#robot mitchum

[canmom]

Animation Night 144 - Gundam Thunderbolt

144 is 12 squared. Squares are kinda robot like. Ergo we’re watching Gundam. Impeccable logic I’m sure you’ll agree.

Check it out, it’s an Itano circus.

Gundam! Over the course of Animation Night I’ve gone from being someone who doesn’t know the first thing about Gundam (back when I wrote Animation Night 88 on the history of robot anime and Animation Night 94 on Tomino’s “New Anime Century” and ‘anti-war’ fiction) to someone who is developing a fondness for its particular brand of scifi melodrama.

Gundam Thunderbolt is set in the core Universal Century timeline, but it approaches it with a mind towards changing and dismantling; the author of the manga, Yasuo Ohtagaki, even spoke of ‘always trying to identify which parts of Gundam must be destroyed’ - destruction and subversion being what he considers the original spirit of Gundam.

Gundam Thunderbolt thus begins in a time period concurrent with the original Gundam TV series, with the Federation and Zeon battling on Earth in a ‘Thunderbolt Sector’ littered with space debris. On the Federation’s side are survivors of one of the destroyed space colonies wishing revenge; on Zeon’s is a special unit of amputee pilots. Before long, however, the conflict develops a third faction with the Buddhist radicals in the ‘South Seas Alliance’, which declares its secession from the Federation.

But it’s Gundam, so the focus of the story is on a handful of characters caught in the middle of it. On the Federation side we have Io Fleming, an ensign with a passion for music, and his lover Claudia Peer, a spaceship captain deeply depressed at the long war. On Zeon’s side comes Daryl Lorenz, double leg amputee, and Karla Mitchum, a caring scientist specialising in prosthetics. Early on in the conflict, Io causes Daryl to lose yet another limb - but rather than pack up and leave the war, he volunteers to undergo a further amputation for full integration into a brain controlled Gundam.

The manga is still ongoing, but the first arc was written with the intent of being adapted into a movie, and indeed Sunrise did just that. The first form of Thunderbolt was an eight-episode ONA series released on the web from 2015-2017. Concurrently, this was recut as a pair of compilation movies, titled December Sky and Bandit Flower.

(look it has girls and robots!)

Gundam has gone through many hands since Tomino’s day, and the principle factions of the Universal Century setting have been interpreted in a number of ways - something that anituber Pyramid Inu discusses nicely here. At the time Ohtagaki was writing in the mid 2010s, the mainstream Gundam airing was the Unicorn series (OVAs and then a TV show), written by Harutoshi Fukui, a writer who began his career writing Tom Clancy-like stories with a nationalist bent. He toned this down when he took over Gundam, describing himself as a ‘JJ Abrams’ type figure; nevertheless his Gundam presented a heavy-handedly war-on-terror inspired story in which the Federation is cast as America fighting Muslim militants.

Ohtagaki’s vision also emphasises religion, but instead puts the focus on a more familiar Buddhism, taking aim at what he sees as unreasonable suspicion towards religion in modern Japan (source)...

If you depict people who believe in Buddhism in a manga, people call that a cult. He points out that that way of thinking is already biased and feels that it points out people’s ignorance towards religion. He laments that if you look at it from a global perspective or even consider the history of humanity, the lack of religious beliefs among Japanese people today is quite unusual. He says that it’s a significant problem for Japan today to accept and tolerate other people’s beliefs, so much so that just because someone appears chanting sutras, they’re branded a cult.

He says that assumptions like that are far more dangerous. He’s not out to portray the South Seas Alliance as an ally of justice, nor their religious beliefs as righteous, it’s just that Japanese people close their eyes and try not to see them. He’s illustrating all this because he wants people to realize that it’s strange to think there is no such thing, that it’s more than a little unnatural that there were no religions in the world of Gundam in the first place.

Ohtagaki aimed to sidestep Gundam conventions in other ways: an adult protagonist, a stronger emphasis on chain of command. On the matter of ‘anti-war’, he takes a more fatalistic, small-scale stance:

In anime, the side the protagonist is on always ends up looking like the side that’s in the right. But both the Federation and Zeon are just countries, so it shouldn’t be about wrong and right. I don’t think there’s any point in inserting your ideologies in a manga. For people with normal lives, nations and wars are the ultimate kind of violence, and I want to draw the best ways to handle being in a war in order to survive.

So I’m not anti-war either. Wars will continue to happen, and I don’t think we’ll ever be rid of them, so the most important thing is to know how to handle them. But there aren’t that many people in Japan who think about things in that way. It’s correct to say that you’re anti-war or that there shouldn’t be war, so if you look at things as though war is inevitable, people think that you’re pro-war and you’re a bad person. But I think that’s a very narrow way of thinking, and it actually shows a lack of historical knowledge.

What do I think of that, eh? Right now, mostly ‘hmm’. Ohtagaki is correct to recognise that ‘will wars happen’ and ‘should wars happen’ are different questions; there’s also the question of ‘if war shouldn’t happen, how can it be prevented’. To say ‘war is inevitable’, even if is true, is not to commit to any particular war being inevitable. But it’s also true that there’s no need for all fiction about wars to try and take them on!

I can’t entirely comment on this until I’ve seen the movies, so put a pin there; but given the morass of ‘what does it mean to make true anti-war fiction’, deciding to sidestep the issue entirely is perhaps an understandable move. I’ll be curious to see what focus this approach gives the films; if previous Gundams have approached ‘anti-war narrative’ through focusing on the futility of going to war and the hope for some kind of new-age transcendance (original Gundam), the tragedy of civilians caught up in the middle (War in the Pocket), or the story of a soldier who tries to avoid killing (08th MS Team), what will a story that’s more about just trying to survive look like?

Anyway, so far we’ve focused on the writer and the manga. Let’s actually talk about animation.

Thunderbolt was animated at Sunrise Studio 1, known as one of the bastions of the gradually dying art of 2D mecha animation, as well as character animation with an impressive sense of space. More recently, they impressed everyone with Gundam Hathaway (Animation Night 124).

So Gundam Thunderbolt abounds with complex shouts and detailed designs moving through space, leaning on the talents of e.g. Nobuhiko Genma and Kazuki Ito who animated this incredible POV shot, or Shingo Tamagawa of Puparia fame who provides this splendid character animation. In the late 2010s, we are firmly in the digital compositing era, and glows, flares, gradients and high contrast backgrounds abound, but even though this isn’t entirely to my taste I can’t deny just how splendid the underlying drawings are. The character designs are on the realist end of the scale, and they float around with the classic Sunrise sensitivity to 3D space.

Mecha destruction is given a particularly impressive level of flair, with beam swords and lasers slicing up robots and splattering hot metal all over to the point that it starts to feel like a gory samurai movie. All in all it looks intense and compelling: the product of decades of development by some of the best in their craft. It manages to retain clarity of very complex designs even as they move around wildly. It’s even got some cool oldschool lighting effects...

A question that may be asked is, if mecha animation is mostly about animating complex, rigid 3D shapes, why not do it on the computer, which excels at exactly that? One answer is that there’s a certain quality of movement that comes from planning everything out in 2D. Low framerates can be used to create a sense of weight and avoid the ‘toyetic’ feeling that comes from overly-smooth CG without considerable effort put in to avoiding it.

Another is that 2D gives you a different approach to composition, which allows you to subtly exaggerate and stylise or just frame things in a way that puts the layout in the camera first without constraint - the reason that Houseki no Kuni planned out its action scenes in great detail in 2D before animating them in 3D. Then there’s just the ‘feeling’ of 2D, the slight errors and roughness giving it a more lively, organic feeling. Finally we might add the effect of limitations and constraints as structure.

That said, the ‘2D feel’ of a digitally composited series like Thunderbolt is not the same ‘2D feel’ as a 90s OVA like 08th MS Team. Working digitally makes some aspects of the workflow easier - you can easily preview a motion and scroll through the timeline - which makes some of these extremely complex shots possible. But conversely it is associated with faraway objects becoming indistinct blobs - this is I believe what is referred to as ‘douga melt’. Thunderbolt in all these clips looks very ‘2010s’. Which makes me wonder what the characteristic look of 2020s anime will turn out to be...

I think that will suffice for an introduction/study log/whatever these posts are! Animation Night 144 will begin at 8pm UK time, about two hours from this post! Movies will start at about 8:20pm. It will be at twitch.tv/canmom! Hope to see you there~

[archive-archives]

NEW 2021 1080p HD Masters! THUNDARR THE BARBARIAN: THE COMPLETE SERIES

Run Time             462:00 Subtitles               English SDH Audio Specs    MONO - English, DTS HD-Master Audio 2.0 - English Aspect Ratio       1.33:1, 4 X 3 Product Color    COLOR Disc Configuration           BD 50, BD 25 Special Feature: "Lords of Light: The Story of Thundarr the Barbarian" featurette.

Civilization is cast into ruin when a runaway planet speeds between the Earth and the Moon, unleashing cosmic destruction. Two thousand years later, Earth is reborn from the ashes with a savage landscape, strange creatures and a primitive sense of justice. But, one man fights to spread peace throughout the land: He is Thundarr the Barbarian, and you can own all 21 exciting adventures starring Thundarr and his companions Ookla the Mok and sorceress Princess Ariel. Using their strength, courage and wits, plus Thundarr’s magical Sunsword, they journey from village to village, liberating slaves and battling all kinds of beasts, mutants, wizards, thieves and robots. The future of Earth may be shrouded in darkness, but Thundarr the Barbarian bursts into action as a shining symbol of hope for humanity.

