Why?

How did Rook react to Harding’s new magic? Were they supportive or wary or a mix of both? 

How did Rook feel among the ancient elven magic and ruins of Arlathan? Did they find Bellara’s work disturbing or fascinating or something else?

How did Rook feel about working with a bunch of assassins, the Antivan Crows? Were they familiar with the organization, a Crow themselves, or something else? How did they feel about Lucanis, specifically about Lucanis and Spite?

How did Rook feel about the Shadow Dragons? Had they ever been to Minrathous before or just heard stories? How did Neve strike them at first?

What did Rook think of the Wardens when they met them? The First Warden? Antoine and Evka? Davrin (and his tits)? And of course, the MVP, Assan?

Did Rook choose to help Minrathous or Treviso? Why?

How did Rook feel after seeing what happened to the city they couldn’t save? Who did they talk to about it, if anyone, and how did they feel toward Neve and Lucanis in the aftermath?

Had Rook ever been to Rivain before? What were their impressions? Did they have any experience with Antaam or Qunari outside the Qun? What did they think of Taash and Shanthann?

What was Rook’s first impression of the Nevarran Necropolis? Were they interested, disturbed, or something else? What did they think of Emmrich and, most importantly, Manfred?

What did Rook think of the Inquisitor? Did they become personal friends or did they keep it professional? Who was the Inquisitor’s lover, if any, and did Rook have an opinion of that?

At the Siege of Weisshaupt, how did Rook deal with the First Warden and why?

Act 2: The Price of the Past

How did Rook react to the aftermath of Weisshaupt? Were they sad, angry, scared, all of the above, or something else? Did they blame themselves? Lucanis? The First Warden? Ghilan'nain? Who did they talk to about it, and did they show their true feelings to their companions?

Had Rook developed a romantic interest in one of their companions--or someone else!--by the time Weisshaupt fell? If so, were they eager to explore it or afraid to? Why?

Who were Rook’s closest companions, and what did they like about them? Who irritated Rook, if anyone, and how?

How did Rook respond to Davrin and Lucanis’s animosity finally boiling over? Were they sympathetic to one or the other or to both?

When Elgar’nan took the Dalish prisoners to use as sacrifices, what was Rook’s first reaction? Were they resolved, raging, sad, or some combination? Did they talk to any of their companions about it?

What was Rook’s reaction to The Butcher’s proposition to them in Treviso? Did they respect it, think it was bonkers, or something else? Did they discuss it with any of their companions after the fact?

Did Rook express concerns about Illario’s behavior to Lucanis? Did Rook encourage him to punish or to forgive Illario? Did Rook encourage Lucanis to work with Spite to save Catarina or to punish Illario? What were Rook’s impressions of Catarina both before and after her kidnapping? How did Rook feel about Lucanis becoming First Talon?

Did Rook support Bellara in her desire to save Cyrian or did they encourage her to be more forceful in stopping him immediately? Did they encourage her to keep the Nadas Dirthalen or to destroy it?

Did Rook encourage the alliance with the Threads in Dock Town? Did they encourage Neve to bring Dock Town hope or to become a darker protector-figure?

What was Rook’s reaction to the revelations about the Titans and the residual anger their downfall and exploitation at the hands of the Evanuris  left behind? Did it change how they felt about Harding’s new powers, and if so, how? Did they encourage Harding to embrace the Titan’s anger or to remember their compassionate side?

How did Rook encourage Davrin to train and interact with Assan? Did they suggest discipline or kindness or some mixture of both? What were Rook’s feelings on seeing the twisted recreation of Weisshaupt, The Profane City? How did the blighted First Warden react to seeing Rook again there? Did Rook decide the griffons should go to the Anderfels with the Wardens or stay in Arlathan as protectors of nature?

What did Rook think of Emmrich’s confession that he wanted to attain lichdom? Did their views on necromancy change as they got to know Emmrich and the Mourn Watch better? Did they encourage Emmrich to attain lichdom or to revive Manfred?

How did Taash’s journey to finding themselves strike Rook? What did Rook think of Shathann once they got to know her better? Did that change after her death? Did Rook encourage Taash to embrace their Rivaini culture or to fall back on the strength of their mother’s teachings about the Qun?

(If Rook didn’t romance Harding or Taash:) Did Rook encourage Taash to get a gift to express interest in Harding? What was it and why? How did they feel about that relationship going forward?

(If Rook didn’t romance Never or Lucanis:) How did Rook feel about Neve and Lucanis’s Romance? Did they encourage it?

(If Rook didn’t romance Emmrich:) Did Rook encourage Emmrich to take Strife to the caves or the forest on a date? How did they feel about that relationship going forward?

How did Rook deal with the friction between Taash and Emmrich? Did they encourage them to find common ground or to talk about other things? How did they feel about that relationship going forward?

Did Rook romance any of their companions after all? What was that like for them, and how did it happen? Did the other companions have an opinion?

Who did Rook feel closest to by the time they were making plans with the Inquisitor to stop the gods’ ritual at the eclipse?

Did Rook choose Davrin or Harding to lead a second team at Tearstone Island? Why? How did they feel in the aftermath of Tearstone Island about that choice? How did they honor their fallen teammate later?

Did Rook choose Neve or Bellara to take down the wards at Tearstone Island? Why? Did they regret their choice? How did they come to terms with it after?

How did Rook deal with learning they’d been magically gaslit into thinking Varric was alive all this time??????

Did Rook find the Mysterious Circles?

Did Rook find all of Solas’s regrets after the Inquisitor gave them the first? What were their reactions to the revelations about:

The Golden City/The Black City and The Chantry’s doctrine being false

Mythal convincing Solas to take a mortal form

Solas being willing to sacrifice his followers for his end goals

Ancient elves originating as spirits who took mortal form

The elves -- particularly Solas and Mythal -- killing and exploiting the Titans to win the war against them

The blight being the Titan’s lost, angry dreams

Solas regaining his power pre-Inquisition by killing Mythal’s current host

Bonus Round: Were Solas and Mythal doing it?

Mythal's essence. How did they get it from her? Was it a fight or a matter of discussion? How did they feel, meeting her?

Act 3: The Wrath of Ages

Were all Rook’s allied factions at maximum strength when they launched their attack on Elgar’nan? Which ones weren’t, and why? Did Rook favor any of them? Their own? Someone else’s?

Who did Rook choose to support the Veil Jumpers in the final battle dealing with magical wards or protecting others?

Who did Rook choose to support the Crows and the Lords of Fortune in the final battle fighting mages or attacking by surprise?

Who did Rook choose to support the Wardens and the Mourn Watch in the final battle fighting massive enemies and constructs?

Who did Rook choose to take with them for the final battle against Elgar’nan and why?

Did Rook plan to trick Solas with the fake dagger or did they think they better not risk it?

Did Morrigan give you Felassen’s Rune? How did Rook use it?

Did Rook have a lover to talk with before the final battle? How did they feel in that moment?

After defeating Elgar’nan, how did Rook deal with Solas and the veil? Was it different than they had planned? If so, why and how?

What did Rook do on the day after saving the world?

Lightning Round - AFTERMATH VERSION

Favorite scent:

Favorite food:

Favorite animal:

Favorite book or story:

Favorite drink:

Favorite item of clothing:

Favorite keepsake:

Favorite place:

Favorite person:

Favorite little treat:

[sregan]

On 'Megalopolis'

I have seen 'Megalopolis: A Fable'. My assessment in one word is that it's 'striking'. It's a striking film - which is not necessarily to say that it is a 'good' film. It may be an 'important' film, insofar as it's likely the last film by the creator of 'The Godfather', 'The Conversation' and 'Apocalypse Now', and self-funded.

