#thematic unit plans

[fuzzyperfectionengineer]

O Level Statistics 4040 Lesson plans, Thematic Unit Plans Full and Latest Syllabus 📊✨

Hello, individual analysts! Take an exciting journey into the world of measurement with our latest blog entries. Currently, we are focusing on our valuable assets: O-Level Statistics 4040 lesson plans, thematic unit plans, and a complete and up-to-date syllabus. O-Level Measurement 4040 Illustration Plans, Complete Thematic Unit Plans, and Latest Prospectus at https://www.teacherspayteachers.com/Product/O-Level-Statistics-4040-Lesson-plans-Thematic-Unit-Plans-Full-Syllabus-Latest-10407732 _____________________________________________ Discover the possibilities of illustrated plans for measurements. Displaying the O Level Measurement 4040 requires a nuanced approach and our illustrated plans are created to help you grasp it using fact-based ideas. Let's take a look at why these lesson plans are so important for teachers. Comprehensive coverage of coursework: The entire O-Level Statistics 4040 syllabus is covered with carefully designed lesson plans to provide a comprehensive understanding of all statistical concepts and techniques. Topically structured unit plans: Focus students on specific thematic unit plans that break down complex subject matter into meaningful areas. Work with clear understanding and application skills. 🧮 Intuitive Learning: Support intuitive and dynamic growth opportunities with illustrated plans designed to encourage collaboration, decisive thinking, and active use of measurable critical thinking. Real-world application: Our illustration plan goes beyond hypothetical information and focuses on the useful use of measurable methods. Prepare students for real, measurable challenges. _____________________________________________ 1. 🌟Mr. Anderson • Region: New York, USA • Survey: “These lesson plans are full of statistical gems.” Incorporating real-world applications and linking to themed units has changed the way students see and understand fact-based ideas. Definitely recommended! ” 2. • Mr. Patel's location: Mumbai, India • Audit: "After reading this O-level statistics lesson plan, my students' interest in statistics has increased. This is the perfect lesson plan and will definitely continue my students' engineering studies. A great tool! 📊📘” 3. 🌟Teacher Kim • Region: Seoul, South Korea • Survey: "These illustrated plans are a clear advantage. Statistics are made interesting and relevant through thematic units." My students don't just care about things; Understand the impact on current reality through measurable research. 📈💡” 4. 🌟 Madame Dubois • Region: Paris, France • Survey: "These lesson plans are essential to me as a statistics teacher. They simplify the development of ideas and encourage students to apply statistics in the real world. Awesome! 📊🔍" Five. 🌟 Mr. Rodriguez • Region: Madrid, Spain • Test: "These school planes have been transformed into city classes. My students are now confidently understanding and applying city concepts. What a great opportunity! 🌐🧮" 🌈 Unlock a Wealth of Resources: Find more valuable resources like lesson plans, at this Secret Link.  https://www.teacherspayteachers.com/Store/Useful-Resources-For-Everyone Uncover the hidden secrets that await you and let the journey of discovery continue to attain professional methodologies and reach the height of your teaching/training/mentoring career.

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[canmom]

Comics mini-Comints: Dungeon Meshi

reread dungeon meshi through to the end. still such a great manga. here are immediate thoughts - if I end up having time and energy I hope I can write something that goes deeper!

ironically i was only a few chapters from the end when I stopped keeping up, but I was struggling to remember all the characters and context, so reading it through in one go was definitely an ideal way to achieve maximum impact there.

ryoko kui does a very elegant job of handling a transition from 'silly antics' to 'big dramatic fantasy' while still keeping the central thematic throughline - eating and being eaten, belonging to an ecosystem, the significance of sacrificing others to achieve your own desires. a lot of setups pay off in a way that feels meticulously planned - and of course the crux of the final showdown revolves around characters attempting to eat each other, of course the big payoff is a huge feast that symbolically unites all the conflicting factions. it is maybe a bit too neat and happy for my taste, but it's undeniably tightly executed - it never loses sight of what it's about. especially compared to something like Frieren, it's an incredibly coherent serialisation, up there with e.g. Fullmetal Alchemist.

kui's art style deserves all kinds of praise - it feels effortlessly simple, but it clearly communicates all sorts of different shapes and body types and it's really fun to see her play around with remixing the different visual elements when she switches the races around. in general Laius's autistic monster loving ways clearly reflect kui's own deeply felt appreciation for all the ways people and animals live (accentuated further by all the extra sketches the scanlators tuck in). in a way you could kinda call it like Parts Unknown the fantasy manga.

the stakes of the final conflict are interesting - there is much to be said about the framing of 'desire' and its fulfilment, of this occult idea of 'the infinite'. lots you could put in relation to other manga, and also buddhism. (in particular I really want to develop a comparison to Made In Abyss, there are so many parallels, it just might be too spicy for tumblr lmao).

one thing I really like about it is how much its fantasy dungeon-exploring setting owes to D&D and other TTRPGs, rather than videogames. monster ecology has been a fascination of that game since the early days of Dragon magazine, and Kui sharply zeroes in on some of the intrinsic conflicts baked in to that fantasy milieu, notably the lifespan thing, while smartly avoiding the traps of 'evil races'. there's some really fun nods to the weirder monster manual entries. and in a story with so many characters and factions, it does a genuinely incredible job of furnishing everyone with understandable, reasonable motivations, conflicts drawn from their context just like the monsters are explained by their ecology.

and one thing that I particularly appreciate is like... how much it is able to simultaneously understand and sympathise with a character and also show us how and why they'd rub others the wrong way. it's impossible not to like our main group, they're all such charming dorks and the manga leads you along with all the crazy rpg party shit they do, but at the same time you definitely find yourself thinking 'guy's got a point' in the kabru chapters lmao. I'm projecting hard bc i don't really know a thing about ryōko kui but laius def feels like the sort of depiction of having an autism that you can only do if you've lived it.

but yeah, it's a fuzzy ending where it all turns out well. but what's the deeper thrust of it all? there's a funny moment where marcille is like 'maybe in the end our journey is about learning to accept death' and the grouchy old gnome guy completely laughs this off as naive, because death doesn't mean anything. and indeed their big plan pays off, and falin does indeed come back just fine. but still, through all of this it asks you to bite the bullet that being a living creature means eating to survive, at the cost of other creatures, with the other side being that one day you too will be eaten. in contrast to this honest way of being is the beguiling fantasy of infinity, where all your desires are immediately fulfilled - this is shown as a dangerous path of corruption that produces madness and manipulability. having limits and rubbing up against the wishes of others, or 'doing things you don't want to do' as izutsumi's arc puts it, becomes necessary for having some kind of definition as a subject. the thing that makes the demon concrete as an entity is a desire, or appetite, that can't immediately be fulfilled.