NEW 2021 1080p HD Master Sourced from 4K scan of Original Nitrate Camera Negative! ISLE OF THE DEAD (1945)

Run Time             72:00 Subtitles               English SDH Audio Specs    DTS HD-Master Audio 2.0 - English, MONO - English Aspect Ratio       1.37:1, 4 X 3 Product Color    BLACK & WHITE Disc Configuration           BD 25 Special Features: Commentary by Screenwriter/Film Historian Dr. Steve Haberman; Original Theatrical Trailer with Spanish Subtitles

Once you visit the Isle of the Dead, there’s no hope of returning to the land of the living. A small island off the coast of Greece holds a secret so dreadful that once you step onto its soil you must remain there forever. General Pherides (master of horror Boris Karloff) is one such a visitor. Going to the island to honor the grave of his late wife, Pherides discovers that it’s held in the grip of a terrifying plague – a sickness that enters the victim’s mind and drives them insane! Pherides leads the fight against the plague, but then falls prey to it himself. In his delirium, he believes that a woman named Thea (Ellen Drew) is a vorvolaka – a vampire responsible for the deaths. Insanity runs rampant, and grave robbery, premature burial and ghastly vampires are the unspeakable horrors that await on the Isle of the Dead.

NEW 2021 1080p HD Master Sourced from 4K scan of original nitrate Technicolor negatives! THE GREAT CARUSO (1951) Run Time             109:00 Subtitles               English SDH Audio Specs        MONO - English, DTS HD-Master Audio 2.0 - English Aspect Ratio       1.37:1, 4 X 3 Product Color    COLOR Disc Configuration           BD 50 Special Features: Documentary "Mario Lanza: Singing to the Gods"; Theatrical Trailer (HD)

Bravo, Enrico! Bravo, Mario! Renowned tenor Mario Lanza portrays his longtime singing idol Enrico Caruso in the crowd-pleasing musical that was 1951’s #4 box-office hit. Suggested by Dorothy Caruso’s biography of her husband, The Great Caruso rings out with aural pleasures (27 musical selections) and shines with the grandeur of a life lovingly refracted through the Hollywood biopic lens. The music (by Puccini, Donizetti, Verdi and more) emphasizes works most closely associated with Caruso. The story, spanning Caruso’s Naples boyhood to worldwide acclaim and tragedy-stricken final performance, touches on the down-to-earth character traits that spread the singer’s fame beyond the black-tie society of Metropolitan Opera connoisseurs. Nominated for three 1951 Academy Awards®, the movie won for Best Sound Recording.

NEW 2021 1080p HD Master Sourced from 4k Scan of Original Camera Negative! CROSSFIRE (1947)

Run Time             85:00 Subtitles               English SDH Audio Specs    MONO - English, DTS HD-Master Audio 2.0 - English Aspect Ratio       1.37:1, 4 X 3 Product Color    BLACK & WHITE Disc Configuration           BD 50 Special Features: Commentary by Film Historians Alain Silver and James Ursini, with Audio Interview Excerpts of Director Edward Dmytryk; Featurette "Crossfire: Hate Is Like A Gun"

Years of police work have taught Detective Finlay that where there’s crime, there’s motive. But he finds no usual motive when investigating a man’s death by beating. The man was killed because he was a Jew. “Hate,” Finlay says, “is like a gun.” Robert Young portrays Finlay, Robert Mitchum is a laconic army sergeant assisting in the investigation of G.I. suspects, and Robert Ryan plays a vicious bigot in a landmark film noir nominated for five Academy Awards®, including Best Picture. Edward Dmytryk (Murder, My Sweet) directs, draping the genre’s stylistic backdrops and flourishes around a topic rarely before explored in films: anti-Semitism in the U.S. Here, Hollywood takes aim at injustice...and catches bigotry in a Crossfire.

NEW 2021 1080p HD Master Sourced from 4K scan of preservation separation masters! DAMN YANKEES (1958) Run Time             111:00 Subtitles               English SDH Audio Specs        DTS HD-Master Audio 2.0 - English, MONO - English Aspect Ratio       1.85:1, 16 X 9 WIDESCREEN Product Color    COLOR Disc Configuration           BD 50 Special Feature: Theatrical Trailer (HD), International Theatrical Trailer (HD)

Step up to the plate for Damn Yankees, the rousing movie of the 1,019-performance Broadway grand slam that imports nearly all the original New York lineup, including Tony® Award-winning stars Gwen Verdon as luscious vamp Lola and Ray Walston as her slyly Satanic boss Applegate. Hollywood’s Tab Hunter suits up as potential lost soul and Washington Senators slugger Joe Hardy, revealing a freewheeling fun side unseen in previous roles. The Pajama Game duo of Richard Adler and Jerry Ross serve up an out-of-the-park home-run score, including “Whatever Lola Wants” and “Heart.

NEW 2021 1080p Masters Sourced from 4K scan of Original Camera Negative! THE BERMUDA DEPTHS (1978)

Run Time             97:00 Subtitles               English SDH Audio Specs    DTS HD-Master Audio 2.0 - English, MONO - English Aspect Ratio       1.85:1, 16 X 9 Widescreen (International Theatrical presentation),  1.33:1, 4 X 3 (U.S. Television presentation) Product Color    COLOR Disc Configuration           BD 50 Special Features: Includes Both the 1.33:1 US Broadcast Television Version and the 1.85:1 International Theatrical Version; New Audio Commentary by Author/ Film Historian Amanda Reyes (Are You in the House Alone? A TV Movie Compendium: 1964-1999) and Kindertrauma co-founder Lance Vaughan.

What secret lurks 20,000 feet below the waves in the paranormal realm called the Bermuda Triangle? That’s the question a scientist (Burl Ives), his student (Carl Weathers) and a young man (Leigh McCloskey) haunted by nightmarish memories of his Bermuda childhood ask themselves. The answer involves a beauty (Connie Sellecca) who has sold her soul for eternal youth and a giant sea turtle that leaves death in its wake. Eerie and hypnotic, The Bermuda Depths was produced by Arthur Rankin, Jr. and Jules Bass (The Year Without a Santa Claus), who meld their imaginative fantasy style with the live-action horror genre.

[thearabkhaleesi]

REVIEW: WHAT A WAY TO GO! (1964)

What A Way To Go! (1964) follows a four-time widow who talks to a psychiatrist about her four husbands, each of whom died & left her with enormous wealth💸 - I was very surprised when I came across this film because not only does it star one of my favorite actors (Gene Kelly), it stars Shirley Maclaine, Paul Newman, Dean Martin, AND Dick Van Dyke too? I found myself thinking “what is this film & how come I’ve never heard of it?” So I decided to watch it the other day & boy am I glad I did. - Based on the premise of the film, a part of me expected it to be an ahead of its time feminist movie about a woman who marries for money & kills her husbands, & while I was slightly disappointed to find out that that isn’t the case, I think I enjoyed it even more than I would have if it were. The premise remains seemingly over-the-top & unrealistic, & it is - but instead of trying to shy away from that, the screenwriters & director just ran with it! It’s crazy, camp, over-the-top, exaggerated, ridiculous, & isn’t meant to be taken seriously, which all might seem like insults, but it’s also self aware (at least for when it was made) - & I LOVED that. In addition to the incredible famous actors, there’s an artistic monkey, golden robots, glass-shaped beds, a murdering bull, a pink house with a pink Rolls-Royce, & extravagant gowns, - just to name a few campy, crazy things this film has to offer. Gene Kelly even plays a somewhat parodical version of himself & his character from Singin in the Rain while calling out other leading male actors from the time: Frank Sinatra, Marlon Brando, & Cary Grant! The entire film pokes fun at itself & the more popular, mainstream films & stars of the 50s & 60s, acting as a sort of early parody of Old Hollywood, which was a very creative & original idea considering the time it was made. It might seem like it’s trying to do too much & it might not be for everyone, but I wish they had made it even crazier. It’s cheeky, colorful, different, lively, loads of fun, & made for a delightful watch/movie night, despite its flaws & silliness. - As Shirley Maclaine’s character walks us through her life (through flashbacks), she compares each relationship & stage of her life to different types of films - silent pictures, French New Wave films, glamorous Hollywood movies, & musicals - a detail I absolutely loved that made each story stand out with its own aesthetic. Every actor in the film was great, Shirley Maclaine is as charming as ever, I loved seeing Paul Newman in a lighter role, & my heart is filled with joy every time I see Gene Kelly. - If anyone reading this is a fan of fashion or costume design, especially from that era of Hollywood, I strongly advise you to give this film a go - the legendary Edith Head goes all out, particularly during the segment with Robert Mitchum, where there are more beautiful dresses in 10 minutes than in any movie from the last 10 years at least. - However, I know my enjoyment of this film is extremely subjective, especially due to my love for Gene Kelly. If his segment were taken out & or he was replaced with another actor, I wouldn’t have enjoyed it as much as I did. Still, despite being far from perfect, it was extremely fun as it is. If you’re intrigued by anything I’ve said, I definitely recommend it. It’s available on iTunes & YouTube. - 7.6-8/10⭐️

[dea-certe]

Rules: Tag 9 people who you want to know better/catch up with and then answer these questions. I was tagged by @hlmoorewrites (BTW, I can't wait to read your books)

3 Ships: Rory and Jess from Gilmore Girls. Look, I get the love for Dean but he was never smart enough for her and broke her heart three times; once because she didn't say "I love you" after 3 months and needed some time to sort through everything (kind of like she always does), once because of her feelings for Jess (and okay, I cant fault him for that) but the last time was because of his inferiority issues and I can't stand that. And teice it was in front of a ton of people! He wasn't a good boyfriend. And I hate that Lorelai thought he was because he helped her out so much. I hate that Rpry never saw him for what he was. I mean, even the whole fight between him and Jess was started by Dean. And his whole "I don't have to be nice anymore because I'm not with her but you can't do shit because you are" speech to Jess just made me want to watch Jess hit him. And Logan sucks in ways I don't have to explain. But Jess......he loved her. And yes, he hurt her while he was growing up, but he got better and he apologized and he stood there, beside her, as her friend every time. He helped her get her life back on track after Mitchum destroyed her. Hes got the same love of books, the same taste in music, the same quiet resolve, and he's just perfect for her.

