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#Derek Haas
upsteadlogic · 9 months
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I screamed, then smiled. Then screamed again. MY BABIES ☺️🥹
📸 jesseleesoffer on instagram
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imjustwritingg · 1 year
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🔹Jesse Lee Soffer & Derek Haas Show Support for WGA🔹
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via Deadline & Rosy Cordero
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karihighman · 9 months
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Jesse Lee Soffer & Tracy Spiridakos with Derek Haas supporting the WGA-SAGAFTRA strike
ft. Trasse’s twinning 👒& 😎 of course
Update: tracy posted the same pic so now they’re twinning even more!! BFF GOALS👌
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grande-caps · 22 days
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Chicago Fire 12.09 - Something About Her
Quality : HD Screencaptures Amount : 1.095 files Resolution : 1.920 x 1.080 px
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jaelyn96 · 9 months
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Jesse and Derek supporting Sag Aftra Strike .
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gameofthunder66 · 2 months
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FBI: International (2021- ) tv series
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-(started) watchin' Season 3- 2/13/2024- on CBS (Paramount+)
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cinesludge · 9 months
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Movie #58 of 2023: 3:10 to Yuma: Dan Evans: "What did Doc Potter give his life for, William? McElroy..." Ben Wade: "Little red ants on a hill." Butterfield: "I'll pay you the 200, Dan. Right now. And you can walk away." Dan Evans: "You know, this whole ride... it's been egging on me. That's what the government gave me for my leg - 198 dollars 36 cents and the funny thing is that... when you think about it, which I have been lately, is they weren't paying me to walk away, they were paying me so they could walk away." Ben Wade: "Don't muddy the past in the present, Dan." Dan Evans: "No... Wade, I'm seeing the world the way it is."
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milliondollarbaby87 · 2 years
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The Double (2011) Review
The Double (2011) Review
Paul Shepherdson was a retired CIA operative who was paired with Ben Geary a young FBI agent in attempt to unravel the mystery of a senator’s murder which all points togethers a Soviet assassin who has managed to escape the CIA for many years. ⭐️⭐️ (more…)
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geekpopnews · 5 months
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Conheça o universo de One Chicago
One Chicago é uma franquia de séries que conta com todo um universo de paramédicos, bombeiros, policiais e oficiais de justiça de Chicago. #chicagopd #chicagofire #chicagomed #onechicago
One Chicago é uma produção da NBC que conta com quatro séries sobre a vida e a rotina de trabalhadores essenciais da cidade de Chicago. Dessa forma, a franquia acompanha socorristas no trio de séries principal – Chicago Fire, Chicago P.D. e Chicago Med – e oficiais de justiça no quarto spin-off – Chicago Justice. Venha conhecer as quatro forças da One Chicago: Chicago Fire, P.D. e Med Nesse…
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adamwatchesmovies · 1 year
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2 Fast 2 Furious (2003)
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Having seen the entire Fast Furious franchise (so far) has given me a new appreciation for 2 Fast 2 Furious. Not an intellectual film by any means, it looks at first like a drastic step in the wrong direction. Give it a chance and you’ll see; it’s got plenty of charm thanks to its likeable cast, characters and slick production.
Former LAPD officer Brian O’Conner (Paul Walker) now makes a living racing the streets of Miami. When the FBI approaches him to help take down drug lord Carter Verone (Cole Hauser), he has little choice. To get the job done, Brian needs more than the help of undercover agent Monica Fuentes (Eva Mendes). He needs his own team of experts: childhood friend Roman (Tyrese Gibson), mechanic and race organizer Tej (Ludacris) and speed demoness Suki (Devon Aoki).
This is the one film in the series that does not feature Vin Diesel (though his appearance in Tokyo Drift is simply a cameo, we’ll still count it). What were they thinking? Actually, it’s “What was Vin Diesel thinking?”. He backed out to work on xXx instead, a film whose brain cells are even sparser than this one’s. To be fair, this sequel to the surprise 2001 hit knows exactly what it wants to do. It’s got fast cars and beautiful ladies practically rubbing their bodies all over them. Director John Singleton shoots those cars with an adoration that becomes contagious even if you have no interest in street racing. The plot often feels like an excuse to get more burning rubber on-screen. At least it’s got the courtesy of giving us heroes to cheer for. Tyrese Gibson more than anyone else does a great job. He isn’t a rehash of Dom Toretto or anyone else we’ve seen before and his maneurisms and dialogue make him distinct. You nearly forget about all the likeable scoundrels we left behind with this change of setting. Perhaps not in the preposterous climax or the scenes featuring the one-dimensional bad guy, but overall, you’re enjoying yourself too much to worry about "little" details.
