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ktinastrikesback · 3 years

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Alright, here it is: The meta post about Eddie Diaz and mother figures and how it all leads to Buddie (I think). Thanks to @yramesoruniverse for your help with this, and @kitkatpancakestack and @evanbucklies for inspiring it! I really have been thinking about this nonstop and had to get it all down. This got quite long, so I'll include a cut in order to spare everyone who doesn't want to continue reading!

We first get an idea of Eddie's complicated thoughts surrounding mother figures throughout his whole storyline with Shannon in season 2 when he romantically reconnects with her for Christopher's benefit. I do want to keep the focus here trained on Eddie in season 4, but I want to point out a season 2 line that is pretty fitting. As much as I don't want to use a Shannon quote as a starting point for a meta, I think this one is actually pretty useful: "...Eddie always knows what's best for everyone...God forbid you stop for a second and actually ask them what they need." While it's harsh and spoken out of spite, Shannon does make a point here which becomes relevant at the end of season 4.

We don't know a whole lot about season 4 Eddie (thanks writers) aside from the fact that he's working on being a single father (he tells Marjan in the crossover that he's "doing the whole single dad thing") and being a support system for Buck and the rest of the 118. Eddie's "arc" this season is moving on from Shannon and beginning to date again (a very small and limited arc, which hopefully season 5 will remedy). Of course, because it's Eddie, the core of this arc is him wanting what is best for Christopher. And it seems pretty clear that what Eddie thinks Chris needs is a complete family with a mother figure (note how he asks Bobby if he's "happy now, with Athena and the kids" and just assumes that Bobby is talking about Ana Flores), but the universe pushes against this idea throughout the whole season. There are a lot of examples in season 4 of unreliable mother figures (for example, the alcoholic mother who causes the wreck in Blindsided), but in order to save some space here, I'll list and discuss those in another post. The main thing I want to point out is that we've seen that mother figures aren't always perfect, and they aren't the end all be all that Eddie thinks. And canonically, the show suggests several times throughout the season that the partner that Eddie needs/wants and who is best for Chris is actually Buck.

In Breaking Point, while Eddie is on his date, it's Buck who is at home taking care of Christopher and getting him through his nighttime routine (which establishes that he knows the routine and has gotten Chris ready for bed before, hence the reference to his "cautionary tale"). On the date, when Ana says that no one has been in his life since Shannon passed away, Eddie noticeably looks uncomfortable (the will reveal makes this scene and that particular comment and Eddie's subsequent reaction so rich. Eddie knows that what Ana is saying is completely untrue, because the person he trusts most with his son is with him at that exact moment). Later, when Eddie tells Christopher about his new 'friend', he says "it's a woman." And...to be honest, what the hell was that? He could have said, "I'm dating someone" or "I have a girlfriend." But he says it like this? And it's weird...right? Christopher is the one who has to say "girlfriend." Also his tone of voice when he says it...it's suspicious to me. Anyways...Eddie talks with Ana about Christopher's reaction and her first instinct is to take a break and wait for Christopher to warm up to the idea so as to not cause him more pain. Meanwhile, Chris is out the door, in an Uber, and on his way to Buck, the person who actually gets Chris to talk about his feelings and who fixes the whole mess. So while Eddie is talking with Ana, Buck is playing a parental role AND promising Chris he isn't going anywhere, completely juxtaposing everything Ana has said and done in this episode (throwback to Fools, anyone?). Just like we see in 4x14, the perfect partner that Eddie is looking for is already putting in the work, no questions asked (and this is all before Buck knows about the will!). Yet Eddie is still trying to force it with Ana.

We see this again very briefly in Parenthood. Eddie and Buck are seen agreeing on parenting ideals on a call, similar to how we saw them work together in Future Tense to talk Chris out of playing video games. At the end of the episode however, when Chris asks to join the movie, Ana just jumps ahead and lets him in, not consulting with Eddie. Of course, this isn't a serious issue and Eddie is happy to have Chris join them, but it still carries on with juxtaposing Ana with Buck. It's also a bit interesting that Chris sits between them, parallel to the video game scene from season 3. But again, it's a very brief scene, so I don't know how much value it has overall.

We see all of this come to a head in 4x13 when Eddie becomes invested in the single mother and her son from the balcony call. Interestingly, this call happens after Eddie's conversation with Carla ("make sure you're following your heart"). On the call, Eddie flirts with the mom. This is interesting because we've seen many times in the past that Eddie...doesn't like flirting, especially on the job. Eddie openly flirting with the mom here may be his way of fighting against what his instincts are telling him Carla's comment was about (him liking Buck/a man). Eddie quickly becomes invested in Charlie (the son) and takes a liking to his mother because he relates to her. You can kind of see the gears working in Eddie's head when he's at their apartment...he's admiring her and perhaps maybe fantasizing about having a partner who gets it. And he sees a mother taking care of her son...reinforcing his love for the mother figure. But of course, we all learn by the end of the episode that this mother figure is extremely warped and not at all what her child needs.

The best part about this plot is the way it plays into the shooting scene at the end of the episode. Just before he gets shot, we see Eddie in an interesting framing choice (I am genuinely serious when I say that I want to sit down with Brenna Malloy and ask her about her directing choices for this whole scene):

The mother and son are placed into separate ambulances, and Eddie stands between the two vehicles. Visually, Eddie is literally placed between the mother figure and the son, and Buck is standing in front of him (at a slight distance). As (thank you to @kitkatpancakestack for pointing this out!) the ambulance with the mother drives away, Eddie says "shoulda gotten here sooner" to Buck (who replies, "That kid is just lucky he met you." He knows how to reassure Eddie and recognizes what is good for the child). Then of course, Eddie gets shot. But let's focus instead on why this framing before the shooting is important: the universe does scream, and it sure as hell was screaming at Eddie this whole episode. Carla calls him out for not following his heart, he idolizes this mother only for her to end up being horrid, then he gets shot with his partner standing right in front of him (you know, the same person who takes care of his son for the entirety of the next episode).

This can be read so plainly: Eddie has been fighting hard for what he thinks is best for his son, and he's stuck in this relationship with Ana because he thinks she is what will make Christopher happy. Meanwhile, Buck is in front of him and has been there the entire time putting in the work with Chris and making him feel heard, loved, and important. This ties right back to that Shannon line: if Eddie had simply asked Christopher what he needs/wants, it's very possible that his answer would be "Buck." Eddie doesn't need to be stuck in the middle of this relationship he doesn't care about because Chris' happiness is not dependent on having a mother figure.

Of course, we didn't see very much of Eddie in 4x14 so we don't really know what is going through his head regarding the shooting or Carla's comment just yet, but I'm hoping we see a lot of him working through all of the events that took place in 4x13/14 throughout next season. Because of the way the mother/son storyline ended up and the way they framed Eddie in the shooting scene, I'm willing to bet that he's going to be reevaluating just what Christopher needs and what he already has (with his Buck).

(Also side note--the welcome home party scene...when Buck is watching Eddie greet Christopher, notice the framing there too. The photo of Chris and Shannon is on the right side of the frame, Eddie and Chris in the middle, and Buck to the left. You already know what I'm going to say, so I'll leave it at that...)

Anyways. Edmundo Diaz is confused about what he and Christopher need, and it's actually a brilliant way to dive into a storyline about his sexuality and his feelings for Buck. Remember that post-finale interview with Tim where he said Eddie is always concerned with what's best for Christopher? That there will be a lot to explore with Eddie? I take everything Tim says with a grain of salt, but looking at all of this, there's quite a bit here pointing in the direction of pining Eddie. It's not wishful thinking, it's in the text.

I'm literally just applying basic film analysis to these scenes...and everything is adding up to a larger picture. I'm really excited to see what Eddie's arc in season 5 will be because there's so much set in place for it to be really great.

#buddie #911 fox #eddie diaz #evan buckley #christopher diaz #meta #mother figures #part one?#I have more to say but will save for another post #buddie canon s5 idc

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omgshecodes · 5 years

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Pressure makes diamonds

+ + + The following passages are a recap of summer semester‘19 + + +

Just by the name of it, one could almost assume summer semesters will do you good- I mean, how could you not start shining in the sparkling light of the sun as well as blossoming along with all the greens surrounding you day by day?

Well, it turned out pretty quickly that this sparkling light was as cauterizing as laser and doesn’t the color green indicates toxicants at times? Plot twist times hundred you guys, but that’s just really an accurate summary of how this semester went for me - insane, dramatic and overly messed up.

In fact, it was a whole new ballgame in comparison to winter semester: you literally were obliged to study for exam season the first day in, provided you were aware of the fact that this was the only way to survive this semester. This studying 24/7 mentality lasted for 2 months straight, with no breaks in between whatsoever.