It's also a very strange film. In almost every scene there's something bizarre - not necessarily in the sense of worldbuilding but in terms of the directorial choices made.

For some reason 'Megalopolis' was not marketed as a work of alternate history, which I think could have brought in more attention, but a 'fable', with a heavy-handed opening monologue about the similarities between the modern USA and Rome. It's ostensibly set in the 21st century in 'New Rome', a modern city with Roman affectations - though it's also mentioned at times that it's still in the United States of America and that Elvis existed in this reality.

The best analogy I can make is that it feels like one of those adaptations to film of a Shakespearean play but set in the modern day, where much of the dialogue has been updated but the main speeches have been left in the original language (indeed, sections of dialogue from Hamlet and The Tempest appear unmodified); but without the source play.

'Megalopolis' is - though few critics seem to be crediting this - a loose adaptation of the life of Lucius Sergius Catilina, somewhat annealed with Julius Caesar (furnishing protagonist Cesar Catalina as played by Adam Driver). The real Catalina is a rival of Cicero (here Mayor Cicero as played by Giancarlo Esposito), prosecuted for an affair with a vestal virgin by Publius Clodius Pulcher - here Clodius Pulcher as played by Shia Labeouf - and accused of killing his wife in order to marry Aurelia Orestilla, the daughter of the consol (who has been merged with Cicero to create Julia Cicero, the Mayor's daughter, as played by Nathalie Emmanuel). All this happens in the film.

The real historical Catalina, of course, was the mastermind behind the Catalinarian Conspiracy, an attempt to overthrow Cicero and Hybrida and seize power. In the first of many changes, Coppola changes this to make Clodius the leader of the plot and Cesar Catalina innocent. While the historical Crassus uncovered the plot and told the Senate, Jon Voight's Hamilton Crassus is betrayed by his unfaithful trophy wife (clearly a reference to Tertulla) and Clodius in a 'Dallas' spoof sideplot, but eventually gets the upper hand and backs Catalina with his wealth.

At this point we should address the elephant in the room. In 'Megalopolis: A Fable', Cesar Catalina is an architect who wishes to build a new shining city, the titular Megapolis, using a revolutionary new metal he has developed, Megalon. This makes startling sense when you realise Coppola has long dreamed of adapting Ayn Rand's 'The Fountainhead'. Cesar is clearly intended to be a mix of Howard Roark and Henry Rearden from Rand's 'Atlas Shrugged', a visionary steelmaker who has developed 'Rearden Metal'.

However, Megalon may have a dark secret - Mayor Cicero says it's rumoured he used his dead wife's body to manufacture the metal. While the introduction of this rumour is cack-handed (Cicero just whispers it to Cesar at an event), it's at least an intriguing take based on a real historical rumour. This in combination with the source material - a scheming politician who launches a coup - might make you wonder if Coppola is playing Sympathy for the Devil here and will reveal Cesar as a villain protagonist (as far as I can tell, he doesn't intend this).

Cesar also has the ability to stop time. Very literally; he can talk to Time (capital T) and tell it to do things. The first scene of the film - which may be Cesar attempting suicide or testing this power for the same time - sees Driver's character on the roof of the Chrysler Building, teetering on the edge. As he begins to tip forward, he intones 'Time: stop!' and finds his body hovering in mid-air, allowing him to cautiously wuxia-float his way back onto the building (remember this).

This may all sound rather Jojo's Bizarre Adventure, but never fear - this power, which seems like it should be the metaphorical crux of the entire film (timestop as a metaphor for stagnation in a dying empire?), is largely irrelevant other than leading Julia to investigate him and then join his agency.

Oh yes, that's another thing that radically alters the dynamic from a hypothetical Francis Ford Coppola's Fountainhead; Cesar isn't a private architect but the head of a government agency, the Design Authority. We aren't told how he came into this role but he begins the film with his own staff, security, and lavish office, which makes him feel like much less of an underdog.

Cesar's Design Authority is pulling down slum buildings to replace them with his utopian Megalon developments - the plot can't quite decide whether he's doing this inside the law, but the result seems to be people forced onto the street - a clear nod, you might think, towards gentrification, although later plot points make this murkier.

Julia sees Cesar using his time stop ability during a demolition, seemingly to judge whether the collapse is safe (though what he would be able to do if it wasn't is unclear). Frustratingly we never see what this looks like to 'normal' people; Julia is the only person other than him to be able to manipulate time and we only ever see it from one of their perspectives. More on this later.

Esposito's Mayor Cicero is initially introduced as a hollow populist, who wants to use the demolished plots of land for crowd-pleasing moneymakers such as a casino. He shows off a slick model of the proposed pleasure palace, which seems to get the approval of the gathered journalists. Cesar, meanwhile, gives a philosophical speech urging grander ambitions ("Don't let the present get in the way of forever!") and offers to go through his design documents. I'm uncertain whether we are supposed to understand this to be what it looks like - that Cesar does not have people skills and finds it hard to communicate his genius - because Driver is given all sorts of quippy Tony Stark-like lines and business as he arrives to the meeting and otherwise reads as charming and personable.

This scene includes one of the most sophomoric film-school student lines in the film. When Cicero menacingly brings up Cesar's wife's death, he says: "Well, as you were the prosecutor in that case, you know I was found not guilty."

At this point Cesar is involved with Plaza's journalist femme fatale (name, I kid you not, 'Wow Platinum') but - I'm unsure whether we actually see them break up on screen - she falls for billionaire Crassus and Cesar becomes involved with Julia who, after mentioning she saw him stop time, receives work with his agency (much to her father's chagrin).

Before it's fully established that she has fallen for him, she follows him and sees him buy flowers and visit what I think is supposed to be his wife's home; we see him place them by her bedside and stroke her hair - she seems to be comatose rather than dead, but when Julia sees the same scene Cesar is alone, seemingly hallucinating. Julia somehow knows Cesar is hallucinating his wife and whispers "He still loves her!". This is one of many elements of 'Megalopolis' that make me think that despite being a self-funded auteur project, the narrative was muddled in the edit and a more coherent through-line must have existed at some point. If this scene came after Julia and Cesar were an item, it might have some emotional weight.

The chapters of the films are introduced with narration by Lawrence Fishburne, serving as Cesar's faithful chauffeur (an element that, perhaps, lets on that Coppola has been pitching this film for fifty years). The 'Bread and Circuses' chapter sees a lavish wedding for Crassus and Wow (sic.), with a Ben Hur-style chariot race and Pro Wrestling-themed gladiators. The effeminate villain Clodius appears, crossdressing after the style of the historical Caligula.

In a scene clearly intended to take aim at religious right virginity pledges, a 'vestal virgin' pop star is used to raise money by encouraging the wealthy to financially 'support' her pledge of virginity. However, as the bidding reaches 100 billion, Clodius bribes the AV technician to display on the jumbotron (!) a sex tape of the 'virgin' and Cesar, resulting in a scandal.

In a sequence clearly inspired by Fritz Lang's 'Metropolis', an intoxicated Cesar - presumably having seen the jumbotron but it's not entirely clear - hallucinates his arms moving in the shape of a clock. I initially thought this whole sequence (intercut with a gymnastic display which appears to go wrong) was intended to represent the aghast Cesar's powers going out of control and causing mayhem, but that doesn't seem to be the case. Instead his limo is stopped by police and he is arrested for corrupting a minor and statutory rape - a genuinely bold choice of peril for a protagonist and one I don't think would fly in any major studio production post-Harvey Weinstein!

