#post episode interview

[buddieisgoingcanon2024]

Here’s the post episode interview. There’s gotta be a reason they’re putting Ryan and Oliver next to each other in these interviews. Don’t you think?

[loumandivorce]

their achilles heels cut the way slaves' were cut. the monstrous racist caricatures drawn. louis depicted as a violent, unstable, and predatory man. not allowing them to speak. the abuser crying about his loneliness as the entire crowd cries with him. louis begging on his knees and telling lestat he'll never leave him, will do whatever he wants, will always be happy, if he just turns claudia. even when lestat admits his faults the crowd sides with him. armand saying lestat took the pieces of louis life and reframed them to build an effigy to lestat as if he didn't do the exact same. claudia telling lestat and louis it was never about her. "i could not prevent it" as he controls an entire crowd. claudia singing "i dont like windows when they close" as she dies. louis buried in rocks and the rocks in the dubai penthouse. the absence of metaphor is striking.

[egophiliac]

bring back zooterkins, the best 17th-century swear word

I don't normally do Just Characters Swearing, but. ...this kind of wrote itself and then wouldn't leave my head. it comes from both a piece of character-writing advice that has always stuck with me, and also my conviction that Leona is 1000% funnier as a character if his dialogue has to stay G-rated. let Kalim say fuck, but don't let Leona say bastard.

(I'm sorry)

[sandushengshou]

[claudiaeparvier]

iwtv + text post part 51

[moondustinfj]

[hayden-christensen]

Incorrect.

HAYDEN CHRISTENSEN as DARTH VADER Ahsoka - Part Five: Shadow Warrior (2023)

[lizardkingeliot]

I remember being out of my body at the time. I was in Paris. But also in New Orleans. Lestat took me there.

—

The way these two got locked in a memory together so vividly they both went out of body. Louis confirms this through words, and we can see Lestat was also experiencing it by the way he was looking down on the stage in Paris, then it cuts to a shot of Louis in New Orleans, and when we cut to Lestat there in New Orleans he raises his head again...

There is some interesting stuff happening with the POV here. The way we're getting Lestat's POV via Louis. The way their POV is exactly the same in the moment. I'm not sure if we're meant to take this as a literal out of body experience they had together, or more of a metaphorical odyssey due to the memory being so clear and intense for both of them with maybe... a little of that fledgling/maker blood bond coming into play? IDK! But there sure was something happening between them on that stage in that moment.

Also!! I'm still chewing on this but... the way Louis frames it in Paris vs the way he frames it in Dubai. In Paris he outright denies that what Lestat is saying is true, even though he's recalling the memory so clearly he feels out of his own body as it's happening. Then in Dubai, he says he didn't think it at the time (in spite of the whole out of body thing), but now acknowledges that Lestat's version was accurate. Just... something about the subjectivity of memory and what we know to be true vs. what we WANT to be true and how we can sometimes paint ourselves in a much better light not only for the sake of those around us, but for the sake of how we view ourselves.

[riickgrimes]

"The key thing was of course, the fact that Rick has PTSD and that's very much what's driving a lot of his behavior and being in a place of that level of vulnerability, back with the love of his life in that way.

It's also the thing he fears, the loss of her. It manifests itself in a way that is visceral and leads to the lovemaking not just being about love, but the revealing of pain and trauma and fear. That informs Michonne, that she can't just blast him into making sense. There's something deeper going on here that he can't verbalize. She has to help him get through in a different way. So she gets to see him, as well, as he reveals what's really in there, the wound. That's going to happen most likely in that most vulnerable space." — Danai Gurira

"Yeah, I think it is about pain. As Danai just said, it's about him wanting her and then fearing what he's about to unlock again. He gets to sort of articulate it in the scene further in the episode, when he gets to say that, 'I can't do this again. I haven't got the capacity to do this again. I've worked out how to die and live again.' So it is an absolutely necessary scene that allows Michonne to realize that there's something really broken here, more broken than she's ever anticipated. [...]

So the scene was about a real intimacy, a sort of frightening intimacy. This is a part of his personality he has shut down. It's almost like he's trying to stop himself from feeling this love again. She sees that and she just says, 'Just trust. We're back. We're the same...' I find it very moving. I think it's a very, very moving scene, because it's about them connecting in a way that he's had to deny for seven years. He's denied that connection for the sake of living on in this half life for the CRM" — Andrew Lincoln

Andrew Lincoln and Danai Gurira Discuss Episode 4 of The Walking Dead: The Ones Who Live

[sportsthoughts]

Day 87 of offseason gifs - In The Room S05E05 - the pens throw a party to watch the 2016 superbowl!

[carpe-mamilia]

Ghosts’ Larry Rickard Explains Why They Chose the Captain’s First Name

Photo: Monumental,Guido Mandozzi

It couldn’t be a joke. That was one rule laid down by the Ghosts creators when it came to choosing a first name for Willbond’s character. Until series five, the WWII ghost had been known only as The Captain – a mystery seized upon by fans of the show.