Harry Dresden and Karrin Murphy and I will never forgive Jim Butcher for what he did. Ever.

Eliot Spencer and Damien Moreau from Leverage. Not for any good reasons. Only for the fact that they would be a great destructive force. And I really enjoy the idea of those two tearing apart the world together. I also get a small thrill from the thought of Eliot clawing his way out of hell. Its fun.

Last Song I listened To: Valerie by Ghost of the Robot. James Marsters can sing

Last Movie I watched: wow, you picked the best moment because I haven't wanted to watch anything but movies post gilmore girls. The last one was Riddick, as I ended that trilogy and following on the heels of the Fast and Furious Franchise (except parts 2-4, I couldn't care less for them, and if you're noticing a running theme here, its Vin Deisel. One of my favorite actors because realism be damned is what he does best)

Currently Watching: um......nothing. I just finished Riddick and hadn't gotten around to watching something else. I think I'm gonna re-watch Newsroom by Aaron Sorvino. I'm in the mood for feel good and quick witted.

Currently Reading: Rodham by Curtis Sittenfield, The Last Guardian by Eion Colfer, Harleen the comic book, Minion by L.A Banks and Revan. Im just......bouncing back and forth a lot.

Currently Craving: mental stimulation of a sort. I'm bored but on a mental plane. I wanna do something. Don't know what it is yet.

Tagging: @cattorneyatlaw @ace-feminist @breelandwalker @thevagaries @missmetal910 @catgirl9696 @elizabethpickett @sticksandstonesmaybreakmeblog @random-blog-i-cant-delete @gotmehookedonthekpop and anyone else who feels like it.

[kevrocksicehouse]

Guillermo del Toro worked in the dark heart of fairy tales. A few other movies that told fables for adults.

Night of the Hunter. D: Charles Laughton (1955). Two orphaned children, fleeing an evil stepfather (Robert Mitchum) and are sheltered by the deep southern equivalent of a good witch (Lillian Gish). In his only directorial effort, Laughton turns the West Virginia landscape into an enchanted forest.

Freeway. D: Matthew Bright (1996). Reese Witherspoon plays a variant of Little Red Riding Hood in this art-exploitation movie about a white-trash girl who gets targeted by a serial killer (Kiefer Sutherland as “the big bad wolf”) on her way to live with her grandmother. Witherspoon upends the whole “girl in peril” trope of the story and takes things into her own hands. It’s as if John Waters wasn’t as campy (and was much more violent).

A.I. Artificial Intelligence D: Steven Spielberg (2001). A child-robot (Haley Joel Osment) programmed to feel love, is acquired, then discarded by a family and sets off on a journey to find “the blue fairy” who will turn him into a real boy. The script was by Stanley Kubrick and the movie is a fascinating meld of his chilly, antiseptic vision with Spielberg’s more sentimental one.

The Fall. D: Tarsem Singh (2006). A depressed, bedridden stuntman recovering from a bad jump (and a love affair gone bad) befriends a young girl and tells her a story about five heroes (one of whom is Charles Darwin) fighting an evil king. We soon realize he is manipulating her into helping him commit suicide, but sometimes stories take on a life of their own. A too-little-seen exploration of the power of fiction.

Beasts of the Southern Wild. D: Benh Zeitlin (2012). Hushpuppy (Quvenzhane Wallis) who lives in a Louisiana Bayou village called “The Bathtub, weathers storms and ecological destruction, and endures the slow death of her father while awaiting the approach of “aurochs,” Giant Beasts released by the melting of the ice caps, in this ecologically-minded examination of how children turn their environment into mythology.

[thealmightyemprex]

10 favorite 1950′s movies/reccomendeitions

So I figured,a lot of people  with the quarantine are bored and looking for new stuff to watch ,so I wanted to give my reccomendations for some classic films people could check out .....Thing is as I compiled the list I realized a majority of them are from the 50′s .so decided why not make it all the 50′s .This list is in no particular order

Night of the Hunter :This is my second favorite movie of all time  .The story of two kids  who know the location of some stolen money ,and thus are the targets of  the murderous and  greedy preacher Harry Powell.The thing is while the main kid John can see through Powell’s facade ,he is such a charming  guy that all the adults ignore  this.IT’s a scary movie but I hesitate to call it  a horror movie  ,it’s more like a fairy tale ,with Lilian Gish even playing a mother goose type figure and Powell certainly evokes the big bad wolf (He’s even compared to a wolf in the movie ).I will also say Robert Mitchum’s  Harry Powell is one of the most terrifying villains I have ever seen

20′000 LEagues Under the Sea :If you dig steampunk you HAVE to watch this movie .A scientist(Paul Lukas),his assistant (Peter Lorre), and a harpooner (Kirk Douglas) are taken aboard a submarine by Captain Nemo(James Mason)....And from there you get some great adventure,a great cast,an itriguing anti villain,and an epic battle with a squid.This maybe my favorite Disney movie 

Them!:This is a movie about giant ants that actually is terrifying .It treats the subject matter seriously ,the ants dont look bad ,the  main cast are all excellent (Including James Whitmore from the Shawshank Redemption ) and theres are a lot of fun supporting characters(Including a tiny role for Spock himself ,Leonard Nimoy)

12 Angry Men:The life of a young man hangs in the balance,as a jury  is convinced he murdered his father ,but one man (Henry Fonda) is convinced there might be some doubt .This movie is a battle of words ,all in one room and with characters whose names we dont even know ....And yet it is never dull,with great direction by Sidney Lumet and magnificent acting by not only Henry Fonda but Lee J Cobb ,EG Marshall,John Fiedler ,Jack Warden,Martin Balsam,and all the rest of the cast 

The African Queen :Taking place at the start of  WWI,a missionary(KPlayed by one of my favorite actresses Kathryn Hepburn) and a hard drinking riverboat captain (Played by one of my favorite actors Humphrey Bogart ) team up  to sink a  German ship .What we get is a romantic adventure film that is basically Han Solo and Leia the movie  .

Gojira :A  tale of nuclear  destruction and the responsibility of people who create such weapons ,covered in the skin of a monster movie  .This is a horror film in its truest sense

High Noon:I will admit while I love western films....Most of the westerns I love are from the 60′s onward,but this is one of the earlier westerns that I love .Simple story of a bad guy coming to town with vengence on his mind  while our hero (GAry Cooper) tries to get any assistance ....And is constantly let down by his “friends”.A simple yet effective story `

Dial M for Murder:My third favorite Hitchcock film(Behind Psycho and Rope).Basically a man( Ray Milland)  plans on getting someone to murder his wife(Played by Grace Kelly) and that is ALL I am saying about the plot ,cause the twist and turns are what makes this fun as well as Ray Milland as one of the most charming villains EVER 

Forbidden Planet:A retelling of Shakespeares the Tempest ....But in SPAAAAAAAAAAAAAACE.This is one of the first movies to be set on a planet far from Earth ,this film is basically a prototype for Star  Trek ,has a daramtic leading performance by a young Leslie Nielsen of Airplane,Scary Movie and Naked Gun fame ,one of the most iconic movie robots with Robbie and a unique monster 

Throne of Blood :Yet another Shakespeare adaptation,this time of  ,Macbeth ,but with Samurai .Honestly it might be weird that I chose this over say Seven Samurai or Rashomon .....But Seven Samurai is very long and I honestly prefer its remake the Magnificent Seven ,and Rashomon has elements that just havent aged well ,and honestly I just prefer Throne of Blood .It helps  Macbeth  is my favorite Shakespear play ,and that means you get murder intrigue,prophecy ,evil spirits ,all that fun stuff ,great performances by Toshiro  Mifune and Isuzu Yamada and one of the greatest endings in all of cinema

[whatdoyouthinkmyjobis]

Hunters on the Hellmouth

masterlist

first chapter

previous chapter

AN: Based on events in BTVS 7.19 “Empty Places.” Some gore and death. Major feels. Here’s a cheat sheet for keeping track of the Potentials.

Chapter 37: The Bodies

Giles thought his heart would explode with happiness and turn to ash all at once. The smell of the ocean blew in through Buffy’s open window as they buzzed down the highway. The sun blazed above them turning the grass and water painfully bright.

When she’d asked to come with him to pick up a couple of Potentials in LA, Giles couldn’t suppress his smile. He’d taken the scenic route to give them more time together. Family time.

Despite all of his attempts at conversation, Buffy had been silent for the first hour.

“Would you like some music?” he asked.

She nodded.

Giles pushed a few buttons, but these rental cars always confused him, every company wanting to make their radio more distinct and impossible. Smiling faintly, Buffy leaned forward and pressed a button. The radio came to life with Led Zeppelin. Buffy punched the button so hard, it popped off.

“Sorry,” she muttered. “Maybe not music.”

He nodded, watching out of the corner of his eye as Buffy pulled her sweatshirt tighter and sank into the seat. “At least the damnable insurance will be used this time.”