At one point I became so numbed to night shifts of studying, lack of sleep and really just pressing a wide range of never-heard-of knowledge inside my little brain that I merely started to ‚function‘, but eventually took away very little. I was a blackbox with maximum input and minimum output you could say.

Here, I could give you a million excuses on what went wrong, but I try to fight my ego which is currently having a hard-time dealing with one failure after another and getting used to not being amongst the best students no more and even lagging behind damn much and thus, desperately seeks to wallow in self-pity just to feed false pride.

There’s one thing I’d still like to mention because I think it’s just too legendary not to share. There was one exam last week which was preceded by a night(or is 3 a.m. early morning already!?) with an hour-long puking toddler who ate unripe plums. Carla and I lovingly baptized this exam „the plum-disaster exam“. Sorry, I just had to throw in this toddler who threw up, plus I just had to do this wordplay! :D

Anyway, as disheartening as the first two semesters in college went for me, I’d still like to cling to Albert Einstein’s famous quote on insanity: doing the same thing over and over again and expecting different results.

I realized that the learning strategy I aced my Abitur with does not work for me any longer in college, though I am still trying to figure out whether the strategy per se is lacking of a strong foundation or whether it’s because my position in life has changed meanwhile, being the independent woman, wife and mother that I am now.

Whatever the case may be, I will not - and I repeat - will not loose sight of my objective, neither will I allow the doubtful educational system to cross a career that lies ahead! I have found a deep passion and developed a strong interest in the world of Computer Science and I will keep striving to be a super awesome programmer one day, come what may! I will lock myself up in the basement (metaphorically ofc) and, hopefully, years later arise like a phoenix from fire.

When I came home from my last exam today and along with it entering summer holidays, I broke down in tears, but it wasn’t tears of joy. These were leaked drops of water that stem from a levee that I have built and held back over the last few months. My husband cheered me up with probably the cheesiest saying one could possibly ever come up with in this situation: “Pressure makes diamonds.” But isn’t this saying so full of truth!?

He made me realize anew that a degree might not say anything about your skills and capabilities, but a degree most definitely lets companies know that you can work under pressure, and at the end of the day that is exactly what college is all about and most companies are looking for in an employee!

He then told me about this article he recently came across which tells the story of a woman who decided to visit college at the age of 49. After graduating, she quickly acquired a leading position in a company. When her study colleagues figured out about it, it was also revealed to them that she had survived from cancer and is a mother of two - whilst no one in college ever knew about it. In short: she did not allow her circumstances to become her excuses, and I thought this is just so freaking inspiring and it proves the point to stay low-key and work in silence and let your success speak for you even more.

I have a vision for this summer, and I will do the most that I can to achieve it, with these lines as my witnesses.

#studentmom

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owlaholic68 · 6 years

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Writing Fic Summaries: My Two Cents

This is not a comprehensive list of should-dos and shouldn’t-dos, simply my process and what works for me! This is also not a list of all of the terrible things fic writers do, it’s just some personal suggestions from my own experience. First, here are (in my opinion) the three most important components of a summary:

1: hint at the premise/story/plot of the fic

2: give the reader an idea of the tone and characterization

3: incite curiosity

Number 1: hint at the premise/story/plot

This is a delicate balance of being clear and not giving everything away. Is there a trope involved? Is it a collection of drabbles? Is this a domestic moving-in story, a murder mystery, a sci-fi story, a slice of life, etc. You could do this in both a blunt/clear way and a more poetic one. I’ll give an example of each:

Indrid goes grocery shopping. – from See, There’s a Mothman in the Market (TAZ: Amnesty)

Blunt. That’s literally what happens. He goes grocery shopping. Now for a softer example:

In the aftermath of her quest, the Sole Survivor finds something unexpected: a new purpose. The Commonwealth is going to have a library. And she's going to be the one to build it. – from Overdue Heart (Fallout 4)

And now for an example that’s a bit weak:

What starts as a simple murder investigation reveals a more sinister plot. But private detective Carla is on the case, and no secret can stay hidden from her for long. – From No Stone Left Unturned (Fallout 2)

What makes this not as strong as the others? There’s a few things. Doesn’t set up the character enough. Tricky because Carla is an OC, but all we know about her is that she’s a detective. Plot/story: ok. Murder mystery that turns into a bigger plot. But something about the contents of the mystery should have been worked in, something about the Enclave or poison involved, or hunter being the hunted. Not a bad start from my earlier days, but could use some work.

Also, keep it short and sweet. Keep in mind that you’re going to have a title as well as tags that people will almost certainly skim through, so most of your warnings should be put here, and anything that won’t exactly fit in a summary. As long as a reader has a vague idea of what they’re getting into, they’ll get it.

Number 2: Give an idea of tone/characterization

A lot of people do the quote thing for this reason. It usually gives an idea if the fic is funny, angsty, fluffy, etc. But sometimes that falls a little flat, and doesn’t always fulfill #1. Your summary should ideally give an idea of the main characters, the tone, and other small things like perspective (POV first person? Third person? Other?) and setting (time, place, position within or without canon). Here are a few examples:

Courier Lynn is afraid of heights. This complicates things in the Divide. – from Acrophobia (Fallout: New Vegas)

Sets the character: Courier Lynn. The place/position in canon: the Divide. Third person, present tense. Blunt, so not a lot of angst or sappy fluff involved. Using “complicates things” implies that this will cover several different canon events from an alternate perspective if the character was afraid of heights.

Martyr (verb): To put to death for adhering to a belief, faith, or profession. To inflict agonizing pain on: torture. – From Martyr (Fallout 2/New Vegas)

This is an example of an adequate but weak summary. It’s a well-known fact that dictionary definitions usually mean extreme angst or fluff. This is obviously the former. Falls flat on #1, but the tags and the fact that it’s part of a series make this not so serious of an error. An extra few lines shoring up the character and setting would help this summary. What it does best on is setting the tone: angst city, baby! Torture and major character death involved, but with a veneer of neutrality and a lack of over-emotional dramatics.

Angus McDonald’s first vision was of a town, turned to ash and black glass. Then it was the train. And the tree. And the grass fading to gray and the sky turning to ink and the world ending- - From Now You See It… (TAZ: Balance)

Character: check – Angus McDonald. POV: Third person. Position within canon: check, implying that this is a canon-adjacent fic spanning multiple arcs. Premise/plot: a character has visions. Tone: odd, but accurate to the fic: rambling. The sentences are run-ons that roll into each other, implying feelings of panic and fear, though starting from a calm place. The fic has multiple scenes that adhere to this tone and style, so this clearly shows without telling.

Number 3: Incite curiosity

This is the most important aspect, and one of the most difficult. Here’s my honest advice for this:

Make the reader feel the same feeling you felt when you had the idea for the fic.

This is a little vague, but here’s the lowdown: If you went ‘omg this is so angsty’ when the idea for the fic first popped into your head, that is exactly what you want the reader to think when they read your summary. If you laughed to yourself and almost didn’t write the fic because it was such a funny/wild/silly idea, you want the reader to laugh and go, ‘what?’ when they see the summary, because, here’s the thing:

They’ll click on it. They’ll want more of that same feeling you just gave them, whether that feeling was angst or happiness or laughter or simply curiosity. They’ll want to know why. It’s very personal, which is why it adds that little bit of oomph. You wrote this fic for a reason. Make it clear. Here’s some examples, because this one is complicated.

Indrid goes grocery shopping. – from See, There’s a Mothman in the Market (TAZ: Amnesty)

Yeah, it’s the first one from this post. Because here’s the thing: when I had this idea, I laughed to myself for a whole day before even deciding to actually write it. The whole fic is Indrid, the Mothman, going to the supermarket to buy food. That’s it. It’s like a thousand words, if even. He runs into some people and there’s hints of plot stuff, but there’s nothing more than that. I want the reader to read this summary and laugh, and go, ‘oh, what a weird idea! I wonder what tidbits are going to be tucked into this innocuous-sounding fic!’ No need to embellish if your core idea stands on its own.

In this bleak post-apocalyptic world, one small flower shop in Freeside struggles to stay afloat. – From Cloudy, With a Chance of Friendship (Fallout: New Vegas)

Curiosity here comes from the fact that this is a flower shop au in a fandom that doesn’t really have any. What’s more, I made it clear that it’s not a modern au. I wanted to capture the unique feeling of writing this weird genre for a fandom that mostly has angst or canon retellings. The title is very vague (a common quote about the main character), so the summary had to clearly show why this fic was unique.