It sounds like I’m giving the picture a lot of back-handed compliments. Why am I recommending the picture as highly as I am again? Because of the way it makes you feel. When those cars are blazing down the pavement, you’re having a great time cheering for Brian. Those scenes are longer, more elaborate and the cinematography is better than they were in The Fast and the Furious. The strained friendship between Brian and Roman draws you in and every line of dialogue exchanged between them is a blast. Outlandish or not, you leave satisfied.
Looking back at the early instalments in the long-running Fast and Furious franchise gives you a new appreciation for its humble beginnings. The flaws you might’ve brought up before no longer apply because you know they’ll be rectified later. I know each film in this series should stand on its own, that I've got some major double-standards going on but I'm choosing to make an exception. If you find yourself doubting the value of 2 Fast 2 Furious, just give it time. (On Blu-ray, June 9, 2018)
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sylvies-chen · 2 years
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ok it’s been days and though this is not the most aggravating thing about 11x03 of CF (which honestly, INSANELY, says a lot about how awful this episode was) it’s still worth being discussed so here is my hot take of an essay on why Sylvie’s monologue in this episode was absolute bullshit writing.
putting everything under the cut as always, just to clean up your dashboards. I hope you’re ready for some intellectually vocalized anger :))))
So listen. I get it. The “this job, this life… it forges you in steel” line is really cool. It’s a pretty fucking badass line, everyone can see that. But thematically, Sylvie’s monologue of an explanation for why she’s truly— no seriously— okay with her breakup with Matt is not only extremely out of character for her, but also brings up an issue I have had with the way the writers room, and One Chicago in general, writes female characters.
Sylvie uses the anecdote of the female stabbing victim who died by her side in season 6 to explain to Violet why the breakup isn’t affecting her as openly as expected. She says that when it happened, she cried in her car for days because she had a hard time dealing with it, but now she’s stronger than that. That statement in and of itself is completely antithetical to Sylvie Brett as a character. (And boy if you could see the utter fury with which I say that out loud.)
The story is fine, if she hadn’t already used it four seasons ago as a reason why Matt should seek help and open up about his feelings as opposed to pushing everyone out and internalizing it. That behaviour is what she condemned in season 7, because she regretted not having opened up and let others in to see that emotion. Now, in season 11, she all but embraces it. What she once used as a story to promote healthy emotional vulnerability is now being used to help her push her feelings down even further.
Which brings me to my larger thesis on the Chicago Fire writers: that these writers have no clue how to break free from their own unhealthy masculine ideas of strength to be able to write what real strength is. Because to me, claiming that Sylvie (in season 6) crying in her car was weak sends the message that crying itself is not a strong thing to do. That she somehow needed thicker skin.
I am well aware of the horrid nature of being a first responder. I know a thick skin is needed. But that still does not completely negate the sometimes therapeutic and healing value of having a good cry. Letting your emotions come out in whatever form they take in a moment, that is always a healthy thing. If you let an emotion exist as it is in a moment, whether it be crying or screaming into an open field or just straight taking a nap, it becomes easier to let it go. You’ve sat with the feeling, you know what it is and you’ve let yourself feel it wholly, and now you’re picking yourself up and trying to be happy again. You are not supposed to let a feeling consume you or make you scared, but you also aren’t suppoed to completely numb yourself to a feeling. There is a balance to be had.
So now you have Sylvie, saying she’s stronger than a version of herself who would cry when she felt sad (because wow, how terrifying would that have been). An extremely important relationship for her has ended— one she thought was it for her, the happy ending, the last relationship she thought she’d ever need— and she is refusing to shed a single tear. That is really disheartening, because women are often berated for being emotional and vulnerable, and now this development in Sylvie only enforces the idea that being an emotional, feeling, crying human being is somehow a sign of weakness. An error. A flaw. It is none of these things. Crying in healthy doses and being affected in moderation by the work you do and the things you experience is not only normal, but in itself a strong thing to do. Make no mistake: it is extremely brave to let yourself feel strong, raw emotions.