of course we can connect this to the idea of narrative conflict. a standard advice for putting together a plot is to ask what each character wants and why they can't get it. wanting something implies movement. and indeed over the course of this story, we see that while having too many desires fulfilled too readily leads to incoherence and callousness, equally a character who is left catatonic as their desires have been eaten by the demon must be reawakened to activity by finding a new desire.

it's kinda Buddhist innit. neither the opulence of the palace nor asceticism. desires are what tie you to the world. but mixed with ecology: what a creature does to find the energy to live is what defines its lifestyle, its form.

this is probably where I'd start talking about entropy gradients and shit if i wasn't typing this on a phone at 1:30am lmao.

but yeah - it's a powerful move to go from 'D&D monster recipe show sendup' to 'living with the inherently violent nature of being an organism fated to live in a finite sum game' and yet Dungeon Meshi makes it feel natural and convincing, while remaining tremendously charming and funny throughout. ryōko kui is definitely some kind of genius, and I can't wait to see what her next act is gonna be. it's all definitely making me appreciate the act of eating a lot more.

next story on my plate is probably The Flower That Bloomed Nowhere, which sounds like it will present a very gnarly thematic contrast.

[sketchyartthings]

While I was drawing/looking at reference images, I realized that the king doesn’t look like he was killed by anything void related at all. His eyes don’t drip with void like every other character killed by overexposure to void in game, so what happened? What if he sealed himself away not to save himself, but to preserve the kingsoul? I mean, if I wanted to preserve an important object within me, I would think the dream realm would be a very suitable place to go. Evidently, the king hasn’t survived this, but it doesn’t look like there was a struggle. There was no evidence of the formation of a void creature in the room to have killed him the old fashion way, and no injury on the body itself. Nothing but a force of nature like the knight was ever going to get in or out of that room past all of those saw blades, and based on that, I don’t think the king planned on leaving that room. It looks to me that the king simply let himself wither away on his throne, and that he did it on purpose. The king was by no means a fool. He did not assume that locking himself in a room forever would be safe, and even if he did, he would’ve done more to solve his problems. The king had no workshop for him to toil in, no library to research from, and there was no effort made to stop the infection after he resigned himself to that room. The king was not there to save his kingdom in safety, and he was most certainly not there because he wanted to outlast the infection. The king wanted to die somewhere that was near impossible to reach. Somewhere in a near impregnable dream behind a nigh unwalkable path. But I don’t think that’s because he didn’t want to be found. After all, the king has tried tasking his children with a near impossible task in the hopes one will rise to meet the challenge before, and it worked. If we trust The White Lady’s perspective, The Hollow Knight was the perfect vessel before it was “tainted by an idea instilled,” so the idea that the king trusted the strength of his children enough to predict, or at the very least hope that one of them would reach the king would despite these measures, is not out of the question. In fact, the increased security of a task like this would make sense as a more intense test of the purity of a vessel. If the parkour skills needed to define THK as hollow were as simple as escaping the abyss, then the saw blades could certainly be explained as either a revised test of a vessel’s purity, or its will. Maybe the king predicted the creation of the void heart? If the vessel’s will is being tested, it would support the idea that the king knew about the possibility of the void heart, as it unites the void behind the bearer’s will. If this is true, then it may explain why The White Lady gives you the white fragment with the following quote. “I have a gift, held long for one of your kind. When united, great power is granted, and on the path ahead, great power it shall need.” This is most definitely referring to the unification of the king soul, but what if it were also a thematic parallel to the great power granted with the unification of the void? If this is the case, I don’t believe that the white lady was informed about all of the details, but likely just that a vessel was needed to end the infection, and that she must give the white fragment to a vessel she deems worthy. To ask the last question about this theory I could think of, why is the corpse of the king in a room dark with what is likely void if void is not what killed him? It could be deduced that the king’s regrets’ darkening of the room was meant to be a more subtle nod to his disposition at the time of his death than a hint as to what killed him, as the void tears found on those killed by void serve that purpose well and wouldn’t have impeded his design, but a darker room alone would be an interesting thematic note as evidence of a nagging question in the king’s head: “Have we payed a cost this great for nothing?” Anyways. Call me a deranged lunatic in the notes.

[alexanderwales]

Save the Cat is a snappy read, and only 8 chapters, so I'm just doing a liveblog of them unless I get bored or distracted.

Chapter one is about the pitch, the logline, the title, what you put on a poster and how you sell it. It doesn't necessarily come first, but I get the sense that for Snyder this would be his preferred way of doing it. (A logline is just the one-sentence "what is it about" that you use to sell people on the idea.)

Snyder says that writing loglines is awful, soul-crushing work, and I agree there. I'm awful at it. But Snyder also says that if you don't have a good logline, maybe there's something wrong with your movie, and that I don't agree with.

I think there's a fairly wide set of stories that have good, snappy, easy loglines, and are also good stories. But I think there are other stories that are good stories and don't have a great way to pitch them. The lack of a good pitch can exist for a lot of reasons, and sometimes it's just that it's more complex than can be summed up in a single sentence, or even a handful of sentences. I think in practice writers will often dumb down the story for the logline, lying about what's contained within, just to make sure that it will sell, that people will want to know what's inside.

One of the other main points of the chapter is that a good logline has irony to it, a twist inherent in the title, some kind of thematic tension, and I disagree with that too, maybe not from the standpoint of selling a script, but from the standpoint of storytelling.

Why does everything have to have an irony to it? Why does everything have to have a twist? Why can't we have stories that are just well-told explorations of conflict and character? It's like at some point people decided that they only wanted Distinct Pieces of Media, so if you wanted to tell a story that's been told before, something with its own unique texture, you're just shit out of luck.

I find this all the more irritating because often the twist/irony/idea/pitch is good, and then the execution is shit, and then people don't want that idea again. It's not like you can say "like that thing that flopped, but good".

Blake Snyder is trying to tell good stories, but he's also trying to sell stories, and this is a good thing for authors to know how to do. I accept this. I just don't like it.