The Chosen One wishes for a second chance. Unfortunately, she gets her wish. – From If at First You Don’t Succeed… (Fallout 2)

A weaker one, but it still has the essentials in terms of plot and character. It’s the ‘unfortunately’ that cements the reason why: the tone. The plot. There’s angst here, even if the first sentence is optimistic. Things are fine and then turn bad very quickly, plus a healthy dose of misguided wishes. If that’s your thing, you are going to be curious as to why second chances are unfortunate.

Trouble always seems to find Henry. – From From the Crib Into the Ground (Fallout 2/New Vegas)

So many questions from this short sentence. What kind of trouble? Why Henry? How does he deal with it? Is this going to turn out okay or not? From the tone of the sentence, probably not. You want your reader to ask questions from your summary, because then they’re going to want to read to find out. Don’t make it all questions, though. We know that troubles happen. Many troubles. Taking it one step too vague, it would be: ‘things happen to Henry’. How about more specific: ‘Henry is plagued by Enclave-related troubles and other problems because he’s an irresponsible scientist and also because he has back luck.’ Well, that’s too specific. Keep an aura of mystery, but keep in mind points 1 and 2.

Conclusion:

You wrote your fic for a reason. You had fun writing it. Now you just need to show a potential reader your passion. If you want to read more about other writer’s opinions on summaries, see these two articles here and here.

#writing advice #fic writing #summaries #fanfiction #writing tips #how to write a summary #my fic #long post

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honeyhesharrystyles · 6 years

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THE NUT CASE | CHAPTER 2 | NOT ABOVE THE LAW

+ S C A R L E T T M A R S H A L L

Snowflakes, are beautiful. And inspiring. They fall from the sky, each of them unique in their own way, and they have no idea where the wind might take them. I want that. I want to be able to be free, and travel the world. Going where ever the wind tells me to go.

I shivered as I leaned my head on the cold window, staring outside. Sometimes, I wonder why. Why did it have to be me, put in here? Why did no one believe me when I told them that It wasn't me? That I didn't do anything? I wouldn't want anyone else to suffer through what I'm going through right now, because this is absolute torture. I've been stuck in this place for 13 years now. Not able to go outside. I've forgotten how the snow feels, crunching under your feet or the smell of the grass after it rains one morning or even the warmth of the sun during summer.

Being accused of something I didn't do has deprived me of so many things. Nobody likes me now, Well except for the few friends I do have here that are keeping me sane Like Sally, Mrs. Deborah and my Nurse, Carla.

Nurse Carla treats me like her own daughter, comforting me when I need it and scolding me when I do wrong. She's the closest thing I have to a mother and I don't know what i'd do without her.

I pulled my legs closer to my chest and tucked my chin between the gaps between my knees as I stared outside and watched teenagers walk past the building, probably after a rough day of school. There were about 7 of them, a couple trailing behind them and holding hands. They all looked happy as they spoke among each other. My heart clenched painfully at the thought that I may never have that.

I jumped as the door to my room was pushed open, and Nurse Carla walked inside, smiling kindly at me for a second and then frowning when she saw me sitting on the window sill. "Scarlett, what are you doing up there?"

I sighed and glanced back out the window. "Thinking."

She chuckled and shut the door behind her, coming over to sit next to me. "How many times do I have to tell you that that's a bad thing to do?"

I frowned at her and furrowed my brows. "Well, what do you expect me to do Carla? I'm bored and alone here, Thinking is all I can do."

She looked at me sadly and rubbed my shoulder. "Alright, come on. It's lunch time."

I looked up at her, my whole demeanor brightening. "Really?"

She laughed at my expression, and nodded. Lunch time was the only time I was actually allowed out of my room. Other than that, I was cooped up in her, slowly dying of boredom.

I hopped to my feet and slid on my socks, following her out of the room.

As we walked down the hallway, I looked at all of the different pictures that were hung on it. They were of all of the nurses that worked here. I smiled as I walked by the picture of Nurse Carla and I when I was 12. I was way to short, causing her to kneel down and smile at the camera. She made life here easier for me, and she still does.

Walking into the cafeteria, I immediately felt eyes on me. They were all judging me, ridiculing me for something they thought I did all of those years back. All of them used to speak to me, until they found out what I was here for. Then, they cut me off and talked about me behind my back.

When I got to the lunch line to get my food, I watched as the lunch lady glared at me in disgust. She looked at me as if I was dirt on the bottom of her shoe. I blushed, embarrassed, as she kept staring and not faltering even the slightest.

"Mildred, it's rude to stare. Can you hurry up, there are other people behind us." I heard Nurse Carla tell the lady in a tense voice. She hated when people treated me like that, because she believes me. She knows that I would never do what happened back then.

The sound of something dropping on my plastic tray snapped me from my thoughts as I looked down and saw some mashed potatoes. It looked disgusting but I knew that if I didn't eat it, I'd be starving. I sighed and muttered a goodbye to Nurse Carla and made my way over to the table Sally and Mrs. Deborah sat talking animatedly to each other.

"Hey." I said softly, putting my food on the table and pulling back the blue metal chair, cringing as it scraped against the floor. I sat down and smiled at them as they both looked at me and went back to their conversation.

I placed my head in the palm of my hands and played with my food, tuning out of the conversation as I began to get flashes of what happened to me when I was only 7. Flashes of blood everywhere and two pairs of lifeless eyes staring back at me popped into my head.

That day was the worst day of my life. It was the day I lost two people that I cared about.

I jumped as Sally called my name and looked over at her. "Hmm?"

She looked at me strangely. "I've called you about 4 times now. Are you alright?"

I cleared my throat and nodded. "Yeah, I'm fine. I just got lost in my thoughts again." I told her, the lie partially true. I wasn't fine. In fact, my heart was hammering out of my chest at the memories that just wouldn't stop flashing through my mind.

"Oh, okay. Well I was just telling Mrs. D about how my little sister came to visit me yesterday."

I forced a smile over at her. "Really? How... How was it?"

Her eyes brightened up at the chance to talk about her little sister. "Amazing. She went on and on about some new dolls my mom and dad bought her and some other stuff too but I didn't care. As long as I got to see her. She's getting so big now."

Mrs. Deborah chose that moment to make herself known in the conversation and smiled over at me. "She's such a sweetheart. I got to meet her yesterday."

"Yeah, she did. Wish you could have been there though, Scar."

I gulped, looking down at my Mashed Potatoes. "Yeah, me too."

A silence fell over all of us as we all saddened at the realization that I may never be allowed out of my room.

"Well, my daughter is coming to visit me in a day or two." Mrs. Deborah said, breaking the silence. "I'm so excited, because she had my grandson a month ago. I can't wait to meet him."

"Aww! Has she told you when she's getting you out of here?" Sally asked, taking a spoon and scooping up some of the food, bringing it to her mouth.

"In about a year or two. She just wants to know if I'm okay. I told her I was, but after the incident, She just doesn't believe me."

Sally nodded, then looked over at me, a mischievous glint in her eyes. "Hey scar," she said, swallowing her food and making me look up from mine. "I heard you snuck out of your room yesterday. What happened? Where'd you go?"

I shrugged. "Nothing happened. I just walked out into the lobby." I smirked as I suddenly remembered that man and his green eyes. "I also might have frightened an innocent guy..."

She widened her eyes at me, leaning closer. "Go on..."

I laughed and leaned back into my chair, repeating the events that occurred yesterday. I remembered how weirded out the man seemed by me. He also seemed like he knew me, when in reality, I had no idea who he was. I just happened to see him sitting alone in a corner and decided to make a new friend. Of course, I didn't expect to get in trouble by nurse Carla but, it was inevitable. She was bound to find out that my room was empty.

Sally smirked, eyeing me suspiciously. "Was he cute?"

I looked over at her, staring at her in thought. "He was... attractive, I guess.."

"What do you mean by that? Was he sexy? Did you want to fu-"

"Sally!" I yelled, looking at her with wide eyes as she suddenly burst out laughing. Sally is only 17, which probably explains her hormonal ways.

"What?"

"I know where that sentence was going and No, That didn't even cross my mind!"

She rolled her eyes and laughed, leaning back in her chair. "Whatever you say, saint. Remember, if you ever need any tips, I have a book on some great positions."

I blushed and opened my mouth to reply, but was cut off as a security guard began yelling loudly in the room.

"Alright! Everyone outside! Lunch time's over." I widened my eyes. Was this it? Would I be able to finally go outside after all of these years?

I got up, along with Sally and Mrs. D. I ignored the wary glances they gave me and walked up to the double doors, getting ready to walk out, before a meaty hand grabbed my forearm roughly.

"I didn't say you could go outside, you fucking murderer." The bald guard said, glaring at me fiercely.

I narrowed my eyes at him. "I'm not a murderer. Now let go of me."

I tried to snatch my arm out of his iron grip but to no avail. He was to strong. He was actually hurting me, and I was sure that there was a bruise forming on my pale skin under my scrubs.