“It was the question we got asked more than anything. His name,” actor and writer Larry Rickard tells Den of Geek. “Once we got to series three, you could see that we were deliberately cutting away and deliberately avoiding it. We were fuelling the fire because we knew at some point we’d tell them.”

In “Carpe Diem”, the episode written by Rickard and Ben Willbond that finally reveals The Captain’s death story, they did tell us. After years of guessing, clue-spotting and debate, Ghosts revealed that The Captain’s first name is James. At the same time, we also learned that James’ colleague Lieutenant Havers’ first name was Anthony.

The ordinariness of those two names, says Rickard, is the point.

“The only thing we were really clear about is that we didn’t want one of those names that only exists in tellyland. It shouldn’t be ‘Cormoran’ or ‘Endeavour’. They should just be some men’s names and they’re important to them. The point was that they were everyday.”

Choosing first names for The Captain and Havers was a long process not unlike naming a baby, Rickard agrees. “It almost comes down to looking at the faces of the characters and saying, what’s right?”

“We talked for ages. For a long time I kept thinking ‘Duncan and James’, and then I was like ah no! That would have turned it into a gag and been awful!” Inescapably in the minds of a certain generation, Duncan James is a member of noughties boyband Blue. “Maybe with Anthony I was thinking of Anthony Costa!” Rickard says in mock horror, referencing another member of the band.

Lieutenant Havers wasn’t just The Captain’s second in command while stationed at Button House; he was also the man James loved. Because homosexuality was criminalised in England during James’ lifetime, he was forced to hide his feelings for Anthony from society, and to some extent even from himself.

In “Carpe Diem”, the ghosts (mistakenly) prepare for the last day of their afterlives, prompting The Captain to finally tell his story. Though not explicit about his sexual identity, the others understand and accept what he tells them – and led by Lady Button, all agree that he’s a brave man.

Getting the balance right of what The Captain does and doesn’t say was key to the episode. “It wasn’t just a personal choice of his to go ‘I’m going to remain in the closet’,” explains Rickard. “There wasn’t an option there to explore the things that either of them felt. That couldn’t be done back then – there are so many stories which have come out since the War about the dangers of doing that.

“We wanted to tell his personal story but also try to ensure that there was a level at which you understood why they couldn’t be open, that even in this moment where he’s finally telling the other ghosts his story, he never comes out and says it overtly because that would be too much for him as a character from that time.

“He says enough for them to know, and enough for him to feel unburdened but it’s in the fact that they’re using their first names which militarily they would never have done, and in the literal passing of the baton”.

The baton is a bonus reveal when fans learned that The Captain’s military stick wasn’t a memento of his career, but of Havers. As James suffers a fatal heart attack during a VE day celebration at Button House, Anthony rushes to his side and the stick passes from one to the other as they share a moment of tragic understanding.

“From really early on, we had the idea that anything you’re holding [when you die] stays with you. So it wasn’t just your clothes you were wearing, we had the stuff with Thomas’ letter reappearing in his pocket and so on. And the assumption being that it was something The Captain couldn’t put down, it felt so nice to be able to say it was something he didn’t want to put down.”

Rickard lists “Carpe Diem”, co-written with Ben Willbond, among his series five highlights. He’s pleased with the end result, praises Willbond’s performance, and loved being on set to see Button House dressed for the 1940s. He’s particularly pleased that a checklist of moments they wanted to land with the audience all managed to be included. “Normally something’s fallen by the wayside just because of the way TV’s made, it’s always imperfect or it’s slightly rushed, but it feels like it’s all there.”

Rickard and Willbond also knew by this point in the show’s lifetime, that they could trust Ghosts fans to pick up on small details. “Nothing is missed,” he says. “Early on, you’re always thinking, is that going to get across? But once we got to series five, there are little tiny things within corners of shots and you know that’s going to be spotted. Particularly in that very short exchange between Havers and the Captain. We worried less about the minutiae of it because you go, that’s going to be rewound and rewatched, nothing will be missed.”

The team were also grateful they’d resisted the temptation to tell The Captain’s story sooner. “We’d talked about it every series since series two, whether or not now was the time, but because he’s such a hard and starchy character in a lot of ways you needed the time to understand his softer side I think before you had that final honest beat from him.”

“What a ridiculously normal name to have so much weight put on it for five years,” laughs Rickard fondly. “Good old James.”

From Den of Geek

[queenoftheimps]

Daniel, after Episode 7: You know what, I suddenly feel better about my shitty parenting, maybe my daughters WILL start talking to me again one day

[pinimi]

“we should wait for him” … “probably” I could cut the sexual tension with a knife

[showmey0urfangs]

I will never not laugh my ass off at this scene!

[claudiaeparvier]