So as a writing exercise, here are some loglines for things I've written, without the amount of care and polish and revision that a good logline needs:

Worth the Candle - A teenaged dungeonmaster gets thrust into the worlds he's created, where his recently deceased friend is a historical figure. (This is bad, not short and snappy enough.)

This Used to be About Dungeons - Five young adults team up to delve dungeons and bake pies. (I don't know man, I said I was bad at this.)

Thresholder - A man travels through portals to different worlds and genres, gathering powers and skills as he fights other people just like him.

Shadows of the Limelight - In a world where fame gives you power, a fanboy saves the life of the world's greatest hero in full view of the public.

The Dark Wizard of Donkerk - An orphan raised by two dark wizards adventures north with a wayward princess.

Millennial Scarlet - A gig-economy demon hunter grapples with the death of his mother and the plans she set up before she passed.

Alright, I found that less soul-sucking than usual, but I don't think that these are the oiled, muscular, perfectly toned and smiling loglines that are necessary to sell, just to be clear. The marketing unit of written fiction is not really the logline, though that helps, it's the blurb, and I am equally awful at writing those. I just don't agree with Blake Snyder that a blurb or logline coming poorly is a sign that you don't know the story.

[vindieselsfacebook-blog]

I want to hear more about your opinion that Rory ending up with Logan would go against everything the show stands for. How so? Tell me more!

Bless your heart (complimentary) for asking for MORE of my rambling! :’)

I think there are a few themes that ultimately guide the entire Gilmore Girls narrative. No matter where the plot and characters end up, if ASP is writing, I think the outcome will always adhere to these themes and a specific pattern.

The most important is family - how complicated and imperfect it is, how patterns repeat and break and struggle to repeat and break. We try our best and love in our own ways, but inevitably fuck things up, too. We just keep working at it, which is beautiful and painful and frustrating and gratifying. I think found family and community is just as important, which leads me to the second theme, which is independence and/or individuality.

The show centers Lorelai's quest to build her own life from the ground up which is a pattern I feel repeats in most of the main characters. She rejects upper class life to work a blue collar job, make her own home, build a new family unit with her daughter and close friends, and aspires to small business owner life. Luke shares those values and has a similar journey - taking his father's store and making his own, new thing from the ashes. Jess, the character with the most positive character growth, repeats that pattern, too. He struggles until he, too, strikes out on his own to build his independent life from scratch.

The third theme is class struggle. Although I do think it's clear the show has more respect for the working class, it loooves playing with the back-and-forth of it all and never takes itself too seriously to poke fun at it. It's fun to sometimes see Emily's point even if it's often buried in shallow superficialities. It's thought-provoking to agree with Richard that Rory should use her grandparents' privileges, although we've been rooting for her to make it on her own. We respect Lorelai's independence, but want to yell "just take the money!" when she needs a loan. Or we judge her for it and think "you're not so independent after all."

I love scenes like this one at the end of S4E15, Scene In A Mall:

Lorelai: This is your window on a whole other world, Luke. The world of worthless rich people stuff. People of means see what they want and simply take it, regardless of others. Luke: ... d'you pour your own coffee? Lorelai: Oh, err, yeah. Luke: You're not supposed to do that. Lorelai: Oh yeah, sorry, I won't do it again. Luke: Mmm hmm.

Like, yeah, rich people suck and we dunk on them all the time, but hey, even queen main character can be selfish and hypocritical. No one's really above it!

Anyway, all that to say... Rory is clearly set up to have a similar trajectory where a wrench is thrown in her plans and she won't ever really get back on track until she, too, burns her life to the ground and independently starts all over. She just struggles with the push-and-pull of it all more than her mother ever did.

I get frustrated with fans who think her ending up pregnant like her mother is some pessimistic "history is doomed to repeat itself and no one can ever really change" message, when I see it as her being set up for her inevitable successful ending. She has to figure it out for herself on her own terms. This is why I feel she and Jess will be linked together forever, romantically or not.

If Rory had ended up with Logan, that crash and burn would've just come later. She would've been unsatisfied in that life. Rory and Logan always went to each other for escapism and fantasy - it just doesn't make thematic sense to me that he would ever be a legitimate happily-ever-after option. It's simply not how things are done on this show. Even Emily ultimately follows the pattern - she starts a new life as a more independent person rejecting the "bullshit!"

And conversely, look who is set up in contrast - Christopher is the coward who could never fully run away from his guided cage. The show repeatedly calls him "weak" and makes it clear he's not as brave and independent as Lorelai. He ends up isolated from his kids, accepting the status quo. And ohhh boy, look what his parallel is doing in AYITL - Logan is accepting the dynastic plan, working for daddy and marrying the heiress. That is not the story of a viable end game to me! It feels pretty clear.

Phew - you asked for it! lmao I hope I articulated this well enough??

[jasminejava]

November 7 ~ 2/3

10:30 A.M. - 4:30 P.M.

English was a work period, and so I already got the intro of my thematic essay done, yippee! My chem and math homework went pretty fast so this weekend I’ll just review the material. I also have a long weekend up ahead because I don't have school on Friday (Friyay!), so I'm doing my weekend planning a day in advance. An issue I have is in keeping my space tidy, so I’ll plan it so that the upcoming pictures are good looking!

English Class 🇬🇧

Intro Paragraph for Thematic Essay 📝

Av. Func. Class 📏

Plan for the weekend 🗓️ (studying, uni application prep, emails, friends, languages, blog assets, cleaning, exercise, family time)

Duolingo French 🇫🇷

Organic Chem Homework 🧪

Reading for English 📖

Av. Func. Unit 7.1 📏

[hexjulia]

i was looking for a way to learn russian not because i have any reason to or expectation of ever becoming fluent but because i have insomnia and need challenges to occupy myself with at night without those things having anything to do with anything i try during the day.

ok now i feel like an annoying cooking blog giving an essentially unrelated story before the recipe, but this motivation probably determines what i look for in language learning resources: no organisation necessary on my part. accessible online. capable of keeping me entertained while half-asleep.

found this!

"The "textbook" for Ме́жду на́ми is this website. It is a free resource that requires no special password or registration. It provides the story line, vocabulary, grammatical explanations and cultural context that will guide your study of Russian. You will also use a set of printed workbooks called Ра́бота в аудито́рии (Classroom Activities) and Дома́шние зада́ния (Homework Assignments).

