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brigidandair · 8 months ago

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So, I saw Damsel today...

**Spoilers and complete plot for the movie Damsel will be all over this post, so don't read if you care about spoilers. Also, this is based on one watch only, so if some timeline details are very slightly wrong, that is why, though the important parts I'll be discussing are not contingent on these details.**

I'm not usually one to closely review a movie, but this one left me with a lot of thoughts that kind of sum up a lot of my feelings about big budget movies in the past decade, so here I go.

First off, I did like Damsel. I enjoyed watching it. It was gorgeous to look at, and Millie Bobby Brown did a fantastic job with the role and script she was given. However, I was left feeling like there was something very important about the whole experience missing, and it took me a few moments to really put my finger on it afterwards. The plot was fine, if a bit predictable, and I did appreciate the focus on Elodie as a protagonist. I loved that the dragon was given a plausable reason to want to devour/kill princesses, and that the dragon wasn't slain at the end, even though the opportunity was presented. And oh my goodness, the costuming department did a phenomenal job.

What I want to do here is give a rundown of the plot, and to then give my thoughts, so if you've seen the movie and don't care for a rehash you can skip to the next set of dashes.

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So, basic plot: The film opens on a scene of a king and his entourage of knights are entering a sinister cave, where there dwells a fearsome dragon. The king declares that they will defeat the dragon, and his knights charge, but are immediately melted by the dragon's fire, leaving only the king. The king drives his sword into the ground, and falls to his knees, and the scene cuts away before we see what happens next.

Centuries later, Princess Elodie and her little sister Floria live in a kingdom that is beset with hardship. They are low on money and food, and their people are facing a hard winter. So when the king is contacted by the royal family of the kingdom of Aurea--a kingdom they had never heard of, but that seems to be very wealthy--with the proposal that Elodie marry the Aurean prince, the family immediately travels to Aurea to finalize agreements. Amongst the traveling party are Elodie, Floria, their queen stepmother, and the king.

Upon arrival in Aurea, Elodie is introduced to prince Henry, while the kings meet alone. However, when the king emerges from the negotiation chamber, his wife immediately notices that he seems upset and deeply disturbed, though he assures her that everything is in good order, the deal has been made, and their kingdom will soon have more gold than he ever dreamed of as compensation for their daughter's marriage to the prince.

The stepmother queen, sensing something is wrong, goes to Elodie and tells her not to marry the prince, but she has resigned herself to helping her people, even if it means marriage to a man she does not know. That night, she steps out ont her balcony and sees another tower, with another young woman doing the same, before the young woman's maid calls her back inside.

The next day, Elodie is married to prince Henry, and is told of a ritual that is performed after weddings up on a nearby mountain, that honors the trials of their ancestors. They travel up to the mountain, where Elodie is told of the story we witnessed at the opening of the film. When the ancestors of the Aurean people arrived on their island, it was inhabited already by a dragon, who set upon them, raining destruction for the insult of invading its land. Though the king was unable to slay the beast, he was able to broker an agreement. His people would be left alone if he were willing to sacrifice his three daughters to the dragon. So now, whenever a new royal heir is married, they make the trip up to the dragon's mountain, over the chasm that leads to its lair, to commemorate the sacrifice of that original king.

The queen motions to Henry, who then slices his palm, and once Elodie has done the same, they mingle their blood, symbolizing that their people have now become of one blood and line. The prince tells Elodie that, at this point, he is to carry her back across the chasm, and that she should close her eyes. But halfway across, he whispers that he is sorry, and then he throws her over the edge, down into the depths of the dragon's caves.

Elodie survives relatively unharmed, her fall having been broken by many roots and branches along the drop, but there seems to be no way out. Very shortly thereafter, she has her first encounter with the dragon itself, who epresses delight at the thought of getting to kill her, and Elodie is forced to run from the dragon's fire. She hits a dead end, and there she finds the body of the young woman she had seen the night before, half burned, and realizes that they were always ment to be sacrifices to the dragon. The dragon continues to taunt her, breathing more fire down the passage where she is trapped, but she notices a narrow hole in the cave wall that she manages to wedge herself through it, barely escaping and sustaining a severe burn on one leg. She rips part of her dress off, wrapping it around her wound, and continues.

From here, we get a lengthy series of scenes of Elodie navigating her way through the trecherous cave system, hounded at every turn by the dragon. She finds an area inhabited by bioluminescent slugs, which she gathers in another part of the dress that she tears off, to use as a lanter, and finally reaches a small cave where a princess before her has written on the wall that this place is safe, and that the dragon cannot reach there. Written on the walls are the names of dozens of other princesses that, over the centuries, have reached this cave before inevitably being caught and killed by the dragon. Next to the names is a rough map of the cave system, showing Elodie a passage marked with a sun, which she assumes is the way out. She takes time to rest here, falling asleep, but when she wakes up she finds her burned leg covered in the bioluminescent slugs. She tears them away in disgust, but notices that anywhere a slug has been, her wound has been healed. Her determination renewed, she continues.

Elodie follows the directions of the map, making her way to the presumed exit, but finds that there is no way down the sheer rock face. As some riders go by she screames to them for help, but the dragon appears and nearly kills her, forcing her to retreat back into the caves. In short order, she ends up in the cave we saw in the opening sequence, and Elodie finds a three broken dragon eggs, with the desicated corpses of the baby dragons that once inhabited them still in the debris. The scene cuts back to that opening sequence, showing us that before encountering the dragon herself, the king and his knights murdered the dragonlings as they hatched.

Elodie realizes that it was the king who had originally attacked the dragon, killing her only children, not that the dragon had been a tyrant. The only reason she had demanded three daughters was in recompense for the wrong that had been done to her. The deal that had actually been struck was that the humans could only be allowed to survive if, every generation, they continued to pay the same price so as to never stop feeling the pain of losing their children. The kingdom, however, has figured out a loophole. By taking princesses from other countries, they could simply mingle blood, fooling the dragon into thinking that the princesses were actual descendents of their line instead of girls that they only knew long enough to technically become part of their family before being sacrificed.

However, at this point, Elodie's father, having been overwhelmed guilt for selling his daughter, arrives at the caves to save her. Before he finds Elodie, the dragon shows up, killing the king's men and mortally wounding the king himself. The dragon resumes her search, and Elodie is given the time to bid farewell to her father as he dies, and he is given the opportunity to ask her for forgiveness, and to tell her to use the rope that they had used to enter the cave to escape. He tells her that Floria and her stepmother have a ship and are waiting for her. So Elodie forgives her father, and follows his direction, barely escaping as the dragon persues.

When the dragon realizes that Elodie has escaped, she begins to raze the mountainside, creating an inferno that is visible from the Aurean castle. The queen of Aurea sees the destruction, and takes action, going to the ship where Floria and the stepmother are waiting. She has her men kidnap Floria, cutting her son's hand and throwing her into the chasm in Elodie's place. When Elodie finally meets up with her stepmother and learns of Floria's capture, she immediately resolves to retrieve her sister, and she follows the same footsteps that she had taken before, returning to the dragon's main chamber.

The dragon, still set on getting Elodie herself and able to smell that Floria is of the same family as Elodie, sets Floria up as bait for Elodie, but Elodie sets up a distraction, drawing the dragon away. She goes to Floria, who has been injured by her fall into the chasm, and before they can get away, the dragon returns. Elodie takes up the sword her father had dropped before, and manages to position herself directly by the dragon's eye, determined to tell the dragon of how they have both been lied to. The dragon, however, does not believe her, and tey have a battle, where Elodie uses her ingenuity to trick the dragon into severely injuring herself with her own fire. As the dragon lay wounded on the ground, Elodie shows her the cut on her hand, and tells her that the dragon has only been perpetuating the violence that had so hurt her before, killing innocent daughters instead of exacting the revenge she had sought. The dragon tells her to end it, then, but Elodie refuses, instead retrieving some of the bioluminescent slugs and placing them on the dragon's wounds to heal her.

The scene shifts to another wedding, where the third and final princess is marrying the prince, unknowingly destined to become the last sacrifice. As the ceremony nears its end, Elodie, still in the rags of her own wedding dress, walks in. She gives a speech to those present, and tells the last princess to take her family and go. The queen declares that they are not afraid of Elodie, and she says that it isn't her they should be afraid of, right before the dragon arrives, killing the royal family and razing the castle to the ground.

In the aftermath, Elodie's stepmother is given rule of their kingdom, which now has all of the resources that Aurea once owned, and Elodie sails off on a ship, with the dragon flying beside her.

The End.

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So, what was wrong with this film? Plot-wise, nothing that would ruin it for me. It was a good story, and, like I said before, lots of fun to watch. But I was left feeling extremely empty. See, at its heart, this story was about the love and loss of children. The dragon was the last of its kind, left alone because of the unthinking cruelty of a king who viewed her as a beast, and cared not at all about the lives of her young. The dragon, though not innocent for all the dozens of lives she took over the centuries, was acting out of pain and loneliness, wishing only that that pain and loneliness be shared by those that inflicted it upon her. She was the one wronged, and the royal line of Aurea callously shunted their punishment off on the innocent and desperate. They did not deserve their prosperity, so the storyline had to lead to the breaking of that cycle, but the problem is that the film focused more on the retribution and that Elodie herself was badass than it did on any emotion.

And that's the big big thing. This movie left me empty because it was empty. Elodie was awesome, and she ended cycle of death, but we didn't know anything else about her. We get told she is clever, so that we don't question how her plans always end up working. We are told that she is capable, so that we don't question how she always manages to pull through. We are told that the prince is somewhat reluctant, but only barely, so that he doesn't seem too cartoonishly evil. We're not given enough to know the extent of his guilt, or enough to really know how complicit he is, or if it's really that his mother (who honestly is kinda cartoonishly evil) forcing the issue. It seems like we're supposed to kind of like him and feel bad that he doesn't want to kill these women, but it feels like it's only halfway suggesting the idea instead of developing aything. Elodie's stepmother is kind, but we are barely shown any of that, instead glossing over any real emotional connection in favor of action. She basically exists to give very heavyhanded foreshadowing, to tell Elodie when Floria is taken, and so they can say that Elodie doesn't have to be bound to royal duty after the death of her father, because there's someone else who can do it. And we're just told that Floria and Elodie are close. Floria seemingly exists solely as a plot device to make Elodie choose to face the dragon after her escape.

The glow slugs are a deus ex, somehow capable of healing life-threatening wounds on both humans and dragons in seconds, which seems to be just so they can pretend for a second that Elodie could really get hurt, but then have her in good enough shape to escape before her family leaves or the next princess is sacrificed. And also so that she can prove how badass she is by mortally wounding the dragon and having it at her mercy, but still have it up in moments, ready to come toast the real bad guys.

And Elodie's character is, unfortunately, also stuck with this same shallowness. She's intended to subvert the "damsel in distress" trope, and she kinda does...except that there are numerous times she is saved by pure luck, and the plotline of her having to go save Floria is just straight up doing the trope, just with a princess saving the damsel instead of a prince. I didn't even catch the names of the queen or king of Aurea, the prince's name (which is as bland as he is) is only spoken a couple of times, and the stepmother, who is arguably one of the more major characters aside from Elodie and the dragon, gets about 3 minutes of screentime and doesn't have a name that I can recall. Neither does the dragon, for that matter, though at least we get to see her more than the stepmother.