This is the same problem I had with Gabby Dawson. Now I promise with all my heart this is not “shit on Gabby Dawson” hour. I’m not trashing her character, I’m just pointing out something that bothered me with the way she was written. We are introduced to her in season 1 and immediately she is established as a total badass. She’s one of the boys, basically: she can match their speed and strength, she’s tough, cool, doesn’t take their digs personally, responds to things with anger first before sadness, doesn’t like relying on anyone. And as much as I loved that, I find that sometimes the writers overdid it wayyyyyy too much. Whether you like it or not, Gabby Dawson exemplified every trait of toxic masculinity: disregard for the rules and for authority being seen as badass, rarely cried when handling tough calls, an acute aversion to depending on anyone or anything. She was rewarded for it. She was the strong female character only because she was like the men.
Men have an idea in their heads of what it means to be strong, or to be a man, which almost always involves some sort of concealing of emotions. No crying, no honesty, no vulnerability with people you are close to. Just bear it all “like a real man would.” Stoicism is worshipped, placed on a pedestal and regarded as the ultimate show of strength. It is bullshit, and it bothers me when women show strength and emotion simultaneously and are then punished for it. It bothers me when men try and impose these very ideas onto women as well. Why should Sylvie Brett be seen as any weaker than the rest of her coworkers for letting herself feel sad and cry when she needed to cry? Why should a woman like her be seen as in need of some toughening up if she can cry that hard in her car and still go to work the next day with her head completely in the game? Why is what we consider femininity constantly mocked and undermined and seen as incompatible with strength?
Women? We are strong in our own ways. Our emotional openness is a pièce de résistance in today’s patriarchal society. We know it is a mark of strength. That is a fact.
Sylvie Brett has always been strong. She has been as strong when crying in Matt’s arms or embracing “femininity” by bringing flowers into the firehouse as she has been when she’s had a gun held to her head. This is non-negotiable, and the writers can never take that from me.
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upsteadlogic · 2 years
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And I’m so mad at fire like stop it. Like stellaride’s wedding was beautiful and I’m so happy for them, Emma done and dealt with. But I feel like the thing we didn’t want to happen in terms of setting Violet up with Gallo with the whole Hawkami romance is happening. None of us want it. The Hawkami agenda is where it’s at and I swear if Derek ruins this for us, I might just seriously not tune in next season. Dead serious.
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wafflesetc · 11 months
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Do u think Eid would have done upstead better than Sigan did?
Ooooofta.
I struggle with this a little because Gwen has written some of my favorite episodes, some of which have included some of the best Upstead moments.
Contextually, as we have witnessed on our screens, Eid and Sigan have had very different approaches to how they handle the show and characters. I’ll also add in for some more context here it seems there’s been a directional shift in how the episodes are written: more character driven rather than case/team centric. I don’t know if that’s the landscaping choice do TPTB or from the guidance of a showrunner. It’s a bit hard to tell.
As it stands with what we have had in seasons nine and ten, I think that Eid would have handled this differently… Would we be happier? A small part of me thinks we would. And by happier would they still be together? I’m not sure, but I think we would have had an exit that made more sense for Jay and we’d have a clearer more pointed answer as to what they did with Upstead. So, I don’t know that we’d *love* the choice per se - but, I guess it’s better to say we’d feel more content with having a more solid decision rather than confusion. Because everything after 10x03 has just led to us having more questions and confusion, rather than feeling settled.
I know this is an apples to oranges scenario - but I really can’t help but wonder what would be different under a different showrunner.
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Finally got around to watching the pilot episode of Fire Country. So good. I can already tell this show is going to have me emotionally invested by the end of the season. Hopefully, it sticks around because I’m in desperate need of a new show after Chicago Fire pissed me off bad enough to actually stop watching live.
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grande-caps · 2 months
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Chicago Fire 12.05 - On The Hook
Quality : HD Screencaptures Amount : 1.117 files Resolution : 1.920 x 1.080 px
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I would have rather had a to be continued
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