The program is organized into nine уроки (units). Each one starts with a list of goals so that you know what you will be learning to do in Russian. You should plan on checking yourself regularly against these goals as you work through the material. They will help you keep track of what you know well, and the areas in which you might need some additional work. Each unit divided into three ча́сти (parts), with each часть (part) sharing common thematic and grammatical content. These parts are divided into episodes that advance the ongoing story line and provide new vocabulary, grammar and cultural information. Each episode begins with a текст (text), which you should plan to read multiple times. Listening to the audio, looking at the illustrations, and checking the mouse-over glosses for words and phrases that may be hard to figure out from context will aid your understanding of the text. If you cannot recall the meaning of a word you have seen before, you can look it up by checking the Слова́рь (Dictionary).

After reading and listening to the text several times, you should move onto the Вы всё по́няли (Did You Get All of Тhat?) section, which provides comprehension questions with automatic feedback to help you to check your understanding of the text and to learn new vocabulary. These activities are crucial preparation for the in-class work, which is designed to help you use this new vocabulary and to examine new grammatical constructions.

As you work with the classroom activities, you will read and re-read the Немно́го о языке́ (A Bit About Language) section, which contains information about Russian grammar and usage encountered in the episode. Be sure to make use of the activities with automatic feedback to see if you have understood the new concepts being presented.

[cienie-isengardu]

The Last Agni Kai is my top favorite fight in the ATLA because of the music, colors, choreography and the tragic sense of two siblings forced to battle each other but I’m still not sure why Zuko and Katara needed to confront Azula instead of being part of team Avatar in the final, the most important battle. Like, I get it thematically, as Azula and Zuko had their own storyline to resolve and so on, but from the perspective of in-universe events? Taking the title of Fire Lord would mean nothing, if Aang was killed by Ozai and the man returned to Fire Nation as a winner against Avatar, leaving Zuko and Katara on enemy territory all on their own, to either fight to the last breath or flee. 

Azula, as just crowned Fire Lord, was not that big of threat at that moment because ATLA takes place in a world that has limited long-distance communication and it was not like she had an idea what was going on with Ozai or if he was attacked by Avatar or not. She was far away from Earth Kingdom and would not be able to travel fast enough to aid her father, no matter how much she would want to do so. She would need to learn first about her father’s defeat to plan revenge or counterattack - what gives the White Lotus & alliance forces some time to plan the next step. With Ozai defeated, Zuko could come back to challenge her for the throne the same as he did originally. And even if he died during the final battle against Ozai and/or Ozai’s forces, there is still Iroh with a legit claim to the throne, right? Not to mention the psychological blow to Fire Nation’s psyche, if Avatar came to Fire Nation with their dead or depowered “great” Fire Lord.

And sure, Zuko taking throne with Avatar’s support wouldn’t put him in the best light, considering how his people were raised on imperialism and propaganda, but let’s be real here, his original regime was too controversial for the sole fact he left his country to aid Avatar and his future politics were aimed at peace and repairing damage done by Fire Nation across the world. On that matter alone, coming back to face Azula with the whole Gaang at his side won’t change that much.

My problem with how Zuko and Katara were sidelined on a different mission is not just the whole Iroh’s hypocrisy of I can’t fight my brother ‘cause history will remember it bad but you definitely should go fight your sister for the Fire Lord title. It is just the disappointment we didn’t have a chance to see Zuko, Katara, Sokka, Toph and Suki united like the Old Masters, all different elements in harmony, benders and non-benders supporting each other and together defeating the common enemy; the new generation all here for Avatar so their friend could focus on his task. Dunno if I make sense, but I truly wish that our young representatives of all cultures were there together, as there should be Zuko - firebender - standing against the corruption and deprivation of once honorable Nation, the same as Katara (waterbender) should be allowed to partake in mission alongside her brother, as they together went against the world since the first episode. 

Like I said, I love The Last Agni Kai, but damn, we were robbed of Gaang’s final battle against Sozin’s Legacy. Because we have never(?) truly seen them all together at the same time in full battle? Shame. Just shame…

[henghost]

Twig Liveblog for Arc 15

great arc!!!! it all felt so french, somehow, very may '68, with feckless anarchists and student rebellions. sy even starts smoking!!!!!! that was probably my favorite part, sy nervously smoking more and more. i'm beginning to understand how everyone around him finds him so irresistibly attractive...

speaking of: jessie and sy are literally TOO CUTE!! jessie explaining how she likes trains, sy and jessie sleeping with their heads on each other, and then a little peck on the cheek 🥺 they are so perfect for each other! the interlude is probably one of my favorites so far. god that line about how she didn't know jealousy until that episode with lillian killed me. the discussion of "anchors" is so fascinating--and heartbreaking when we realize that the central anchor for all her memories is sylvester. she is cursed/blessed to recount in perfect painstaking detail every encounter, every little instance of neglect. she reroutes every new experience through the complex web of memory, and it feels so agonizing to have even this small exposure to that. every new happiness is tinged with the pain of nostalgia.

there's some kind of parallel between jessie/sy and fray/avis, i think. people who can, by virtue of being victims of fucked up biotechnology, only find solace in one another. the phantom amalgam-fray joining evette was another standout moment--the not-quite-sisters.

fray continues to be enigmatic. her motivations, plans, and pathology are all so murky. does she really have a scheme lurking in the background that she doesn't need to be there for? how will this circumvent the sore-loserdom she describes? (very excited to learn, by the way, that the infante is one of the people who gets to personally condemn whole cities.) sy's long discussion with fray wherein he details how he felt like a dog for the academy was so good.

fray is so fucking cool!! it's crazy that she gives mauer a run for his money in terms of being a badass rebel leader. dolores the octopus 😍😍😍

sad to narrowly miss the lambs :( i hope they can still meet up sometime soon! i want to know what's going on with them too, like for instance if mary and lillian have kissed yet.

final predictions!!!!! (or embarrassing myself for your amusement):

fray is probably right to be more cautious than sy wrt fighting the crown, and sy's recklessness will lead to some unspeakable catastrophe

this catastrophe will probably involve some plan to disseminate the nobles' big secret that backfires horrifically

the plague will be what ultimately does the crown in--too thematically appropriate to have eruptive, spontaneous life triumph over the crown and academy's regime of biocontrol

the duke and the lambs will unite to try and defeat the infante, but will lose

the king will be larger than the infante

sy and jessie will kiss a lot and make love and get married and find some way to have children and name them all sylvester junior or jessie junior and live happily ever after forever :)

[fuzzyperfectionengineer]

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[filmnoirfoundation]

NOIR CITY: D.C. begins October 11 at the AFI Silver Theatre and Cultural Center running for 14 days through Thursday, October 24. Following this year’s festival theme "Darkness Has No Borders," the D.C. lineup features 15 thematically linked double bills connecting non-English language noir films wiith movies made in the United States and United Kingdom. Highlights include the 4K restoration of Jean-Pierre Melville’s Le Samouraï (1967) paired with This Gun for Hire (1942) and the FNF’s latest restoration No abras nunca esa puerta (Never Open that Door – 1952 Argentina) followed by the FNF preservation print of Si muero antes de despertar (If I Should Die Before I Wake – 1952 Argentina) - the last part of a Cornell Woolrich trilogy originally planned for Never Open that Door but released as a stand-alone feature.