This is a story stripped down to its bare bones, and it's only as much of a huge shame as it is because there was real potential. I can't help but imagine how much better it could have been if given even another 45 minutes to help us understand and connect to our characters. I would have loved a real conversation with the dragon, getting to really feel her pain and experience the true cathartic acceptance and regret for what was done to her and what she did in response, instead of cutting away to the last wedding. I would have loved to see the dragon show any dimension of character other than anger and cruelty. I would have loved to see the prince wrestle with himself, or try to push back at all, or see the true struggle that Elodie's father experienced before he reached the conclusion that he'd made a mistake and needed to go save his daughter. Why did the ancestor king of Aurea choose to kill the dragon in the first place? It's implied by the end that the dragon was attacked unprovoked, but we don't really know. Was the dragon actually a hostile force that made them want to kill her, or was she simply there and the king wanted to eliminate a potential threat? Did no other princess ever try to talk to the dragon, espcially when they had a safe cave they could shout from, and the dragon conveniently seems to know when to immediately murder someone or let them speak for the plot? Why would the dragon continue to harbor such strong feelings for so long, and think she was truly achieving justice and exacting revenge when the humans were obviously thriving so?

And what do they plan to do from here? We know Elodie wants to travel and see the world, because she (once again) told us so, but is she doing that? And what of the dragon? We're told that she is the last of her kind, but how do we know there aren't any more elsewhere in the world? Is every gleeful murder of an innocent girl at her whim just forgiven and forgotten because she wasn't killing who she thought she was, and now centuries of hatred and bias has evaporated entirely, making her a friend of humankind? The ending could have been made better in seconds, should we have been given any kind of closure for either Elodie or the dragon in any way at all. Perhaps they're going off together to explore the world, to find out for sure if the dragon is truly alone or if there are more of her kind out there. Perhaps the dragon really does know, definitively, that she's the last, and so has decided to accompany the princess that ended the tragic cycle that defined her for so long, to keep her safe as she lives life the way she always wanted. Maybe the dragon has vowed to atone for her cruelty towards humans by going with Elodie, assisting the different peoples they encounter in their travels. Hell, even if a single narrated line was given that told us "and so they went on many adventures, and lived their lives to their fullest" it would be unsatisfying, but not as unsatisfying as the actual ending.

It just...it could have easily been vastly improved in almost every emotional sense. Caring about our characters, their motivations, their struggles, and the emotional heart of grief and loss could have made this a deeply moving film, but the focus was instead placed on the princess saving herself. And I get the desire to do so, the desire to subvert that trope, but a story can't be a full, satisfying arc with just that. It's the same problem we keep seeing with big budget companies and their attempts to cash in on social issues. Don't get me wrong, I'm glad for any progress, even if it is largely a soulless cash grab, because any progress, however small it may be, is still heading towards an eventual shift in social consciousness, and thus permanent change. But this film wanted to get the brownie points for having a badass princess who doesn't need a prince to save her, and so they ONLY cared about that. It wanted to show off its budget and CGI, and "subvert" the trope, but it missed everything about why women might want a capable subversion of these longstanding, sexist tropes.

A capable woman isn't solely defined by the fact that she is capable. The point isn't to say "I can do anything a man can," but that's what this film makes it out to be. Elodie, and the entire story itself, is stripped of literally anything but what it needs to be to keep the plot moving. The story keeps saying it's about Elodie, and how she overcomes the obstacles in her way, but at the exact same time, it doesn't care about her at all. It cares about appearing to care about her story, and it's so frustrating to see all that potential wasted on such soullessness. It's like having every piece of a puzzle, but the filmmakers only bothered to put together the edge pieces, threw the rest in the garbage, and called that good enough. So instead of a beautiful, satisfying picture, we're left knowing that the rest of the pieces exist, but that they'll never be put in their rightful places, and that the beauty it could have communicated has been wasted.

So yeah, I liked this movie, at least in that I enjoyed the concept and the actual watching of it to a certain extent, but I wanted to love this movie. I hate how good it could have been, and that if it were given the love and care it needed, it could have been made into so much more.

At the end of everything, a story isn't just a spectacle. It's sharing and exploring our lives, ideas, and humanity through imagination and creativity. The beauty of fantasy is imagining what people would do when put into extraordinary situations, or at least imagining the extent of ourselves we wish we could be. A story like this one can be fun once in a while, but a truly good story, one that you remember and carry with you, usually remains because it resonates with you. And it just really sucks that Damsel denies its characters of their emotional cores, because when you eliminate the emotion of a story, the viewers are denied a connection to the humanity that makes that story worth telling.

#damsel netflix #damsel #this was entirely unplanned and unedited #and basically just stream of thought to sort out why i feel the way i do about this movie #so feel free to ignore it #not kpop #review-y brigid

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harveyguilleniconodelamoda · 6 months ago

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Harvey on Fashion for Plus Sizes: "Let's Make It Available to All of Us!"

Harvey spoke to Charles Bright of GoldDerby last week on a webchat about What We Do In The Shadows ending, his voice acting career, and his incredible red carpet collaborations with Christian Siriano.

I want to do a full retrospective on this topic eventually, but that's somehow an even bigger undertaking than chronicling all of Guillermo's sweaters, so it may take a while. In the meantime, I've provided a write-up of the fashion portion of the chat below, along with some photos and additional fashion commentary from yours truly!

You can watch the full webchat here.

"Well you've got to remember that being a guy of size, not a lot of people or designers were willing to dress me," Harvey begins, in response to a question about his favorite red carpet look from the past two years. "And it's upsetting. It reminds me of Julia Roberts in Pretty Woman going 'I've got money to spend in here!'"

Harvey has spoken before about how prior to 2022, he dressed himself for red carpet events, and sometimes even had to provide his own costumes on set when the costume department didn't have anything that fit him. This is a problem many plus sized entertainers have encountered over the years, even as conversations about body positivity and fat acceptance have become more prominent in public discourse.

Siriano deserves a lot of credit for his track record of breaking barriers in fashion, for getting on board with Harvey's vision, and for bringing some incredible, iconic, history-making looks to life. But Harvey had been slaying on red carpets for years before their collaboration began, often in looks he put together himself without the aid of a designer or stylist. His love of fashion is not new, and his sense of style has always been on point!

Hollywood has been extremely reluctant to be inclusive in this way, with the media often reacting to even one or two high profile plus sized celebrities with concern trolling about whether they're "glorifying obesity" just by existing as successful and talented people in larger bodies in the public eye. But just as with so many other aspects of his career, Harvey has simply carved out doors for himself when none were opening.

"People don't take a risk because they're afraid, right?" Harvey explains. "But you could be the first! I've been fortunate. Talking to Christian Siriano, I was getting ready for the Academy Awards and I had this vision of like...'I really want to do something different, and I know that you don't really dress guys. I want to find a happy medium where it's masculine, and a little feminine, but it's me,' and it just wasn't something that they usually do."

"But we collaborated and we had this idea of like, what if it was the 1920s, but I'm going in a style that's retro, so it's the Gilded Age. So my hair is 1922 but I'm giving a nod to the Gilded Age because that would be vintage back in 1922. And so that's how I got that idea, and then we got the whole tuxedo flare and whatnot."

The now-iconic tuxedo gown Harvey wore to the 2023 Oscars.

"Working with Christian has been great. After that I think Vogue ran it, and it got all this attention, and people were like 'woah! a plus size guy looking good in fashion' and I was like 'yeah, we are out here and there's a lot of us! And I feel like there's just not designers who are designing for us or making it available to us.'"

Harvey's red carpet look for the Oscars, as well as his look for the Vanity Fair after party, appeared on multiple best dressed lists. He was even declared the best dressed person on the Oscars red carpet by MsMojo.

"After that Christian and I became friends," Harvey says. "I hosted the GLAAD awards and he dressed me for that, and I was honored with an award in California and he dressed me for that...and so we've been collaborating on different outfits."

Harvey and Christian Siriano have now collaborated on ten different outfits for half a dozen events since the start of 2023, including most recently the 2024 Critic's Choice Awards in January (where he once again made it only best dressed lists, such as this one from TVInsider) and the Garfield movie premiere in May.

"The Met Gala last year was, I think, the cherry on top, because it was a kind of nod to Chanel with a tweed in pink. But [the gala] was also honoring Karl Lagerfeld, and to be in my body, and being a POC, and wearing pink--so still honoring but not forgetting, and also representing myself--was a nice collaboration, and I think that gown was really beautiful and I loved it."

Harvey's Met Gala ensemble was easily one of the most impressive of the night, managing to be both flawlessly on theme while also being a creative interpretation that critiqued the subject of the theme.

Harvey finishes up his thoughts on his red carpet style by saying he wants to continue working with Siriano, as well as other designers who are willing to take a chance with him.

"The payoff is, you know, like you said: people look to people in film and television to be inspired, and be like 'why can't I? I can wear that! Where can I get that?' You know? And it's like you should be able to get that. Let's make it available to all of us."

Sounds great to me, Harvey! And it's true.

On a personal note, Harvey's incredible style and confidence has definitely been an inspiration. He's spoken a few times about how he's had people tell him how watching him has given them more confidence in themselves, and I count myself among that number. I am so excited to see what the rest of 2024 holds for him, on and off the red carpet!

#harvey guillén #fashion #plus size fashion #menswear #red carpet looks #christian siriano #interviews #goldderby

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starseneyes · 2 years ago

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Chenford - Lucy Chen / Tim Bradford - The Rookie - Season 5 - Ep 10

"The List" Or, as I like to call it, "Lucy has the giggles".

Y'all, this one SLAYED me, and I can't wait to jump in with you!

SPOILER ALERT: This Meta will spoil every delicious second of this episode and reference past material from the show (and will majorly spoil the end of the film Serenity. Sorry about that). Please proceed with extreme caution... or don't, if you are ready to be spoiled.

Shall we? Let's get things started!

Fashion Barbie Runway Show

Look, I had a couple Barbies growing up. And while they weren't my favorite toys, I understood the draw of dressing up your handsome Ken doll and fashionable Barbie in fun outfits. And, let's be honest, Barbie always had more variety than Ken.

So, it seems fitting that Lucy and Tim are struggling to choose the perfect outfit for their last first date ever.

Yes, I said it. Tim and Lucy are on an Endgame path, and they are completely aware of it.

Anyway, we see Lucy pull up every significant outfit she's ever worn around Tim (special shout out to the costume department for keeping those around and not selling them off, yet). There's the double date dress, the dance dress, and later the green dress from Lopez's wedding. It's a feast for Chenfordians.

SIDE NOTE: And we have to talk about Tim's bedroom. The crew put a lot of thought into it. Remember, Tim's been married before, and got to keep all the furniture. So, everything matches in tasteful, boring beige (as compared to Lucy's flamboyant, color-filled apartment).

I love that Tim has slippers. I don't know why that detail made me so happy (and the clothes sticking a little haphazardly out of his laundry basket in the closet), but those details help paint a side of the man we've never really seen before. Domestic Tim.

Tim's going through a smattering of the exact. same. shirt. in seventeen colors. And, look, I'll give him props that he has some variety in color to match whatever his date's wearing, but it's terribly on-brand to me for Tim to find the shirt that works and run with it.

Plus, this MUSIC!? "I was overthinking. Are we linking?" Tim and Lucy are definitely overthinking.

Side Note: I am LOVING how they are both tossing the discards on the bed rather than re-hanging them. Because they are so indecisive that they can't bring themselves to completely rule something out, even if they tell themselves that's not the one.

And Tim with the store-bought hangers that he never replaced? Because he probably thinks they're, "Perfectly fine hangers"? I was rolling.

Tim's finally had enough and he picks up the phone to dial Lucy.

Watch. Lucy's. Face.