Buffy reached out, taking his hand in hers. Giles wanted to slam on the brakes. To sit in this moment in the sun with his surprise daughter for maybe the last time and just enjoy life. He drove on, fingers entwined with Buffy’s.

After a few minutes, she sighed. “I don’t want to fake smile. I don’t want to lie. Not with you.”

He was happy to hear it, and gave her fingers a quick squeeze.

“But I can’t talk about it now.” She stared out at the highway ahead of them in silence.

As they entered city limits, still far from the airport, Buffy asked, “Would you wait for me?”

“Wait for you?”

“I was going to catch a bus from the airport. I, uh, need to see someone.”

Of course. This quiet trip hadn’t been about family time at all. She wanted to see Angel; for what purpose, Giles didn’t dare guess. “I am sure I can busy the Potentials with lunch.”

He glanced at her quickly, her shoulders slumped with the weight of the world, her eyes without spark. “Buffy, I hope seeing him helps.”

Karen swerved but still hit the pothole squarely, causing her old Neon to spit out her CD in protest. “Fine,” she sighed, tossing the disc in the passenger seat. She wasn’t in the mood for N*SYNC anymore. Not since she had hit Sunnydale.

Sunnydale was abandoned. Not a graffiti-riddled, broken glass, run down sort of abandoned. Rather a ghost town, like one of those stories about robots carrying on after a nuclear explosion. The sprinklers went off on the overgrown lawns. The lights were on in the abandoned stores. The traffic signals blinked between red and green, though no one was around to stop or go.

For years, her Watcher, Penny Seaward, had told her the Slayer was in prison. “Uncontrollable, that girl. Faith murdered a man in cold blood. Now we all must pay the price.” But Karen wasn’t going to sit back and let people get hurt because the Slayer was an idiot. After all, she was a Potential, so she had every right to keep San Francisco safe from vampires. In the last two years, she’d killed two dozen vampires and one demon all while balancing school and work.

Truth was, Karen often thought of herself as The Slayer.

Four days ago, she went out to patrol Golden Gate Park, where she ran into four...creatures. Manlike beings with their eyes branded shut, yet still able to see, dressed as monks and carrying curved daggers. She ran, got the drop on two of them and ran again. Her muscles were burning by the time she ran into a cute mounted police officer who was more than happy to give her a slightly surreal ride home.

After Officer Cutey McHorserider dropped her off at her apartment, she found a letter from her Watcher. “Karen, Run. Something old and evil has risen up, and it’s trying to wipe out the Slayer line. You need to get to Sunnydale. Buffy Summers is there. She can help you. I will try to distract these demons, then rejoin you in Sunnydale. Love always, Penny.”

The letter told her so little, yet spun her world upside down. Had the monsters in the park killed Penny? If Buffy Summers, the previous Slayer, was still alive, who was Faith? And how could Buffy, a rebel Slayer who’d shirked her duties to run off with her vampire boyfriend possibly be of any help?

After a tense morning of driving, Karen finally pulled up in front of the small white bungalow. With its windows and doors covered in weird graffiti it was lively compared to the rest of the town. At least, it was loud enough inside that Karen had to knock a few times before a small girl with short curly hair framing her face opened the door.

“Buffy Summers?”

The girl scoffed like someone had just confused her for Sharon Osbourne. “God no. I’m Ju. Who are you?”

Karen peeked inside, where a tangle of girls stared back at her. Many were too young to be roommates, and they clearly weren’t related. They must be -- “Karen Zhào. Potential.”

“Andrew! Dawn! We got another one!” Ju shouted back into the house. “Welcome to the lunatic asylum,” she grumbled before going back to the girls sitting on the living room floor.

Karen steeled herself and walked inside. Her fellow Potentials draped themselves across the floor as if sitting required an excruciating amount of energy. Every one of them had dark circles under their eyes and bruises on their arms. One girl held an icepack against her head.

A petite blonde in her early twenties, dressed in flares and a trendy slashed tee, trotted down the stairs. She looked like she ate worry for breakfast. “Giles didn’t bring you. Who are you?”

“Uh, Karen Zhào. I drove down --”

“You drove?!” she said with obvious delight.

“From San Francisco. My Watcher told me to get to Sunnydale because Buffy Summers was here, but I’m kind of confused because she had also told me Buffy died two years ago.”

“I’m Buffy, and she wasn’t lying,” the blonde replied, nonchalantly.

While Karen tried to process that this slip of person was the dead rebel Slayer, two tall, handsome men in their late twenties arrived with crates of apples and oranges.

“Eat up, girls!” cheered the shorter one. He smiled at Buffy while the Potentials mobbed the food.

He looked at Buffy with an adoring radiance undercut by pleading desperation. Buffy barely acknowledged him. Karen wasn’t sure if the man was in the doghouse, or if the doghouse would be an improvement.

“Fresh fruit?” Buffy said to the taller one. “Where’d you find that unicorn?”

“I’m resourceful,” replied the shorter one, smiling like he wasn’t being ignored.

“Hey! Hey! Bringers!” shouted a girl by the window.

In a flash, the whole crew flooded out of the front door. Across the street, four of those strange monks Karen had fought back home were -- Oh God -- they were dropping bodies on the sidewalk. Then in a flash of metal -- CRACK! SLASH! CRUNCH! -- the Potentials killed three of the monks. The fourth ran down the street with a Potential in pursuit. Thwack! Thwack! She landed two throwing stars in its back before it rounded the corner.

“Lara! Come back!” shouted an African girl who seemed a little older than the rest of the teenagers.

The Potential with the throwing stars, Lara, glared back at them, then up the street before slowly returning to the crowd.

A stone-faced girl with blue hair and a sweet-looking girl with large blue eyes pulled their blades from the bodies.

“You guys are pretty good,” Karen said. “I fought some of these guys the other day. Not easy.”

Blue Hair raised an eyebrow. “And you lived? At least you’re not green.”

“Mine were armed, too,” said Karen with a shrug. She wasn’t about to let any of these amateurs condescend to her. But why weren’t these monks armed?

Buffy and the two men pushed through the crowd. “Move or you’re helping with body duty!” snapped the shorter one. The crowd parted.

“We should go after them,” said Lara with a thick Russian accent. “How many have we killed these last two weeks?”

“We’ll discuss it later,” Buffy said. “First, the bodies.”

Under the scarred Bringer corpses lay two bodies. Both had their throats slit. A mother and her young daughter.

The shorter man drew a sharp breath at the sight of the two blonde bodies. “Jo?”

“Caleb,” corrected Buffy.

The first body had arrived two weeks prior, delivered at night by some vampires. It was a teenage boy. Throat cut, but no sign of a vampire bite. The next morning, Bringers brought an old woman in the same condition. They weren’t food; they were calling cards.

Through a combination of beating up vampires for information and the Winchester’s detective skills, they had learned that the priest who Cloé claimed had killed the girls at St. Agnes’ was Father Caleb Mitchum. Shockingly, he was a real priest. Less surprising, he’d been moved from parish to parish for over a decade, never lasting anywhere longer than a year.

After the first day, the Potentials, itching for a fight, started to pick off the messengers. They burned the Bringers’ bodies. The victims, they buried, which was more dignity than Caleb’s victims had gotten in the past.

Every town he’d moved to, girls went missing. Sometimes their bodies were discovered months later. Sometimes only pieces turned up. No suspect was ever named.

Without a word between them, Buffy and Dean had set off alone to bury the latest pair of bodies. She didn't particularly want to be alone with Dean, but she needed her hands to help lay these victims to rest. Buffy tried to avoid thinking about the smallest body wrapped in a sheet in the trunk of the Impala, but she couldn’t stop seeing her anyway. Maybe two years old. A mop of golden curls. This was the first child Caleb had delivered, and Buffy suspected neither of the victims were local. He’d killed that woman for a reason.

“Who was Jo?” Buffy asked.

“Another hunter.” Dean white-knuckled the steering wheel.

“To you,” Buffy clarified. She knew that Jo back in Dean’s world had died. She was one of the names memorialized in a tattoo of those he blamed himself for. The dead he couldn’t let go of.

“Another hunter,” he replied.

“Did you--?” Her throat seized up as she pictured the blonde girl again. Did you have a child with her? But no. Couldn’t be. He wouldn’t have kept that from her.

“No, we weren’t together,” he said. “Not at all. Family friend. Ambitious kid. Died on my watch.”

This was always his story. Maybe it was true. But if it was, why would Lucifer tell Caleb to find her doppelganger? Buffy wouldn’t ask again. After all, she had her own secrets to keep.

They had recently discovered that Caleb was holed up in an old monastery turned winery on the edge of town. With its thick walls and narrow windows, it was the perfect place for hiding Bringers and vampires. But they’d been slashing and staking Caleb’s minions for weeks. How many could be left?

Buffy knew the Potentials weren’t ready. They’d gotten pretty good, but there would be casualties. But if they, the Chosen and Near-Chosen, did nothing, more people would die anyway. Innocent people.

She couldn’t sit around while Caleb was still alive.

It was morning when Buffy and her rag tag army -- Potentials, hunters, a Watcher, a witch, a construction worker, an ex-demon, an ex-vampire, an unemployed principal, and Buffy’s baby sister -- descended on the winery. The front doors were already open -- waiting. It was dark inside, and she suddenly thought of those deep sea fish with dead eyes and nightmare teeth that lured smaller fish into their mouths with a small, bobbing light. She felt like a small fish.

Willow and Ella quickly began setting up a field to keep any demon reinforcements from joining the fray. Everyone watched the two redheads work. Some muttered prayers as they mentally counted down the seconds until they’d enter Caleb’s lair.