FNF founder Eddie Muller will introduce screenings during the festival's opening weekend, October 11–13. Film historian and FNF board member Foster Hirsch will introduce screenings October 18–20.

NOIR CITY: D.C. All-Access Pass - $200

The All-Access pass gives you admission to every screening at NOIR CITY D.C. (Oct. 11–24) at a significant discount, plus the opportunity to attend an exclusive passholder reception with Eddie Muller on Thursday evening, October 10.

All-Access Passes and individual tickets for the NOIR CITY D.C. film festival are now available on the AFI website.

CONFIRMED 2024 NOIR CITY DATES

NOIR CITY: D.C.: Oct 11-24 AFI Silver Theatre and Cultural Center Silver Spring, MD

NOIR CITY: Philadelphia: Nov 15-17 The Colonial Theatre, Phoenixville, PA

NOIR CITY XMAS: Dec 18 Grand Lake Theatre, Oakland, CA

[chefboyar-zeee]

Round Table: Trolls

In what ways does the film’s score situate the story with its narrative context?

Since music is a central theme in the "Trolls" film, the score incorporates various musical styles and motifs that complement the storyline. This includes original songs written for the film, as well as musical references to popular songs from different genres and eras. By integrating these musical elements into the score, the film's music reinforces its thematic focus on the power of music to bring people together and uplift spirits.

The score may also reflect the personalities of the characters and the different worlds they inhabit. For instance, the music associated with the Trolls may be bright and catchy, while the music associated with the Bergens, the film's antagonists, may be more ominous or somber. These musical distinctions help to differentiate between the various characters and settings in the film.

Some Examples:

After Branch demonstrates a poor nighttime routine when sleeping with Polly, she tries to match his energy singing even if he doesn’t enjoy the singing itself. So she sings “The Sound of Silence” by Disturbed, with her own Polly twist. Ultimately, he rejects it by throwing her ukulele away in the fire.

When the audience doesn’t know much about the Bridget character, the audiences is introduced to her through song expressing her longing for King Gristle.

How do songs use character performance to push cultural authenticity in the film’s diegesis?

Poppy sings “Move Your Feet” by Junior Senior, when talking about the huge troll celebration that everyone is excited for. It’s a very reaffirming and fun song to get the people ready to party together. Every song is full of the entire troll community, showing their love and connection with each other. They sing of everybody being united, which is quickly shown to not be the case.

Although Armstrong is writing in conversation with Disney and cultured groups, and I am analyzing a fantasy film involving Trolls, what she has to say about fantastical themes and epic performances still applies. The music in fantasy films tends to have epic themes that evoke a sense of adventure, heroism, and magic. The use of sweeping melodies, dramatic crescendos, and majestic motifs helps to transport the audience into the fantastical realms depicted on screen (Armstrong, 2018).

In what ways does the film use musical “framing” to structure the score within familiarized styles?

By framing unfamiliar sounds within a familiar musical context, filmmakers can create contrast and emphasis on specific moments or themes in the film. The juxtaposition of different musical styles can highlight key emotional beats, character developments, or narrative shifts, enhancing the overall impact of the storytelling.

The songs come in when characters are having moments of extreme hope or need to inspire one another

The songs are meant to hype up the characters to execute some form of difficult task (I Will Bet Back Up Again)

Because of Poppy’s character, a significant portion of the film, specifically recalled plans or imaginative ideas, are shown in storybook (scrapbooking) which immerses you more into the fantastical world of Trolls.

#oxyfilmmusical #animatedmusical @theuncannyprofessoro

[bonefall]

Who is in the forget-me-nots?

FORGET-ME-NOT ROLL CALL!

First member is Bluestar of ThunderClan herself! Her friends are there for her as the makes the hardest descisions of her life. War and ambition drives a wedge between them, but they share a bond that lasts long beyond themselves.

(Also I'm just gonna make her old name Bluemoon because it is thematically appropriate tbh. She's got a wolf motif. There's no such thing as a lone wolf, she loves and was loved!)

Then there's Hoprunner and Ashfoot of WindClan, couple friends.

Ashfoot is a wise, methodical cat with a penchant for laying out all your options and considering the future.

Hoprunner is an ambitious, talented hunter with his eyes on deputyship. To do that, he also needs to also become a fearsome fighter. He likes to push the boundaries and take risks. Later, he earns the honor title Deadfoot, after inventing a battle move including using his foot gauntlet called "deadfooting."

(He has a brace to help with wrist pain which eventually evolves into a war gauntlet. It is unofficially called The Bonker)

Then there's Oakheart of RiverClan!

Oakheart is uplifting and optimistic. He has a great way of calming you down and making the group work together as a unit. He's a simple and honest cat, the heart of the Forget-me-Nots.

He names the group and suggests the flowers that come to define them. A plant that grows in all four territories.

Next up is Lizardstripe of ShadowClan!

Sarcastic and cynical, she needs the love of her friends in her wild youth, something to get her through. She says truths her kind friends would prefer not to voice, and creates plots and schemes to help them through.

She is changed significantly from her canon role! Later, Lizardstripe is the cat who acts as Bluestar's StarClan defense attorney, hatching a plan to get her best friend into heaven and reveal the Thistle Law cats for the venomous snakes they really are.

And last but certainly not least is Mr. Barley Senior himself, of none other than BloodClan!

He always seems to know exactly what's wrong, and how to preempt problems before they appear. More realistic than Oakheart but less fatalistic than Lizardstripe, he always hops in with a quip at just the right moment.

