#tv in every room

[bli-o]

hey autistic people who get overwhelmed by large groups or noise or conversation or etc etc etc you’re not evil for wanting to leave a family gathering. just so you know.

[gummi-ships]

Kingdom Hearts 3 - Toy Box

[everyday-is-uncle-day]

If you are having a breakdown in the boot room (designed safe place) then Roy Kent will be there and be very tender with you.

Whatever you need.

[dasiesanddarkness]

there's this guy at my parents church that can play like thirteen different instruments because his job has him travel a lot and when he goes to new places he finds new instruments and buys them and gets locals to teach him how to play and honestly thats so Wylan Van Eck of him

[13eyond13]

The most homophobic character in Death Note is actually the telephone for interrupting every single moment of unbearable sexual tension between L and Light

[good-beanswrites]

My thoughts on how the Milgram mv machine works based on the evidence we have:

(I know there’s been discussion about where exactly the interrogations take place, but wherever they are,) the prisoners are made to sit in a specific chair near the wall that houses the machine.

It’s ordinarily hidden, but the wall panels shift aside to reveal it when the mechanical sounds play in the dramas. As well as the walls moving, the chair transforms to restrain the prisoner and attach whatever it takes to access their brain. The fact that none of the more frightened prisoners try to run or break it makes it seem like they physically cannot. This is why Fuuta sounds so panicked, and why Amane is suddenly helpless in front of Es in their T1 vds.

(My mind conjures very classic sci-fi mad scientist machines with wires, pipes, lights, nodes, needles, etc, but I’d love to hear how other people visualize it.)

In some vds (maybe all? I’d need to check,) you can hear Es take some steps right before their iconic line -- it would make sense that for safety reasons, the power mechanism is placed across the room. Once again it could be anything, but the sound effect makes me think of one of those giant wall-mounted levers you have to pull down.

The voice dramas don’t really provide the type of crime details that an actual interrogation would reveal, and it’s odd that they’re placed before the extraction rather than after Es gets to see the new details. This leads me to believe the machine functions with priming. All Es needs to do is get them talking about their murder, so it’s on their mind.

The video produced is much like a (non-lucid) dream. Even if the prisoners figure out that this is how it works, they can’t control it just by thinking really hard about something else. The murders produce the strongest emotional affect, and that’s what it picks up on. If someone else used the machine, it would default to whatever gave them the strongest emotional reaction in the ~15 minutes beforehand, hence why Es’ video focuses on their daunting task ahead. (The Undercover theory is still a bit loose, though, given the private shots that Es wouldn't have known about). It’s why the videos are usually closely linked to the vd topics/beats. I also like to think that the reason their prisoner colors appear so much is because they’re looking at those colors on their uniform 24/7.

The bell rings to inform Es that it’s the optimal time to use the machine -- the prisoner has been thinking about things for long enough that the video will be about their crime, and if the conversation lasts much longer they’ll start thinking of other things. It’s at a different time for each prisoner because it’s based on the specific conversation. I guess Jackalope is listening in to the interrogation, timing it perfectly. (The only one that kind of messes with this theory is Yonah, because they just keep talking afterwards lol, but it could just show that the interrogation is still in Es’ control.)

Their “Sing your sins” is the final priming nudge to get them to think of their actions as a sin, revealing their guilt.

Once activated, the prisoner enters a sort of trance/sleeping state. It’s very much like REM sleep, with the machine forcibly activating neurons and recording the output. The prisoners have asked Es what they saw, meaning they don’t remember the mvs. I like to think the prisoners do experience the mv in real time, acting as the major version of themself that appears, but can’t remember it afterwards. It’s when you experience a dream, but as soon as you wake up you’re just left with fleeting emotions and memories right on the tip of your tongue.

The video plays immediately upon extraction -- whether on a huge projection or little screen depends on which room it’s in. It simultaneously saves the memory so that Es can rewatch it later (on those old TVs in the jailbreak mix). The machine downloads the song and video together, but requires special parts to retrieve them. The technology is pretty new and fragile, so if one is broken, there might be a delay between when Es can hear the extracted song and see it with the video. (That’s my justification for Kotoko’s delays -- after 9 prisoners the parts wear out, or maybe Mikoto himself overheats it with his complex situation.)

Based on the lack of conversation we get afterwards, I picture Es leaving before the prisoner wakes from the trance. The machine adjusts their brain back to normal before they awaken, restraints freed and able to return to the rest of the prison.

It’s very much like a dream, so it’s not harmful despite the amnesia/head injuries the prisoners have. It does, however, exhaust them. Brain activity alone takes a lot of energy, so forced brain activity with added emotional strain would cause them to feel pretty drained the rest of the day.

[indelicateink]

i love you armand i love you armand but

SIR

armand, 500yo vampire who's seen some shit and does what he wants during his interview: "okay so fuck memory is a monster. history is written by the victor"

me watching this as a longtime book reader, screaming crying laughing throwing up high-fiving the audacity

[ithacanradio]

the most gorgeous man I've ever known sent me a drunk voice message hurt that i left my job at the bar he goes to without telling him and adding that he saw me on tv speaking about palestine, which turned into me telling my ex boss to give him my number, and the sober voice message was much worse because this sweet guy just tells me that he's so proud of me and then i can feel him like talking with a constricted throat saying he understands that i left and closes with "from the river to the sea" and doesn't it just suck that some things have no hope of ever beginning and yet still end somehow

[ihateedwardnygma]