Girlfriend knows she is taking forever to pick her outfit. She opts for the lie.

"Hi. I'm almost there." "No. No, you're not."

Look. At. Her. FACE! Look at that glee on her face. Because he knows her. She doesn't have to lie to him and worry what he'll think or how he'll react.

"No. I'm not. Sorry. Um, are you?" "No! Uh, look, does this restaurant have a dress code?"

See that twinkle in Lucy's eyes? It's the same twinkle when she laid hands on Tim's radio a few episodes back when he was newly single and she was about to be. Lucy's quickly cooking up a plan.

"Uh, no. I mean, you could wear cargo shorts, if you wanted."

Evil, evil girl. But, oh, how I love this. We're seconds into their first conversation of the night, and they are establishing right away that Tim and Lucy are still Tim and Lucy.

Yes, they're adding a layer to their relationship, but the underpinnings that have been so painstakingly stitched together over the past five-ish seasons remain.

"Really?" "Yeah, I mean, what does it matter as long as your comfortable?" "Nice try." *giggles*

Did. You. Hear. Her. GIGGLES?!

I know I'm pausing a lot on this Meta (and we're about a minute seven into screentime), but that's because this is so insanely delicious that I can't help myself.

I'm the girl who watched in agony hoping for Janeway and Chakotay to have an open-ended end to their romance only for the show to hook him up with 7of9 at the eleventh hour. Besides Mulder and Scully, that was my first major ship. And, to be honest, both left me with some serious trust issues.

So, I went into this episode hoping I would be wrong about so many things. And, folks, I was wrong about so many things. But, we'll get to that later.

Right now, our girl Lucy Chen is giggling because she tried a "gotcha" and he called her on it. And she is so relaxed in this moment that she can embrace the giggle without worrying about any of the boundaries.

Though there are physical boundaries in place (we'll get to those later), the emotional boundaries have completely come down. They're flirting. They're teasing. And it's all out in the open (at least between them) without restraint.

This is unhinged, untied, undone Tim and Lucy from an emotional standpoint. And it's f'ing beautiful.

Also, can we talk about Tim Bradford? I mean, we've seen him happy in relationships, before, but have we ever seen him beaming like this? I don't think so.

"That was clearly a test, and you should know better than to test the master."

Lucy's face is pure, "Yup, that's my boyfriend. He thinks he's so fly" and I am here for it!

Also, Tim in Gold Toe Socks?! I'm fairly sure that's what he's wearing, and that little detail of having super durable, super comfortable socks is so bloody Tim. We don't usually get to see his socks, and I LOVE these little details.

"What are you wearing?" "Yeah, uh, I don't know, yet. But I do have a lot of outfits that I am not going to wear. So..." "Look, well, we are running low on time. Traffic's getting ugly."

Oh, Los Angeles, how I detest your traffic. I once flew into LAX and my ride was two miles away when I called them from the street. Two miles.

One hour later they picked me up. I kid you not. Los Angeles traffic is some of the worst I've ever seen. I remember we went into the office (one of my clients) and it was a ten mile trip that took almost two hours. I am not built for LA traffic, and Tim's line sent a shudder of remembrance down my spine.

Lucy, my lady, it's time to pick a damn dress.

"Yeah, totally. I, it's silly, I just need to make a decision... Ah, yes! The green dress. It is decided."

It was the dress she wore the first time he asked her to save a dance... the first time she had the flicker that he was interested in her as anything other than a fellow officer and former boot. This dress holds significance between them, and it'd be lovely to rewrite its history so it's no longer the dress she wore when Jackson was murdered, but the dress she wore the first time she went out on a date with Tim Bradford.

"Great. Well, I'll see you soon."

He's imagining her in that dress. Remembering her in that dress. He couldn't help himself, even back then. He'd drank in every move of her hips, every hug of fabric against her skin as it swished toward her.

You can see that smile, again. The dazzler. He's dazzled by her, and they aren't even in the same room. That's the power this woman has over him. And he's done resisting its pull.

"Okay. Bye."

She hangs up on him and the music is soft, gentle, hopeful.

Then... nope. She yeets another dress onto the pile and we're back to square one.

The Most Romantic Restaurant in Town

Look, I don't know if this was the director or the script, but sweeping in on all those couples, and the flower arrangements, and the hanging, but dimmed lights? This is a couple's place. This isn't where you take your work friend for dinner. This is where you take your future wife.

And Tim's brought his future wife. But, oh, the boy is feeling awkward now that they're finally out together. Tim sneaks a look at Lucy and she chuckles. She can feel his unease.

"It's good bread." "Yeah. It's such a nice assortment."

Y'all. The Rookie team... we see you! We see you calling out the fan-created Crumb-o-Meter that made my first episodes watching this bloody ship all the more delicious. If you wanted us to know you're stalking our psychotic, borderline-obsessive *ahem* tweets and posts... message received. We'll keep up the good work!

But, seriously, in this moment the awkwardness is on point.

Transitions in life are tough. I'll be honest that with most of my boyfriends, I dove in. With Ernie, he asked to kiss me and we dated for two months (before he dumped me on my birthday over the phone the week of prom). With Sean, he said there was something between us and kissed me in his kitchen. That relationship lasted two weeks because he was moving away.

And before the summer ended, I was locking lips with Travis—whom I'd just met—and I dated him for over a year before realizing we had absolutely nothing in common and I was a stooge for jumping in without taking stock of the situation, first.

So when I met Matthew in the middle of my breakup with Travis... I wanted to do it differently. We spent the summer getting to know one another as friends. I took a romantic relationship completely off the table. Through emails (yes, email), AIM messages (I know... totally dating us), and group dates, I got to know him better and better. We had a budding friendship by the time we finally started dating.

Not the three or so years of Lucy and Tim, but I knew there was something different about my relationship with Matthew from the go. We took everything slower. And I'm so glad we did. It gave me time to savor every second.

Lucy and Tim both know that this is different, and there's a level of awkwardness there as two friends attempt the transition.

"Why is this so weird? We've eaten together literally hundreds of times." "Because our other meals only ever had the promise of being shot at afterwards, you know, not naked time."

I have to be honest with y'all, I did not see Tim saying that. This line leaked early via a journalist with an advance copy (so saying that it "leaked" isn't exactly true since it's the journalist's job to hype up the fanbase). But the journalist didn't attribute the line to either of them. I was shocked to find this came from Tim.

But in the face of the awkwardness they're feeling, it makes sense that he would be searching for words and land on the least romantic ones, God bless him. (Yes, this might seem like a variant on "God bless his heart" but, trust me, in the South they are two very different things. I truly feel for the guy!)

"Naked time? Please, I mean, we've seen plenty of naked people after we ate." "That's not what I-" "No. No. No. I know. I know. I know. I feel like I might... I might just need you to reset your expectations a little bit. You're not going to see me naked for... a while."

I have to stop this here for a couple of reasons. One, Lucy touches Tim's arm when she's saying, "I know". We watched in 5x08 where she struggled not to touch him when they were sitting together outside. Here, on their date, she isn't shying away from that. There's an ease between them, even as they're discussing what might be considered a delicate topic.

Two, I love the way that Tim smiles with her after "a while". There's an ease to it. I can see him having some naked time expectations after she bloody invited him in when they were both seeing other people. But he's listening to her, and he's accepting what she wants wholeheartedly, without question.

So, I don't think Tim was unreasonable in his thought process, originally. However, what I love about this is what happens next.

Also, I love the way that Tim reacts the same way he did to Chris saying he wanted Tim's thoughts—surprised, but ready to listen. It's those little details of this reset that mean so much to me.

"I mean, I don't want to rush into that. I wanna take things slow... go on this date, maybe a second date, have our first real kiss. I just don't think we should jump into bed together just because we know each other so well. Right? I mean, do you?" "No, I... Agreed."

I'm puddling on the floor right now. Y'all, you don't know what consent means to me. I have too many stories for this Meta (y'all'd be running away from me so fast because I wouldn't get to the Chenford for another six pages or so if I got started). But, as a victim of abuse, this is so important to me.

Lucy is setting the expectations here for her and Tim. And he's accepting and agreeing to them without question. This is how it should be, people.

Also, Lucy starts with telling Tim that he's not going to see her naked for a while, but she's also simultaneously telling him that someday he will. This isn't a short-term thing for either of them, and she's making that abundantly clear.

The one thing about Tim is that he knows about all of Lucy's previous relationships (save Nolan) that have happened during her time as an Officer. He knows that with Emmett it was all physical, basically. With Chris, they were "great together" but there was no substance. He's seen how she treats relationships, and, honestly, she hasn't done it with the greatest care or eye toward longevity.

In this speech, Lucy isn't only defining parameters for their physical/sexual relationship. She's also subtly communicating to Tim that she wants to put care into this relationship. She wants to build it up together, the same way they have their friendship. Lucy is telling Tim, "I'm in this for the long haul".

Watch his face just before he says, "Agreed". It's about more than just agreeing to what she's saying, and offering her that much-needed affirmation. It's about making their first major decision together as a couple.

She didn't have to ask him to chime in. Her body is her body and her choice. But she wanted to know that they were on the same page, and he had the opportunity to show her that he is.

In a long-term relationship, communication is the most important binder. Romance is great, but sometimes when you have flames coming out of your ears, you're not that interested in stolen kisses. Passion is great, but when you're cowering on the floor, breaking in half over tragedy, it won't get you anywhere.

Solid communication is the most essential building block to a relationship that lasts. And in this scene, Lucy has told Tim that's what she wants with him, and he knows enough to realize what she's saying beneath the words.

Lucy's face is filled with the same consternation as it was on "it's not worth the risk". She's worried how Tim's going to react. And both times, he reassures her.

It's so brief, so brief, but watch Lucy's eyes after he agrees (and this is all Melissa O'Neil). She's relieved.

As soon as they started talking to one another instead of making small talk, they returned to what has made them great all along—their foundation of understanding one another deeply, and not being afraid to call the other out, or reset the expectations.

Watch the awkwardness evaporate with that… It's the lack of communication that put them on edge. Well, almost all the awkwardness.

"Are you worried someone from the station's gonna walk in?" "What?" "You are!" "No, I-" "Wow." "What are the odds?"

I love this so much. Lucy's calling Tim out, and he's actually a little embarrassed. It's adorable. Tim and Lucy have completely gotten over the awkwardness.

Just in time for... I'm sorry. Are you for real? Seriously? I was just enjoying this adorable couple and y'all couldn't wait for the guests to leave for the night before having it out in the kitchen? Yes, the kitchen is a volatile place, but these two are dating here! Ya know?

Fine. Fine. Have your bloody knife fight. But did anyone else notice how Tim really really didn't want to get involved? He kept hoping for an outcome that wouldn't require them, but the second that dude grabbed the knife, Tim whipped out the gun and badge while Lucy went for a cloth napkin for the wound.

Truly, these two are a power couple, already!

"What are the chances someone from the station walks in now?"

And, too fast for real life (but perfect timing for the joke), the blue and red lights catch Tim and Lucy... red and blue handed.

Look, these two have got to stop racking up reports with both of their names on it when they're not supposed to be together. First Lucy's apartment when Chris was bleeding out, now the restaurant attack.

What on earth will Angela have to say to Timothy now!? (please, please let us find out, soon!)

And what is with these two and knife-attacks-to-the-arms ruining their moments? It's not a good trend.

But can we talk about Lucy's dress? YOWZA! When she stood up and I saw all the amazing back cut outs in addition to the front, I just thought, "Wow, Melissa O'Neil is FIT" and "Lucy looks incredible on this date".