It's Barley who usually organizes these meetings. He's a great host and knows exactly how to hide them so they won't be caught. He's got a sort of mysterious air about him, like there's a lot more going on in his head than he lets on.

He is a BloodClan Solver, a role about figuring out problems. He does not wear the collar of a BloodClan Problem, the soldier role.

[mihai-florescu]

"id rather be trampled to death than stop being myself" is crazy foreshadowing (im assuming jun said it and kaname just agreed with it based off the context of the screenshot. but it's still very thematically important).. the implication that kaname's only options were either to stop being himeru, or to accept his fate; that just existing as himeru was always something that was marching him towards the same horrible end as super idols before him (ie akehoshi) but kaname was so attached to being himeru that he would rather choose to doom himself than give that up..but in the end he got trampled AND had to give up being himeru. fucked up!

YEAH and i sometimes think about how one of the themes in enstars is that the characters are able to avoid the fates of the solo idols before them through forming units and having people by their side so they dont end burning up alone. And kaname doesnt get to experience that salvation, what's worse is he gets hospitalized at the event where him and tatsumi were announcing theyre forming a unit. Even when he does the right thing and is seemingly on the path for a happy ending that all other characters get, it's too late, the tragedy cannot be avoided. He's paying for his mom's sins and he doesnt even know it. Where love for idols is what saves every other character, it's what dooms kaname, who perhaps loved and wanted to be loved as an idol the most. But his brother gets all of that, under kaname's idol persona. And oremeru has his own issues too but things are calming down now, he is part of a unit that he's learned to get along with and they're starting to form deep bonds. Wouldnt it be the perfect time for kaname to come back and witness it all as an outsider in his own life, ready to take back what he never wanted to give away in the first place...but can he do that anymore? Im sure it's what he'd want, but isnt it too late? I can speculate but i cant say what the right course of action would be. I dont know what the sequel to a tragedy should be, i just know i want catharsis. Ah wait no enstars taught me what the sequel to tragedy is, and that's comedy. Im not exactly sure if that's the formula we're going with here though, i really cant say whether happyele have anything planned for kaname, and what that could be exactly

[yuriswitch]

can't stop thinking about the upcoming Madoka movie and how the trailer goes out of its way to imply a very specific tragic ending. On one hand I'm scared shitless, but on another there's something that just makes me doubt it'll simply go where the symbolism says it will. Not just because Madoka as a whole - and not just the Incubators - is deceptive at its core, but also because every other ending was a sudden flip of the situation at the center of the plot. In the original it's the miraculous rewrite of the universe saving Homura from despair, which was then recontextualized as a temporary and minor victory at best, given that Madoka has to sacrifice her mental health for the sake of everyone else's, forever, and the Incubators can always figure out what's going on and how to revert to the most profitable universe.

This meant that Homura had to do something, and once she realized that they'll keep trying to undo the changes even if she kills every single one of them in the barrier, she came up with a new plan and executed the first step of it by suddenly rewriting the universe again, so if this is anything to go by, as well as the marketing claiming that the movie is a "new beginning" rather than the final battle or something, the Incubators will manipulate everyone into fighting against each other and almost create a tragedy using Homura or Madoka's hands. Which will then be upturned again by another miraculous rewrite, yet again not really solving the issue, but not screwing things in the worst way forever either.

The reason why this makes more sense to me is likely because of the role the Incubators play as the general allegory of systemic issues that is supposed to be applied everywhere it fits, including our economic overlord - capitalism. So since the system they created is at the center of everything that happens in the story, it only makes sense that actually ending it would mean addressing that key issue in one way or another, which Kaiten isn't trying to do, as far as I can tell anyway.

Whether I'm right and how long it might take for the girls to unite and find the solution is still a mystery, but either way it certainly seems much more sensible than simply drowning the audience in a more extreme repeat of how Rebellion felt (rather than what it thematically was).

Ultimately, the crux of the issue lies in the difference between a sequence of events and a story, with the latter being everything that the structure, content and presentation of the former says about the topic at hand. It's about the conversation, not just the plot threads. This means, that since the original presented a problem of exploitation and oppression, the story won't truly be over until the origin, moral implications and solution to the aforementioned is found by the characters.

In Madoka, all of this centers around Kyuubey's powers, so regardless of the events themselves, the thematic conversation won't be complete without presenting some means of taking away the Incubators' ability to do their evil deeds, irreversibly and forever. This is, of course, my understanding, but it's not a given that I'm wrong.

So to wrap up, things don't look particularly well, but I guess there's no reason to give up all hope yet

/Kafuka

[lightandheatao3]

The Bunker - Criminal Minds

Chapter 6: The Rot

Summary: Spencer Reid wakes up in a locked bunker to find half the current BAU and two of its departed members unconscious on the floor. The old team is back together but the reunion is not what any of them would have wished for. An Unsub from their past has decided it's time they all stop keeping secrets, even if it means exposing them by force.

Hotch and Derek have been pulled back into a world they tried to escape. Emily, Rossi, and JJ are doing their best to keep it together. Spencer is falling apart.

AKA a found family is reunited and forced to go through the most nightmarish version of family therapy imaginable.

Set months after the end of Criminal Minds: Evolution. Evolution referenced, but not necessary to understand the story.

Chapter Summary: The team rebel in the only way they are able.

Read chapter 6 on AO3 or under the cut. All comments and reblogs are extremely appreciated <3 I would love to know what you like about the story :)

Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5

JJ had been the first one to point it out. 25 or 26 hours in, while he had been shivering on the floor.

There was a door on the bathroom. "Oddly considerate," JJ had said. "Seems thematically inappropriate."

This Unsub was obsessed with exposure. With forcing them to be vulnerable. To be seen in the most confronting sense.

She wanted them to be stripped bare.

So why would she give them a door?

Why would she give them soap so they could wash themselves and their clothes? Why insist they don’t leave rubbish out?

Why structure all her rules around cleanliness?

Why lock them in a box, then afford them so many little dignities?

She wanted to break them down, piece by piece, and she had gone to extreme measures to make that happen. They were unanimous in their assessment that this Unsub was not a person who dealt in half-measures. So why was she holding back?

The answer was easy.

She wasn't doing it for them.

With that part of the profile settled, Emily's plan had become an obvious response.

They hadn’t risked pushing boundaries or breaking rules while Spencer had been too sick. He loathed it, the thought of all the time they're lost because of him. Now that he was better- still not healthy by any stretch, but not actively in acute withdrawal- it was time to test the waters and see what kind of response they could provoke.