Cas, now would be a great time to make an appearance, Buffy offered the air before steeling her nerves.

Buffy entered first. The Potentials followed her closely. Racks of massive wine barrels -- one rack straight down the middle -- forced them to split up. Buffy motioned to the shotgun-toting Winchesters to each take a side.

Her crew divided, squeezed in a narrow space, with objects to hide behind at every turn. Her brain screamed Trap! But another night at home meant more bodies in the morning.

A high pitched wzzzz! Bianka dropped her crossbow, smacking her bloody neck and the small knife buried inside. As she fell, a gunshot rang out.

“Bringers!” Dean shouted.

The room exploded in a whirl of fangs and blades, flying bolts, vampire dust, and blood splatter. With one swift blow, Buffy decapitated two vampires. A bolt whizzed over her head, nailing a third.

Two cries peeled from the back of the room. Vampires had circled behind them and were preparing to feast on Ju and Nitika cowering by the door.

“Grace! Sophia! Spike! Cover the front!” Buffy commanded as she swung up on the racks, cutting her way through Bringers on her way to the back of the group.

With a swift kick, she knocked three barrels off the stack, their BOOM startling the vampires into letting the girls go. She kicked another barrel, pinning a vamp. Ju, bloody and furious, staked the trapped one. Buffy killed the other. Ju shook Nitika, and the girl slumped, lifeless.

“Get moving!” Buffy barked. She scurried to the top of the dividing row and found a Bringer. She waited as he whirled and flared his blades, watching the rhythm, and gutted him when he bared his stomach mid-display.

Below, on the other side, Dean shielded Maya, her face covered in blood. He put a bullet in a Bringer’s skull.

Sam had switched to an ax, and he and Betje worked through the crowd of vampires with berserker fury.

In the back, one vampire had Mio’s arms pinned behind her while the other went in for a bite. The girl headbutted him and kicked the biter back. Before Buffy could jump into the fray, Xander and Dawn swept in and helped Mio kill both vampires.

Buffy ran down the stack of barrels and leapt off at the front of the room where Caleb stood smirking at the bloodshed. Next to him stood Buffy’s mother.

“You know,” said her Not-Mother in a disapproving tone, “had I arrived in any other town, met any demon before I met Spike, I wouldn’t have cared about you at all. After all, what can one girl do against the onslaught of Hell? You’re not that special, my dear.”

“Did you run out of fingers to count on, Lucifer?” Buffy retorted over the clatter of weapons.

The Potentials started to break free from the confines of the aisle. They flooded the open space at the back of the building, cutting down everything in their path.

Buffy’s mother morphed into Angel. Buffy bit her tongue.

A scream rang out and was cut short. Buffy kept her eyes on Caleb.

The priest prowled towards her with an oily confidence. “The slut thinks she can win this.”

“She thinks Dean can win this.” The First corrected.

“Are we going to fight or patronize each other?” Buffy asked as she and Caleb slowly circled each other. “Because I am itching to break in these ass-kicking boots.” 

Again, Lucifer changed his visage, this time turning into a familiar blonde. She had a narrow chin and big brown eyes, long, shiny hair like Buffy’s. Jo. Her grey t-shirt was soaked in blood, her guts spilling out.

“This fight is a rerun of one the Winchesters already lost. It’s when Dean lost her,” Lucifer said, pointing to the face of the girl he was wearing. “You won’t die as quickly. You are familiar with the definition of insanity, aren’t you, Buffy?

“Slayer or not, your bodies are blood and bone. So fragile, oxygen rusts you out if you don’t kill yourself with fast food first. But you’re a blowfly compared to most humans. Buzzing. Stinging. Nagging.”

“Slappable,” added Caleb.

“Short lived.”

“Then I’ll get to the point,” Buffy said, plunging her sword through Caleb’s heart.

He did not fall. He did not bleed. He smiled, pleased, and pulled it out by the blade.

Buffy tried to sweep Caleb’s legs out from under him, but he was too fast, skipping over her with delight. “Weaponless and alone,” he scoffed. “But why would I kill you when I could, say, kill her?”

Two Bringers stepped forward with Grace pinned between them. She squirmed, stomped his feet and tried to headbutt him, but he slit her throat.

Buffy lunged at him. A crowd of Bringers blocked her path. She elbowed one in the face, snatching its blade and hacking through the monks.

Caleb sank deeper into the crowd.

I don’t want to kill you yet. Jo’s voice twisted through Buffy’s head like whispers in a quiet room.

Dozens of vampires streamed in from grates in the floor. Some of the barrels popped open to reveal more Bringers. The girls were bloody, lagging. Someone screamed.

I want you to watch. To suffer.

Caleb wrapped his hands around Vi’s head and snapped her neck.

You’ll die in the end. Everyone Dean Winchester loves dies. He will abandon you as God abandoned me.

Buffy plunged a stake into a vampire as she worked her way back through the crowd. “Turn back!” she cried. “Get out!”

Have you ever wondered why God doesn’t help you, of all people?

Dawn was directing Potentials back toward the entrance when Caleb grabbed her by the throat.

Buffy’s heart stopped. She pushed through the crowd, now a writhing wall of blood and steel. Dawn kicked the priest. She couldn’t scream. Buffy pulled a short knife from a Bringer’s body and hurled it at Caleb. It sank into his neck, but he did not flinch. He smiled back at her through the throng of bodies and plunged his thumb into Dawn’s eye.

You can’t protect anyone.

A muzzle flash and Caleb reeled back, one side of his face covered in buckshot. Sam wrapped his arm around Dawn and helped her toward the door.

Buffy dusted three more vampires blocking her path before jumping on top of the barrels again. A knot of girls was stuck at the end of the row. They were blocked by bodies and barrels. Buffy ran to the end of the row and shouted, “I’ll hold them off! You climb!” Sophia, twirling her double axes with deadly precision, refused to leave her side. They cut through one, two, five vampires while Shakti, Kate and Wook climbed to safety.

“Buffy? Buffy!” Dean shouted somewhere behind her.

She turned for a second -- only a second -- to answer him and in that second, Sophia screamed. A vampire had gotten ahold of her. She chopped off its hand, but two more grabbed her. Then three. A hoard dragged her back into the building. Then they began to feast.

Buffy couldn’t save her. Couldn’t save any of them. She ran out to the crowd of bloody Potentials, a few dead Bringers at their feet. Willow, Giles and the others were busy attending the injured and loading Robin’s school bus. “Is this everyone?” she asked Spike.

“Sophia?”

“Dead.”

“Then these are your survivors.”

“Fuck this!” shouted Dean, storming toward his car. Moments later, he returned with two gas cans. He splashed the fuel all over the base of the building and doors. He flicked his lighter and set the trap ablaze.

Buffy sat unblinking, staring at the wall of the hospital, seeing nothing. She was crusted with blood, none of it hers. All of it hers.

Dawn did not want to see her.

Bianka, Grace, Violet, Nitika, Leticia, and Sophia -- all dead. Over half of the Potentials bleeding from knife wounds or bite marks. A few broken and dislocated bones. Kimberly was missing part of a finger. Rachel had taken a blade so deep to her leg, the bone showed.

Then there was Dawn. Dean, Xander and Giles had driven the more severely injured to the hospital. With only five nurses, one doctor, and a janitor working as an orderly, understaffed was an understatement. They said they wouldn’t leave town until everyone else did.

Buffy told them to leave tonight.

Xander and Giles were visiting Dawn, trying to calm her down, leaving Buffy and Dean alone for only the second time in weeks, the first being when they had buried the bodies the day before.

Dean couldn’t believe that she wanted to attack Caleb. “You think you can just waltz in there and stab stab, the big bad wolf is dead? That’s suicide! Caleb will eat these girls alive.”

“Then tell me your brilliant plan,” she had said coldly.

He didn’t have one. What he had were two dead bodies in his trunk -- a child and a woman unfortunate enough to look like Jo Harvelle.

“If we don’t move soon, the girls will go after him on their own. Hell, Lara’s already tried! Besides, Caleb is just a man. A totally creepy serial killer, yes, but still human. And the only play we have right now is knocking down Lucifer’s lieutenants.”

Dean had considered the chasm between them, widening exponentially each day since Cloe’s suicide, and wondered if he could make the jump. “You’re gonna kill him? Kinda out of line with your code, isn’t it? Sure you’re ready for that?”

“Don't talk to me like I’m some up-and-coming new kid! We can’t wait this out!”

He would have gladly killed Caleb for her. “I wasn’t--”

“You have no idea what I’m going through right now!”

Didn’t he? For nearly a year, angels had been moving him through time, threatening the people he loved -- hell -- giving him advanced stomach cancer. “I’m sorry I’ve been so busy trying to keep Michael, God’s number one groupie, from crawlin’ up my ass to get a feel for what it’s like to be a fucking Girl Scout troop leader!”

He regretted the words as soon as they had left his lips, but she was already lost to him. He could see it in the tension in her body as she turned away from him, looking at her ruined city flashing by the Impala. As they fought their way into the winery, he kept wondering if those would be their last words. But now they were in the same quiet, dim room.

His voice was soft, pleading. “Dawn will be --”

“Don’t.” She didn’t even look at him.

“I was just --”

“You can’t make this better, Dean. You can’t fix this. People are dead. Dawn’s lost an eye. Anything you say will only make it worse.”

Dean understood. The last thing he’d ever wanted was to suck other people into this angelic pissing contest. And because of him, because he’d been selfish and stayed, Dawn had lost an eye. Because of him, the women he loved would lose more people she loved. As always, his love brought destruction.