Tim's no slouch, either! The patterned shirt he went with was the best thing in his closet we saw, and I'd kill to have a stomach as flat as Eric Winter's. Well, not kill. I don't want to be arrested while commenting on a cop show. That'd be a little too on the nose.

Before We Move On: I have seen a lot of feedback on the interwebs of people accusing Lucy of inconsistency between 5x01's "Do you want to come in?" and 5x10's "I want to take this slow."

First off, a human being can change their mind about a situation at any time and it not be considered a character flaw or "out of character".

Some nights I'll tell my husband, "As soon as the kids go to bed, you are mine" but by the time the kids go down, I'm too tired to move, let alone engage in "naked time". Does my husband accuse me of being an inconsistent character? Hell, no!

Listen, you can always change your mind about wanting or not wanting sex. We need to get rid of the mindset that if you were hot and bothered one time you're supposed to be permanently hot and bothered, or you're a tease or something. It's an insane way to interpret the situation.

Secondly (yes, I'm finally getting back to the Chenford), Lucy in 5x01 didn't know Tim was emotionally invested. She knew he was physically attracted to her, and she decided to take a leap in the moment. To live in that moment based on the information available.

Even when she's confessing in 5x08 that she's afraid of leaving her "safe" relationship for Tim because it could ruin the most important relationship in her life, she didn't know how he felt.

Yes, she is the one who shut down that talk in 5x01, but that's because she was assuming instead of listening and letting him finish. And assumption is when these two get in trouble (see "naked time" above).

So, in the fullness of her new knowledge, Lucy has made a different decision. She knows that this is endgame as much as he does (though I think he's still so surprised to see Lucy so at ease with all of it considering her history of keeping guys at arms-length after her ex cheated on her while she was living with him).

And it's perfectly okay to change your mind. Lucy changed her mind. Tim amended his expectations to match her wishes because when he does make love with her, he wants her to give herself fully with no trace of anxiety or fear holding her back. He wants her to feel completely cherished, and loved, and he'll wait until the moment she is ready. That is the magic of the moment.

Lucy Chen said, "Not, yet" and Tim said, "Understood. I'm not going anywhere" without saying so many words.

Tim went in with the knowledge that she twice jumped him (girl can be thirsty/assertive), and that she once invited him in.

It was definitely a possibility that they were getting naked after this romantic dinner. He was looking forward to peeling that skin-tight dress right off of her.

But the second she said that wasn't the plan, he rolled with it. And that's sexy as hell.

"This is not strange. Coworkers eat together. It's a thing." "At the most romantic restaurant in town?" "Right."

Our intrepid duo is scrambling. Lucy was making fun of Tim's paranoia over them being caught together, and within thirty seconds they were caught together.

And now it's the fallout. Before, there was no obligation to tell anyone anything or come up with a cover story. Now, they have a choice to make.

And I need to shout out to the director and DP for the staging of this scene. I love Tim and Lucy in their little spot, slightly removed from everyone else, and the sweeping shots where the noise picks up of the chatter of their fellow officers.

The fact that they have Tim and Lucy backed against the wall (heh) means that nobody can cross behind them, and the camera's positioned so we don't have people crossing in front of them. It allows us to focus on them singularly as a pair versus everyone else in the mosh-pit of police work.

"Well, I mean, we could come clean."

Watch Tim's face. It's not that Lucy's had to hide her previous relationships (besides Nolan... and I keep hoping Tim knew something at the time and didn't say anything because he doesn't want to talk about personal stuff in the Shop). But, Lucy's not one to bring dates to events and whatnot.

They've been on one half-date that was interrupted by an assault that resulted in an arrest. And Lucy's talking about letting everyone know that they are officially a couple. That's huge.

Tim can't believe what he's hearing. And even if it's not the right decision right now, it says something to him about how Lucy sees this... that she's not letting one botched date get in the way of them. She's not going anywhere. For goodness sake, she was the first to make them a "we" here!

But... still... there are some issues with coming clean.

"Are you ready for that? Are you ready for Smitty's commentary on us dating or the "ohs" every time we walk into the roll call room together?" "Or, we could lie."

Oh, honey, no. Look, you're a killer UC. We know that. But, when it comes to the people you know and love, you are a terrible liar.

My mind immediately flashes back to Season 1. "You're good at a lot of things. Lying isn't one of them." "You think I'm good at things? Can I get that in writing?"

Like, Lucy, honey. Nooooo. Let Tim do the lying for the both of you. He lied to himself for ages about how he felt. He's a much better liar.

And, to clarify, I understand why they feel they need to lie right now, and it's their relationship. But Lucy shouldn't be the one talking when they do it.

"Uh, yeah, we were there, uh, investigating a tip and then this whole other crime popped off." "Yeah, Lucy's C.I. was convinced they were dealing drugs." "What?" "What?" "Nothing."

Maybe neither of you is good at lying. Yikes.

"Boss wants to see you. Have a safe one."

Oh, Nolan, you don't even realize how scared these two are of walking into that office.

And, I must say that I was wrong, again. Look, folks, I admit when I'm wrong. It's hardwired into who I am because of how I grew up. When this scene dropped, I thought something might be missing, but now I see it was the way they edited the two shot to alternating one-shots that made me think I was missing something.

So, The Rookie, 2. Rachel 0. (and I'm going to lose again, at the end. Stay tuned!)

Tim holds the door for Lucy as they make the transition. I saw on Twitter that Eric Winter insisted on this, and looking back at their relationship, there have been several other instances where Tim has held the door for Lucy. So, this is absolutely in character, and I love that EW insisted upon it. Those little details make the character.

"I think you know how I feel about coworkers dating."

Yikes, Grey! Not even letting them settle into their stances before ripping the band-aid off. And, yes, I'm creating this commentary based on my first time watching the pan-and-scan version of this scene from Twitter.

Because, Rachel was not prepared.

Tim and Lucy glance at one another. Here we go.

"When I started, no one thought much of it. But things have changed. We're more aware of how power dynamics can skew things. Even the most innocent of relationships can be a distraction."

Watch Tim's hand slip off his watch as he fidgets. Tim can be very controlled, and very good at hiding his emotions. But I don't think he was ready for this conversation this soon. Lucy resettles over and over, pressing her lips together as the listens.

And this two-shot is so much better than the split screen they had to do for Instagram formatting. I love seeing the two of them together, united, but mirroring one another's positions while facing Grey—the authority figure behind the desk.

Right now, there's an inequality between Grey's position and theirs. Tim and Lucy are unable to sit and he is permitted to sit and lord over them, like royalty. Grey is the final word, and he's staring down at two very nervous officers.

"Hey, trust me, I get it. We spent 12 hours a day together. Feelings are bound to develop."

Tim looks over to Lucy. She feels his gaze and looks back.

"But we can't afford even the hint of impropriety." "We couldn't agree more."

"We". There it is, again. Some people put a lot of weight into this, wondering if Lucy is afraid that Tim is going to break it off. But I don't think that was ever the issue.

They both know eventually they won't be able to work together as they have... it's impossible. But they want this to last as long as it can.

Tim is saying "we" couldn't agree more. Not "I". Lucy doesn't have to worry about him giving up on her. But I think she knows he's willing to do whatever it takes for something he believes in—and he believes in them.

"Good. Look, I don't want to be the old guy interfering with peoples lives, especially their love life, but this whole Aaron and Celina situation has me worried." "The Aaron and Celina situation."

Tim's surprised face is adorable, but Lucy rolls with it fairly well. They turn to look out at Aaron and Celina. As they do, the camera shifts to a three shot, Grey now standing behind them. They're on a more level playing field, here, flowing with the scene.

Gosh, I love Robert Bella's style as a director. He really lets the camera breathe with the script. I haven't been this excited about a television director since Robert Duncan McNeil started working on Chuck after debuting as a director on Star Trek: Voyager.

Lucy sneaks a glance at Tim, trying to gauge his response before they turn around. He finally meets her eyes with a quick, "Well, that was close" look as they turn back to face Grey.

And, look, I think Grey is on to them. He's not a fool. But, he's also outlining a lot of thoughts in this scene, if we try to see it as him sending them a message.

He's not saying don't date. But he does remind them of the power imbalance (Tim's her SO and a Sergeant). Yet, he calls out the need for Aaron to establish his reputation and for Celina to get through her Probationary period without distractions.

Tim and Lucy will have to deal with their power imbalance.

"Oh, the irony." "Are you gonna talk to Aaron?" "About his love life? Can't wait." "When are you gonna talk to Celina?" "I can't tell her not to date a cop. That is so hypocritical. Oh, I'm gonna get Nolan to do it." "That's cheating." *giggle*

This whole exchange makes me so happy. Here are Tim and Lucy operating as a duo, tasked with a job, and Lucy finds a way to get out of the uncomfortable situation. Tim's "That's cheating" hearkens back to every bet they've ever made.

The subtitles have Lucy saying "mm-hmm", but I swear the first time I heard it (first thirty times I re-watched the scene), it was a giggle. I'm going with giggle.

Because this is the episode where Lucy has the giggles.

"You and Celina dating?"

And Tim, with the subtlety of a Rams fan at a 49er's bar on game-day, reminds us why there's no personal talk in the Shop. Tim's really bad at it.

I'm not going to transcribe Aaron's full response, but I love the way it set Tim on edge. I've talked, before, about how Eric Winter is one of those actors who acts through his fingers and toes. Bruce Willis is one of those, too. Just watch his feet in the early scenes of Die Hard. It's beautiful.

So, when Aaron starts talking about direct reports in a not so subtle hint that he knows all about those types of relationships, Tim gets nervous. It's not that he's afraid of being found out. But the more he's reminded of their biggest issue—one of them will have to leave.

And, don't get me wrong, the show'll probably find a way to work around that by taking Tim out of her chain-of-command but keeping him largely tied to the established team. But right now, Tim's fidgeting on the wheel.

And I swear when I watched it live I thought I heard the engine speeding up with Tim's anxiety.

"Remember this morning when dating in secret was our biggest problem?" "That feels like a million years ago."

Excuse me, ma'am, but isn't your camera on your chest recording everything you say!? I've always been worried about what they say near cameras, but Lucy's throwing caution RIGHT out.

"Did you talk to Aaron?" "Yeah." "And?" "He neither confirmed nor denied." "But?" "But he pointed out that it wouldn't be problematic because he's not her superior and doesn't fall in her chain of command." "Oh."

I get why they don't want to face it. Right now, they only see that as a separation. Those 12 hours a day where they've gotten to know one another, and have been able to see one another, and check on one another, and keep tabs on the other's welfare... gone.

It's a lot to lose even if they get to keep each other.

"Are you sure about this?" "I'm sure he's gonna kill her if we don't do something. Where's my distraction?" "It's ready and waiting."

I can hear Lucy in my head, "I don't like Plan B." But she understands that this is what needs to be done, and that this is their job. Sometimes, they have to put themselves in harm's way, and that a tragic occupational hazard.

But I love how this illustrates that they can still work together, even with the new layer to their relationship. Tim and Lucy are still Tim and Lucy.

"That's the signal."

And the trust that Lucy would be the one to hear the signal, and get everyone else ready to go. They've worked side-by-side for years. They have a natural rhythm there that's been earned. I totally understand why they don't want to lose that.

But it's inevitable... that day is coming. And neither can face it just yet.

"We both can't get out at the same time." "Okay, then you go first." "There's only room for one of us to be a hero, here, and I outrank you." "Sir, with all due respect, Lucy will kill me if I let you die, so I'm dead either way." "Get out of the Shop, Aaron!"