Julia is oddly certain he must be innocent - again, the two are not clearly an item at this point; he's her boss - and investigates, finding that VanderWaal's vestal virgin's birth certificate was fabricated and she was in fact born out of the country six years earlier, meaning she was 23 at the time of the tape, not 17. Interestingly, in the newspaper montage showing Cesar being cleared, a voiceover also mentions the footage was found to be edited and fradulent, begging the question of why the birth certificate was even important - I can only think this VO was added after principal photography and originally the character did sleep with a girl he believed to be underage.

Again, an odd scene order - after being cleared, Julia finds a distraught Cesar on top of an under-construction building (what this is is unclear as none of his Megalon buildings use girders like this but it's a repeated location - put a pin in that). He has lost his confidence in his ability to command time and she coaxes him into regaining his mojo; he is able to stop time again with the formula 'For the sake of Julia, Time, please stop'. Again, this feels like it should have more narrative weight than it does; he 'loses' his powers for all of one scene and it doesn't impact his career or plans. It also feels like it should have come before the formal resolution of his legal woes. The hero losing his supernatural powers at the start of the second act and needing either to regain his confidence to use them or learning he must not rely on them is a well-worn superhero trope and it almost feels like Coppola felt compelled to include it since he had a super-powered protagonist but didn't understand or care to put it to any more significant use.

I forget where the scene takes place where he meets Wow again; she attempts to seduce him and offers him Crassus's bank, which she says she will steal away from him. He rebuffs her and in one of the worst pieces of professionally produced cinema I have ever seen, we fade to and from a closeup of the car's wheel driving over the coat he gives her. It wasn't even necessary to cut in - the coat is clearly visible and the audience expects the action from the way she throws it down - and the cut is executed horribly; it genuinely feels like a mistake, like a misplaced clip in Final Cut Pro.

Shortly thereafter, Cesar is approached by a young boy who asks him to sign an autograph. Utterly bafflingly, Nathalie Emmanuel is given the line of dialogue 'Cesar would never say no to a child'. This is a couple of scenes after he is accused of statutory rape; if it was meant to be delivered with wry humour, no-one told Emmanuel. In any case, the child shoots him in the face, having been revealed as an agent of Clodius.

We then get an abstract montage of what may be Cesar's dying hallucinations, with the repeated refrain (I think I remember this correctly:) "I will not give death dominion over my thoughts". It would not be unreasonable for one of the following to happen:

a.) Somehow Cesar is able to not just stop time but reverse it. We see a flower shrinking back into a bud and I was fully expecting to see the clip of his blood flowing on the street reversing. He has regained his powers and now has new incredible mastery. Or:

b.) The damage to his brain means Cesar cannot use his powers. Julia must step in and make the leap of faith - Cesar is injured now but was not so in the past. 'Time: Heal all wounds!').

Neither of these happen.

Instead, we see snippets of what seems to be a mostly cut scene where Julia and the scientist character replace the missing portions of Cesar's skull and brain with Megalon. This seems to be a triumphant return and we see him awake, bandaged but cogent.

In the next scenes, a slurring and seemingly brain-damaged, still bandaged Cesar who repeatedly shouts "No, no, no!" for some reason forces his way into Crassus's mansion to find out why the billionaire's bank has frozen his accounts. This is revealed to be a scheme of Wow at the behest of Clodius. She once again attempts to seduce Cesar (even after he reveals his horrific transparent gold skull-face) but is forced to stop when Crassus arrives.

After this, Wow turns her seductive attentions to Lebeouf's Clodius and persuades him to get Voight's character to sign over control of the bank in a rather shoddy bathhouse scene that I think is intended to show Crassus having a heart attack and aides rushing to his rescue, but which I initially believed showed him being stabbed by Clodius's accomplices. When Wow seduces Clodius she cuts his hair (something Crassus told Clodius to do) in silhouette which should clue you in she's playing the role of Delilah.

At this point we should mention that Clodius has his own sub-plot where he has been repeatedly seen trying to build cred among the mob protesting Cesar's project. The mob is, I would guess, the ultimate antagonist of the film, and Coppola is strikingly loose with his real-world targets here. The mob resembles Black Lives Matter and anti-gentrification protesters and Clodius says they are 'immigrants' whose vote can be bought; they carry SPQR flags that resemble the hammer and sickle; their slogans suggest far-left sympathies; but Clodius gives a literal stump speech on a tree stump which has been cut into the shape of a swastika (real subtle there) and his minion now has a forehead tattoo of the Black Sun, a real-world fascist symbol (I think he also said something along the lines of 'We will make New Rome great again', though I may be misremembering). You might be tempted to think that, given his historical intrigue with Rand's Objectivism, Coppola views the masses as generically 'collectivist', subsuming fascism and communism. If so, Cataline is a bizarre choice for a hero, as in the real world it was he who whipped up a mob to attack the Roman Senate, and Caesar who led the 'populists', while Cicero favoured the optimates (aristocracy). We'll talk more later about Cesar Catalina's philosophy, such as it is, in 'Megalopolis'.

As New Rome collapses in riots, Crassus, who is revealed to be less senile than previously suggested, confronts his wife and nephew in an absolutely hilarious scene where he lifts his suggestively tented blanket to reveal a tiny bow and arrow, which he uses to kill first Wow in a comedic spout of blood and then repeatedly plink a fleeing Clodius in the backside with arrows; each time it cuts back to Crassus he has another arrow (barely) drawn with no indication where they are coming from, like a YouTube Poop. I think, generously, this was meant to be slapstick comedy, even if the context is very dark (aging billionaire murders his cheating wife).

Mayor Cicero semi-reconciles with his daughter (who has since had Cesar's child) on the train as they are evacuated for their safety.

In the climax - I feel sure it's the climax - of the movie, the mob gathers at the gates of Megalopolis, but an apparently fully healed Cesar appears, projected on the golden leaves of his utopian city, and addresses them. The speech is every bit as dense, philosophical, and frankly unrousing as his opening debate, but this time it wins the crowd around and suddenly they are no longer the collectivist menace but the upstanding majority who are now delighted to live in his city as the gates open.

Crassus declares he is throwing his entire wealth (and 'the patents to Megalon', which I guess he somehow acquired when the bank froze Cesar's funds) behind the project, so all's well that ends well? The mob turn on Clodius when they find out 'he owns the bank' (except that no, we've just established he doesn't) and shockingly string him and his henchman up, Mussolini-style; while the camera cuts away quickly it's pretty clear they have stoned him to death.

As New Year dawns, Cesar persuades Julia to try stopping time herself for the first time. She does so, but surprisingly *everyone* freezes except the baby, who has clearly also inherited the power. The End. Someone in the row behind me chuckled.

To be clear, this lends the plot a degree of cogency you simply don't get in the theatre. It's clear to me much of the movie ended up on the cutting room floor - there are fully acted, costumed scenes with different dialogue that appear in the facets of the Megalon crystal as Cesar works but are not in the movie. I think the order of scenes may have been dramatically changed and possibly the ending altered, which is why Driver's character appears fully healed without explanation but only as a projection in the final speech.