The evening sun lit up the city at a sharp angle, twisting familiar shapes. Everything was bathed in light or shadow. There was no middle. As Giles drove the Summerses home, the stop lights and flickering neon of the businesses shut off.

Sunnydale was lost.

The moment they pulled up to the house, girls started streaming out the front door.

Buffy said in a tired, resigned voice, “Get back inside! Sunset is --” Someone shoved her and she fell to the driveway, tiny pebbles stinging her palms. Buffy looked up and saw Betje, her clothes covered in dried blood, her usually stoic face wild with rage.

“What the fuck was that?” Betje shouted.

“That was losing,” Buffy said, getting back up.

“That was slaughter! Why did we not burn the place to begin with? Maybe then Sophia would still be alive!”

“I’m sorry about your friend --”

“I do not want your pity. I fought with that girl across Europe trying to get to safety, and because of you, she is dead!” Betje spit in Buffy’s face.

Buffy slapped her, the blood on her palms smearing over Betje’s cheeks. Sophia’s death wasn’t her fault. Was it? Betje lunged at her, her hands around Buffy’s throat as they tumbled on the lawn. Buffy kicked her off, sending her flying and knocking over several other girls.

Buffy felt arms around her stomach. Hands on her arms. Dean voice growling in her ear, “You are better than this.” She could have broken his and Sam’s hold easily, bloody noses as parting gifts, but she didn’t want to hurt him. That was part of the problem.

Some of the girls had circled around Betje, whispering and casting sharp glares Buffy’s way. Willow, Xander, Anya and Robin stayed on the porch looking relieved to not be involved. Dawn stood by the car; her one good eye fixated on the lawn as if considering whether or not it needed a mow. Giles looked annoyed.

Keisha stepped forward, her eyes only briefly resting on Buffy. Normally quietly confident, she’d never been so wary, so tentative in the months they’d known each other. “We were talking while you were at the hospital and --”

“You screwed up, Buffy!” blurted Dani, gleefully.

They could hate her all they wanted, but they were in over their heads if they thought they could do better. “What was your big play against Lucifer, huh, Dani? Wow me.”

“It is not about beating Lucifer. It is about staying alive,” said Betje. “Something you do not seem concerned with.”

“Not concerned?!” Buffy dug her nails into her bleeding palms to keep from slapping the girl again. “Do you think I let fifty girls into my home because I was lonely? Do you think this is summer camp? Staying alive is the entire reason you’re here!”

“And you can’t wait to get us out, can you?” sneered Kate. She had a black eye and split lip. “Always shoutin’ at us. Tellin’ us when to sleep an’ what to eat an’ where we can’t go. We’re only allowed to be safe if we stay lock step with you.” Several girls nodded in agreement.

“She hides in her room!” shouted a voice from the back.

“She disappeared for a whole day!” added another.

“It was not a good plan, Buffy. You know that.” Lara’s arm was in a makeshift sling.

Buffy did know. Dean and Sam had been unable to stop Lucifer. She could do nothing but knock off each second-in-command as they rose up. Her fingers were turning blue in the dyke.

“Bad plan or not, you weren’t even helping,” sniped Dani.

Buffy felt as if she’d been slapped. “You’re joking.”

“I saw you up on top a those barrels like you was ‘managing,’” said Rona, using a nasally voice for managing. “Fightin’ off fuckin’ vampire on my own while fearless leader fails to lead.”

Buffy drew a sharp breath to respond, but Ju, her neck bandaged from the vampire bite jumped in first. “Nitika died crawling over the pile of rubble you made blocking the door.” Her face was pale and slick with tears. “She could have gotten out, waited for us to finish, but those barrels were blocking the path.”

“You say you’re saving us,” began Karen, “but if I hadn’t nailed that vampire with the crossbow, you’d be dead and one of us would be the Slayer.”

“That would be better,” said Dani, darkly.

“Whoa!” shouted Dean, getting between Buffy and the Potentials. “You talk a big game kid, but you’ve had your ass in class all this time. You ain’t got no idea what hell she’s going through.”

Neither do you.

“Maybe not, but Faith Lehane does,” said Karen.

Buffy was stunned by the out-of-nowhere suggestion that she and Faith were on the same level. She would have laughed if she didn’t feel like crying.

“Who’s Faith?” asked Maya.

The gossip made Dani look like a child hopped up on candy. “She’s the real Slayer. Buffy did die, after all.”

A murmur of surprise rippled through the girls, and Dean, who she’d never told about Faith, gaped at her in disbelief.

If they wanted to think she wasn’t the real deal, fine. “Sorry, but she’s in prison for murder. You brats are stuck with me.”

The girls exchanged knowing glances, some with tears, others with smirks. Keisha was pushed forward again.

“Buffy, I don’t know you, and you’re probably a different person without all this Lucifer stuff going on, but...we decided you have to go.”

“You’re kicking me out of my house?”

“It’s my house too,” said Dawn. “They’re right. You’re not yourself.”

Bile rose in her throat. Her sister, too?

Giles added, “Perhaps the stress is getting to you. You wouldn’t have made those mistakes even a few weeks ago.”

Even Giles. Giles who believed in her more than anyone else. Giles who she’d trusted with one of her most stressful experiences. He thought she was broken.

“You can’t be serious.” But she knew they were. “What, are you going to put Dani in charge?”

“No,” said Betje. “Dean.”

Dean’s face was a mixture of shock and indignation. “No, no, no. This ain’t my circus.”

“You set the building on fire!” Betje encouraged. “We should have done that in the first place.”

Buffy didn’t want to hear him defend her again. She didn’t need defending or a highlights reel of her failures. She needed sleep. While they argued, she sneaked into the house.

Throwing some clothes in a backpack, she uncovered a purple bag and three books, long forgotten Slayer gifts from Robin Wood. The same Robin Wood on her front lawn nodding along to the idea that she was a failure.

Maybe she was. Even so, she was the only Slayer there. She tossed the bag and books into her duffel and left out the backdoor.

next chapter

[twittercomfrnklin2001-blog]

TILL THE END OF TIME

Edward Dmytryk’s TILL THE END OF TIME (1946) could have been more than the fanzine version of William Wyler’s THE BEST YEARS OF OUR LIVES (1946). Allan Rivkin’s script (from Niven Busch’s THEY DREAM OF HOME) hits all the right notes in dealing with the plight of returning GIs and even has some scenes that parallel Wyler’s film (the awkward homecoming, the vet with a disability, the fight with post-war homegrown fascists). But where Wyler’s film has a powerful resonance, Dmytryk’s goes for too many easy answers. There are some very good performances, particularly from Robert Mitchum as a cowboy who comes back from the war with a steel plate in his head, Bill Williams as the veteran who’s lost his legs and Selena Royle as his mother (and what a pity that Royle went from being a respected stage actress to MGM’s third string mother figure to ROBOT MONSTER). Dorothy McGuire always felt she was miscast as a sympathetic war widow. She has some good scenes, but there’s one in which she’s called a tramp, and the label is so wildly inappropriate, even by the less-enlightened standards of the 1940s, it seems almost ludicrous and discredits her leading man. Not that he needed any help in that department. In his first leading role, Guy Madison is certainly way better looking than any of the men in THE BEST YEARS OF OUR LIVES, but he can’t hold a candle to them for talent. Both he and Mitchum have minimalist acting styles, but where Mitchum can deliver a blank stare with a 1,000-page novel behind it, Madison’s is backed by a bunch of empty pages. He’s sort of the post-war version of Zac Efron.

[clemsfilmdiary]

The Worst of June 2020

Worst Film: The Fluffer

           Runners Up: Moonwalker, Turner & Hooch

Most Problematic Film: Léon: The Professional (pedophilia, sexualization of 12-year-old Natalie Portman)

          Runners Up: Dredd (police brutality, black villain), Gone with the Wind (confederate nostalgia, whitewashing of slavery), Witness (police brutality, racial profiling)

Worst Performance: Andrew Stevens in 10 to Midnight

           Runners Up: Clint Eastwood in In the Line of Fire, Harrison Ford in Witness, Tom Hanks in Turner & Hooch, Heather Langenkamp in A Nightmare on Elm Street 3: Dream Warriors, Sylvester Stallone, John Lithgow and Janine Turner in Cliffhanger, Lisa Wilcox in A Nightmare on Elm Street 4: The Dream Master and A Nightmare on Elm Street 5: The Dream Child

Most Overrated Film: The Death and Life of Marsha P. Johnson

           Runners Up: Funny Face, A Single Man, Da 5 Bloods, Edward II, The Godfather: Part II, My Beautiful Laundrette, Two for the Road

Most Overrated Performance: Harrison Ford in Witness

           Runners Up: Audrey Hepburn in Two for the Road, Al Pacino in The Godfather: Part II

Worst Screen Couple: Fred Astaire and Audrey Hepburn in Funny Face

           Runner Up: Tom Hanks and Mare Winningham in Turner & Hooch

Most Unsightly Screen Presence: Andrew Tiernan in Edward II

Most Loathsome Screen Presence: Jasper Newell in We Need to Talk About Kevin

           Runners Up: Charles Bronson in 10 to Midnight, Patricia Clarkson in Dogville, Sara Hjort Ditlevsen in Borgman, Karina Fernandez in Another Year, Albert Finney and Audrey Hepburn in Two for the Road, Ezra Miller in We Need to Talk About Kevin, Robert Mitchum in One Shoe Makes It Murder, Natalie Portman and Jean Reno in Léon: The Professional, Mélanie Thierry in Da 5 Bloods, Andrew Tiernan in Edward II

Most Obnoxious Score: The Death and Life of Marsha P. Johnson (Bryce Dessner)

           Runners Up: Da 5 Bloods (Terence Blanchard), A Single Man (Abel Korzeniowski)

Assorted Displeasures:

- Grotesque claymation, demonic robot transformation sequence in Moonwalker

- Air of vapid 60s nostalgia and fashion snobbery in A Single Man

- Anti-porn lesbians, garish post-stonewall expressions of pride in After Stonewall

- Tom Hanks' gratuitous shirtless and underwear scenes in Turner & Hooch

[lynchgirl90]

@IndieWire  @Kyle_MacLachlan is giving one of the best TV performances ever, and he's barely had to move. #TwinPeaks

‘Twin Peaks’: 7 Powerful Moments When Kyle MacLachlan Barely Moves

Kyle MacLachlan is giving one of the best performances in television history, and he's barely had to move a muscle.