"You're not allowed to talk back to me, you little bitch." He said, dragging me back towards the hallway I came from.

"Let me go!" I yelled, and tugged harder. But he was stronger than I was and practically dragged me along with him. My yells could be heard throughout the hallways of the hospital, but no one stepped in to help. They just let him treat me this way, because they didn't care about me.

He stopped in front of my room and pushed it open, throwing me inside. I landed on the floor with a soft thud, my knees hitting the hard tiled ground and causing me to hiss in pain.

"They should've killed you when they found you that night." He said, staring at me with hatred in his eyes as he slammed the door.

I blinked back the tears that formed in my eyes. I will not cry over this. Someday, I'll be free. And crying means that I've lost all hope. I won't lose hope. I can't. Or else I'd simply go insane.

I crawled over to my desk and grabbed my pen and journal from off the top of it, leaning back against the wall and tucking my knees up to my chest, laying my book on top of my knees.

I uncapped my pen and wrote a simple quote all over the page. 'Forgive them, even if they're not sorry.'

I sighed once I finished writing the last bit and leaned my head back against the wall. Hopefully this ends soon, because I don't know how much more I can take.

Flipping to the page I drew on yesterday, I traced the green eyes I drew that stared back at me and sighed out softly. "Who are you?"

#harry styles #harry styles fanfic #harry fic #harry styles writing #harry styles smut #harry styles blurb #writing #fanfictions #fanfic #harry styles imagine #harry styles au #harry styles fic

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poipoi1912 · 7 years

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More 19x01 Thoughts

I just wanted to respond to some of your comments on my premiere post (thanks so much for reading that, by the way! You can find it here.)

But first, let me talk about the Sonny/Fin deleted scene (posted here).

Fin and Sonny

I LOVED EVERYTHING ABOUT THIS.

When we first saw that Fin/Sonny pic at the bar, I assumed it was part of a stakeout scene or something to that effect. I didn't dare hope that Fin would actually ask Sonny out for a drink to pick his brain! That was better than anything I could have imagined, because yet again the show acknowledged Sonny's identity as a lawyer, but this time it wasn't in annoyance, like we usually see (e.g. the Rollins scene). This time, another cop actually reached out to Sonny for legal advice! That's a perfect use of a character like Sonny. The others can go to him with questions on matters Barba should be left out of, if only for reasons of plausible deniability. Sonny is a cop, still, so he's on their side (up to a point, because again we saw how strongly he felt about upholding international law), so it’s easier to go to him.

And it wasn't just the setting of the scene. It was also the humor, and the lovely camaraderie between Sonny and Fin (a rather underdeveloped dynamic, even though their team-ups have given us some standout moments in the past few seasons). We got so many good jokes, with both of them landing some decent jabs. Truly, if this episode had one single thing going for it, it was good dialogue. These one-on-one scenes, they can so easily be ruined by bad, out of character or stilted dialogue, despite the best efforts of the cast. Instead, this scene came to life.

And there was a balance, too. Fin joked about Sonny's legal knowledge (or lack thereof), but Sonny teased back (about the Cuba thing, as if he didn’t know, lol) while holding his own and defending both the law and his position as a cop-slash-lawyer. They were on equal ground as characters, as friends, even, and the warm (and hilarious) ending painted both of them in such a positive light. Fin was buying the drinks, Sonny sassed him about being on retainer, and Fin came back with that perfect line about attorney-client privilege. That showed they both knew what this was, and they’re close enough to joke about it, and they trust each other enough to keep it to themselves.

Sonny and the Law, Vol. 2

But we also got Sonny characterization! Fin asked about his law license (and I'm glad he at least remembers Sonny passed the bar, lol) and Sonny very pointedly said it was "gathering dust." Sonny didn't sound particularly happy, even if he wasn't 100% regretful. That line reading, it was just wistful enough to let us know that Sonny is torn between the two careers, and his constant nagging about the law was enough to remind us that Sonny is more than just another cop, but the show didn't beat us over the head with his dilemma. Instead, we got a more subtle way of conveying Sonny's potential dissatisfaction.

I can't wait to see more about that. I'm even a little more excited for the new ADA's arrival, because now I'm curious to see how Sonny might react to him and his more harsh (I assume) approach. So many possibilities!

Squad Thoughts

Despite the fact this scene was deleted (like all the best scenes are, like the Barisi scene from Depravity Standard, or that Rollaro elevator scene, or the Barba mentioning Hamilton scene, etc etc), the new showrunner truly seems to want to cultivate stronger interpersonal relationships between all the characters. In the premiere alone we got Liv/Amanda, Liv/Barba, Liv/Fin, Barba/Fin, Sonny/Amanda, Sonny/Fin, and I'm hoping we get more and more iterations as the season advances.

Your Thoughts

@avenuepotter said:

ALWAYS love your analyses. I lost myself in a crazy chuckle when I read this part: Fin - rule breaker, fashionable (lol), has negative fucks to give. Can’t wait for next week.

First of all, thank you so much, and I always love reading your thoughts as well! Secondly, after watching the aforementioned deleted scene, it appears that Fin just might give the tiniest of fucks, since he wanted to check with Sonny to make sure the guy wouldn't walk. While still being a rule-breaker and fashionable, of course.

I loved that touch. It's more characterization than we usually get for Fin, and it put Ice-T's entire performance in the premiere in context. When he grinned and told Liv "I didn't even know it was legal!" his surprise was because he had actually checked, lol! Now I love that moment even more.

@shadowassassin32 said:

Yay you are back!!!! I love reading your analysis of things. It’s always very interesting.

I have a question for you. When Liv confessed to Rafi about the gun thing and asked “What was I thinking?” do you think that she might finally stop putting herself in dangerous situations for Noah’s sake at least? Curious on what your interpretation of that scene was.

Thank you so much, it’s great to see all the regulars back for this season. We're all still here, somehow, and I hope this season will give us more food for thought.

As for your excellent question, I don’t know if Liv's realization will affect her behavior as the season goes on. If I'm being honest, I think this was just a tiny seed planted by the writers which will eventually blossom when the Noah custody issue gets explored. There's a chance Brooke Shields will challenge Liv's adoption (I'm assuming), or, at the very least, there's next week's investigation, and I think Liv might momentarily question her situation, especially if she sees that Noah could possibly live in a "safer" environmentin a different, "normal" home. Which is ridiculous, of course, if not offensive (I hate to see good mothers doubting themselves, though I realize it's part of the deal, lol. A good mother always worries. Plus we did get that great Amanda moment, which served to reassure Liv.)

That said, I think a good mother like Liv just might put herself last, and consider the possibility her child might be "better off" someplace else. I think that's what that scene was about. It's true, it's harder for Liv to risk her life knowing she has a kid at home, but then there are so many cops with kids, and they do their jobs every day, and they go home to the little ones. Then again, Liv's stunt was a little too dangerous and self-destructive. It is certainly possible that she'll realize that she needs to stop doing that. It's one thing to find herself in a dangerous situation (like all cops sometimes do), but to actively seek it out? To show no regard for her own life?

Again, this could potentially be offensive (do mothers need to be more worried than fathers? Would this storyline ever involve a male cop, like, say, Nick?) Also, to quote Brooklyn Nine-Nine:

That said, it was something new, at least. Something we haven’t touched on. Original Recipe Liv used to be way messier and more self-destructive (and I loved her for it), but we never truly saw her struggle with that since becoming a parent. So I’m interested to see where it goes.

@extrovertedsparkle said:

^^^^ YES! I was so grateful for an episode where I couldn’t decide if I liked it or not, and didn’t just hate it outright lol! Some parts were overacted, omg Carla’s husband but I felt it had a really good pace overall and felt like old times, as opposed to the mess that was season 18.

I’m here for the quirk, and the friendship, and the snark of the squad and I cannot wait to see what season 19 has in store for us.

Agreed. I was surprised by how much I didn’t hate it, lol. I sat down to watch it with hesitation, ready to cringe, but I ended up actually liking it. No one knows how the season will play out, but at least this premiere showed potential.

@bensonismymom said:

Yes!!! I’m really glad we have the dynamics back again between characters!!! The scenes with sonny and Amanda / Amanda and Liv / Liv and Fin / Liv and Barba WERE SO GREAT!! I missed having the characters interact with each other again!

Absolutely. I said it many times, the number one mistake made by the writers last season was the loss of the sense of a squad. We do watch the show for the cases (which tbf were also terribly underwritten and repetitive in S18 as well), but mostly we all love the characters. We want to see how the cases affect them, and we also want to see them interacting with each other, as colleagues, and friends, and family. That's the heart of the show. Otherwise it's just any other procedural.