The central conceit, time stop, is not used except indirectly as something one character sees to make her intrigued in Cesar, and later as evidence that he has his confidence back after a single scene where he can't use it. Losing it doesn't set back his plans and we barely get a sense of how he uses it in his work normally. An architect who literally has all the time in the world is an intriguing concept and one could easily imagine eyecatching scenes where buildings seem to erect themselves in a blink of an eye, or where from the perspective of a normal human he flashes around a room, drawing up plans and blueprints at seemingly superhuman speed. Indeed, I was fully expecting at least one scene where Driver appears where he shouldn't be, revealing he has been listening in on a conversation or confronting someone in a secure location, because he can stop time to get into any location or do anything.

But we don't see this - we don't even, unless I missed it, get a line like 'Cesar always finishes his projects ahead of schedule - what's his secret?'. Time stop also doesn't work consistently; the first time we see it, Cesar's own body is part of the timestop; he can seemingly think in normal time but his body is suspended on the brink of falling. But later, it's clear that people who use timestop move normally and are affected by gravity (when Julia drops her purse on the girder it slows and stops when it gets a certain distance from her).

The secondary conceit, Megalon, is barely defined. It's a miracle metal that allows things like flowing moving walkways and roofs that fold in like flower petals when it rains. It also bonds with living cells and is eventually replaced with healthy tissue. It sometimes reflects his wife's face, and in the medical montage I think they put some of the wife's hair into the implant, which suggests to me Megalon *is* partially a ghoulish necromantic substance that harnesses his wife's unquiet spirit - but incredibly this isn't addressed in the final narrative other than a dreamlike sequence where he hears his wife telling him 'Go to her', apparently permission for him to move on. Again, it feels like a late-era MCU production cut to hell by studio interference - except there's no studio.

There's also an ambiguous line where Mayor Cicero seems to admit *he*, not Cesar, killed her - I think the intent of this line is he is willing to publicly admit he tampered with evidence to convict Cesar if Cesar breaks up with his daughter. Cesar later tells Julia his wife killed herself because of his obsessive focus on work and we have no reason to doubt him.

It's all such a weird missed opportunity - clearly you're meant to initially wonder if Cesar did kill his wife. There's a blink-and-you'll-miss-it newspaper headline that says the death was a 'Hitchcockian mystery' - which suggests a locked-room murder. Now, who can enter a room, kill someone, and leave to have an alibi elsewhere, all in the blink of an eye? Surely, surely this was intended to be explored at some point; less Chekhov's gun being visible over the fireplace and more being shoved up your nostril in the first act.

The tertiary conceit - New Rome itself - is intriguing as a stylistic choice. It's overtly a fable so it would seem churlish to ask how this Roman city-state exists in a world where both the USA (of which it's seemingly a part) and USSR existed. The limits of the budget are visible in the lack of stylisation in some areas (extras' costumes, cars, offices) but I didn't find it too offensive. I did notice that the architecture we see associated with Cesar early in the film is clearly Art Deco, but the Megalon structures later in the film are postmodern sweeping leaf-life structures, as though Coppola changed his mind about what the future looks like some time in the fifty years since first conceiving the movie.

The central conflict of the film is thornier. You might assume that Cicero represents populist, 'need'-based politics ("People need help now," the mayor says, objecting to Cesar's grand vision of a better city), while Cesar is a Randian rugged individualist, except that's not quite what we're shown in the final cut.

The Mayor's character isn't consistent - by the midway point he's become a law and order figure while the sleazy collectivist mantle has been passed to Clodius and the anti-gentrification rioters. And Cesar being a government official mixes the message on 'lone genius architect' - where we do get an insight into the philosophy of Cesar Catalina, it's also not especially Randian. The character talks repeatedly about the need for 'debate' - that even starting to talk about what we should do, or agreeing that we should talk, is already utopia. He responds to the Mayor by suggesting that 'people's futures' are as important as their present. I also think at one point he says civilisation was a mistake, which is a startling remark from a protagonist but which seems to be something Coppola has floated in real life (seemingly believing there was a utopian matriarchy before history). So at best I think you can argue he takes a broadly long-term-self-interest rationalist view and is being contrasted with the short-term populist Mayor and the short-term instant-gratification rioters.

He also briefly (as in, a single line) advocates for debt nullification, which was a position of the real Cataline, but which doesn't really seem to gel with anything else in the movie - we never get the sense that Cesar hates Crassus lending money and aren't shown the effects of usury on the people.

The cast of actors - including John Voight, and DB Sweeney who starred in the ill-fated Atlas Shrugged adaptation - makes me think it was sold as a rightish-wing endeavour, but I can't imagine the apparent both-sidesism on display will satiate red-blooded culture war types.

Certain aspects of the film also felt quite dated - the use of sapphism to shock and titilate (and the curious line where Cesar, challenged by a gossip columnist to confirm he prefers women, insists 'Everyone prefers women. Even women prefer women'); contrasted with the effete, crossdressing villain Clodius.

What's most striking (I said it was the salient word) about 'Megalopolis' is how much potential each element has relative to how it's actually used on-screen. Some of this is the tight budget constraints necessitated by Coppola burning through his own money to fund the film - the SFX were generally decent though I noticed at least one truly shoddy effect where characters walk into an idyllic field which is clearly a separate plate, and their bodies are sliding left-to-right as though walking on ice.

How might I re-imagine 'Megalopolis'? Keeping most of the beats and trying to refine the message rather than changing it:

- Cesar as a private architect, not a government agency. Put Crassus in the role of a Gail Wynand; a wealthy man and potential patron.

- Cesar has built a reputation as the man who always has time - he finishes every project ahead of schedule and under budget; his demolitions always proceed flawlessly and his staff have no idea how he does it.

- The Mayor champions sweetheart deals with contractors for cheap, trashy buildings that will fall down in thirty years (this might have been in the script at some point as Cesar calls him a 'slum lord') while Cesar wants to use Megalon to create an Art Deco utopian development.

- Julia sees Cesar stop time and he offers her a job. He demonstrates how when his staff see him flash around at super-speed he is really doing all the laborious work of drawing up plans in real time, totally alone as he previously had no-one who could do what he did.

- The press casts doubt on Megalon, with the unions pushing for proven materials like concrete and steel. A ghastly rumour emerges that Megalon contains human DNA. Cesar gives a speech, asking what would happen if the first architects using steel had faced the same resistance. What about fire?

- Julia proves her worth by securing a contract for Cesar to redevelop a large slum after a devastating fire, elbowing out her father's friends who want to use the same cheap cladding that caused the fire in the first place (anticipates and deflects viewer criticism about safety).

- Romance develops with Julia and Cesar. Scenes where they go out into the city and stop time together. Julia is pregnant.

- Clodius undermines Cesar by throwing red tape in his way. Cesar appears in his home and confronts him, showing a sinister edge, but ultimately leaves. Clodius uses this to deduce Cesar's time powers.

- Crassus's wedding is a huge event with (as in the film), chariot races and gladiatorial games. Cesar, Mayor Cicero, Julia and Clodius all attend.

- Instead of the vestal virgin scandal, Cesar is publicly accused of killing his first wife and the shock causes him to lose his control over time, causing chaos throughout the city. Unable to continue his work he locks himself away in his office.

- Time is frozen throughout the city; Cesar is subconsciously holding everything together so it doesn't change or decay (timestop as metaphor for stagnation!). Time only passes for objects if someone is holding them and if you drop them they freeze in place. If someone dies they freeze in place. We see how the city is surviving in this odd apocalypse.

- Julia investigates with a more murder-mystery focus - it's a locked-room murder and Cesar has an ironclad alibi, but a time manipulator could easily make it happen.