Recently, Seth Meyers imagined what his NBC talk show might look like if it was set in The Red Room. Despite the opportunity for easy potshots at the preposterousness of “Twin Peaks,” the two-minute segment played it pretty straight.

The original opening titles were reincorporated along with the 4:3 framing of the original seasons. There were stand-ins for Laura Palmer and The Man From Another Place, while Meyers took over the role of Agent Dale Cooper. For anyone familiar with the series, the video homage was quite fun. For anyone else, it would’ve been quite weird.

But one thing stood out above the rest: Seth Meyers was moving too much.

Now, that’s not a slight against Meyers. His take on Agent Cooper was about as physically restrained as possible, barring any lessons from the robotic on-and-off acting of the “Westworld” cast. But there was still too much movement.

That’s how extraordinary Kyle MacLachlan has been in “Twin Peaks: The Return.”

Despite the timing of the sketch, Meyers was drawing from the scene in Season 1, Episode 3, “Zen, or The Skill to Catch a Killer,” not Agent Cooper from “The Return.” The performances are different. In Season 1, he was a first-time, part-time visitor to The Red Room. In “The Return,” he’s been trapped there for 25 years. The former is a little more expressive; a little more fluid. The latter is stoic and stunted; trapped in a cage barely restraining his true spirit.

As fans have come to accept in Season 3, Dale Cooper is different. He’s a man of many names; almost as many as the characters MacLachlan plays. He’s Dougie Jones to everyone in Las Vegas, but he’s still Dale Cooper to those in the know (viewers, mainly). For a brief time, MacLachlan played the real Dougie Jones, too, and he’s still playing the mysterious Mr. C — Agent Cooper’s doppelgänger and Dougie’s creator — in addition to Dale Cooper.

But above all else, he’s still. MacLachlan has achieved so much by barely moving. Let’s celebrate that, shall we?

1. Dougie is Scared (“Part 3”)

We don’t know much about Dougie, and most of what we do know is bad. Dougie cheats on his wife with a prostitute. Dougie racks up huge gambling debts instead of spending time with his son. Dougie is friends with the insurance dirtbag Anthony Sinclair (Tom Sizemore), but not that good of friends since Tony turned on Dougie at the drop of a hat.

Dougie doesn’t last long, but the empathy viewers have for him in the moment above has quadrupled since it first aired. Dougie is just having an ordinary Tuesday with Jade, banging in an open house near his actual home, when he keels over and disappears. Confused and in pain, Dougie is transported to The Red Room so Mr. C can roam freely. He only sits with MIKE (Phillip Gerard) for a second, but in that brief amount of time, MacLachlan gives Dougie his humanity.

He struggles to turn his head, but it’s unclear whether he’s held captive in his chair or too scared to move. What matters is the fear in his eyes: MacLachlan takes Dougie from wide-eyed confusion to beleaguered anxiety in just a few lines. He never understands why he’s there or what’s happening to him. He’s just a construct, and even when MIKE tells him so, he doesn’t understand. He never realizes he’s not a real person. MacLachlan informs all of that, and gives Dougie his dignity right before he disappears.

2. Cooper Sees Himself (“Part 4”)

There’s a lot to admire about Cooper’s first morning as Dougie Jones, but MacLachlan’s deft blending of absurd comedy and true poignancy is outstanding. After being ushered into the bathroom clutching his crotch, the audience is prepped for an outlandish first foray with the family. Janey-E is impatient. Sonny Jim is amused. Cooper, well, we don’t know what Cooper is feeling.

But he’s feeling something, and that’s what matters. Evoked in a brief, basic motion, the shot above is simple and speaks to the series’ ongoing fascination with duality. MacLachlan moves less than the camera does, staring intently at his own image and then the lack of connection between his hand and its mirror image. Cooper is still searching. He’s still a seeker. He’s still himself, but “Twin Peaks” has changed, and MacLachlan is adapting with it, ever so patiently.

The brief scene shreds the idea that Cooper is now just someone to laugh at; that we’re just waiting for him to “snap out of it” and go back to his old self while he can barely control his bladder and wears a tie over his head. MacLachlan makes the above moment stick by giving Cooper as much pathos as piss jokes.

3. Mr. C Sees Diane (“Part 7”)

Please don’t make me watch this scene again. MacLachlan is so unnerving in his unblinking intensity — and Laura Dern, as Diane, so angry, hurt, and unsettled — that it’s a difficult moment to revisit. Much of Mr. C’s intimidating presence stems from this moment. We know what he’s capable of because of the authority he conveys even when handcuffed behind bars (well, bulletproof glass).

His brown jumpsuit, restricted positioning, and the generous space between Mr. C and his interrogators should all dwarf his imposing presence. MacLachlan arches his back, stares straight ahead, and — of course — doesn’t move an inch, and all of these choices make Mr. C as threatening as ever. He’s one scary dude, and — thankfully — makes this scene memorable enough that we don’t have to go back and re-watch.

4. Cooper Hears Music (“Part 11”)

One could easily argue “Part 11” is Cooper’s most revealing episode to date — and exemplifies MacLachlan’s best work. For one, the last half-hour is entirely Cooper’s story. The funniest scene since “Mr. Jackpots” kicks things off (see below), but it’s the ending that really hits home. After Cooper survives another death threat, this time from the Mitchum brothers (James Belushi and Robert Knepper), they take him out for celebratory pie — the dessert that just saved his life.

But in between a toast to Dougie and serving the pie, a piano change draws Cooper’s attention. Suddenly he’s transfixed, his head quickly pivoting and his eyes remaining on the pianist until the pie arrives. Even a surprise greeting from a grateful elderly patron — the woman who followed his advice and won thousands at the casino — can’t take Mr. Jackpots’ mind off the melody.

MacLachlan looks past her while she thanks him, unwavering in his focus. He’s still listening to Angelo Badalamenti’s “Homecoming,” and he’s still remembering a time and place long past. He’s looking through her as an event that already transpired. He wants to go back to that place; he wants a homecoming. As she leaves and he bites into the cherry pie, it’s as though Cooper is saying goodbye to Dougie’s past and moving ever more consciously toward his future: When MacLachlan says the iconic line, “damn good [pie],” his slight shift in inflection provides a faint hint of nostalgia and the slightest of hope.

Cooper will return. He won’t be trapped as Mr. Jackpots forever.

5. Cooper Chases Coffee (“Part 11”)

OK, this is perhaps the most movement MacLachlan does outside of taking down The Spike, but look at how restrained he is! Viewers get so much out of this brief comedic bit: For a moment, he looks annoyed. On the way in, he just looks eager. By the end, he’s back to the status quo, as if coffee is the only thing in his life that keeps him alive. And that’s the beauty of it: An immeasurable number of texts, tweets, and posts undoubtedly used this .gif and a message equivalent to, “This is me every morning.” MacLachlan captures the universal need for your morning Joe without abandoning Cooper’s stilted state. In short, it’s funny because it’s true.

6. Mr. C Wins an Arm-Wrestling Match (“Part 13”)

This entire scene is based around specificity of movement, so, this entire scene epitomizes Kyle MacLachlan’s intricate understanding of his characters’ physicality. Not only does he account for the visual intrigue of his choices, but his movements are built from Mr. C and Cooper’s spirits.

Nothing changes about Mr. C during his arm-wrestling match. He’s the same imposing force he’s always been. But as MacLachlan challenges his opponent to best him, again and again — “Let’s go back to starting positions” is still the most badass line ever uttered during an arm-wrestling match — his absolute control over Mr. C’s movements becomes all the clearer.

Just look at the way he shifts in his chair to approach the table. Then watch as his face, head, and neck as they remain motionless while his arm operates like a pulley on a string. Even when MacLachlan is called on to speak (gasp!) and move (wow!), he keeps Cooper and Mr. C as precise as possible: Real Cooper is a little looser; pliable in mind and body, but Evil Cooper is rigid because he knows exactly what he wants and what he needs to do to get it.

7. Cooper Hears the Name “Gordon Cole” (“Part 15”)

Listen, there’s no telling what exactly got Cooper to do what he did near the end of “Part 15,” but it was hearing Gordon Cole’s name that forever altered his pleasant evening of eating cake and pushing buttons. As “Sunset Boulevard” popped on the TV, Cooper took note. His neutral perspective shifted into a state of bemusement, but no more so than usual. It’s when Cecil B. DeMille says the fateful words, “Get Gordon Cole,” that MacLachlan’s expression changes entirely, Cooper gets down on the ground, and crawls toward an electrical socket making too much noise.