The profile they had agreed on was this: She was meticulous, desperate for control, enacting detailed fantasies through them, yet actively hindering her own stated goals by providing them with comforts not essential to their survival.

She provided these comforts not for their sake, but because she was uncomfortable.

She was squeamish.

She wanted them to clean because she couldn’t handle the mess. She gave them a door because she didn't want to be reminded of their bodily functions.

She afforded them dignity because she was unable to stomach indignity.

She likely had a significant anxiety disorder, possibly with obsessive-compulsive features. They suspected she may have been raised in a highly conservative or religious environment, perhaps with an abusive parent who instilled a deep sense of shame for any behaviors or bodily functions perceived as unclean.

Much to Spencer's immense displeasure, the pathway to provoking a response was clear.

He was happy to have something to do. It felt good to have a goal. It felt even better to be united in that goal as a team. He and Derek had put their bickering to the side, and JJ was being warm with him again. It was good, he repeated to himself again and again. It was good.

But did it have to be so disgusting?

“You doing alright?” asked JJ sympathetically.

“I am fine,” he said through gritted teeth.

“It’s just that you’ve been staring at it for a long time. I don't think I've seen you blink for a while now.”

“Patulin is the most commonly found mycotoxin in fruits. It has the capacity to be carried on dust and airborne spores, which act as a delivery mechanism for the mycotoxin to reach the lungs, where it can cause acute respiratory symptoms, including hemorrhaging of the lung. Even if airborne mycotoxin exposure is statistically unlikely with this relatively low quantity of rotting fruit, mold exposure is still a very real concern, particularly in enclosed environments with limited ventilation,” he explained tensely. “It can cause respiratory distress, dysregulation of your immune system-”

“Spencer,” interrupted Emily. “I know it’s disgusting. Try not to think about it.”

He flicked his eyes away from the rotting pile of fruit scraps that sat in the middle of the room, over to Emily instead. “There are maggots, Emily,” he said, pained.

“Come on, Reid, I know you’ve got a thing about germs, but you have seen way worse than this,” said Derek. "You can handle this, man."

“Judging by the rate of deterioration and the visible emergence of the fruit fly larvae, it has been two to three days since we stopped returning our food scraps.” he said. "I had sincerely hoped that I would never end up locked up somewhere even more disgusting than prison. At least there they had waste disposal."

“She’ll break, Spence,” said JJ in a whisper. “You just need to not break first.”

He scrubbed his hands over his face, scratching a little at the patchy beard that was growing in. “I’m sorry," he said sincerely. "You’re all stuck in here too. It's just hard not to think about it.”

“Well then, how about we all forget about this for a minute,” said Rossi. “Everyone close your eyes.”

They all looked at him skeptically. He rolled his eyes and gestured at them all to just hurry up and do it.

Spencer watched as everyone else, sat scattered across the four walls of room in a vague square shape, reluctantly closed their eyes. The last ones left open were his and Hotch’s. Hotch met his gaze with an amused shrug, then closed his own.

Finally, Spencer did too.

“You’re not going to make us mediate?” asked Emily wearily.

“I wouldn’t even know how to begin with that. Now, please shut up until directed otherwise,” instructed Rossi cheerfully.

He could still smell the rotten fruit scraps, sickly and sweet with an earthy undercurrent of mold. Every inhale came with the mental picture of a thousand microscopic spores pouring into his lungs. He dug his nails into his forearms and focused on Rossi’s voice.

“Okay, now, I’m going to need everyone to take this extremely seriously,” said Rossi solemnly. “It is of the utmost importance, for our sanity and perhaps even our survival, that you answer honestly. Understood?” He was met with silence. “That was me giving you permission to speak. Are we understood?”

“For fuck sake Dave, just spit it out,” said Hotch of all people, earning a snort from Emily across the room.

“You asked for it,” said Rossi, milking the moment for all it was worth. “Fuck, marry, kill. FBI addition”

The uproar was immediate. They all opened their eyes, cries of “What is wrong with you?” and “You’re a child!” being hurled in his direction amongst amused yelps and bubbling laughter. Even Spencer couldn’t hold back a laugh.

Rossi held his hands up defensively. “Woah! You wanted a distraction, you got it! I didn’t realize you were all so prudish,” he teased.

“Alright,” said Emily, nodding her head. “I’m game.”

JJ shot her a mockingly scandalized look.

“If the boss is in, who am I to say no?” said Derek with a cheeky wink at Emily.

“Great,” said Rossi. “Now, everyone close your eyes again.”

With a lot of eyerolls and exasperated head shakes, everyone did as he asked. Spencer smiled to himself at the absurdity of it all.

“Why do our eyes need to be closed for this, exactly?” asked JJ.

“If you really want to stare at the garbage pile while we do this, be my guest,” said Rossi.

“Fair point.”

“Since you’re so eager, Rossi, how about you go first?” suggested Derek. “Fuck, marry, kill… Jenny Carlile in security, Marina Ferra from the comms department, and… Josie, you know, the one who worked the reception desk until about six months before I left.”

They all laughed at the list, but a laughter that came with a lot of audible cringing.

“Coming out swinging, I see,” said Rossi. “Well, those are three very beautiful, intelligent, lovely women, but kill Josie-”

“What!” yelled Derek. “You’re crazy, man!”

“You didn’t have to think about it!” said JJ indignantly. “What did she ever do to you?”

“Hey, who’s talking here!” said Rossi with a laugh. “I have nothing against Josie, she’s just too young for me. I prefer a woman with some life experience,” he said defensively. The answer seemed to placate the naysayers. He continued, “Marry Jenny. She seems so easy going. And fuck Marina, because, well, do I have to explain?”

Morgan huffed a laugh and hummed in a way that suggested Rossi absolutely did not have to explain. “I can’t argue with that.”

“Thank you. Now in the interest of gender equality and equal opportunity objectification, it’s your turn JJ.”

JJ groaned. “Okay, hit me.”

“Gary Renkin, Ricardo Perez, and… Daniel what’s-his-face from the basement.”

“The basement?” JJ chuckled. “Do you mean Daniel from IT?”

“Yeah, whatever they do down there. The guy who clearly doesn’t get enough sun.”