- She keeps digging however and a financial motive emerges for Clodius. She confronts Crassus who admits he covered up for his nephew; everything that looked supernatural about the death was possible with enough money. Facing disgrace he throws himself from the top of his skyscraper and his body freezes on the point of impact.

- Julia finds Cesar who tells her he did use his wife's body to create Megalon but insists that he found her dead. Why? Because love holds everything together (we're leaning into the cheese; amazingly I don't think they try to explain this in the real movie). Having expiated himself, Time once again hears his entreaties and begins flowing normally ("You can move on").

- Julia and Cesar brave the streets to reach the Mayor to clear his name and a mugger shoots Cesar. However, with his new mastery, he is able with a 'kick start' from Julia to turn back time and repair his own damaged brain.

- Mayor Cicero is reconciled to his daughter and meets his granddaughter for the first time.

- Clodius learns of his uncle's death and, blaming Cesar, whips up a mob to storm the construction site, but in a flash of an eye the city is completed before them as Cesar's expanded powers let him include entire construction crews in his timestop.

- Cesar emerges and gives a speech; reflecting that every one of them wanted someone else to provide for them but were ready to use violence to take what wasn't theirs, trusting there existed someone who was willing to be robbed; the city is complete, but none of them will live in it. 'Others, who saw and believed, will come, and they are welcome'.

- Clodius and his most devoted followers attack but the city itself folds in to protect Cesar, showing his wife's spirit in the metal recognises her murderer, and Clodius sinks into the ground.

- New Year's, magic baby, yada yada.

[mllemaenad]

Not that you are by any means the worst offender in this regard, but it rubs me ghe wrong way how much leniency the NCR gets when it comes to considering the effects of their actions, and perhaps more importantly, their intentions.

Groups like Caesar's Legion, The Brotherhood of Steel, House's factions, The Unity, The Enclave, and The Institute are treated as villains if anyone is even indireehurt because of them.

If two human surface-dwellers kill each other in Diamond City, people blame the Institute.

If the White Legs emulate Twisted Hair cultural traditions without fully understanding them, Ulysses blames the Legion.

And yet... the NCR is treated by fans as well-intentioned and good-natured despite the harm they cause. The situation in Nipton was the fault of the NCR. Its corrupt Mayor was from the NCR. The Powder Gangers were only in the Mojave because the NCR moved them there.

Vulpes set up his lottery (not that I'm saying it was a perfect solution) to address a problem that had gotten out of hand, a problem downstream of the NCR... and yet most fan discussions blame the Legion for what happened in Nipton.

ThevNCR seems to get a pass because people see their goals as noble... but their goals are to recreate the exact conditions that caused the Great War!

We see the exact same phenomena in pre-war terminals as we do in contemporary NCR. A government more obsessed with maintaining its own power than solving problems, a corrupt justice system that favours the wealthy, an obsession with democracy that makes decisions slow and bureaucratic, and a rapacious desire for resources that leads to expansion and conflict eith other factions.

Why is Caesar condemned for his ego, and his shortsigtedness, but Kimball is not?

Why is Roger Maxon blamed for creating an organisation that has hurt people, but not Aradesh?

Why is Justin Ayo blamed for his secrecy and lack of trust, but not Colonel Moore?

It's a double-standard. Others are blamed for trying something new, the NCR gets carte blanch to repeat old mistakes!

Hi, anonymous person.

So ... I've read this, and I've read it again, and again after that and ... I'm a little puzzled about what's bothering you. The NCR is broadly attempting to feed, clothe and house hundreds of thousands of people ... and fans tend to give them a little more leeway when they fuck up than they do, say, the Enclave, which is a fascist organisation bent on global genocide and this is ... bad?

Honestly not really seeing the problem there.

I've barely written anything about the NCR, and certainly not in depth character profiles of the people you bring up, so I'm not completely sure why this is directed at me. If you're saying that there are fans who refuse to acknowledge that the NCR has flaws ... well, I haven't met those people, but if you look for an opinion on the internet you'll probably find it, so I'm not going to try to claim they don't exist. I've seen people claim women don't play Fallout, which is kind of a problem, from where I'm sitting. :)

But. Well, okay.

It's a double-standard. Others are blamed for trying something new, the NCR gets carte blanch to repeat old mistakes!

Nobody's trying anything new. That's kind of the point here. War never changes. Just to do the main antagonists ...

Richard Grey/The Master is just doing eugenics with a sci-fi twist. He's going to forcibly convert everyone who can be into a super mutant, and prevent any remaining humans from breeding. One of the ways to beat him is to tell him that his "master race" is sterile. It's a horrifying plan.

The Enclave are American fascists. They believe that only their people are truly human and that everyone else should literally die.

Edward Sallow/Caesar is ... I mean he's just cosplaying as Caius Julius Caesar because he thinks it looks cool. That's an actual human being who lived, and who quite famously got stabbed to death. More historical precedent than you could shake a gladius at. Sallow got over excited when he read Caesar's Commentaries and decided he wanted to be Caesar. Presenting "doing ancient Rome" as new is ... certainly something, and particularly hilarious as a plan for a civilisation given the decades long clusterfuck that was the fall of the Roman Republic, plus fun subsequent imperial followups like "the year of the four emperors".

The Institute has just reintroduced slavery, only this time let's 3D print the people instead of abducting them so literally no one will care what we do to them! They also lean into the idea that they are the only real people, although they are not quite as committed to this as the Enclave.

What's new and exciting here that I should be willing to give a try? They're all old ideas, and ideas that seem to involve a lot of genocide, enslavement and general misery for anybody who isn't part of a specific in group.

Vulpes set up his lottery (not that I'm saying it was a perfect solution) to address a problem that had gotten out of hand, a problem downstream of the NCR… and yet most fan discussions blame the Legion for what happened in Nipton.

I ... what? Yeah, I'm going to disappoint you here. The massacre at Nipton was the Legion's fault because they were the ones who walked in there and, you know, massacred people. Mayor Steyn was absolutely engaging in a round of "play stupid games, win stupid prizes" and if anybody tries to argue that he was competent I will dispute that wholeheartedly. But there was only a massacre because the Legion actively set one up.

There's political corruption in Nipton, but the problem of the Legion is that they think a lottery that decides who gets beheaded, who gets crucified and who gets sold into slavery is some sort of solution to that problem, rather than an atrocity. That's why they're still the bad karma choice, even if the NCR is kind of fucking things up.

Also ... ha. I promise you imitating ancient Rome is not going to solve your political corruption problems. I mean ... I know Vulpes Inculta makes his little speech, but Rome never did solve the problem of profiteering governors and corrupt politicians. This is not a problem that is going to miraculously disappear under Legion rule. And the idea of Rome somehow getting rid of prostitution is just ... Honestly, Caesar's Legion would be hilarious if you didn't have to have these conversations standing next to people dying on crosses.

If two human surface-dwellers kill each other in Diamond City, people blame the Institute.

... Diamond City is run by the Institute, under the synth-replacement of Mayor McDonough. The leadership actively plays up the paranoia in the city by refusing to investigate disappearances. The particular scene you are describing is paired with one that occurs in Goodneighbor, where the neighborhood watch is able to accurately identify a synth infiltrator – because they are not Institute run.

It's also a feature of gameplay that an inhabitant of one of your settlements may be a synth infiltrator and become hostile to the other settlers. So I'm pretty sure people are blaming the Institute for things they're doing.