As proposed in Sunday night’s review, this could be the end of Cooper’s impersonation of Dougie. Right after he electrocutes himself and collapses, a dying Margaret explains how death “is just a change, not an end.” The version of Cooper oft-referred to as Dougie could die via the same household device that transported him there in the first place, and “Twin Peaks” will be on to the next iteration of its hero. If so, his time in the Jones’ household was given a fitting end: a few jerky movements, some subtle adjustments in expression, and a bevy of emotional weight laid down. MacLachlan has done this with Cooper, Dougie, and Mr. C throughout “Twin Peaks” Season 3, and each part has been deepened by the star’s contribution to it.

MacLachlan hasn’t created one new character in “The Return”; he’s built three brand new individuals from the ground up. And he barely had to move a muscle.

Link (TP)

[refugiobidencope-blog]

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Recapping Twin Peaks: The Return: Part 10

Before watching each week's installment of Twin Peaks: The Return, the titles given for each part offer a nice little hint for what's in store, or, in the cases where the title doesn't provide an obvious prompt, a way to later look back on the element that David Lynch and Mark Frost wanted you to pay the closest attention to from the beginning. The title of Part Nine was This is the Chair, and in that episode, we got some seriously important information from that chair: the directions from the late Major Garland Briggs (Don S. Davis) that will get the Twin Peaks Sheriff's Department closer to understanding where and when and how Special Agent Dale Cooper (Kyle MacLachlan) can be found. This week's title, however, is Laura is the One and while we're not left with any immediately accessible explanation for what that means, we know that Laura Palmer (Sheryl Lee) is somehow the key element to restoring, and hopefully healing, the toxic sadness now coursing through the metaphorical water supply within the town of Twin Peaks.

If you recall, we learned in Part Eight that Carel Struycken's character, credited so far as just ??????? in The Return, and his cohort in the White Lodge (though I'm personally on the fence that this is what this is) Seorita Dido (Joy Nash) sent the golden goodness of Laura into Twin Peaks to combat the rivaled evilness of Bob (Frank Silva). The essence of Bob was most recently within Dale Cooper's Doppelgnger, who we've been calling Evil Cooper, but was removed by the Woodsmen (led by Robert Broski) and is now god knows where. Even without that essence, the ratio of bad versus good in Twin Peaks and the other new locations (Las Vegas, South Dakota, New York, Philadelphia) leans more on the bad side. Like really, really bad. Twin Peaks used to be a town where, aside from the occasional incest, prostitution ring, and murder, the worst thing to happen on any given day is finding a fish in your percolator. Now, it's a place where pinched-face psycho killers call their grandmother a cunt. So, if Laura is the One, as we've been told by the auteurs themselves, perhaps that means she's the one to finally snap Cooper out of his Dougie stupor; in other words, Laura contains the Prince Charming-esque kiss that's gonna bring him back around. Hell, we'd place a Mr. Jackpots-sized bet on it.

Part Ten opens with another appearance from Richard Horne (Eamon Farren), who we now know beyond the shadow of a doubt is the terrible, terrible god-awful son of Audrey Horne (Sherilyn Fenn) who we still have not seen. He pays a visit to the trailer park where Miriam Sullivan (Sarah Jean Long) lives to try and sweet talk her out of not telling the police that she saw him mow a little boy down with his truck. Unfortunately for her, she tells him she already called and wrote a letter to the Sheriff, to which he gives up the sweet talk and just kills her instead. Ramming his way into her home, we hear the sounds of brutal violence and then the camera lets us peek in to see that not only did he beat her to death, he opened up the gas on the stove and left a burning candle next to it as well. Spoiler: Things are going to get even more heated.

In back to back displays of violence, we go from here to the front of the New Fat Trout Trailer Park where Carl (Harry Dean Stanton) sits in a folding chair strumming Red River Valley on an acoustic guitar. His song is interrupted by a red coffee cup being thrown through the window of a nearby trailer and we go inside that home to see Shelly's daughter Becky (Amanda Seyfried) being manhandled and screamed at by a hysterical, runny nosed Steven - her husband - played very Leo Johnson-y by Caleb Landry Jones. Based on this display, he may even have Leo beat and it seems like Becky might have something worse than soap in a sock coming her way. Those familiar with the original series and Fire Walk With Me might be wondering whatever happened to 'ol new shoes Leo. It'd be interesting to see his storyline wrapped up in The Return along with a few others we're curious about like Donna Hayward (Lara Flynn Boyle, Moira Kelly) for instance. Let's not hold our breath, though.

Meanwhile, at a doctor's office in Las Vegas, Cooper/Dougie is being examined while his temporary (although she doesn't know this yet) wife Janey-E Jones (Naomi Watts) watches, looking visibly pleased that he's mysteriously lost a bunch of weight and is now in excellent shape. Once back home, Janey seduces Cooper/Dougie into the bedroom and the two engage in loud sex (poor Sonny-Jim) and then fall asleep in each other's arms. It will be sad when Janey learns down the line that the man who just gave her what was probably the first orgasm of her marriage isn't actually her husband. With the real (manufactured) Dougie gone, having been sucked back into the Black Lodge and destroyed, she'll be left with no husband at all and doesn't deserve that grief. Janey -E Jones 4-EVR.

In another part of Las Vegas, the Mitchum Brothers (Jim Belushi, Robert Knepper) are watching the news and see a report that Ike the Spike (Christophe Zajac-Denek) has been arrested. Part of the report includes hilarious footage of Janey and Dougie/Cooper after having been attacked by Ike in front of the Lucky 7 Insurance building and the brothers put two and two together that the man who thwarted Ike is also who they previously knew as Mr. Jackpots. They make plans to call off the hit they had arranged on Ike themselves and to set up a meeting with Dougie/Cooper/Mr. Jackpots soon. To further complicate the life of Dougie/Cooper/Mr. Jackpots, we later also learn that Anthony Sinclair (Tom Sizemore), who works with Dougie/Cooper at Lucky 7 and who we already knew was an asshole, is in cahoots with Duncan Todd (Patrick Fischler). With Mr. C breathing down his neck, Todd orders Sinclair to influence the Mitchum Brothers to kill Dougie/Cooper by telling them he's the reason their $30 million insurance claim got turned down. And if that fails, Sinclair will have the do the job himself. Seriously, what if Dougie/Cooper gets killed before Cooper wakes up? Don't rule it out, anything can happen in Lynch land. Anything. Lynch and Frost have already been throwing us curve balls and dragging us around by the nose for 10 weeks now and nothing would be more of a gut punch than killing off the series' most beloved character. We wouldn't put it past them.

Back in Twin Peaks proper, we're gifted with a new installment of former doctor Lawrence Jacoby's (Russ Tamblyn) Dr. Amp show, which Nadine Hurley (Wendy Robie) watches while sipping a protein shake from the desk of her very own business called Run Silent, Run Drapes - a play on the title of the 1958 film Run Silent, Run Deep starring Clark Cable and Burt Lancaster. As Nadine watches, she says he's so beautiful out loud to herself, in reference to Jacoby. Where the hell is Ed? And why does Nadine seem more, well, out of it than usual?

Over at the Horne house, we're happy to see that Johnny (played here by Eric Rondell) survived his nasty encounter with the wall in Part Nine but is not looking very good. He's situated at the dining room table, fully restrained, staring at terrifying teddy bear robot with a Mr. Bill face that also kind of looks like a loaded pot bowl. Soon enough, Richard Horne shows up and, in one of the most difficult to watch scenes ever, violently chokes his grandmother Sylvia (Jan D'Arcy) demanding the code for the safe. Once he clears out not only the safe, but her purse and silverware, he calls her a cunt and leaves both her and Johnny slumped and crying on the floor.

In his hotel room in South Dakota, Gordon Cole (Lynch) is sipping bordeaux and drawing a picture that looks like a tree growing out of a cow with a hand snatching at it when he gets a knock on the door. Upon opening it, he sees a vision of Laura and it's interesting to note that it's her in the Donna, are you my best friend scene from Fire Walk With Me. What could this be trying to tell us? Well, based on the fact that Albert Rosenfield (Miguel Ferrer) is there to tell him about the text that Diane (Laura Dern) received from Evil Cooper (Around the dinner table, the conversation is lively), and that she replied back (They have Hastings, he's going to take them to the site), maybe it's a warning that we can't assume who's a friend anymore.

And finally, the Log Lady (the late Catherine E. Coulson) closes Part 10 with a message from her log to Hawk (Michael Horse) saying electricity is humming, you hear it in the mountains and rivers and that now the circle is almost complete. She also urges him to watch and listen to the dream of time and space, and says that it all comes out now flowing like a river. Bottom line: Hawk and Laura are about to get shit done. Let's see if we get closer to learning how next week.

DAMN FINE QUOTES:

Pee Culiar. Dougie/Cooper

We're just naked, screaming little fucks. No wool for us! Dr. Amp/Jacoby

NEXT WEEK ON TWIN PEAKS:

- Benjamin Horne (Richard Beymer) and Beverly Paige (Ashley Judd) get that dinner together.

- Speaking of dinners, perhaps Albert and coroner Constance Talbot (Jane Adams) will share more than just a fancy feast?

- Jerry Horne (David Patrick Kelly) finally finds what he's looking for maybe.

- The US Postal Service has its revenge on Chad Broxford (John Pirruccello)

- Hawk, Bobby, and Frank investigate the clues they've collected so far regarding Jack Rabbit's Palace and the Log Lady's last message.

- Hopefully, Richard Horne gets eaten by one of the lions on the nature program Sarah Palmer was watching in the premiere.

TONIGHT AT THE ROADHOUSE:

Rebekah Del Rio (with Moby on guitar) sing No Stars. You may remember Del Rio as the singer of LLorando from that gut wrenchingly sad scene in Mulholland Drive.

[fruidrigooffical-blog]

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