#philips interview

[mostlycorrectdipandpip]

We're the guys who made your daughter's hair blue. That's us. We're the person that made them a boy. Maybe they are a 'them' now, but you've got to love them because if you don't, we will and that is a threat.

-Daniel Howell, 2024

[uniquejobs]

Philips Hiring Software Engineers | Fresher B.E , B.Tech Engineers apply

Introduction Philips Hiring Software Engineers : Philips has Published notification for the vacancy of Intern Engineers The educational qualification required to apply for this Philips Hiring Software Engineers is B. E,B. Tech Fresher Engineers Interested and eligible candidates can apply for Philips Hiring Software Engineers. There is enough time to apply for any job. Read Philips Hiring…

[tavolgisvist]

‘When I caught sight of him, when John brought him home for the first time, I thought “Oh-ho, look what the cat’s dragged in,”’ Mimi later recalled. ‘He seemed so much younger than John–and John was always picking up waifs and strays. I thought “Here we go again, John Lennon… another Shotton.”’ Even Paul’s immaculate manners could not thaw her. ‘Oh, yes, he was well-mannered–too well-mannered. He was what we call in Liverpool “talking posh” and I thought he was taking the mickey out of me. I thought “He’s a snake-charmer all right,” John’s little friend, Mr Charming. I wasn’t falling for it. After he’d gone, I said to John, “What are you doing with him? He’s younger than you… and he’s from Speke!”’ After that, when Paul appeared, she would always tell John sarcastically that his ‘little friend’ was here. ‘I used to tease John by saying “chalk and cheese”, meaning how different they were,’ she remembered, ‘and John would start hurling himself around the room like a wild dervish shouting “Chalkandcheese! Chalkandcheese!” with this stupid grin on his face.’”

(Paul McCartney: The Life by Philip Norman, 2016)

Q: "Why did you collaborate with Yoko on this LP?" JOHN: "It's like a play and we're acting in it. It's John and Yoko - you can take it or leave it. Otherwise (laughing) it's cows and cheese, my dear! Being with Yoko makes me whole. I don't want to sing if she's not there. We're like spitiual advisors. When I first got out of the Beatles, I thought, 'Oh great. I don't have to listen to Paul and Ringo and George.' But it's boring yodeling by yourself in a studio. I don't need all that space anymore."

(John Lennon, The September 29th 1980 issue of Newsweek)

[mjsparkour]

Lets discuss fail marriages

It’s about the fact that you're trapped together. It’s the forced proximity trope on steroids. There are more things than one that are tying you to each other. It’s a combination of external and internal factors. Some times its about the way you challenge each other, in a way that feels enemies to lovers-esc because your ultimately on the same side, as you are tied together, but you find yourselves on opposite ends of the spectrum (ideologically/values/actions). You maybe love each other but there is some form of hatred and maybe distain as well because more often than not that person is a mirror to you or an idea of everything you want to be and are not. It’s about how they fail to be a normal couple. They’re not indifferent toward one another but rather have a distinct sense or awareness of the other person. They are not the only thing in the room they notice but the most important/distinct (sometimes unbearably the person they pay most attention to). They are not in love (not in the way you think) but they don’t strictly hate each other, they’re prickled by each other and thus they are that secret third thing. Affection is not shown in the conventional ways in fail marriages and thank God for it.

[hotdaemondtargaryen]

TOM GLYNN-CARNEY TALKING ABOUT EPISODE 1 & 2 OF 'HOUSE OF THE DRAGON' S2 FOR DECIDER MAGAZINE.

DID TOM GLYNN-CARNEY INTEND TO MAKE AEGON SO HILARIOUS?

“Well, look, I find him quite manic.”

“And I think, rather than playing humor — which is always a terrible idea because it always ends up not being funny when you play humor — I want to sort of bring this sort of frantic energy of him and kind of the nonchalance of his approach to being king these days.”

“I think it’s important to find levity at the beginning of something. You know, we’ve got to give him somewhere to go. And I genuinely think he is quite funny.”

TALKING ABOUT THE DEATH OF JAEHAERYS AND HIS CHARACTER IN THE NEXT EPISODES.