If the White Legs emulate Twisted Hair cultural traditions without fully understanding them, Ulysses blames the Legion.

... The Legion massacred Ulysses' people. They enslaved some and crucified the rest along the roadside, like Spartacus's army of old. That's why he's the only one left who understands what the braids mean. His reaction is somewhat unfair to the White Legs, yes, who had no way of knowing what they were doing was wrong ... but I can't see why blaming the Legion would be a problem. They did, in fact, exterminate his people.

ThevNCR seems to get a pass because people see their goals as noble… but their goals are to recreate the exact conditions that caused the Great War!

There's a line I like, that Deacon says in Fallout 4.

I never really much cared for the Minutemen. The idea sounds great. But you give small men big power and sometimes you'll pay for it. –Fallout 4, Deacon Miscellaneous Dialogue

In the context of Fallout 4, the Minutemen are the scrappy underdogs you root for. They're helping to rebuild the shattered settlements of the Commonwealth and they're a potential source of resistance against the Institute. But if you talk to Preston, you get hints of the politics and infighting that brought them down the first time. There's no reason that couldn't happen again. They could become a controlling and exploitative organisation.

Do I think that means you shouldn't work with them? No, of course not. You deal with the situation in front of you. You try to support the people who aim to make life better for everyone.

If we roll back around to the Commonwealth in Fallout 8 or something (assuming I haven't died of old age by then) and the Minutemen have become a military dictatorship ruling the people with an iron fist ... well, we go deal with the fucking Minutemen then.

Deacon's right about the threat, but if you don't take the chance on trusting people, you never build anything.

It's a thing in Fallout. War never changes. There are some truly evil, terrible ideas that turn up again and again and need to be slapped down. But there is no perfect Utopia on the other side of it. There are just communities banding together to try and make it work. What stops them from going bad? Nothing. It can always happen. You make the best choices you can in every story, given what you have to work with.

Or you do an evil playthrough. Your choice. Not my business.

The NCR is supposed to hurt. Watching them fail is supposed to hurt. It's no good if it doesn't hurt. No one cries when you blow up the Enclave. That's a job well done. You can't say good things about them.

The point of the NCR is that you can. They have some runs on the board! Democracy! Agriculture! Education! You want them to make it work. And yeah, it lets you ask much more interesting questions like: how many fuck ups do we let slide?

We don't need the Enclave, or the Legion, to fuck up to know they're bad news. Their goals are bad. We want them gone. But with the NCR ... how much bad are we okay with, to keep the good?

You haven't given me any examples to work with, so I can't reasonably speak to what fans say. But I don't think the games give them any sort of uncritical pass. Fallout New Vegas is ... absolutely about the problems of colonialism and aggressive expansionism. It's very clear that the NCR has not made good choices recently. The game gives you a lot of room to figure out what you want to do about that, and no answer is perfect.

It's only with regard to the Legion specifically that it's an obviously moral choice – and they level the playing field for you there. Both the Legion and the NCR have imperial pretensions, and those are not good. But since that specific thing is the same, well, we're supporting the people who aren't implementing mass slavery and treating women as "breeding stock", right?

If there are people who won't admit flaws in the NCR, well, yeah, I'd call them wrong. But I don't really think it's a double standard to favour a group that doesn't have "wouldn't it be great if we murdered everybody" as a core philosophy over one that does.

[kingoftheclaudes]

Claude Rains Character Masterlist!

Here's a handy-dandy guide of all the wonderful characters Claude Rains has portrayed over a nearly seven decade long career. We encourage all to have a gander at all these invisible men, prefects of police, fathers, criminal masterminds, otherworldly beings, and men of history alike! Each link will take you to a picture of that specific character, so even if you're not familiar with them, you can send in propaganda anyhow (such as 'what a lovely wig!', 'astonishing facial hair!', or even 'such a beautiful hat!'). We also realize that two of these characters share a name - John Stevenson (from The Last Outpost and Strange Holiday, respectively), so when submitting propaganda for these characters, please indicate which one! We will try our best to sort through the submissions regardless!

List is in chronological order, however, we are omitting for reasons explained in the pinned post the characters of Clarkis from Build Thy House and The Mayor from The Pied Piper of Hamelin!

(1933) The Invisible Man - Dr. Jack Griffin/The Invisible Man

(1934) Crime Without Passion - Lee Gentry

(1934) The Man Who Reclaimed His Head - Paul Verin

(1935) The Mystery of Edwin Drood - John Jasper

(1935) The Clairvoyant/The Evil Mind - Maximus

(1935) The Last Outpost - John Stevenson

(1936) Hearts Divided - Napoleon Bonaparte

(1936) Anthony Adverse - Marquis Don Luis

(1937) Stolen Holiday - Stefan Orloff

(1937) The Prince and the Pauper - Earl of Hertford/Edward Seymour

(1937) They Won't Forget - D.A. Andrew 'Andy' J. Griffin

(1938) White Banners - Paul Ward

(1938) Gold Is Where You Find It - Colonel Christopher 'Chris' Ferris

(1938) The Adventures of Robin Hood - Prince John

(1938) Four Daughters - Adam Lemp

(1939) They Made Me a Criminal - Detective Monty Phelan

(1939) Juarez - Emperor Louis Napoleon III

(1939) Sons of Liberty - Haym Solomon

(1939) Daughters Courageous - Jim Masters

(1939) Mr. Smith Goes to Washington - Senator Joseph Harrison Paine

(1939) Four Wives - Adam Lemp

(1940) Saturday's Children - Henry Halevy

(1940) The Sea Hawk - Don José Álvarez de Córdoba

(1940) Lady with Red Hair - David Belasco

(1941) Four Mothers - Adam Lemp

(1941) Here Comes Mr. Jordan - Mr. Jordan

(1941) The Wolf Man - Sir John Talbot

(1942) Kings Row - Dr. Alexander Tower

(1942) Moontide - Nutsy

(1942) Now, Voyager - Dr. Jaquith

(1942) Casablanca - Captain Louis Renault

(1943) Forever and a Day - Ambrose Pomfret

(1943) Phantom of the Opera - Erique Claudin/The Phantom

(1944) Passage to Marseille - Captain Freycinet

(1944) Mr. Skeffington - Job Skeffington

(1945) Strange Holiday - John Stevenson

(1945) This Love of Ours - Joseph Targel

(1945) Caesar and Cleopatra - Julius Caesar

(1946) Notorious - Alexander Sebastian

(1946) Angel on My Shoulder - Nick

(1946) Deception - Alexander Hollenius

(1947) The Unsuspected - Victor Grandison

(1949) The Passionate Friends - Howard Justin

(1949) Rope of Sand - Arthur 'Fred' Martingale

(1949) Song of Surrender - Elisha Hunt

(1950) The White Tower - Paul DeLambre

(1950) Where Danger Lives - Frederick Lannington

(1951) Sealed Cargo - Captain Skalder

(1952) The Man Who Watched the Trains Go By/The Paris Express - Kees Poppinga

(1956) Lisbon - Aristides Mavros

(1959) This Earth is Mine - Phillipe Rambeau

(1960) The Lost World - Professor George Edward Challenger

(1961) Battle of the Worlds - Professor Benson

(1962) Lawrence of Arabia - Mr. Dryden

(1963) Twilight of Honor - Art Harper

(1965) The Greatest Story Ever Told - Herod the Great

[lessnearthesun]

One day you all will read the novel I'm (very) slowly writing that is a Julius Caesar retelling except Brutus, Cassius, and Antony are all siblings and Caesar is their father, the pastor of their small town who is running for mayor....one day you all will read it and then you'll see

[turangalila]

– Julius de Modena (Giulio Segni) (1498-1561).