These characters have been so well-drawn, some (like Liv and Fin) for literal decades, and some (like Barba, Sonny and Amanda) for years, and S18 wasted all that history. Season 19 seems to be doing better already, even one episode in. That gives me hope.

Thanks again, for all your comments.

I love you all <33333

#sonny carisi #fin tutuola #olivia benson #svu #law and order svu #episode thoughts #part two #long post #that deleted scene slayed me #and i loved all your comments #let's hope the second episode follows through on what the premiere gave us

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ramajmedia · 5 years

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10 Quotes From Cheers That Are Still Hilarious Today | ScreenRant

Want to go where everybody knows your name? Cheers is just the place for you! This sitcom is filled with loveable and iconic characters, such as Coach, Woody, and Cliff. The classic '80s show is also loaded with laughs that are so quick-witted and brilliant, it'll make you want to rewatch the entire series all over again.

RELATED: 10 Things That Make No Sense In Cheers

Although the series was on the air nearly three decades ago, it still holds up as one of the funniest sitcoms of all time. Let's look back at some of the funniest quotes from Cheers that are still absolutely hilarious today!

10 "IF IGNORANCE IS BLISS, THIS IS EDEN"

Most sitcoms have at least one normal character out of the bunch. They serve as the person who actively observes all of the chaos around them and reacts to the nonsense that derives from the more outlandish characters. Diane often believes that she is this "normal" character and that she is the only sane one out of the bunch, but in fact, this is far from the truth.

Diane has her own quirks, yet she feels as though she is surrounded by idiot barbarians at the bar and that she is the only intellectual in the vicinity. Because of this, she's always stating hilarious lines like this, in an attempt to put the rather ignorant bar-goers in check. Her attempts never seem to work, and often only make things worse.

9 "HOW'S LIFE TREATING YOU, NORM?" "LIKE I RAN OVER ITS DOG."

Cheers is different from most classic sitcoms in the sense that it reveals a grittier depiction of reality, as opposed to a handful of cheery shows of its time such as Full House and Happy Days. What makes the bar-based sitcom work so well is its mixture of realism and wish fulfillment. Although the characters on Cheers face a lot of the day to day issues that we ourselves can often relate to, there is still something warm and romantic about the series as well.

RELATED: The Myers-Briggs® Types Of Cheers Characters

It depicts a sense of community that most people yearn for. Because of this, the series seems to have the perfect mix of sitcom-style fantasy and cynical reality. We can always count on Norm to deliver that healthy dose of cynicism which prevents the series from entering "sappy" territory.

8 "WOMEN. YOU CAN'T LIVE WITH THEM. PASS THE BEER NUTS."

One of the most popular running gags on Cheers comes from Norm's terrible relationship with his wife, Vera. The funniest part is, we never actually get to see Vera. She feels more like the butt of a long-running joke than an actual character to us, but she always provides Norm Peterson with an abundance of hilarious one-liners that address the cynical side of romance- Or lack thereof.

We do eventually learn as the series progresses that Norm loves his wife dearly and cares about her as well. At least there is some hope!

7 "I LIKE RAT PARTS, IT'S MY FAVORITE PART OF THE HOT DOG."

Sam will do absolutely anything to piss off Diane, especially when he feels as though she is being a "know-it-all". If Diane makes fun of Sam for eating hot dogs that she believes are filled with "rat parts", Sam will simply tell his on-and-off lover that the rat parts are his favorite part.

These two are constantly butting heads on moral issues and they will somehow find a way to get into an argument on any subject, including hot dogs. Now that's impressive!

6 "SAM, CAN I HAVE BRIEF WORD WITH YOU?" "I SUPPOSE YOU COULD, BUT I DOUBT IT."

The truth of the matter is, Diane doesn't know how to be brief. It is not a part of how she functions as a human being and it is certainly not in her dictionary. The brainiac waitress often goes on and on about subjects that are almost always irrelevant to the conversation at hand.

RELATED: 10 Huge Stars We All Forgot Appeared On Cheers

She loves to show off her knowledge and intellect when it comes to her cultured literary background, and although it drives Sam (and the rest of the bar) absolutely nuts, it's one of the many reasons why we love her character so much.

5 "WHAT ARE YOU UP TO NORM?" "MY IDEAL WEIGHT. IF I WERE 11 FEET TALL"

Funnily enough, Norm is such a regular at the bar that when he first started showing up to Cheers, he was described as "the skinny guy at the end of the bar." Oh, how things have changed... unfortunately, that's what happens when you drown your sorrows with endless bottles of beer.

It's the only way Norm thinks he can get through the day, and he is almost always the last customer at the bar during closing time. Because of his consistency as a customer at Cheers, he is basically a part of the family and knows the staff as though they were his own flesh and blood.

4 "I THOUGHT YOU WERE SEEING SOMEONE." "HIS FINGERPRINTS GREW BACK. HE HAD TO LEAVE THE COUNTRY."

Classic Carla. Always dating men who are absolutely terrible for her. Perhaps she is looking for a man in her life who can match her level of cruelty and evil because she obviously only digs criminal bad boys. Remember Nick Tortelli?

He was just the absolute worst, which means he was obviously Carla's type! He did have a few tricks up his sleeve though that even Diane could admit were swoon-worthy.

3 "I DESCRIBED YOU IN TERMS WHICH WERE ABSOLUTELY GLOWING. WHICH IS EXACTLY HOW I WOULD LIKE TO SEE YOU IN HELL."

Lilith on Cheers is known for her stoic ways and she will throw ice cold digs at anyone who attempts to get in her way. If you're expecting a bright and bubbly woman, Lilith is pretty much the polar opposite. People say there is a significant drop in temperature whenever the cold lady walks into a room, and honestly, this just further emphasizes how much of a badass she is.

RELATED: 10 Things From Cheers That Have Not Aged Well

Her chilly remarks are so quick-witted and sharp that we want to rewatch all of Cheers just to see her best scenes again.

2 "OOH, A COMPLETELY UNPROVOKED PERSONAL ATTACK. I LIKE IT!"

Carla is the queen of mean and her field of expertise is creating "unprovoked personal attacks" at the drop of a hat. Her wisecracks when it comes to the people she surrounds herself with are most often uncalled for (and sometimes downright cruel) but it's strangely comforting to know that at the very least, Carla is consistent with her crass remarks.

Never does the waitress ever attempt to be anything that she's not. What you see is what you get, folks.

1 "IT'S A DOG EAT DOG WORLD AND I'M WEARING MILKBONE UNDERWEAR"

The best thing about Cheers is its cynical sense of humor. The series paints a picture of real-life people in realistic scenarios that aren't always as sunny and grand as most Hollywood sitcoms would prefer to depict their TV shows.

We can identify with Sam, Diane, Norm, and Carla because like most people, they don't have their lives figured out in the way they probably would've hoped for. This is especially so for Norm, who uses his humorous remarks in order to deal with the fact that he's in a terrible marriage and he's unemployed.

What is your favorite Cheers quote?

NEXT: Cheers: 10 Hidden Details About The Main Characters Everyone Missed

source https://screenrant.com/quotes-cheer-hilarious-today/

#screenrant

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svankmajerbaby · 7 years

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A Personal Review of Netflix’s A Series Of Unfortunate Events

Just as a disclaimer, these are my personal opinions on the show. I know that a lot of people loved it, and that a lot of people did not like it at all.

I’ve here listed what I’ve considered were the good aspects, the bad aspects, and the things I felt confused to see. As to the confusing aspects particularly, if someone has an answer for me -or even a theory- I’d love to read it.

The asoue fandom has evidently waited a very long time; and even though I completely understand the exhilarating feeling of joy we all felt last Friday, I think hype and enthusiasm can also give place to analysis and, while not as pleasant a thing, personal opinions, which are certainly not the same as facts.

THE GOOD

The Baudelaire siblings are my children and they must be protected at all costs.

Louis Hynes and Malina Weissman have good chemistry as siblings and seeing them act together and discuss plans and talk about their interests is a pure delight. Both of them are flawlessly cast. Presley Smith, as it’s expected from a baby, gets distracted very often and it’s somewhat distracting to see her looking around and making faces inappropriate for the situation taking place, but I really liked her nonetheless. Her little smile at Uncle Monty was adorable. Her saying bye at Judge Strauss broke my heart.

Violet’s self confidence. Will it work? “It will now.”

Klaus’ enthusiastic definitions of complex vocabulary.

The short dedications to Beatrice are so beautiful and well done. I love the background music, with the soft humming, and the sound of the typewriter keys.