We've seen Aaron comment on the Tim/Lucy thing directly and indirectly, but this is flashing neon lights compared to those other times. He's basically saying, "She will literally murder for you, and I know it, and I don't want it to be me."

And I have to stop to applaud Aaron's ingenuity in finding a way to save Tim, too. Tim accepts his fate. He's military-trained, and he's a seasoned cop who understands the risks he takes every day.

But it wasn't his day to die, my friends. Not today.

"Well, I'm glad you didn't die."

This. Transition! I'm salivating over that transition from one scene to the next, through the glass. I'll admit, I'm a big fan of scenes that overlap and allow us to trade from one conversation to the next. It has always made me feel more like the world was real, and we were walking through it rather than bouncing around through non-stop scene-shifts.

No, you can't do this all the time. It'd become tired out. But, I love the choice, here. Again, I don't know if it was the writer, the director, or someone else who saw the opportunity and seized it, but I'm so glad they did!

"You owe me a redo on our date." "It's what gave me the will to live."

He's needling her. He's so needling her and it's so adorable. I know they have a lot of incredible scenes in this episode, but this one gave me all the feels.

This is secret dating era at its finest. Walking side-by-side and speaking words just for the other while knowing there's so much more going on under the surface. And I am here for it!

I love how he looks at her, waiting to see if he's going to get a reaction. Oh, she gives him a reaction!

"In my mind, I'm hitting you right now." "That's good to know."

Heart. Exploding. The cuteness!

PAUSE: Before we get to the end scene, can we talk about Nyla and James choosing Angela and Wesley to raise their daughter!? As soon as the conversation came up I was screaming at the television, "Pick Angela and Wesley!" And I'm so glad they did.

The power couples of The Rookie really got to show up and show out this week, and I wanted to acknowledge these four, too, even if they're not the focus of our Meta.

"I've been falling apart these days," says the music as we transition to a crane shot, establishing twinkle lights in trees (and those hanging bulb-style ones that I've been coveting for my new backyard ever since we moved in).

We sweep past the... is that a food truck!? Was I actually right about one thing in this bloody episode!? My only prediction that came true was that Tim and Lucy would try to have their date, things would go wrong, and they'd end up at a food truck. I'll take the win since everything else's been a loss for me, predictions-wise.

The Rookie 2, Rachel 1.

We sweep over to Tim and Lucy in the most casually-intimate (it's a thing) position with those high stools. Tim's got his let completely wrapped on the other side of Lucy's, and one of hers is crossed with a foot on his chair.

They don't wear fashionable clothes. Lucy's hair isn't styled. The conditions are less structured and more beautifully chaotic, like the twinkle lights dangling just shy of perfection—but no less perfect in that imperfection.

Tim and Lucy are at ease.

This is the heart of Tim and Lucy's transition. Before, they were trying to do it without all the information on the table, and within the confines of what they thought they needed.

Instead, they've found themselves in metal chairs exposed to the elements, facing the less-than-romantic view of a parking lot, and they couldn't be happier.

I must observe that they don't eat or drink a thing during this scene. The props are simply props, and I always find it fascinating when a scene calls for actual eating versus the implication of eating.

"Streets of Vietnam." *giggle* "That's where we ended up."

For some reason, the caption says "Treats of Vietnam" even though Eric Winter clearly emphasizes the "S" on "Streets".

But, if you're following along and hard of hearing or deaf, I wanted to make that clarification. His words, indeed, do match the signage on the food truck.

And Lucy is giggling, again.

"So, I guess this is our official first date." "Mmm, last night was. For sure. I mean, it's a better story for the grandkids."

Watch. Tim's. Face. He dated Ashley for ages before finding out she had no interest in marriage or kids—two things that mean a lot to him.

And Lucy, beautiful Lucy, is telling him on their second date that she can't wait to share this story with their grandkids.

And I've seen people say, "Oh, what happened to taking it slow?" Welp, you can be in an emotional place separate from a physical place, and that's just fine. She wants to savor every second of this.

This relationship is full of "last firsts". Last first date. Last first kiss. Last first time sleeping together.

If you knew that going into a relationship, wouldn't you want to savor every second? Really live in the moments to form lasting memories rather than rushing through?

"We've got grandkids, now." *giggle* "Nice."

Ooooh, the giggling has got me in a chokehold!

And I'm floored by the confidence Lucy has with Tim. Before, we saw so much hesitation from her in taking big steps, especially with Chris. Hell, I don't know that I recall her ever calling him her "boyfriend".

With Tim, none of that exists. Yes, they had some butterflies to get through in the beginning. But part of what makes this relationship work is how it has been earned and built.

They didn't start day one of their Rookie/TO relationship making moony-eyes at one another. They built layers over time, like the most beautiful crepe tower cake.

Yes, I know it's a weird metaphor, but I like baking shows. And the best part about a crepe tower cake is that you make each crepe one at a time before binding it to the others to form a stack. And sometimes the crepes aren't the prettiest. You might burn one a little. But it still goes into the stack, and it still helps build a beautiful finished product.

Tim and Lucy have built this relationship bit by bit. That's why everything rings true so effortlessly, now.

"Do not break into that car."

I. Started. CACKLING. Much as the cold open had me in stitches, this is the line that slays me every time. Crochety, worn-out Tim comes out on that line.

It's like, "Look, do you see this stunningly gorgeous, amazing, tough-as-nails woman beside me? I'd like to have one date, just ONE where I'm not pulling out cuffs for work purposes".

"Hey, moron!"

Foley artist, I love you. Or if it was recorded audio at the scene, I love whoever did that because even the SOUND of the metal clanging as the perp retreats had me in stitches. This was such a beautiful moment for so many reasons.

First of all, Tim is always going to be Tim. Thank God. I abhor when shows destroy the characters the second they get in a relationship (no, I'm not naming names... Metas make you squeel and laugh. We don't need the negativity, here).

Second, Tim just made the choice to be a man instead of a cop in this moment. Now, if it was a dangerous criminal, I'm sure Tim would have done something, as he did on their first date. But, for Tim "Supercop" Bradford to choose the girl... it's such a huge metaphor for what's coming.

Tim's job has seemed like the most important thing for so long, especially since he finally went after Sergeant, and continues to work despite being eligible for Retirement. But some things matter more.

Friends, Lucy matters more.

"You know, he's just going to break into a car in a different neighborhood." "Well, then some other cop can arrest him."

Pause. Just pause right here and look at Tim's face as he gazes upon Lucy. That twinkle is back in his eyes. And, yes, I'm aware it's probably studio lights set up for this shot. Don't ruin my magic!!

But Tim Bradford is finally looking into the eyes of a woman who will love him as much as he will love her. She will call him on his bullshit, care for his wounds, follow him into the fire, and stand by his side through whatever life throws at them.

They both knew that when they took this leap, they could never, ever go back. It's a constant plunge into the unknown, and with every level deeper they go, it only cements their bond.

Tim and Lucy were never going to work as friends-with-benefits, or a casual thing. They're Endgame. And they both know it.

He reaches for her face with his left hand. The same hand that wanted to hold her face the first time they kissed, but hesitated. He's telegraphing his moves and giving her space to pull back, to tell him to stop, to let him know she's not ready.

But Lucy is ready for this next step.

His right hand resting somewhere between her knee and thigh, the other hand tangling in her hair as he gently tugs her toward him, he leans in for their last first kiss—together.

And Lucy smiles before their lips touch, because this is so damn sweet. This is the beginning of yet another phase for them. And as they share that beautiful moment, we fade to black.

And here we have the last thing I was wrong about—the episode didn't end with Lucy covered in blood.

Look, I called the kiss (so I hope that balances things out a little), but I have a lot of ship trauma. For goodness sake, look at Wash and Zoe from Firefly/Serenity. He wasn't a leaf on the wind... he was a corkboard for the world's largest push-pin.

So, I was pleasantly surprised we faded out to black with our favorite couple intact and happy.

One thing that The Rookie has done really well with its core relationships is allowing them to face issues as a couple.

Nyla and James were rockstars at the bank, but they also worked through the very real issue of who should care for their child in the event of their death. That's something all parents grapple with.

And then Wesley and Angela working through the conversations of when (and whether) to add children to their family. I suffer from infertility, so all three of our children were planned for, prayed for, and provided by nice doctors with catheters and egg timers (I wish I was joking about that last part).

So whatever Tim and Lucy are going to face, I have confidence that they will face it together. They aren't going to suddenly stop communicating, break up, and date other people. This is Season 5B and as of yet, there's no assurance of a Season 6. It's the perfect time to cement them as a couple, explore the obstacles they overcome, and allow the fans to bask in the breadsticks (double breadsticks according to the Roll-o-Meter).

Because, y'all, we ATE.

As always, thank you for reading. This one was a lot of fun to watch and write. And, special shout out to my husband who let me squirrel away for the hour (which is right at our kids' bedtime) so I could squeal in real-time!

See y'all on the next!

#Chenford #Tim x Lucy #Lucy x Tim #Tim Bradford #Lucy Chen #The Rookie #Eric Winter #Melissa O'Neil #Chenford Meta #The Rookie Meta

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celestialholz · 2 years ago

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The Anatomy of an Outfit (aka 'holy fucking Continuum THE LOOK™)

Y'all know I haven't seen a single STP episode since 2.9. I would rather gargle with acid than go near this show ever again frankly, but, well...

... Good sweet sanctuary what the fucking hell is THIS. :O (@tennant, clearly a fellow appreciator of all things ancient god, must be thanked profusely for these glorious few shots I'm about to show off. <3)

I called this lovely, lovely man returning about ten minutes after he 'died', but I don't think any of us were expecting his outfit to slay THIS HARD when he did. And not only is it the sexiest thing my fortunate eyes have ever had the pleasure to absorb, but it also happens to be very, er... well let's be real here, it's ridiculously Qcard-coded.

Let's break it down, shall we?

We'll start with the obvious: it's maroon and black. This look appears to be a mad fusion of his Encounter at Farpoint judge robes (which is fair, we end as we begin), and his husband of forty years' captain's uniform. That piped shoulder's hugely reminding me of this, in fact:

It's the inverse! You know, the same look, flipped? Because they have perfectly distinct personalities but are also mega gay???? Costume department allies fr.

The delightfully dramatic sash Q's rocking is also interesting - it places maroon at the centre of the outfit, and is its grandest statement, which makes it an excellent example of the importance of the colour to its wearer. This is the clothing equivalent of him having mon capitaine tattooed across his essence, which... well yeah, valid. Canonical facts. It's worn across virtually his whole chest, too, because nothing says 'that's my husband' more than having him literally held against your heart.

It's a different era of captain, across two shoulders - the old teasing, and the new love.

Also, this fucking brooch.

Now, whilst I doubt they've given even John de Lancie a piece made of actual rubies for a fifteen-second scene, the stones here are very clearly meant to evoke them. And rubies are interesting for several reasons:

They're Picard's birthstone, his birthday being July 13th;

They're symbolic of power and protection. What follows is some of the interesting info I've picked up from internet gemology on rubies:

... Huh. Resolve disputes. 'Dispel anger,' when we've seen a darker Q in this series. And 'protective powers'... mm, how many times has Q saved Picard's life again? What did we get up to, six?

... 'Romantic love.' 'Devotion.' Uh-huh.

This brooch is also evocative of the Navaratna, or this thing:

The brooch itself is clearly stylised, but it features eight gems orbiting a central larger ruby (which is meant to be the sun by the way, as though this motherfucker wasn't already evocative ENOUGH of the sun here or here), and is an important cultural and religious symbol in Hinduism. What's it symbolic of, exactly?