“The loss of Jaehaerys is huge. It’s momentous and it’s one of those things that just stains. It affects you on an atomic level now. It’s something you don’t ever fully digest and make sense of and kind of shake off.”

“So, yeah, it informs a lot of his decisions going forward.”

“I always had it in my head that he was kind of rebuilding the person he would have wanted to be through him.”

“I think he saw in Jaehaerys a part of himself.”

The actor explained that Aegon wanted to give Jaehaerys the “love and attention” that perhaps his parents didn’t.

“He saw elements of himself in [Jaehaerys] and it was a kind of a new start for him in a way. And now it’s been snatched from him.”

Without Jaehaerys, Aegon leans into his worst impulses. Aegon accelerates war plans, hanging every ratcatcher in the Red Keep in the hopes of nailing the one who abetted Jaehaerys’s death and firing his cautious grandfather Ser Otto Hightower (Rhys Ifans) as Hand. Ser Criston Cole (Fabien Frankel) will now be Hand, ensuring more blood will be spilled.

Nevertheless, Tom Glynn-Carney’s descent into Aegon’s dark state of mind is never without a hint of humanity.

You understand that it’s grief propelling these choices. Grief for Jaehaerys, Aegon’s son and heir, grief for the “good” king Aegon could have been, and grief for the way his family has failed him.

TALKING ABOUT THE SCENE OF ALICENT FINDS AEGON CRYING BY THE FIRE AND INSTEAD OF COMFORTING HER SON, ALICENT WORDLESSLY LEAVES HIM.

“There’s a great poem: ‘They fuck you up, your mum and dad. They may not mean to, but they do.’ It goes on with it. But, yeah, it reminds me of that,” Glynn-Carney said, quoting Philip Larkin’s “This Be the Verse.”

It’s a poem that, like George R.R. Martin’s books, bemoans how, “Man hands on misery to man.”

Trauma begets more trauma, a theme House of the Dragon‘s interpersonal drama is excavating this season.

[savagewildnerness]

Making this my personality over Christmas. The ending is *very* Nickistat… but I do also love how one reviewer compared Joseph to Ben Whishaw. And I am not old enough to have seen Ben’s Hamlet live. But I *have* seen Ben’s Hamlet at the V&A archive many (well… 2-3) times. (I take friends to visit it sometimes.)

Bet we could do a group trip to see Sam in Girl from the North Country (which I did see live, but I’d watch any play I adore an infinite amount of times) too in an archive way… I know The Ways… and I could surely get you ALL to fall deeply in love with Shirley Henderson if you don't already.

Anyway… I don’t think Sasha is entirely like Nicki. He’s different in many respects. But I know Nicolas loves Lestat… and (tragically), I know this is why Nicki loves Lestat & what (as a mortal) he desperately needs for him.

Maybe Sasha & Nicki don’t know that sometimes the optimists aren’t so optimistic inside. Although, I think Sasha knows. As he’s more than capable of appearing more optimistic than he feels, as we see.

Yeah… I want to say more, but I’ll stop myself now.

[soffecoeur]

The whole sequence with Marie Philip Poulin's post game interview, OTT Charge at MTL Victoire, November 30th 2024

[iwonderwh0]

Fun fact: Philip K. Dick in the original "Do androids dream of electric sheep" used androids as a metaphor for nazis. This vision, however didn't get to the film adaptation (1982) where the narrative got changed (which is not a bad or good thing. Just curious how androids are used to refer to different things in fiction)

Some Philip's quotes from this interview:

For me the word ‘android’ is a metaphor for people who are physiologically human but psychologically behaving in a non-human way.

---

I got interested in this when I was doing research for "the man in a high castle" and I was studying Nazi mentality, and I discovered although these people were highly intelligent they were definitely deficient in some manner <...> and as I studied the Nazi mentality <...> I became conscious of a very highly intelligent human being who is emotionally so defective that the word "human" could not properly be applied to him, and I used this in my writing in such terms as "Android" and "Robot" but I'm really referring to an actually psychologically defective or malfunctioning or pathological human being

---

By the time I got to sheep I was revolutionary enough and existential enough to believe that these defective personalities were so lethal, so dangerous to human beings that it might be necessary ultimately to fight them. In other words that they could not be cured they cannot be changed and that it might literally wind up as a contest to see whether the humans won or "Androids" won. Now, the problem then would be that would we become like the androids in our really effort to wipe them out?