Patrick Warburton plays a wonderful Lemony Snicket. Almost all of his scenes on screen are great. His deadpan delivery is great, his voice is great, his reactions are great. The little moments he narrates in his room are quite interesting, too. As much as I like watching him slip right into a scene in the Baudelaire’s story, I was very much looking forward to see him in his own timeline, on the run. His sigh before the Baudelaires learn the sad truth is perfectly gentle and bitter.

Neil Patrick Harris is a very convincing Count Olaf. I wholeheartedly loathed him. I like how his interpretation of the character is that of a bratty man-child used to having everything his way, and who is so overdramatic and vain he literally does not seem to care about anything but himself. His makeup was fantastically made and applied. Also, he put a nice physicality to the role, in the way he moved like he was slightly drunk, slightly hungry and like he owned the place at all times. His delivery was also quite spot-on -his Olaf voice is menacing and his other disguised voices are ridiculous but still quite distinct, which was good.

I began hating this Count Olaf so much, so early, when he first held Sunny up high.

Olaf! slapping! Klaus!!!!! Very effective on me. Also, during the second episode, Klaus still had the bruise on his cheek. Good. It kept my anger alive.

When the Bald Man made that remark of Violet being pretty I was immediately thinking, “Oh boy. They kept this.” They also kept the very, very, very unsettling remarks Olaf gives about Violet’s appearance and almost touches her hair once and then he said “I can touch what I want” and I seriously wished he was struck by lightning or that Sunny suddenly bit his ankle or something generally painful happened to him. It’s awful, it’s in character, and as much as I despise it I’m kind of glad they kept it there and didn’t hold back any punches.

Little Moment N° 1: Very near the beginning, when Klaus and Violet discuss the Proust quote: “Happiness is beneficial for the body, but it is grief that develops the powers of the mind”. That scene was great. I really like both their pleasant confusion and how it a) displayed their intelligence, b) displayed their innocence, c) displayed their inability to understand grief at that particular moment.

The set design is no Rick Heinrichs, but it’s really good. I especially like the design of all the libraries (even if they were a bit samey), the Murnau cinema hall, the secret passageways, the Reptile Room, the Lucky Smells Lumbermill office and Dr Orwell’s office. The outside of the buildings, I’m not that much of a fan. Still pretty good. What little was seen of Prufrock Preparatory, it looked great.

The secret passageways. I loved these.

It was confusing, but there was something curiously beautiful about the untimely death of Gustav. His saying “the world is quiet here” is definitely a strange choice of last words, but maybe this is a thing in VFD. It served nicely to prove how being a volunteer is definitely a perilous career path.

K. Todd Freeman gave his all to his performance, and it shows. Sometimes he veered into almost too much of a useless, clueless stand-in for neglectful authority figures, but most of the time he was perfect for the role. I know how hard is to fake a convincing cough, so kudos to him also for his very believable sore throat. He is also amazingly good at talking really fast with really long sentences which is difficult to do and sound slightly spontaneous, so yep. A greatly done Mr Poe.

I know Eleanora Poe is an awful person, but I’m kind of happy to see how Mr Poe is so supportive of her, and they seem to love each other very much. I’m always down for that.

Jacquelyn won me over by sheer determination and commitment. Hope to see more of her, even though she proved to be just as deaf to the children’s questions and despair as countless other people.

Little moment N° 2: When Klaus turns the stove on, in the first episode, he stays there, looking at the fire, with wide eyes. He stays there, looking at it, while Violet puts the pan on the stove; and then she puts her hand on his shoulder and pulls him gently to the table. It’s a very small thing (Snicket is talking over it, and it ends in a matter of seconds), but Klaus’ distress and fixation on that stove fire felt strangely deliberate and very, very sad.

Sunny biting something with her face off camera -when she flattens the skipping rock, when she chops the parsley- the effect is so cute and funny? I wish that was more used.

“A home cooked meal is better than nothing. A roof over one’s head is better than nothing. (...) But being raised in a violent and sinister environment by a man more interested in one’s fortune than comfort and well-being is not better than nothing.“ Yes.

I love Joan Cusack’s performance. Strauss was such an insecure woman, and despite being so gullible and not listening to them when they tried to warn her, she loved the Baudelaires so much and wanted to keep them and help them, and was so kind... She provided a great emotional core to the second episode. I hope Cusack returns in case they film book eleven.

Aasif Mandvi made a wonderful Uncle Monty. He managed the perfect line between eccentric snake fan and caring, loving guardian. My only complaint about his performance was that he had not enough screentime.

Zombies In the Snow, good God. The fake cow. I loved it so much.

Larry, yes. Yes, thanks.

Klaus saying that plenty of boys enjoy playing with dolls... my nerd son.

Violet’s fear for his brother’s safety in the Miserable Mill, and her insistence to clear their parents’ names while being in Paltryville. She can’t afford to think their parents could have possibly been morally dubious. In the end, the parents were still the unquestionable heroes the children wanted them to be, but I like to think this was a bit of foreshadowing of the secrets revealed in the end.

The super extra 200 page letter Beatrice sent Snicket (if one freeze-frames it one can read that it describes how she sent it through carrier pigeons and which also details how they became engaged. I love that the prop makers took the time to write that down).

Cobie Smulders is the best secret spy, ass-kicking mother since Carla Gugino. A+ casting choice.

THE BAD

More of a general thing, but the style of the show felt all over the place.

Sunny is barely in the show. She acts as the distressed victim of Olaf’s plans twice (in the cage and in the luggage) which is one scene too many, especially considering the sensible and understandable erasure of her epic duel with Orwell. Her sole victorious moment was when she bit Captain Sham’s leg. She rarely participated in the other two siblings’ discussions. She was often sat aside, in a chair out of sight, while her siblings talked. Their siblings actively left her alone! She often feels like an extra weight, which is the worst thing a baby can be in a piece of entertainment.

The ugly Sunny speech subtitles. Why that font... why that color.

Some scenes with Olaf were unnecessary -his twirling with the dress, the interview with Mrs Poe, his talking to the troupe while spying on the children at Strauss’ house. I was made very much aware of how much Neil Patrick Harris participated in the creative process.

When the show’s style was being creative it most often succeeded. I hoped they kept it up, but most of it was only about Snicket. I wish they kept using title cards, like they did before Aunt Josephine and Captain Sham’s flashback, and iris shots, like the one used with Violet. If they had continuously using a stylistic choice, these few examples wouldn’t stick out so much. They could also have played around with the ratios, just to give an example, or kept all flashbacks in black and white. It would have been a nice way to incorporate the old-feel style to the show.

I enjoyed their performances, all in all, but the troupe constantly felt like comic relief. They were very seldomly menacing (mostly the Bald Man, who I am genuinely a bit scared of) or useful.

Not enough Reptile Room creatures. I need to see the Church Frog. And the Incredibly Deadly Viper could have been so much better. And it could have had more screentime with Sunny. I find it hard to believe that they became friends so fast.

I really hoped they wouldn’t put the Shirley disguise... Olaf could have perfectly had been a secretary without dressing up as a woman.

70% of the time I felt the costume design was lacking. Not so much that it was bad, but that it was boring and didn’t say anything at all about the character that was wearing it. There was nothing particular about how any of the characters were dressed. I like that each Baudelaire seems to have a certain color palette, but even then it’s not very well determined. Aunt Josephine’s clothes in particular were drab.

The background music can be a bit overbearing. There’s many times when I felt silence would have been better, or maybe something with less choir... And as much as I love the accordion soundtrack -because it is great, and it is fitting- it would have been better with a bit less of it. It made scenes feel “extra quirky”, if that makes sense, and while sometimes it worked, there were moments in which it was overdone.

I really did not care to see the Marvelous Marriage. It wasn’t funny enough to warrant being shown.

The CGI effects were so bad! I understand that they had to use recent pics of the adults to make sure they were easily recognizable, and that Sunny does a great deal of very unusual things that a real life baby can’t possibly do, so one can’t complain too much; but still, some things -like her whistling, or her hanging from the doorknob, or her poker playing, were both unnecessary and a bit unsettling. Also, Violet’s rock retrieving device at the beginning... Surely there had to be a practical way around that. Generally, if they felt the need to add something, one would wish they wouldn’t make an effort to make that addition hard to do without CGI.

The photoshopped picture of the VFD members. It was just bad.

Klaus may have had a bit too many speaking lines compared to Violet... just saying.

Weird continuity goofs... They’re details, but there were so many of them. Most of them around Sunny, which again, understandable, but still, there should have been a way around it.

Let! Klaus! also carry Sunny! Almost all the time, Violet does it!!

So Dr Orwell was Olaf’s girlfriend. I hope they find fresh ways to repeat that trope, because there’s two more characters that exactly follow this concept, and with the already repetitive nature of the Baudelaire’s misadventures this could become quite boring.