... Oh, nothing much. Just... just this.

... Like I said, nothing much, just the whole concept of Qcard in fucking jewellery form.

The brooch's also, as the wife @porgthespacepenguin pointed out, an eight-pointed star.

... Have I mentioned yet that I fucking detest this show? Because I really fucking detest this show.

There's nine rubies on it, as well. Picard's in his nineties.

So, let's recap:

Nine of Picard's birthstone for his ninety years

Sun symbolism, AGAIN

Celestial relationships

Beyond space and time

Romance

Prosperity

Protection

Resolution

So, all that, from a brooch worn over an outfit that looks suspiciously like Picard's, which has a sash across it in Picard's colour.

... And I'm supposed to believe that Qcard isn't endgame? You're really going to gaslight me to this degree right in front of my salad, you absolute bastards????

Guys, when you inevitably wipe this shitshow of a Star Trek from your collective minds like I'm about to do, just... take this with you. Take the fact that everything about this outfit and this SHOW has said all along that Qcard is endgame, until they couldn't be arsed. Until they lost their balls for the pathetic few who might have naysayed it.

Patrick, and certainly John, deserved so much better. I'm glad that at least someone on this set understands that. (I see you, costumers. I see you, and I love you.)

Just going to... just going to stare at the absolute fine-aged wine of a man that is John de Lancie for a moment, before I lose my whole shit. He calms my soul, you see.

HIT THE SLAY KING JOHN <3

#qcard #q of the continuum #jean luc picard #just gonna throw in here again that I DETEST THIS SHOW WITH EVERY FIBRE OF MY BEING thank you for listening #can't believe love won guys even if no one actually bothered to tell us #they're married now and everything #star trek picard spoilers #stp #meta

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beardedmrbean · 18 days ago

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FORT LAUDERDALE, Fla. (AP) — A woman who pleaded guilty to dressing as a clown and in 1990 murdering the wife of a man she later married was released from prison Saturday, ending a case that has been strange even by Florida standards.

Sheila Keen-Warren, 61, was released 18 months after she pleaded guilty to second-degree murder for the shooting of Marlene Warren, Florida Department of Corrections records show. The plea deal came shortly before her trial would have started.

Keen-Warren, who has maintained her innocence even after her plea, was sentenced to 12 years in prison. But she had been in custody for seven years since her arrest in 2017, and Florida's law in 1990 allowed significant credit for good behavior. It had been expected she would be released in about two years.

“Sheila Keen-Warren will always be an admitted convicted murderer and will wear that stain for every day for the rest of her life," Palm Beach County State Attorney Dave Aronberg said in a statement Saturday.

Greg Rosenfeld, Keen-Warren's attorney, has said she only took the plea deal because she would be released in less than two years and had been facing a life sentence if convicted at trial.

“We are absolutely thrilled that Ms. Keen-Warren has been released from prison and is returning to her family. As we’ve stated from the beginning, she did not commit this crime," he said Saturday in a text message.

Marlene Warren’s son, Joseph Ahrens, and his friends were at home when they said a person dressed as a clown rang the door bell. He said that when his mom answered, the clown handed her some balloons. After she responded, “How nice,” the clown pulled a gun and shot her in the face before fleeing.

Palm Beach County sheriff's investigators had long suspected Keen-Warren in the slaying, but she wasn't arrested until 27 years later when they said improved DNA testing tied her to evidence found in the getaway car. Rosenfeld has called that evidence weak.

At the time of the shooting, Keen-Warren was an employee of Marlene Warren’s husband, Michael, at his used car lot. Since 2002, she has been his wife — they eventually moved to Abingdon, Virginia, where they ran a restaurant just across the Tennessee border.

Witnesses told investigators in 1990 that the then-Sheila Keen and Michael Warren were having an affair, though both denied it.

Over the years, detectives said, costume shop employees identified Sheila Warren as the woman who had bought a clown suit a few days before the killing.

And one of the two balloons — a silver one that read, “You’re the Greatest” — was sold at only one store, a Publix supermarket near Keen-Warren's home. Employees told detectives a woman who looked like Keen-Warren had bought the balloons an hour before the shooting.

The presumed getaway car was found abandoned with orange, hair-like fibers inside. The white Chrysler convertible had been reported stolen from Michael Warren’s car lot a month before the shooting. Keen-Warren and her then-husband repossessed cars for him.

Relatives told The Palm Beach Post in 2000 that Marlene Warren, who was 40 when she died, suspected her husband was having an affair and wanted to leave him. But the car lot and other properties were in her name, and she feared what might happen if she did.

She allegedly told her mother, “If anything happens to me, Mike done it.” He has never been charged and has denied involvement.

But Rosenfeld said last year that the state’s case was falling apart. One DNA sample somehow showed both male and female genes, he said, and the other could have come from one out of every 20 women.

And even if that hair did come from Keen-Warren, it could have been deposited before the car was reported stolen. He said Marlene Warren's son and another witness also told detectives that the car deputies found wasn’t the killer’s, though investigators insisted it was.

Aronberg last year conceded that there were holes in the case, saying they were caused by the three decades it took to get it to trial, including the death of key witnesses.

Michael Warren was convicted in 1994 of grand theft, racketeering and odometer tampering. He served almost four years in prison — a punishment his then-attorneys said was disproportionately long because of suspicions he was involved in his wife’s death.

He did not respond to a phone message left for him Saturday.

#nunyas news

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bleep-blop-lizard-hop · 1 year ago

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Warrior Thought

Warrior season 3 episode 8

Yeah I know it’s a bit late but I had to process my fucking Feels

I can’t believe Hoon Lee was like “It’s a break from the drama! More happy and romantic!”

HE IS AN EVIL MASTERMIND (because he wrote this episode)

The Chinese celebrating love and the ducks celebrating hate/racism.

“Maybe we’ll finally see the tongs come together” hopefully because Fuckley out there making racist ass Trump speeches to “cleanse” the country

The costumes and visuals in Warrior are fucking amazing! Mai Ling and Li Yong in their wedding attire! Ah Toy in PURPLE yesss!

Li Yong getting hit with sticks to show his devotion to Mai Ling. Li Yong sparring with Kạn Pak. Foreshadowing for later.

Ah Toy hates weddings, why? Because she’s an inherently pessimistic person? Because they’re a painful reminder of her husband? I just know for sure that she’d let Nellie wife her up in a heartbeat

SHUT UP WE GOT HONG AND AH TOY TOGETHER FOR A HOT MINUTE

Hong: “This food is so good mom!”

Ah Toy: “Mmmhmm cool, I’m thinking about murder and my wife.”

Ah Toy looking at Ah Sahm and Yan Mi. Supporting him like he supported her and Nellie! I love their dynamic as platonic besties and confidantes.

Those fuckers just couldn’t leave Ah Toy alone! I was NOT expecting her to go cannibal and bite his nose off! That fan blade omggg SLAY QUEEN

Hoon, “romantic and happy” means nothing to me without Ah Toy/Nellie. If Bill’s wife can miraculously come back last season, Nellie can too damn it. Ah Toy was like “Its safer in Chinatown” but every episode has her getting attacked and stressing about her shoulder. Like babe he’s already won if could make you give up your wife and happiness to go back to Chinatown. OK really looks like Lai is gonna go after Dickland herself next episode. So maybe Ah Toy will fight him in the finale. DON’T KILL LAI

I KNEW this would happen with Father Jun and YJ! At some point, YJ will have to put him out of his misery. Ughh my heart!

Ah Sahm is still cursed in the romance department, huh? Young Jun is out for Yan Mi and the cops are on her trail, too. I hope she won’t die and just leave the city.

Li Yong, the elders are actually being very reasonable here. They’re just asking for better communication and less crazy decisions! He’s such a malewife for Mai Ling. Like I get it, he knows her and her story like nobody else. But come on, dude. You’re gonna regret it.

So not a Red Wedding…but a Red Honeymoon. Warrior is very good at creating fight scenes that matter. They have stakes, they drive the story and the characters forward. Li Yong killing his best friend to protect Mai Ling was so emotional! He even yelled at Mai Ling to get out! That’s how you know he finally broke. How much more is he willing to sacrifice for her and love? Chao was right, love has consequences.

Mai Ling is a complicated bad bitch. She’s ruthless and power-hungry. But her feelings for Li Yong and Ah Sahm are real, deep down. At this rate, she’s gonna push away everyone who could be an ally. Can’t wait to see how this will affect her and Li Yong.

The second biggest fight was Bill vs Chief Atwood. I must say, Bill’s been growing on me this season. He was the only one who gave a shit when Atwood was terrorizing the Chinese. The other cops are just mad that he’s punishing their people, too. Still, 5 years in prison for stealing some food is ludicrous. Atwood is an evil menace for everyone, white or Chinese. I’ve been waiting all season for Bill to beat the shit out of him! Too bad it’s gonna bite him in the ass later.

Wdym there’s only 2 more episodes?? Didn’t season 3 just premiered like yesterday???

This season feels a lot darker or is it just me? Fuckley is mayor and everything is falling apart. Nobody is even remotely ok

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dominickeating-source · 6 months ago

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TV ZONE ISSUE 132 - PAGE 48

Dominic Keating & Kira Clavell - Devilish Duo Evil has never looked so good or been this bad

Night has fallen on the city of Vancouver, British Columbia. Its docklands, normally quiet at this time, are a-buzz with activity. The cast and crew of the new Action/Fantasy television series The Immortal are settling in for a long night shoot. The sound of a car engine gets closer and a sleek, deep purple Prowler stops in front of one of the trailers. The driver, actress Kira Clavell, and a crew member exit the vehicle. Dominic Keating sticks his head out of the open trailer and playfully shakes a finger at his co-star. "Ah, ha, where have you been? We've been waiting for you," he teases. Clavell smiles, "I'm so sorry. They asked me if I wanted to test-drive the car. I couldn't say no." He laughs and says, "She just loves playing with the props. "Keating lights a cigarette and joins Clavell on the sofa inside the trailer. Both actors are wearing suitably evil black garb in preparation for their scenes later that night. On The Immortal they play a pair of centuries-old demons named Mallos (Keating) and Vashista (Clavell). Their characters are being chased through Tim by The Immortal. Raphael Cain (series leading man Lorenzo Lamas), and his young sidekick Goodwin (Steve Braun). Long ago the two evil doers wronged Cain and he is out for revenge.

Wear Well

"Mallos and Vashista are very old but they look pretty food for their age," jokes Keating. "The two began their evil escapades in ancient Japan during the 1600s. They came from the Earth's core or the Devil's conveyor belt if you will. There's this amazing scene in the pilot where the two demons and their horses are spat forth from the ground and are covered in molten lava." His co-star interjects, "That particular scene was so cool. We got to ride these great big beautiful black horses. The costumes we wore were absolutely fantastic, too. It's such a treat to have a detailed wardrobe like that because it helps get you into the mood of the times." Keating chuckles, "Yes, the costume department did do a wonderful job. However, that day I was more concerned with the fact that it would be my first time riding a horse. I did OK and was quite pleased with my saddle ability. I didn't fall off, I hit my mark and I remembered my lines." "Anyway, getting back to doing evil. Mallos and Vashista first cross paths with Raphael Cain when they kill his wife and kidnap his child. I assume they still have her in some kind of demon nursery, although she'd be fairly old by now. It's through their acts of violence that Raphael becomes The Immortal. The show flits back and forth between modern and ancient times to allow the viewers to witness this transformation. So his quest is to find his daughter and, along the way, fight evil and slay demons." "Mallos and Vashista have been at this little cat and mouse game for 400 years," continues the actor. "When you next see the two demons it's in the present. They're dressed in modern day clothes, all black, of course, carrying their cell phones and cruising the streets in their Prowler. They look like a pair of so-called 'beautiful people' from Beverly Hills or Hollywood."