She laughed again. “Right, give a second... I pick… Marry Ric, because he’s a sweetheart. Fuck Gary. No, I won’t explain. And kill Daniel because an IT guy is a little redundant when you’re friends with Penelope.”

“You make a good point,” said Emily.

“You have to be logical about these things,” said JJ. “Speaking of which, Emily, I hope you're ready for some hard choices.”

“I am so ready,” said Emily. “But give me a real challenge.”

He snorted. She sounded genuinely competitive, and while he hadn’t played this game before, he gathered that it wasn’t one you could ‘win.’ His skin had almost stopped crawling from thoughts of the germs that were infesting every surface of the room.

“If you say so,” said JJ. “Luke, Matt, and Tara.”

The room erupted. Derek wolf whistled; Emily let out a loud “Oh come on!” and Rossi applauded the audacity. He thought he might have even heard a small laugh from Hotch. He smiled to himself.

“What?” yelled JJ, stifling a laugh. “You said you wanted a challenge!”

“How am I supposed to kill one of them?” lamented Emily.

A beat.

“You’re killing Luke, right?” said JJ as a statement, not a question.

“Yeah, obviously,” said Emily without pause. “Fuck Matt, marry Tara. Is there even another way to answer that?”

“What?” laughed Rossi. “What did poor Luke do to earn this?”

“Luke is great,” said Emily emphatically. “He’s just…”

JJ jumped in; “It would be like sleeping with your little brother.”

“That’s exactly it,” said Emily, clicking her finger. “I mean really, the right answer is to kill both Luke and Matt and just pick Tara. Have you seen her?”

“No, I think your first answer was right. That’s what I’m going with,” said JJ with a giggle. “What about you, Spence? Same question.”

He was glad to have his eyes closed as he felt his cheeks warming just a little. “Does it have to be them?” he asked in halfhearted protest.

“Oh, absolutely,” said Emily. “If I had to pick, so do you.”

“Fine,” he sighed. “Okay, so, just to be clear on the rules-” Derek groaned but he couldn't tell if it was affectionate or annoyed, so he ignored it “- these are all mutually exclusive categories? I mean, if you married someone, it would be likely that you would have an ongoing intimate relationship, so what’s the distinction between the marry and, uh, fuck options?”

“Have you never played this game before?” asked JJ.

“No?”

Was this common? Is this something he was supposed to be familiar with? Was this another one of those things that everyone with a normal adolescence had done? He suddenly felt self-conscious.

“For the sake of clarity,” said Emily, “let’s assume they are all mutually exclusive. Think of it as who you want to be emotionally intimate with and share a life with for marry, and who just want to… well, fuck is a fairly self-explanatory category.”

He appreciated that she didn’t make fun of him while she explained. He didn’t mind the teasing from the others. Not really. He teased them right back most of the time. But he didn’t like it when people made fun of him without actually explaining why.

“Thank you.” A beat. “Do I really have to choose?”

“Yes!” came the unanimous, exasperated shouts from everyone except Hotch, who was laughing in earnest now.

“Oh my god, fine! Fuck Luke, kill Matt, marry Tara,” he spat out without thinking.

There was a moment of silence.

He opened his eyes, realizing he must have been the last one to do so, as they were all staring at him. Five pairs of tired, dark-rimmed eyes looked at him from across a pile of rot.

“Interesting,” said Derek wryly.

“Care to explain your rationale?” asked Emily with a smirk.

He turned it over in his mind a moment. “I would prefer not to.”

“Because I have a theory that Luke is about 2 beers away from-”

“I would prefer not to,” he repeated more firmly.

She threw her hands up in surrender. They all made a point of not staring too hard.

It wasn't a discussion he was necessarily completely averse to having with them. He'd considered it in the past. Things were changing in the world and even, very slowly and incrementally, in the FBI itself.

It certainly wasn't a conversation he wanted to have in front of the ever-present camera.

Rossi swung his head around to Hotch. “Aaron, your turn to-”

“Absolutely not,” said Hotch in a tone that beggared no argument.

“Oh-kay then… New game-”

He was cut off by a clunking sound.

They all looked around the room, trying to figure out if they had heard the same thing. Spencer wasn't sure if he'd imagined it.

Then, another THUNK.

They looked at each other as if each of them was hoping to find reassurance from the others.

Spencer’s heart pounded so hard in his chest he thought he might pass out.

THUNK.

They looked to the roof.

A steady hiss emanated from above.

Out of the vent in the roof, he saw a wisp of something.

“Smoke,” said Derek, voice tight.

“No,” said Hotch, pushing himself to his feet. “Gas.”

For a moment, time froze.

Then all at once they activated.

They pushed themselves to their feet, with Derek throwing down a hand to help pull Spencer up. They grabbed discarded, filthy and unwashed shirts from the ground and tied them over their noses and mouths.

Hotch and Derek sprinted to the door, pulling at it as hard as they could, desperately trying to leverage it open.

Spencer stared, transfixed at the swirling mist that was filling the room from the roof downward.

“Get on the floor,” he said urgently. Or at least he thought he said, but nobody responded. He tried again, louder this time. “Get on the floor!”

They all froze, whipping their heads around to look at him.

He continued talking as he ran to the bathroom. “There’s no way out. Wet your mask, then get on the floor face down and slow your breathing as much as possible. We don’t have much time.”

He ripped off the shirt tied over his face and soaked it under the water running from the bathroom tap. He passed it behind him to JJ, who was standing the closest to him.

“What?” she breathed out, looking very much as if she was going into the early stages of shock, eyes glassy and confused.

“Give me your mask and put this one on.” He looked back at the rest of them. “Now! We have a minute at most! All you can do is try to minimize the amount you breath in and ensure you don’t hurt yourself by falling when you lose consciousness.”

Hotch stepped forward, guiding JJ to follow his instructions.

“Do what he says,” said Emily urgently, approaching him to help distribute the wet cloth.

They moved as quickly as humanly possible. As quickly as he had ever seen any of them move.

Even as he was wetting the last piece of what he thought was Rossi’s discarded button up shirt and tying it around his own face, the edges of his vision were fading.

He managed to half crawl to the ground until he was lying face down on the disgusting, dirty floor.

The sound of weak coughs and splutters rang in his ears as his vision blurred and blackened.

All he could see, somewhere across the room through the tunnel of his vision, was someone's chest. He couldn't tell whose, but it rose up and down, still breathing.

He held onto that image as long as he could. Whoever it was, they were still breathing.

Then…

Nothing.