Sometimes the adults were so ignorant and blatantly oblivious to what was going on (especially with Mr Poe actively saying what a bad idea it was to act the way he did, like leaving the children with untrustworthy people or abandoning them in the empty dock) that it was not frustrating, it was cumbersome.

Aunt Josephine’s statue. What was up with that? Why couldn’t she just throw a chair through the window?

As effective -and boy was it effective- of a red herring it was, the Mother and Father B-plot felt unnecessary in the end. It could have been cut, and despite suffering from the lack of a Cool Spy Mom and a Tired Spy Dad, the story would have flowed better. Heck, it would have been better with more Jacquelyn.

Statue woman in the middle of the maze? What the heck? What was the purpose of that? Why did she need to talk to the Baudelaires? Why was she the only one who reached out to them? It didn’t contribute anything at all.

Have another actor to be Ike... Sonnenfeld is already visibly seen in the background of Strauss’ library as her father. It was so weird.

Why couldn’t Klaus start the fire with his glasses when he needed to, in the boat during the leeches attack? Mother’s binoculars starting the fire saved the children out of pure luck.

Similarly, the Reptile Room reptiles decided a very particular moment to attack Olaf and his troupe, which also made the ending of the episode seem like a matter of pure luck.

If luck saves the children in the end, then less emphasis is put on their individual talents and resourcefulness. Having them save themselves would have often been the cheaper production decision and the smartest narrative decision.

The Wide Window episodes had sometimes an overreliance on CGI, and it turned it into a bit of a pain to sit through. The house collapsing looked bad. Sunny dangling from the doorknob was bad, Klaus jumping around was bad...

The musical numbers. None of them were truly terrible, by themselves, but they felt out of place and unneeded. The first cringy one was mercifully short and at least served the purpose to show how much of a self-aggrandizing lousy actor Olaf is. The little song with the spoons he sings in the taxi as Captain Sham feels stretched out and annoying. And the last song, “That’s Not How The Story Goes”, which everyone (why Poe? Why Olaf?) sings... It was the most bizarre thing in an already very, very bizarre show. From Snicket in his school uniform, sitting on a cliff, to Sunny’s weirdly CGIed contorted face whistling (including Mr Poe cheerfully singing it, which almost made me think he was truly looking forward to the Baudelaires being even more miserable), it’s a really good song -the best of the musical numbers- but it was a wrong way to finish the first season.

Finally, I know that Neil Patrick Harris is the Star Power, but why must he sing the title song? Why couldn’t it be an instrumental? And as much as I like the way they managed to change each title sequence for each book, it would have been better to have more interesting visuals during the titles. It felt like a missed opportunity.

THE CONFUSING

The grandfather clock toaster? Couldn’t Violet’s talents be shown with a more interesting, useful invention?

What was up with the weird James Brown references? “I’m super bad”, what? A non-sequitur/inside joke between the siblings?

At Justice Strauss’ library, Klaus showed her that he had a small notebook with him, and said he had it with him at all times. He never actually used it. Why show it if you’re not going to use it?

Why are most of the henchpeople unusually and occasionally nice? Why do they act shocked and worried when Olaf kills and hurts (most clearly with the killing of Josephine and when he held Sunny up high)?

Strauss was last seen reading a book on secret organizations. Why does she have that book? Will she become a member? Is her family linked to VFD? How can that book be a thing, if the organization is supposed to be secret? Is VFD something that is well known? Is that book’s author a VFD member, or a Geraldine Julienne/Rita Skeeter kind of badly-informed and dimwitted investigator? Are there other organizations besides VFD that one should be concerned about? Is that book a standard secret VFD reading, or is it sold in average bookstores and available in city libraries? Just how available to the public is that book?

It was suggested Strauss is Jewish (what with greeting Poe and the children with “Shalom” and mentioning how cooking could be a mitzvah), and Olaf too (mostly for the klezmer-style wedding music and his little dance, but I’d find it rather out-of-character for him to be a religious man at all) and Dr Orwell too, though much less clear, for mentioning Olaf ruined a bat mitzvah. But the big question is, are the Baudelaires Jewish?

Who was that elder lady at the cinema and why was the camera so interested in her uninteresting life

Is the Bald Man as unquestionably terrible as he was in the books? “We should use the baby as bait” kind of confirmed it, but the question is more about the future role of the character, considering what happens is following books.

Where did Olaf get that very specific snake-bite-faking device? Is that a standard VFD contraption?

What in the world is Beatrice’s name doing engraved in the remains of Aunt Josephine’s house?

What was up with Snicket buying an orange vest?

Are Sir and Charles actually members of VFD?

Why did Orwell have literal skeletons in her closet? Did she kill people, took away their clothes and hair and skin and muscle and cleaned them and stored them in her closet?

In the little awfully photoshopped picture at the end of the last episode, at Prufrock Prep, Snicket and Olaf seem to be friends; even though Snicket said at the beginning of the first episode that Olaf’s “dreadful villainy haunted [Snicket since he] first met him as a young man.” Was it a goof by the showrunners, or a proof of the unreliable narrator Snicket can be?

Are the Baudelaire parents really the ones shown in other awfully photoshopped picture of the volunteers at Paltryville? Klaus recognized them, so there’s almost no way they’re not the Baudelaires. Are these actors the confirmed ones for the parents?

Aren’t the Quagmire parents wary of telling their children about their past in VFD? Weren’t they afraid of the known fate of some members of the organization? Do they believe VFD is doing good?

Were the Baudelaire parents active volunteers till the moment of their demise? Did they balance a double life, with the VFD missions and their homelife?

Does Snicket still trust VFD? Does he support the organization that gave him nothing but pain and misery?

Will the series portray VFD as noble? What happened with the aggressive training, the indoctrination, the kidnapping, the indoctrination?

Are the Baudelaire parents morally dubious? Will the show have the guts to put that on screen?

“Call me Ishmael”???????? What the fuck??

Here’s hoping the second season rights the wrongs, emphasises on the good, and answers some questions and creates new ones -hopefully all the right ones.

#asoue #a series of unfortunate events #my review

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funface2 · 5 years

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10 Quotes From Cheers That Are Still Hilarious Today | ScreenRant – Screen Rant

Want to go where everybody knows your name? Cheers is just the place for you! This sitcom is filled with loveable and iconic characters, such as Coach, Woody, and Cliff. The classic ’80s show is also loaded with laughs that are so quick-witted and brilliant, it’ll make you want to rewatch the entire series all over again.

RELATED: 10 Things That Make No Sense In Cheers

Although the series was on the air nearly three decades ago, it still holds up as one of the funniest sitcoms of all time. Let’s look back at some of the funniest quotes from Cheers that are still absolutely hilarious today!

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10 “IF IGNORANCE IS BLISS, THIS IS EDEN”

Most sitcoms have at least one normal character out of the bunch. They serve as the person who actively observes all of the chaos around them and reacts to the nonsense that derives from the more outlandish characters. Diane often believes that she is this “normal” character and that she is the only sane one out of the bunch, but in fact, this is far from the truth.

Diane has her own quirks, yet she feels as though she is surrounded by idiot barbarians at the bar and that she is the only intellectual in the vicinity. Because of this, she’s always stating hilarious lines like this, in an attempt to put the rather ignorant bar-goers in check. Her attempts never seem to work, and often only make things worse.

9 “HOW’S LIFE TREATING YOU, NORM?” “LIKE I RAN OVER ITS DOG.”

RELATED: The Myers-Briggs® Types Of Cheers Characters

8 “WOMEN. YOU CAN’T LIVE WITH THEM. PASS THE BEER NUTS.”

One of the most popular running gags on Cheers comes from Norm’s terrible relationship with his wife, Vera. The funniest part is, we never actually get to see Vera. She feels more like the butt of a long-running joke than an actual character to us, but she always provides Norm Peterson with an abundance of hilarious one-liners that address the cynical side of romance- Or lack thereof.

We do eventually learn as the series progresses that Norm loves his wife dearly and cares about her as well. At least there is some hope!

7 “I LIKE RAT PARTS, IT’S MY FAVORITE PART OF THE HOT DOG.”

Sam will do absolutely anything to piss off Diane, especially when he feels as though she is being a “know-it-all”. If Diane makes fun of Sam for eating hot dogs that she believes are filled with “rat parts”, Sam will simply tell his on-and-off lover that the rat parts are his favorite part.

These two are constantly butting heads on moral issues and they will somehow find a way to get into an argument on any subject, including hot dogs. Now that’s impressive!

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6 “SAM, CAN I HAVE BRIEF WORD WITH YOU?” “I SUPPOSE YOU COULD, BUT I DOUBT IT.”

The truth of the matter is, Diane doesn’t know how to be brief. It is not a part of how she functions as a human being and it is certainly not in her dictionary. The brainiac waitress often goes on and on about subjects that are almost always irrelevant to the conversation at hand.