---

If you kill a person because he is inhuman do you not become inhuman in the act of killing him?

[chicalepidopterareblogs]

IWTV FANDOM! STOP EVERYTHING AND WATCH THIS MONOLOGUE PERFORMED BY JOSEPH POTTER

No doubts: he is our Nicolas.

[dearest-lady-disdain]

interview with the vampire // king lear - william shakespeare // electra - sophocles tr. anne carson // the horror and the wild - the amazing devil // this be the verse - philip larkin // the goldfinch - donna tartt // the borgias 3x09 // the last days of judas iscariot - stephen aldy guirgis

[randomfoggytiger]

Milagro In-Depth (Part I): Beating, Beating Through the Apartment Door

I confess: Milagro is a very confusing, muddying episode for me. It took a lot of reflection on other people's thoughts, some script browsing, and too much contemplation to decide... hang it all, I'm just going to treat it like the show intended: a one-off that loosely ties into the overarching theme of Mulder and Scully's creeping romance. At least there was some clarity and needed follow-up in The Unnatural; otherwise, this episode-- while crucial to Scully's loneliness (though her reasons are misdiagnosed by Padgett)-- would feel strangely out of place and unnecessary.

We first see Padgett pacing his apartment, the rhythm of his heartbeat pulsating constantly in his ears. This will soon affect not only himself but also Scully, a symptom of living in denial of human wants and needs. For Scully it's her attraction to and need for more from Mulder; for Padgett it's confusion about himself and his desires, living this meager existence in complete silence while waiting for genius to strike and his life to make sense-- putting his ear to the wall (a subtle foreshadow for the next scene), staring out into the waxing and waning afternoon sun, smoking cigarettes only to aimlessly toss them away when they fail to distract him, and finally giving in to that incessant beat.

He doesn't understand it, or himself; so he seeks to puzzle out the minds of others, looking for clues to escape the maze of his own.

He leaves the apartment briefly, staring into the fiery furnace of the basement, his heart staring back at him tauntingly elusive.

Padgett meets Scully coming up from the basement; and Scully is creeped out by his unblinking gaze at herself (not yet intrigued enough to be flattered by so much direct attention.) She is further paranoid when Padgett follows her down the hallway, unrelentingly staring even as he opens his own door next to Mulder's.

It's only after Padgett walks through his apartment door that Mulder opens his own, apologizing over a mouth full of toothpaste (which he swallows down with a cup of coffee while slapping his toothbrush on the coffee table.)

Scully casually brings up Mulder's creepy new neighbor, their rapport established enough that her partner doesn't think twice about her carefully disinterested questions-- not even noticing her interest, or queueing in enough to comment on it.

"You met him?"

"Uh, briefly, yeah. He's a writer."

"What's he write?"

"He didn't say."

She is shaken by her encounter, but Mulder doesn't pick up on it.

This becomes the core 'conflict' between he and Scully: she craves his attention; but Mulder is so consumed by his work that he takes it for granted she knows how much he cares for and values her. Scully, however, doesn't feel prioritized or valued; and that hauls up her rebellious teen spirit (smoking her mother's pack on the porch or consorting with the enemy) to refocus her partner's gaze solely on her.

Mulder, meanwhile, looks tired: brushing his teeth late in the afternoon, drinking a cup of coffee, eyes sleepy and body hunched over.

The camera shifts back to Padgett (resting purposefully on his ashtray filled with new, barely smoked cigarettes-- an habit he'd picked up from his object of study) as he steps menacingly onto a chair to overhear through the apartment's mutual ventilation system. He listens as Scully rattles off the lack of evidence in their second murder case, his tension slowly decreasing.

The camera then does a purposeful second shift: Mulder rises into frame in front of the ventilation-- Padgett's top-down observation post-- cornering Scully over her disbelief in his psychic surgery theory. He is in his element: not the sleepy eye-ed version of himself when she'd first walked in the door, but a driven detective with passion in his eyes-- something he hadn't shown for Scully (other than a peppy greeting, ready for her results.)