Passions

According to the actors, their characters share more than just a passion for evil. "Apparently, the writers modeled the relationship between Mallos and Vashista on a real-life celebrity pair." says Keating. "So they're lovers, I guess, but there's something about their attraction to each other that's just not right, so you know what I mean?" Clavell adds, "I think they have a very volatile and unpredictable relationship. Yes, they share a strong chemistry, but you're not sure if this will cause them to make love of try to kill each other. Let's just say that it certainly keeps work interesting for me and Dominic," she laughs. Both actors had a great deal of stage, film and tv experience prior to being cast on The Immortal. London-born Keating made his professional debut on stage in 1987 at Man in the Moon theater in Chealsea. This was followed by more stage appearances in London as well as Edinburgh and Dublin. He has guest-starred on British tv series Inspector Morse and The Bill and was a series regular on Teenage Health Freak and Desmond's. Since coming across the pond, Keating has worked on a number of movies including most recently The Hollywood Sign starring Tom Berenger, Burt Reynolds,, and Rod Steiger. On tv he has had roles on GysE, Poltergeist: The Legacy and Buffy The Vampire Slayer. The actor was slated to play the part of Goodwin on The Immortal but things changed before his audition. "They decided to age it [the series] down to appeal to a younger, broader-based audience. So Steve was brought in for Goodwin and it became clear that I could play one of the two lead demons. Malice, who then became Mallie and now Mallos. I read once for Michael Grais [executive producer] and, luckily, I nailed it. I was asked back to meet Lorenzo and the rest of the production team, we talked about golf and they offered me the job."

Tough-Gal

The actor's beautiful co-star Clavell planned to major in political science and psychology at university before the acting bug bit her. "I knew if I didn't try it [acting] I would regret it, so I did," she says happily. Lately, the actress has been cast in "tough-gal" parts, which has been ideal training for her role of Vashista on The Immortal. "I played a terrorist on an episode of La Femme Nikita and got to fire an M25 and another really neat gun. I don't know, perhaps I was an assassin in a previous life." laughs Clavell. Keating nudges her playfully in the arm and smiles, "To look at her you'd think butter would melt in that mouth." Clavell elbows him back, "When it came to my first audition for Vashista, I did it on tape. The moment I read the character breakdown I knew I'd have fun playing her. I did two five-minute takes and sent the tape to the show's producers. Naturally, I was thrilled when I received a call-back. I was flown out to Vancouver to do a live audition for a roomful of people including Michael Grais and David Straiton, who directed The Immortal pilot." "I wore this Vashista-like cat suit and after my audition I went into the ladies' room to change," recalls the actress. "When I cane out everyone was gone. I thought, 'Oh, I guess they didn't like me'. I went to see my agent and, much to my surprise, was told that the producers had called and the role was mine! So here I am!"

Anti-Demon Ally

In the two-hour pilot episode 'Demons of the Night', Cain and Goodwin gain an ally, Dr. Sara Beckman (April Telek), when they save her from two demons. Cain is hurt and they go to Sara's apartment where he can rest and heal himself. The Immortal does not know that his arch-enemies, Mallos and Vashista, are close by and are planning to deal him and his friends a deadly blow - Keating and Clavell start laughing when they recall their first day working together. "Ah, yes, this is when we shot my two favorite scenes in the pilot," grins Keating. "I'd been late for the read-through on the previous Friday. Not the best way to begin but I eventually got there. Kira and I then met over the weekend for dinner and at least got to know each other a bit. On Monday morning we arrived downtown at the location shoot on Vancouver Street. It was 7:15 and freezing cold. In the first scene, our two characters blow up Sara's apartment. Mallos aims his demon finger at the apartment window and Vashista starts getting all hot and bothered. Before you know it, the have their arms and legs wrapped around each other," laughs the actor. "Boy, these two really get off doing evil stuff!" "The next scene we filmed was in a restaurant. Mallos and Vashista are feeding each other raw fish while discussing someone else's demise. Suddenly, she gets all excited and climbs up on the table. Before you know it, the sushi is on the floor along with the champagne and everything else on the table." Clavell looks at Keating and says, "She seems to be a very excitable character, don't you think?" The actor nods in agreement and continues, "The funny thing was the director said to us, 'That's great That was amazing! That was electric! It was terrific! Do you think you could tone it down a bit, though? We don't know yet what time of the day or night this show is going to air.' So we made things more G-rated." Originally, Mallos and Vashista were to appear in only the first couple of episodes. However, the writers decided to bring the evil twosome back periodically throughout the first season. This was good news for Clavell and Keating, who are looking forward to doing as much as possible with their characters. "When I first started acting I'd always be cast as the best friend or the girl next door. With Vashista and, as I said earlier, some of my other recent roles, I've gone from being really good to being really bad and I love it!" Keating is equally as pleased to be working on the series. "As an actor, sometimes it gets boring waiting around while the next shot is being set up. It's at times like that when I say to myself, 'Hey, I'm getting to create a dream world that doesn't exist and that entertains people. How lucky am I?' Trust me, that puts things right in perspective."

#dominic keating #kira clavell #the immortal #the keating cult

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emilyrox · 2 years ago

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ouat for the ask game?

OUAT!!!

Favorite Male: Killian Jones. There's no contest. Just Killian.

Favorite Female: Emma Swan. There's no contest. Just Emma.

Favorite Pairing: Ok I'm gonna list both my favorite main pairing and favorite side pairing.

Favorite Main Pairing: Captain Swan. You all knew this was gonna be my answer don't lie. Finally watched the Captain Swan wedding for real and it is the best thing ever. Also started season 7 officially and THEY'RE HAVING A BABY!

Favorite Side Pairing: Mr. Hyde x Mary Lydgate (I don't know what the ship name is someone plz help). Gonna be honest I don't exactly know why I think about them as much as I do. Maybe it's because Hyde is also a favorite, or because of their dynamic in general, or because I wish we saw more of them, but I just think about them a lot and what they meant to each other. I'm attached to a pairing that was together for ONE episode??? It's more likely than you think.

Least Favorite Character: uhhhhhhhhhhhh I got a few

Fiona "The Black Fairy". I did not like her. Yeah she's a villain so she's meant to be rooted against but other villains in the show are at least ENTERTAINING. Regina was an entertaining villain (and the og). Zelena was fucking hilarious (and still is as a hero I'm glad they kept that part of her). Cruella de Vil is a cruel dog murderer but I was always interested when she was on screen. But Fiona? She was just a bitch, and not an enjoyable one. I just wanted someone to finally end her. Was so satisfied when Rumple killed her for good.

Mother Superior/"The Blue Fairy". Just because I don't like Fiona and she and Blue were foils doesn't mean I like the Blue Fairy. I agree with the rest of the fandom that she was shady as fuck. She does some good things but also a lot of rude and shady ones. The way she treated Tinkerbell was awful, and her overall "I art holier than thou" attitude was just unpleasant. I could never really tell if she actually wanted to help the heroes or not, which would have been an interesting thing to think about during the show if not for her over-the-top self-righteousness.

Rumplestiltskin (Season 4, Season 5B-Season 6A. Season 7 TBD). He has had many opportunities to redeem himself and be a good person, which he claims he wants to be, but over and over again he kept clinging to "muh power." He is entertaining as a villain overall, and I do like Rumbelle, but not when he is being borderline abusive and possessive of her. I specified specific seasons where I don't like him because those are where he fucks up the most imo. 5A could have been his perfect redemption arc, and he was finally free of the Dark One Curse, but he willingly chose to take that power back. Which makes his actions more irritating in 5B. 6A Rumple was god awful. However, I am glad that by 6B he got his shit together (most of the time) and ultimately did the right thing. *I will say that I enjoy Rumple the most when he is in full-on Dad mode. Which is part of why I like him again in 6B. He genuinely cares about his sons, and I believe him when he says he would do anything for them.* Rumple in Season 7 has yet to be determined as I have not finished it yet.

Who's Most Like Me: Ok imma be completely honest I don't actually know. I feel like my answer, if i have one, would just be me projecting myself onto the character and not actually looking at canon.

Most Attractive: Killian is the obvious choice but ngl more than half of the entire cast slays. The costume department is a big reason why. I agree with the idea that most of the budget went towards the costumes and honestly that is 100% valid of them to do.

Three More Characters I Like: Here ya go:

Elsa. Fuck y'all the Frozen arc was great and Elsa was great and she cares about Anna and Kristoff and becomes besties with Emma and doesn't understand talking phones with Killian and she's great and I may or may not have shipped her with Liam (the first) at one point even though there is literally no way that could ever happen but consider this: it'd be cute.

Zelena (Season 5B and onward. Season 7 TBD). I mentioned how she was a very entertaining villain but ngl I think she's even more entertaining when she's on the heroes' side. She still has 100% of her sass, it's just now directed at people who deserve it. Like Fiona for example :D. I also love when she and Regina work together and help each other. I also believe, like Rumple, that she genuinely cares about her daughter, and seeing her go mom-mode is great. Overall, I think she became a much more likeable and enjoyable character after 5A, and especially by mid 6A. Zelena in Season 7 has yet to be determined as I have not finished it yet.

Lily Page. So from what I've seen online I'm not the only one that was hoping to see more of her after Season 4, right? I thought she was an interesting character, and I'm happy she finally reunited with her mom, Maleficent. Lily being her daughter was a plot twist I don't think anyone expected, but I really liked it! I would have honestly loved to see an episode where Lily and Emma, and maybe a few others, go searching for Lily's dad. They introduced that arc for Lily in the Season 4 finale, but then it didn't go anywhere. (Ok so I have been spoiled that it's revealed in Season 7 at the very end but I wish we got more than that ngl). I like Lily, I just wish we got to see more of her.

#once upon a time #ouat #killian jones #emma swan #mr. hyde #mr. hyde ouat #mary lydgate #the black fairy #the blue fairy #rumplestiltskin #elsa #elsa ouat #zelena mills #lily page #asks #ask game #ask away my dudes

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worldcatlas · 1 year ago

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VOY: Caretaker (Part 1)

Just like its predecessor, Deep Space Nine, Voyager opens with an expository text crawl explaining the current galactic situation. We learn about the Maquis – a plucky, non-Federation rebel group fighting the Cardassian occupation – then jump right into a heated space battle!

Fire! Raise shields! And somebody turn off that damned smoke machine!

As one would expect from a ragtag group of resourceful underdogs, the Maquis wear mismatched outfits made for trouble; we’re introduced to Chakotay and B’Elanna, both sporting rolled-up sleeves and tough leather vests.

Forearms mean business.

Tuvok is here too, although we don’t get a good look at his outfit from any of the angles in this scene. Chakotay makes up for it, however, by giving us a bit of a catwalk look at his duds: the patterned shirt is lovely, and probably meant to evoke his Native American heritage.

Actually, this may be the least problematic reference to his “heritage.”

Next, we’re taken to a sunny, verdant New Zealand penal colony, where Captain Janeway is busy picking out a boy toy. Unsurprisingly, we’re working with the same Starfleet uniforms currently in use on DS9, with a coloured section on the shoulders indicating department, and a grey turtleneck with rank pips underneath.