RELATED: 10 Huge Stars We All Forgot Appeared On Cheers

She loves to show off her knowledge and intellect when it comes to her cultured literary background, and although it drives Sam (and the rest of the bar) absolutely nuts, it’s one of the many reasons why we love her character so much.

5 “WHAT ARE YOU UP TO NORM?” “MY IDEAL WEIGHT. IF I WERE 11 FEET TALL”

Funnily enough, Norm is such a regular at the bar that when he first started showing up to Cheers, he was described as “the skinny guy at the end of the bar.” Oh, how things have changed… unfortunately, that’s what happens when you drown your sorrows with endless bottles of beer.

It’s the only way Norm thinks he can get through the day, and he is almost always the last customer at the bar during closing time. Because of his consistency as a customer at Cheers, he is basically a part of the family and knows the staff as though they were his own flesh and blood.

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4 “I THOUGHT YOU WERE SEEING SOMEONE.” “HIS FINGERPRINTS GREW BACK. HE HAD TO LEAVE THE COUNTRY.”

He was just the absolute worst, which means he was obviously Carla’s type! He did have a few tricks up his sleeve though that even Diane could admit were swoon-worthy.

3 “I DESCRIBED YOU IN TERMS WHICH WERE ABSOLUTELY GLOWING. WHICH IS EXACTLY HOW I WOULD LIKE TO SEE YOU IN HELL.”

Lilith on Cheers is known for her stoic ways and she will throw ice cold digs at anyone who attempts to get in her way. If you’re expecting a bright and bubbly woman, Lilith is pretty much the polar opposite. People say there is a significant drop in temperature whenever the cold lady walks into a room, and honestly, this just further emphasizes how much of a badass she is.

RELATED: 10 Things From Cheers That Have Not Aged Well

Her chilly remarks are so quick-witted and sharp that we want to rewatch all of Cheers just to see her best scenes again.

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2 “OOH, A COMPLETELY UNPROVOKED PERSONAL ATTACK. I LIKE IT!”

Carla is the queen of mean and her field of expertise is creating “unprovoked personal attacks” at the drop of a hat. Her wisecracks when it comes to the people she surrounds herself with are most often uncalled for (and sometimes downright cruel) but it’s strangely comforting to know that at the very least, Carla is consistent with her crass remarks.

Never does the waitress ever attempt to be anything that she’s not. What you see is what you get, folks.

1 “IT’S A DOG EAT DOG WORLD AND I’M WEARING MILKBONE UNDERWEAR”

The best thing about Cheers is its cynical sense of humor. The series paints a picture of real-life people in realistic scenarios that aren’t always as sunny and grand as most Hollywood sitcoms would prefer to depict their TV shows.

We can identify with Sam, Diane, Norm, and Carla because like most people, they don’t have their lives figured out in the way they probably would’ve hoped for. This is especially so for Norm, who uses his humorous remarks in order to deal with the fact that he’s in a terrible marriage and he’s unemployed.

What is your favorite Cheers quote?

NEXT: Cheers: 10 Hidden Details About The Main Characters Everyone Missed

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vileart · 7 years

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BlackCatfishDramaturgy: Dylan Coburn Gray @ Edfringe 2017

Award-winning Dublin theatre collective brings a double-bill of technology, sex (and sex with technology) to this year’s Edinburgh Fringe!

LOVE+ and BlackCatfishMusketeer a double-bill by MALAPROP Theatre

Two stand-out hits of Dublin Fringe will have their international debuts at The Red Lecture Theatre, Summerhall alternating from August 2nd - 24th at 7.10PM.

BlackCatfishMusketeer is about trust, doubt, closeness at a distance, worrying about your nudes being leaked, and fearing that you'll die alone and your cats will eat you. You meet someone online. All you know is their name and that they seem to like you as much as you like them. In fact, you think you love each other. But do you? Can you? What even is love, anyway? Maybe we not only don’t know, we can’t know; we can only know what love isn’t. So, let’s say what it isn’t.

What was the inspiration for this performance?

1. Blackcatfishmusketeer is the result of three impulses. First, I wanted to make something about uncertainty. Second, it had to acknowledge that uncertainty is nothing new, but that the internet puts it front and centre in interesting ways. Third, it had to not lean too heavily on any one interface or idiolect we currently all dig because they age very very quickly.

That film The Spectacular Now was just on the telly and misogynist; it was also made 4 years ago and all of the messaging interfaces already look dated. Our go-to line throughout the process has been that it's supposed to feel like the internet, even if it doesn't look like it.

Is performance still a good space for the public discussion of ideas?

2. If it ever was then yes! Performance can be a public discussion or it can spur public discussion. I don't know that I see any huge difference between the two. Is it a good space?

If so, how good? I don't know, but I'm tempted to quote Churchill quoting that guy no one's heard of and say that performance is the worst space for public discussion, except all the others. How good is it supposed to be? It's slower and in-depther than Twitter and faster and punchier than encoding poems in DNA. At least one of those has to be a plus. There's a lot of moving parts in this question.

Is it secretly asking whether performance is a good space given Everything In The World Right Now? That I REALLY don't know.

How did you become interested in making performance?

3. I was an art baby; my mother is a writer/director and my dad runs a contemporary dance company for boys. I failed to run away from the circus to become an actuary, so performance in some discipline or other has always been a part of my life. I think a bit of mishmash is healthy, it reminds you that discipline boundaries are squishy and it ultimately comes down to offering the audience something.

A Start From First Principles kind of vibe. Will there be music? Movement? Text? Whatever is needed. Reverse engineer the specifics from the desired audience experience. Which is not me throwing up my hands and saying Wahey Everything Should Be Collages All The Time, you can make a cake or cook bacon but a bacon cake is a bit weird.

Is there any particular approach to the making of the show?

4. It's hard to know how to characterise an approach, not least because MALAPROP have made our shows under very different circumstances every time. I suppose I'd say the key for us is to get everyone in a room. Rooms are the enemies no plans survive contact with. Rooms are where you learn to hate your great idea, and your other great idea, and that other slightly less genius but still totally genius idea, before the really exciting bit where you collectively hit on something that actually works and no one person could have arrived at by independent reckoning.

Does the show fit with your usual productions?

5. As above, we've made each of our shows under very different circumstances. Our first show was co-written, as are our third and fourth shows, so in that sense Blackcatfishmusketeer is the odd fish out. It's a script I sat down and wrote on my own, but it fits with the others in that the staging process was very collaborative. It also very much fits in with our stated ethos of work that challenges, delights, and speaks to the world we live in.

What do you hope that the audience will experience?

6. I hope that the audience will leave having laughed at least once and gone quiet so as to listen better at least once. I hope they'll think at least one new thought about their online life. I hope they'll go home and google at least one thing. I hope they'll realise two seemingly disparate things are actually connected, which is the experience I go looking for in art a lot. The title Blackcatfishmusketeer is a riddle posed in that spirit; watching the show equips you to figure out how and why those words belong together. They do, I swear.

What strategies did you consider towards shaping this audience experience?

7. I mentioned above that we tried to capture the feel of online spaces, not their appearance. The play itself happens in a number of real locations, none of which you see. Rather than showing the internet as it appears in real life, we show real life as it appears from the internet. We put the audience inside looking out. Similarly, the people in the show are known entirely through the things they do online. That's a partial image, of course, but it's interestingly partial.

There's also a character who talks the way we pay attention to things online; engaged but not exclusively, getting the idiosyncratic gist of lots of things rather than the whole of anything, passing that idiosyncratic gist on to the audience in an idiosyncratic way, leaning heavily on their presumed familiarity in that way that internet humour does. Encountering a meme for the first time is like walking into a room in time to hear the punchline. If you stick around and pay attention you'll pick up enough to laugh next time, and that's how we tried to have the show work.

Best New Play Nominee, Dublin Fringe 2016

BlackCatfishMusketeer

Production Credits Directed by Claire O’Reilly Written by Dylan Coburn Gray Set & Costume Design by Molly O’Cathain Lighting Design by John Gunning Performed by Catherine Russell, Aoife Spratt & Ste Murray Produced by Breffni Holahan & Carla Rogers

MALAPROP is a Dublin-based theatre collective that aims to challenge, delight, and speak to the world we live in (even when imagining different ones). Previous work includes: LOVE+ (Winner of Spirit of Fringe & Project Commission Award 2015), BlackCatfishMusketeer (Best New Play Nominee, Dublin Fringe 2016), and JERICHO (Bewley's Café Theatre commission 2017).

from the vileblog http://ift.tt/2thOUfY

#Theatre #Blogger #visual art #Edinburgh Fringe #Experimental Critique

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