Scully watches as her partner sits back down and launches into an attempt to fit the square peg of psychic surgery into the round hole of medicine, squashing a brief smile to sustain her serious point: "Well, medicine-- as you're referring to it-- is about keeping people alive."

Padgett listens as his muse remains unflustered by the lack of evidence: "Well crime is only as perfect as the man or the mind that commits it." He takes this as self-confirmation that Scully's mind is ready for him to start his advances, flattered by her description of his talents-- which he is confounded by-- and further cements this opinion with her follow-up sentence: "You find his motive and you find the murderer."

Padgett retreats, parceling through his own mind in another attempt to "find the murderer" and understand his own motive. His smoking habit follows him into bed where he lays, confused, overwhelmed, awed by his own thoughts. He then shoots out of bed and types up another murder scene, attempting to conjure Naciamento and try to study himself through the work of his hands. Another fruitless murder, another dead end. Sickened by the horrors of his own mind, Padgett groups together his papers in horrified silence.

Finding no answers in words or actions, he decides to ignore what he cannot understand, setting the stage to meet his oracle.

Scully answers the basement office phone, tense and business minded, and listens to Mulder detail the crime scene. She spares a moment for the deceased before quibbling with her partner's request for her medical explanation-- "I'm not sure I could."

Both are at a loss where to start for the case-- "Well, there's got to be something, Mulder"-- an opportune moment for her to observe a lone envelope sitting brazenly in the doorway.

While filling him in on this new development, Scully tears it open and dumps out the milagro charm: "It's some kind of a pendant. Like a charm."

It's at this moment that Padgett writes over her thoughts, spewing out prose as Scully is sucked down, down, down with the words he plants into her head while Mulder waits on the phone for more information.

Padgett writes: "It would be a plain face, an average face-- a face people would be prone to trust. She knew this inherently being naturally trusting herself. But the image she conjured up was no better than the useless sketch composites that littered her files. Preconsciously she knew this wasn't her strength as an investigator: she was a marshall of cold facts, quick to organize, connect, shuffle, reorder and synthesize their relative hard values into discreet categories. Imprecision would only invite sexist criticism: that she was soft, malleable, not up to her male counterparts."

Two incorrect assessments on Philip Padgett's part:

#1. Scully is not inherently trusting, repeating Mulder's "trust no one" back to him more times than not. Her trust is in systems, order, ranks, and routines; but she has seen too much corruption by season 6 to give that trust out blindly. But from the start, she has always been wary of individuals, second-guessing victim statements and motives from the beginning; and Padgett, having read her wrong, sets himself up for failure and disappointment with his planned romantic interlude. It was not trust or sexual interest that draws Scully to his place (though he tried to draw it out of her)-- Scully is drawn to attention like a moth to a flame, hence the milagro symbolism rampant throughout.

#2. "But the image she conjured up was no better than the useless sketch composites that littered her files" is a sentence directly from Padgett's mind: empty, staring at his notes all day, ready to strike at genius but lacking anywhere to start.

It's the theme of this episode: the waiting (queued by a striking absence of most of the musical score), the dysregulation of Padgett and Scully's thoughts (Mulder peeps into that disorder when he reads Padgett's 'novel' later), the fear of being known without knowing themselves and being left behind in solitude because of that misunderstanding.

But this is Scully: "Yet the compensatory respect she commanded only deepened the yearnings of her heart,--to let it open, to let someone in."

When Mulder arrives, fiddling with the charm and listening to Scully's description from reception, his first assumption is: "It came here for me?" And while that is a reasonable assumption, it is also his and Scully's first assumption-- harkening back to Never Again's lines that were unnecessarily drawn. He flicks it in the air, creating a tinkling sound in the stillness, and denies that this guy is the killer despite his partner's difference of opinion.

His mood drops, his jaw shifts before he replies, "Maybe it's not me at all," and adds (with too quick) cheerfulness, "maybe it's for you."

Scully pauses, but before she can sort her feelings, Mulder's remark-- "Maybe you've got a secret admirer"-- forces a startled chuff out of her. She tries to disguise her growing unease in surface-level huffery, a someone-would-annoy-me-that-way-wouldn't-they? cover that her partner, of course, doesn't see through...

...since he's already focused on the next bit of leg work he wants Scully to do-- without consulting her, of course.