Get used to it – Voyager won’t be receiving wardrobe updates for about the next seven years.

Janeway finds the man she’s looking for – the boyishly handsome Nick Locarno Tom Paris – and hands him a “get out of jail free” card in the form of an invitation to join her crew. Tom considers her offer, weighing the excitement of adventure against having to give up his stylish prison coverall; the garment is concrete grey, with subtle shade differences across the chest and shoulders, not unlike a Starfleet uniform. I appreciate the asymmetry of the dark grey extending down the left sleeve, but not the right. The flap closure at the front is a little bit sexy, too, and along with the rolled-up sleeves, gives a “greasemonkey” vibe we’ll come to see a lot of from Tom.

The ankle monitor makes a nice accessory, too.

Meanwhile, Voyager is docked at Deep Space Nine, and we cut to a character we all know and love: Quark! …In the process of ripping off young Harry Kim. Although Quark’s ensemble technically belongs to another show, I still have to award it “best outfit” for the episode. The matching teal hues in the pants, shirt, and jacket is a beautiful bit of coordination, and it’s obvious the costume department has had a few seasons to perfect the character design. It’s not unusual for a Ferengi to dress so lavishly, but Harry should probably take it as a warning sign that he’s about to be ripped off.

I’m sure he’ll be fine.

Up on the ship, Janeway has a chat with her fiancé Mark, who’s sporting a handsome wool-looking jacket in a dark mustard colour. Mark only gets about six lines and thirty seconds of screen time, so his outfit has to really pull its weight here building a character: handsome but approachable, smart but unpretentious, still shops at GAP in his 50s.

Sensible. I meant sensible.

There are no new costumes for a while as we meet the ship and crew, but we do get a few nice close-ups of Janeway’s lovely, elaborate updo – a more complicated style than the “bun of steel” she’ll wear in coming episodes.

Ignore the wig glue. It’s just… space sweat.

I suspect the stylist wanted all those extra swirlies in there because, once the action begins and our crew gets roughed up a bit, Action-Tousled Janeway looks amazing.

Slay, girl.

Harry and Tom go to sickbay, which is going to be full of patients very soon, and is also on fire. It’s hard to get a good look, but Harry puts on a cool Starfleet-issue oven mitt with metallic fabric to extinguish the fire.

Was that hole always there?

The least visible costume prop of all time.

In all the commotion, the crew realizes they’ve been zooped across the galaxy – 75,000 lightyears from home. But just when you thought we’d be stuck on a spaceship with one set of clothes for the next seventy years, we’re zooped again… to a southern country farm?! It looks exactly like Earth, and what looks like a perfectly human grandma comes out with cookies and lemonade to greet Janeway and co.

Floral fabric, ivory cameo, plate of cookies… yep, that’s a grandma.

She’s not alone, and soon the farm is full of completely “normal” “humans” having a good time, dancing and playing music. It’s literally the friendliest alien welcome party in history, but the Voyager crew are spooked. Moreover, they seem confused by the folksy straw hats and denim overalls.

Highly suspicious flannel.

With one exception: Tom Paris has quickly made friends with one of the illusory farm girls, a young woman in a cute printed dress with a belt, mary janes, and bright white ankle socks.

First contact: cottagecore edition.

However, Paris’ new friend gets a bit upset when they turn down her extremely tempting offers of a “real private” root cellar, a duck pond, and deviled eggs, and suddenly the farm folk aren’t so welcoming. The crew is zooped back to the ship – mostly. Harry Kim is missing.

Get outta here! And take your synthetic fabrics with you!

Discovering a similar absence on the Maquis ship – B’Elanna is also missing – the two crews decide to work together to track down their people.

As they discuss plans, we finally get a good look at Tuvok’s Maquis disguise: he wears a cropped, open jacket made from a textured brown-green fabric, with sleeves in a lovely deep blue. The trim between the different fabrics is subtly shiny, giving the impression of leather straps. More importantly though, he wears an orange shirt underneath that appears to be stained at the collar – is that greenish hue Vulcan blood??

What happened to you in the Maquis, Tuvok?!

The episode isn’t out of costumes for us yet, though, and it’s a hard pivot from the dirty, worn-in clothes of the Maquis – as the viewpoint switches to that of our missing crewmembers, we find them in white clothing that resembles hospital gowns, albeit with an awkward strap closure that goes all the way around the back.

You know that strap has come undone and dipped in the toilet at LEAST once.

We also get our first look at the Ocampa, who at the moment are also clad in white, gauzy outfits. Unlike the “patients,” they wear strange fruit-netting-ish infinity scarves around their neck and head.

Keeps their melon safe.

The mesh fabric looks like it might be some kind of protective gear, but no, as we explore more of the compound, we see the truth: Ocampans just don’t know how to wear a scarf.

So close…

#star trek #st voyager #ocampa

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livvyofthelake · 2 years ago

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rewatched mirror mirror. as was voted the other day. here are my thoughts. i told you you're not allowed to be mad at me when i get mean, you all voted for this. i told you i was going to be mean, don't you dare get mad at me for being mean about the movie i consistently bring up in a negative light that you voted for me to watch again!! anyway.

perhaps this movie's most egrigious sin was making me fall in love with it at 11 years old. i can't in good conscious say that it's really "bad", this was THE movie for me when i was 11. i'm literally always calling this "my movie from when i was 11" this movie is as much a part of me as my genetically bad knees. however. i fucking hate my knees. worst part of my body fr. just like this movie is the worst defining movie i've ever had, all things considered.

its not necessarily truly a Bad Movie. it’s just that the only things that are truly good about it are a) the aesthetics. everyone on every visual design team was slaying on this movie, the costuming the production design the hair department the prop team the vfx artists the fucking genius that designed the dvd to look like an apple with a bite taken out of it.... just wall to wall GORGEOUS aesthetics oh my god. and b) julia roberts is here

other than that it's lackluster to just nothing. where to even start. the misogyiny? no let's circle back to that. let's start with the underutilization of my bff robert emms. also known as pythagoras bbc atlantis. hi bestie <3 i wish you got to be in this movie more. ok next thing. it's gonna be another complaint about an actor. yeah that one. no it's not just because i'm mad at him for last weeks sleep movie debacle. although i am still mad about that, that has nothing to do with the fact that he is a mediocre to quite poor actor, and he brings such a bad vibe to this character i am literally suppossed to be charmed by. even at 11 i had a sense of bad vibes. i could tell there was something unchic afoot etc. i was always so mad when snow white would fall in love with him every time i watched the movie but i knew it was suppossed to happen that way so i didn't really mind. but i hated it, i hated him. he's not a good person, and he's not that charming, and he's played by a man who seems to think he's in a combination knockoff shonda rhimes drama and a strange fantasy animated sitcom in 2005. can't explain that stuff just vibe or don't. he thinks he could do bbc merlin. he couldn't. not with 100% of his effort. conversely, bradley james could do this movie with three days notice and no script, and that's really saying something because he's like only the fourth or fifth most talented actor in that show's main cast. anyway why didn't they cast someone lily collins actually had good chemistry with. am i being crazy rn because i think he's got bad vibes or do you guys notice that they don't have good chemistry too? it's not bad per se. it could be better tho.

and where to begin on the weird. kink stuff. jesus christ. are we not suppossed to talk about that stuff? did you guys not notice that stuff? are you ignoring it because of the cool costumes? i don't even want to talk about it really i just think it's weird that no one ever wants to bring that up.

anyway i guess that brings us back to the misogyny. nobody likes it when i say stuff like this and i know nobody likes it but i'm gonna keep doing it beause i am so fucking sick of this patriarchy shit and how it invades literally every aspect of life on this earth and i am constantly intimately aware of all of it all the time and it makes me so angry just to like. exist in the world with all of this rage and knowledge and no power to truly change anything outside my own small life and circle and community. and like to have to log on to the chronically online assholes talking about media analysis website and still no one wants to talk about the fucking. misogyny that bleeds through every movie. is ridiculous. this movie wants to pretend that it's a girl power story just because they gave snow white a sword. it's very 2012. except that other media was doing the exacxt concept of "badass snow white" in 2011. 2007. 2005. like, i was there, i know everything there is to know about it, unfortunately. she's not a badass just because she can hold a sword she's a badass because she hates taxes. and she was useless with that sword anyway so what was the point of giving it to her, just so you could say you gave snow white a sword? just so you could get a little training montage? and then we ignore that half the dudes in this montage are routinely demeaning and objectifying her because she's a woman. ok work. feminism! and her love interest hates women and literally consistently devalues her capability and does not ever learn anything the whole time? and they're in true love? and then they get married after he has undergone zero character development and presumably still views her as inferior because of her gender and now he's going to become the king of HER kingdom and rule HER people? yeah that's the future gloria steinem envisioned.

i don't mean to say she's not a strong character, because she is, i wouldn't have latched onto this movie so strongly with my grubby little 11 year old hands if she hadn't been. but it's just so disheartening that a huge piece of this movie and this whole story in general is the love between her and the prince, and then this movie did so well making her a well rounded character who consistently defied expectations of the role she was meant to play as a woman in her society, and then she married a man that looked down on her and her values and her femininity, and HE gets to become the king of HER kingdom someday. i think he should kill himself. i hope she kills him after a year of marriage. i hope no one mourns him.

and really the whole "edgy(ish) modern fairy tale adaptation" thing is rarely done well, in a way that both honors it's source material and the traditions and conventions they came from, and creates something new. this movie was on a great track, it really does do quite well in this regard i won't pretend otherwise. i always gripe about how true love's kiss is represented in modern media, and this movie is not an exception to that (the POINT of it in fairy tales is not that the characters knew a kiss of love would save their beloved, the point is that they DON'T know that true love's kiss will save them. the kiss happens because it is a final gesture of love to a doomed lover. the point is that true love's kiss brings the lover back because the one that kissed them loved them so much even when all hope was lost. whatever it doesn't matter that much) anyway. the only thing really is that it suffers from Made By A Man Disease. not to be confused with the mere fact of being made by a man. it's different. and the men that did this one have some serious issues they need to unpack with a therapist and maybe also their mothers. it's just like. you'll never be the american broadcasting company's once upon a time (2011-2018) created by edward kitsis and adam horowitz. you'll never be her.

AND ANOTHER THING. i know am literally always saying that movies should end with musical numbers a la ella enchanted (you just can't go wrong when you follow your heart and end with a song fr) however. the ending musical number in this movie feels. slightly off. i like that it's very bollywood-esque, that definitely helps it stand out at least. it's not that it doesn't work, because it kind of does. or it works just enough. i think the thing i dislike about it is that they didn't commit hard enough, it plays on half the screen while credits go on the other half, it's like it's a little add on to the end and not the actual ending, lame! also the lyrics are very tonally off with the rest of the movie tbh. "i belive in love"? yeah girl, we know, the whole movie is about how you saved yourself and all the people you cared about from an opressive ruler becasue you loved them and wanted life to be better for these people you loved. you didn't like. learn to believe in love as this song might suggest... idk. it's not really about the lyrics it's more the uncommitted thing. also. the bollywood inspo would have been less tonally inconsistent if there were evan a hint of that in any of the other music in here. unfortunately. so it doesn't gel well and i kinda hate it for those reasons.

anyway hi clary i just saw you on friday <3 hi pythagoras i just saw you on wednesday <3 hi julia roberts, you've been on my tv a few times lately too <3 and hi to no one else in here that i may have seen recently.

#k that’s my piece.#beth.txt #mirror mirror #tagged purely for organizational purposes

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