Tiento XIX. (Otro quarto tono Iulius demodena).

Libro de cifra nueua para tecla, harpa, y vihuela, en el qual se enseña breuemente cantar canto llano, y canto de organo, y algunos auisos para contrapunto / compuesto por Luys Venegas de Henestrosa, dirigido al illustrissimo señor don Diego Tauera, obispo de Iaen. [Alcalá de Henares: Joan de Brocar, 1557].

– Francisco de Peñalosa (c.1470-1528).

Gloria. Missa Nunca fue pena mayor.

[(142v—150) E-TZ Archivo Ms. 2/3. Archivo Capitular de la Catedral, Tarazona, Spain]

Francisco de Peñalosa – Missa Nunca fue pena mayor.

Les Sacqueboutiers, Ensemble Gilles Binchois, Dominique Vellard.

(2011, Glossa – GCD 922305)

[pinkluver93]

Finding Time

So I love Keh X Ovenist fics, but I also love Nasir X Ovenist fics because I just love both characters and it can be hard to choose sometimes! So here's a Nasir X Ovenist fic for ya. Enjoy!

Summary: An influencer comes to your pizzeria, tries your pizza, hates it, and temporarily ruins your life on social media and in the whole city! A certain someone who has been secretly watching comes to your aid and comforts you amid it all.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Your shop has seen increased business in the weeks following the investigation. People are complimenting your pizza left and right, you have loyal supporters, and you have even made friends (and more!). As you finish opening your shop, you look at your phone, reading the last text you received from your favorite WPA agent, Nasir. Since the investigation ended, you two have been texting back and forth, but sometimes he leaves you on “read”. You know he’s busy at work (sometimes even busier than you are), but you can’t help but feel sad about it. 

“What’d he say to your last text? Are you two gonna go see the movie?” 

You look up and see Danny, your loyal pizza mascot, looking at you as he zips up his costume.  

“He said he’ll let me know as soon as he can. As usual....” 

Danny frowns. “I didn’t know the WPA was such a busy place of business. Doesn’t he get breaks to think at least?” 

You shrug. “Probably. I don’t want to feel like I’m being put on the back-burner here, but if I’m gonna get serious with someone like this, I feel like a little transparency wouldn’t hurt.” 

Danny nods. “Yeah, but he IS a detective, so he can’t always be too....”out” there you know?” 

You scratch your chin in thought. “I think so?” 

Danny smiles. “I’m a guy like him, so I kinda understand his actions. If my job required me to be secretive on everything, and I wanted to get serious with someone, I’d be thinking of all the ways I could do that before I act too quick and mess everything up.” 

You stand with your mouth open in shock. “That’s....actually quite profound, Danny.” 

Danny shrugs. “I guess. Well, it’s noon. Better get some business for ya!” 

Soon enough, your day begins and your customers pour in. The day goes smoothly and you don’t have any refunds. Then, someone comes in with a wide smile, his phone recording himself and the shop around him. 

“Alright, my pizza peeps! J-Chee is in the shop that is one of the highest ranking pizza places in the city! I’m gonna check the menu and get back to ya guys!” 

He turns off his phone and looks up at the menu. You smile. 

“How can I help you?” 

“Yo! What’s the best pizza you got here?” 

You look around awkwardly. “Uh...I mean...I like all the pizzas I serve so I don’t-” 

The influencer rolls his eyes. “Yeah I know! I’m just asking which pizza YOU think is the best....” 

You’re taken aback, but you hold your composer and professionalism, which took a great deal of practice. “Well, my house special is uh...pretty “special” if you know what I mean...heh?” 

The influencer missed the attempted joke and shrugged. “Sure yeah, gimme that.” 

You take his money and start preparing the pizza. As soon as you give the pizza to him, he smiles. 

“Nice! Thanks!” 