But Scully is not in a stable mood today, feeling vulnerable, maneuvered, and dismissed. In an echo of Never Again, Scully pauses, offended and hurt; and plants boundaries: "Thank you for making my schedule, but I think I'm going to have to be late for that appointment."

Mulder's lack of emotional nuance has placed her back in the shaky and questioning territory of the Ed Jerse fiasco, feeling like an accessory to work rather than a valuable member of the team. Even further, the original script for Milagro notes that Scully has started unbuttoning her professional garb more than usual after hours with her partner, presumably in a last-ditch attempt to draw Mulder to her. When that doesn't work, she will use Padgett as he has used her partner's apartment, the murders, and the milagro, each waving their flags uselessly for the object of their affection's attentions. It's the ouroboros of Scully's existence, a cycle she has yet to break (I HIGHLY recommend @suitablyaggrieved's essay on the ouroboros, the cycle of grief and death and failure. Phenomenal.)

Mulder is struck that Scully leaves so suddenly, following her out with his eyes for the first time.

At the church (and in a shot similar to Scully's entrance of the Buddhist Temple in All Things)

she is shadowed by a beating heart soon revealing itself to be Padgett. He seemingly steps from nowhere, as if conjured from Scully's mind, interrupting her mediation of the milagro and begins to relate his motives through a thinly veiled retelling (to Scully's initial confusion and increasing fear-- convulsively swallowing and shoulders tensing): "Christ came to Margaret Mary, his heart so inflamed with love that it was no longer able to contain its burning flames of charity.

Margaret Mary, so filled with divine love herself, asked the Lord to take her heart."

At that Scully swivels her head around, filled with premonition.

"And so he did. Placing it alongside his until it burned with the flames of passion." Padgett pauses, filling his soul with longing himself,

before continuing: "Then he restored it to Margaret Mary, sealing her wound with a touch of his blessed hand."

Scully is back to doubt, asking this strange man why he is there and answering a frank "Yes" to his own question ("You came here specifically to see this painting, didn't you?") Her terseness returns: "How did you know that?"

Padgett is delighted that Scully "knows" him, that she'd looked at him long enough to recognize him; but it's more telling that Scully still couches her relationship with Mulder as "somebody I work with" to outsiders.

"Why are you following me?"

"I'm not." Another pause. "I only imagined you'd come here today."

Scully looks away, squirming to get away as much as possible.

"I'm a writer. That's what I do: imagine how people behave."

Scully ceases all movement as the writer methodically details how he knew her beliefs by staring at her necklace, deduced her job by staring at her license, determined that she runs and where by staring at her calves, and combined all of it to predict her movements that day.

An interesting note: Padgett correctly guesses that Scully comes to the church "not as a place of worship, but because you have an appreciation or architecture and the arts."

The horrifying whole is complete when he reveals the milagro charm was from himself and that, he admits, he has "a secret attraction."

She sloughs off his mild apologies for excluding a note ("I'm sorry I didn't include a note explaining that, but you didn't know me then") with a reproof: "Yeah, and I don't know you now. And I don't care to." To his "I see this is making you uncomfortable", Scully raises her eyebrows in a shadow of her normal mockery; and to his "and I'm sorry. It's just that I'm taken with you" that she turns back, contemplating him in contempted curiosity. At his "That never happens to me", the contempt drops away to chilled fear, facing down another unstable person that has obsessed with her (a shadow of Pfaster.)

"We're alike that way," Padgett whispers.

Scully maintains a long look; then slowly and cautiously-- with both ears open in case she needs to flee-- walks away, Philip Padgett gazing after her in her wake.

Padgett the Avatar

Not only is Philip Padgett a darker version of the psychotic psychic in Clyde Bruckman's Final Repose-- creating deaths in a wandering journey of self-enlightenment-- Padgett is also a character that is a stand-in for many, many different and conflicting things: a creepy pervert who wants love, a character aware of his own meta themes, a personification for the zoned-out-zoned-in audience, a symptom of the people who spent hours writing a show about the truth while avoiding it in their real, humanly broken lives.