[girlwiththegreenhat]

i genuinely love when you can tell an older show was Not made with high quality video viewing in mind. i am watching knight rider and constantly seeing all the little mistakes they surely brushed under the rug thinking nobody would see them on their crunchy little CRTs back in the 80s, that are huge attention grabbers now in HD fullscreen on my 3 foot computer monitor

the biggest one of course is all the drivers/controllers for the (in-universe) self driving car, kitt. there's guys tucked down in the footwells who can't always stay out of the shot. there's a guy who has a Car Seat Suit to blend in and look like the drivers seat from a distance, but you can always tell when that's the method they're using for a particular shot because its so much thicker than the passenger seat next to it and the headrest is missing it's cutout section. in at least one instance he starts taking the suit off too early, on a focus shot of the damn car, so its REAL visible.

all the extremely obvious stunt drivers or performers who look nothing like the character they're supposed to be

props, such as animals, vanishing from the car interior for stunt/race sequences.

the production crew (or their shadows) being visible in the background. only at a glance, but its especially hilarious in shots where nobody else is supposed to be around

the camera panning out from a sound stage set far enough that you can actually see over the edges of the set and into the stage they were filming in. mostly this happens with their truck trailer mobile unit thing.

this one isn't a mistake but every time the car "turbo jumps" they CLEARLY hide the ramp behind another car, a prop, the environment, and its just. so charming. sometimes its blatantly on screen just for a moment. like... of Course in real life this car isn't magically leaping 20 feet, of course its a ramp, but it's still so silly and fun to be reminded of how they were doing those stunts to begin with.

also not really a mistake but related, the bracket they keep on the front of the car for stunt work.... is just left on half the time. cuz it's a pain to take on and off.

and there are more examples that are more unique that haven't cemented themselves in my head well yet, but these are the more notable or common things i see and it's really charming. if i'm not giggling to myself noticing the "seams" and flaws and so human imperfections of your show or movie what EVEN is the point. hollywood is too flashy these days i think!

[carefulfears]

thinking about scully sitting on the floor of mulder’s apartment just holding him as he wept after his mother’s death and after she told him through tears that it’s time to stop. it’s time to stop looking for his sister.

and how she had already told him that once, seven years earlier, a month into their partnership, when she chased him out of a police station and told him to stop running after his sister because it won’t bring her back.

she called after him to just stop, because she’s the scientist, and that’s the logical conclusion that she had reached.

except later that night, he told her why he does it. that he’s been closing his eyes and walking into that room, thinking maybe, when he opens them, his sister will be there, since he was 12 years old. “every day” of his life.

and she never told him to stop again.

until seven years later, when she rocked him on the floor, and then the next day was asked “why do you want to bring all this back up now?” and answered, “someone owes it to mulder.”

so she started looking. she reopened files, she tracked down records, she went to his mother’s house to dig through the trash. she confronted CSM about what he knew, she flew to california, she held hands and prayed.

she looked at mulder and said “it hurts me to tell you this” and stayed steady in the truth anyway. she listened to him read to her about a 14-year-old girl’s pain, held his hand and told him to get some sleep. she stayed up, kept looking, and found it. “i got it, mulder. i couldn’t believe it when i saw it. it was like it was looking for me.”

the police report from when samantha ran away.

she read the hospital records, went to the home of the nurse who signed the intake report, asked him if he wanted her to go herself.

she left him by the car and walked up and knocked, asked about a patient in 1979. she listened as the nurse described how “you couldn’t forget her or how frightened she was. scared for her sweet life.” and the man who came for her, who wouldn’t put out his cigarette.

earlier the day before, she had been told to just stop. “word of advice, me to you: let it be. you know, there’s some wounds that are just too painful ever to be reopened.”

and she had responded, “this particular wound has never healed. and mulder deserves closure.”

after seven years, she knows now, that you can’t just stop chasing. she knows how heavy grief is, and she‘s seen the effects of carrying it alone. of walking into the worst night of your life every day, eyes closed, hopeful.

you can’t just stop, and you can’t really have closure, but you can help someone carry it.

and ultimately, that’s what made this the end of the road. sometimes the heaviest burden of grief is feeling that pain is all there is left of someone, and that alleviating it would be to abandon them.

scully’s right, this wound has never closed, but there’s freedom in shared remembrance and shared dedication. she doesn’t ask him to stop until he’s ready to know the truth, and she’s willing to find it. she doesn’t ask him to rest until it’s safe for him to, because it’s not forgetting samantha. she knows and she remembers.

[goldenspirits]

Marco and Polo TVGLOW are very... Queer coded, in a way that I cannot quite articulate. They just hit that "Hays Code Era Queer Coded Villain" spot in my brain, you know?

[nostalgia-tblr]

'the batman': another film where instead of being horrified by the rats who being slandered i went "awwww, zoom in on their little pawsies! oh wow you actually got agoutis with normal ears in for your sewer rats,* well done. WEE NOSES!! OMG!!"

*you might think this is an obvious and easy win but oh wow the number of sewers and cloisters and catacombs infested with hooded dumbos would SHOCK you**

**if you know a perfectly normal amount about rats, as i do

[crazylittlejester]

chat there are truly not enough words in the entirety of the english to express the fear and confusion that hit me like a bus when I heard Gale’s voice coming from some show one of the people I live with was watching, and I thought I was going fucking crazy but no, this man is on my tv. He’s everywhere. I cannot escape Gale he finds me in other ways by popping up in shit unexpectedly like fucking GOOD OMENS and scaring me to death

[hollowflight-propaganda]

I think it's time I change my bio to say it's been 11 years since I started to watch Ninjago.....

Gosh. Where's my senior discount on the lego sets, huh?

[californiaquail]

AND i just had to pay one thousand and fifty united states dollars for rent for my not that great room. i literally saw a real two bedroom apartment for that price earlier today i want to eat glass.