You smile as the influencer walks out of your shop, turning his camera back on and talking as he walks out. Danny watches him leave and looks at you, giving you a thumbs up, with you returning the favor.  

~~~~~~~~~~~~~~~~~~~~~~~ 

~WPA Headquarters, next day~ 

Nasir is busy at work at his desktop. He’s been asked to research more on the impacts Julius Cheeser has had on the pizza industry and prepare a presentation for the mayor of the city. He also had to research whether ketchup was an ingredient being used at one of the local pizzerias, which his boss, the head of the WPA, came over to inquire about, coffee mug in hand. 

“Whaddya think, Amin? Find any leads on the ketchup mystery?” 

Nasir looks at a social media feed. “According to this specific user on Pizzagram, they claim the pizza was incredibly saccharine, even moreso than a regular tomato sauce. But then again....it’s all speculation, since it could just be a vastly different recipe.” 

The WPA boss sips his coffee. “Did they say where they got it?” 

Nasir shakes his head. “We just know it was in this city. And because of our policy, we can’t reach out for comment.” 

The boss nods, sipping his coffee. “Well just keep digging, and page me when you get something! And don’t forget about the Cheeser info!” 

As he walks away, Nasir nods. “You got it, sir!” 

Another WPA agent, Agent Rodney, walks over to Nasir. “That ketchup thing has been bugging me for days, N. I wonder which pizza parlor it could be....” 

Nasir scratches the back of his head and shrugs. “There’s no telling since we can’t do recipe analyses....” 

Rodney’s friend, Agent Kevin, joins the conversation with a piece of pizza. He’s chewing it and talking at the same time. “You know, this pizza from that pizzeria across from Alicante’s old joint tastes kinda sweet. I bet it’s that one.” 

Nasir frowns at Kevin and shakes his head. “The owner doesn’t use ketchup, I know that for sure.” 

Kevin widens his eyes, swallowing the rest of his pizza slice. He crosses his arms as if to challenge Nasir. “You know for sure? They told you the recipe?” 

Nasir sips his from his cup of soda and slams it down. “No, but I’ve had their pizza, and they don’t use ketchup, now drop it! I know they don’t use it. Their pizza is....special.” 

Rodney is Nasir’s closest work friend, and knew exactly why he said that. “Nasir, look I-” 

All of a sudden, a surprise PNN segment pops up on the TV above them. All eyes are on the screen. 

“BREAKING NEWS. J-Chee, a famous Pizzagram influencer, tried pizza from our favorite pizzeria yesterday. Here’s what he had to say about it in his new video!” 

Rodney scoffs. “I hate that guy....” 

“What’s up, my pizza peeps! J-Chee here, and I just brought home the house special from (Your Pizzeria) and I’m gonna try it live for you!”  

He grabs a slice and takes a medium-sized bite. He chews it for a bit, with a neutral look on his face. All of a sudden, he looks like he’s gonna vomit, and he spits out the pizza in disgust. 

“Man, pizza peeps! I can’t believe you guys recommended that place to me! It has the worst tasting sauce EVER! The cheese tastes like mold and the toppings overall taste like GARBAGE! This pizza gets a giant “F” on the J-Chee Pizza Scale! Tune in next time as I get another pizza from the next place I try! J-Chee OUT!” 

The news anchor appears on the screen. “It appears that this scathing review from (Your Pizzeria) has gotten lots of buzz on social media, with several videos of people spitting up their pizzas in disgust! We’ll keep you updated on this breaking news! That’s all for now. Good Pizza, Great Pizza!” 

Kevin chuckles and looks at Rodney. “That guy’s kinda dramatic, huh? The pizza wasn’t THAT bad!” 

Rodney shrugs. “Social media is like a box of chocolates sometimes, ya know? Right Nasir? Nasir?” 

Rodney looks over at Nasir’s desk, and sees that Nasir had left, his computer logged out and his belongings gone. 

Kevin scratches his head. “Where’d he go?” 

Rodney slightly smiles. “I bet I know....” 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

It was 6 pm, and because of all the rude customers (at least the customers that knew about that awful video), you decided to lock your doors and close the shop early. You put up a sign up that said, “Closed early. Sorry for the inconvenience.”  

You grabbed your belongings and were about to walk out the door when someone approached the door. 

“I’m closed for the day!” You say. 

“Ovenist, it’s me.” 

You look up. “N-nasir?” 

He looks at you sadly. “Can we talk?” 

You open the door and you look at him. 

“Not here. Meet me at Havarti Park.” 

He smiles. “I’ll be there.” 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 

Havarti Park was beautiful this time of year. You had found a bench in a secluded area and watched all the birds, who chirped happily. They didn’t seem to judge you like a lot of people did today. You send a text to Nasir letting you know where you are. A few minutes later, he walks up to you. You look up. 

“Can I sit down with you?” 

You nod and he sits. You both look out, silent. Nasir’s the first to speak up. 

“I’m sorry.” 

You look at him. “Sorry for what?” 

“I’m sorry for two things. First, I’m sorry for not communicating with you enough. I’m a jerk for acting like that to you when we’re trying to....you know, go out and all....I’m gonna make it a habit to reach out to you ATLEAST twice a day.” 

You feel butterflies in your tummy. “Oh..okay..” 

“I’m also sorry for how that influencer treated you. He was clearly just trying to get social media clout from the looks of it.” 

You chuckle and nudge Nasir. “He’s an even bigger jerk than you are!” 

Nasir laughs and nudges you back. “Okay, okay! I’ll own up to it!” 

You both look out at the scenery for a few moments. 

“Well, did you believe him? When he said my pizza tasted like garbage?” 

Nasir looks at you as if you had punched him in the heart. “Of course not, Ovenist. That guy doesn’t know what he’s talking about. Out of all the pizza I’ve had in my life, yours is my absolute favorite, hands down.” 

You smile and fidget with your car keys. “I do use fresh toppings, maybe people aren’t used to that. But the difference is you’re nice, Nasir, so you would never say something like that to me anyway.” 

Nasir puts his hand on your shoulder. “I don’t just say things because I’m nice. I say things because I mean them and they come from the heart. There’s more to food than just how it tastes. It’s how much love and passion they put into their food.” 

You look at him and smile. “Really?” 

Nasir puts his hands in his jacket pockets and blushes. “Yeah. I could tell from the first bite of your pizza that you had something special that no other Ovenist in this town has. I told you I was gonna go to Notre Dough right?” 

You nod. “Yeah, before you got recruited by the WPA?” 

Nasir smiles. “Well, I had dreams of being an Ovenist like you. When I was in middle school, I made a traditional dish from my country when my extended family came over for dinner one night. A lot of people liked it, but some said it was terrible! I was crushed. However, my mom came and talked to me in my room one night, and you know what she told me?” 

You shake your head and continue listening. 

“She said, “There will always be critics of what you consider your greatest creations, but what matters most is what you think and what your closest supporters think.”  

You smiled. “I guess your mom loved the dish, didn’t she?” 

Nasir chuckles. “My mom is my biggest supporter, so I think she’d love if I put a frozen dinner in an air fryer. But my point to you is that no matter what, you’re gonna have people who will try to tear you down, but just remember what you think matters most and just continue listening close to what your fans have to say.” 

You blush, and without thinking, gently take Nasir’s hand in yours. “So....are you a fan of mine, Nasir? Or just a fan of my pizza?” 

He grins and grips your hand tight, leaning close to you and his voice low and huskier than before. “I can answer that question for you....” 

You lean in, but slyly pull back. “Hmm! You can “answer” the question as soon as you tell me if you can go to the movies with me Friday night.” 

He smiles and nods. “Of course. No matter how busy I get or how secretive I have to become for work, I’ll always find time for you.” 

You nod and lean in, gently kissing Nasir and forgetting about the setting sun, the birds flying away for the night, and the rest of the world around you.... 

[daisymeade]

OMG MAYOR WARDEN JULIUS SAVED LIVES. 😭 Okay, guy with Loghain's voice actor!!! GET IT!!!!

Lookit his fancy little outfit.

[allthecanadianpolitics]

Plans for what is being called ‘one of the most significant developments ever proposed’ for the City of Penticton are one step closer to becoming reality.

On Tuesday, council unanimously approved an Official Community Plan (OCP) amendment for the 10-acre property at 1704 Government Street.

“I was talking to some council members this morning. It’s one of those almost perfect public hearings where in their minds they were going backwards and forwards all through the hearing as to whether you know, to be for or against, which is the perfect scenario for a public hearing,” said Mayor of Penticton Julius Bloomfield.

“In the end, it was a unanimous decision voting for the revisions to the OCP. But I think it was a really thorough process and council was very satisfied with the outcome.”

Full article

Tagging: @politicsofcanada

[burnouts3s3]

In Dragon Age: The Veilguard, if a Grey Warden Rook chooses to Banish Mayor Julius to the Grey Wardens, Julius will make another cameo later in the game.

[monsterofmyown]

SH ask game 1,2,8,14?

1. What is your favorite currently released episode?

Chapter 4, definitely, and not just cause I'm biased towards Reese (though that is part of it lol). All the exploration while looking for Stella is a lot of fun and it's got some really nice scenes (Sybil standing ominously in the doorway and the Stabby hug to name a couple). And of course all the different Reese scenes that I am quite partial to haha.

2. What is your least favorite currently released episode?

Chapter 2 for this one. Nothing really against it, in my mind it's just a little slower paced than the others. I do love the section in the mine though!

8. What are your favorite trait exclusive interactions?

I really enjoyed being able to read about more Cryptids with the Book Smart trait. I was really sad when I decided against Book Smart for Clementine for that reason. She'd love that book lol.

I'm also a fan of being able to talk to Mayor Jimmy with Talk to Animals. The whole thing is just really funny to me and I love Gretchen just tearing into him lol. Also meeting the dog militia if the library is clear, specifically because Scraps tells Jimmy not to 'blow smoke up the Speaker's ass' with one of the dialogue options.

I also really like Mystical's description for certain things, like the estate being in danger of being swallowed whole, the mine hating you and not wanting you there, stuff like that.

And of course I have to mention this one, being able to understand the Ditchlings when you have both Mystical and Talk to Animals. For some reason I had it in my mind that they would have text boxes so it really caught me off guard when you could actually understand all of the whispering. Very creepy, and I love it!

14. Any predictions/theories you have about future episodes?

Nothing really that hasn't been mentioned before by others. I definitely believe that the thing piloting Wayne's body is The Entity shown in Charlie's play. I also agree with the idea that the Street Smart trait save will be used on Julius' farm and that the Talk to Animals trait save will be used to deal with the "rats" (which it would be really weird if that ended up not being the case). Exciting stuff to think about, so looking forward to Chapter 5!

[tedspankoffskifan42069]

Well, it is the Ides of March today, dear brother! May we remember the lovely stabbings of Julius Ceaser

@the-one-who-reshapes-memory

in honour of this someone has to kill mayor lauter