A cut line from the script (curtesy of @dunhamhairograpy) beats all of these ideas into one 'theme': Naciamento, fed up with Padgett's confusion, yells "No, no! You had it all right up to there. You were a tool of the truth. After all these years of misery and failure, you finally look deep into your heart and what do you get: ME! I am you, Padgett! I am all men. ...You sit here endlessly, waiting to tap into the truth. And when it arrives-- when I arrive-- you don't want to see it." This, of course, extends to Scully and trickles off onto Mulder: Scully is alone but doesn't want to face it. Why would she when her partner has avoided all serious attempts to do so, only confessing his love when something dire was happening? Mulder's not ready, may never be ready; and Scully's resigned herself to that fate-- "Loneliness is a choice"-- because she can't, won't lose him.

This leaves one Philip Padgett with a few realizations: he will never get the girl and he will never write the novel; but what he can do is offer his beating heart another way, as the benevolent god leaving a mark 'for the better' on the lives of those he's stirred up with strong emotions-- even if they weren't the emotions Padgett wanted to create. An artist will take legacy if he can't have love, no matter how selfish or damaging. A selfishly human desire mixed with heavenly self-sacrifice with hellish vainglory, a poor imitation of the milagro by a soon-to-be dead man on a dusty basement with his heart still in his hands.

Part II will be up soonish (hopefully before the week is over!)

Bonus

Here are some meta that helped clarify my ideas, if you (like me) are lost in the woods about Milagro's metacontextual narrative (aka the fluffy purple prose got you all twisted around):

@swinging-stars-from-satellites's meta;

@iconicscullyoutfits's meta and specific meta on fire, Scully, Jerse, and Padgett and this specific meta about Scully's Truth;

and @scullysflannel's meta.

Other scripts found here (@x-files-scripts) and on this website.

And, for fun, here is Carter's and Spotnitz's introduction to the episode (with hilarious Gillian Anderson commentary and reactions.)

Thank you for reading~ (and thank you to the person who requested a Milagro breakdown-- I scrounged around but couldn't find the exact message; but your push got me into dissecting and understanding it a whooooooooooole lot more, so thank you!)

Enjoy!

[jeannereames]

This will be dropping shortly. Interesting experience/interview. Guy is a polyglot and kinda scary smart. He asked me for the interview after the Netflix "Making of a God," whereupon he decided to go and read Arrian, then did a rabbithole dive. Now he wants to learn Latin and/or Greek (to add to his collection of languages). It was about a 2-hour interview, that they'll have edited down. Despite the hype (he does know how to sell it), a lot of the discussion was about sources and the ancient Greek context. I enjoyed myself.

[hobbitrex]

Top 25 books in order

Top 25 books in order:

1. The hobbit

2. The fellowship of the ring

3. The two towers

4. The Viscount who loved me

5. Harry Potter and the philosopher’s stone

6. Alice's Adventures in Wonderland

7. The return of the king

8. Jurassic Park

9. Interview with a vampire

10. Harry Potter and Prisoner of Azkaban

11. Queen of the damned

12. Through the looking glass

13. The shining

14. To Kill a Mockingbird

15. Nineteen Eighty-Four

16. Harry Potter And the deathly hollows

17. Romancing Mr.bridgerton

18. On the way to the wedding

19. Harry Potter And the order of the phoenix

20. To Sir Phillip, With Love

21. Harry Potter and the half blood prince

22. Harry Potter and the chamber of secrets

23. Harry Potter and the goblet of fire

24. The lost world

25. When he was wicked

[philhoffman]

I am SO excited this interview is finally available! I've read transcripts but this is the first time I've seen any video of it, let alone the whole thing! Phil's first ever talk show appearance on The Rosie O'Donnell Show in January 2000

You can tell he's a little nervous at the start but it's such a funny, friendly interview. They talk about Flawless, working with De Niro, Phil's mom meeting Tom Cruise on the set of Magnolia, The Talented Mr. Ripley, Paul Thomas Anderson, getting used to seeing press coverage of himself, and his giant head <3 I am mostly excited about finally getting the video clip of this exchange:

[savagewildnerness]

I wasn’t happy with my The Poltergeist Sunset improvisation yesterday, so I thought I’d try another today to see what happened, but this time only with violin.  

[soffecoeur]

Pou's interview after the game, MTL at NY, January 10th 2024