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smallestclowninthecircus · 3 years

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Season 4 notes

Ep 121: mmmm tape recorder turning on without them knowing goes brrr. AAAhjhdsjfhjdf "do you mind if i call you jon" its like "can i call you elias?" is this the dream guy with the tendrils? who wants to bet the boat is captained by peter lukas? big man if it killed yall how are you still here. oh boy the tape is doin that thing. who do we think it is? did he wake up? hmm. ep 122: lol jon. 6 months!?!? bruh quit movin big man. he just Knows things sometimes you know how it is. nah b/c i can relate to feeling like other ppl/ things arent real, thats the biggest mood BUT i think it is kinda pretentious to entertain the idea that youre the only Real person. If you dont see a body dont believe it. i'll hold out hope for a bit. theres not a new archivist is there? surely i wouldve heard about that. oh god peter what changes did you make. ep 123: web development. hope its about spiders. she blames him. bruh why. if they hadnt done anything the world would've ended piss off melanie. why are ppl acting like he chose to be in a coma for 6 months. we know this they just appear. no longer "head archivist of the magnus institute, london" now he's just "the archivist" covered in spiders? cuz ik the spider has to do with controlling what youre doing and all this stuff but i cant think of how this connects to that. ep 124: ugh vertigo. is michael crew an old man? oooh. fairchild. how did he know it was martin? hmm. GRR I LOST MY NOTES AGAIN. FROM EPISODE 125 - part of 131. ep 131: bruh he's so hard to understand big man ur voice is so low. Jared Hotworth. the boneturner. "the ones i helped find their proper bodies" name a better top surgeon? our favorite trans ally? ep 132: woo field trip into the coffin! static lol. he says "chill out im just poppin in for a quick recall mission" is the rib thing actually gonna work? bruh it feels so odd and contrived but he's an odd man with some odd powers so idk. rip that archivist ayyy statement time. voices? recordings? are those tape recorders? was it the tape recorders? did they pull him back? i hope so b/c if the rib thing actually worked im gonna be so disappointed. ep 133: predicting the lonely? tundra. like the lukases. hmm. sanikova! like sanikov land. so its the hunt? i suppose? yeah. so daisy's clearly rejecting the hunt, which makes sense cuz she doesnt seem to like the entities that much. wait so are we just not gonna talk abt all the tapes playing on the ground?? no? ep 134: not an archival assistant anymore? Adelard Decker (or however you spell it) i recognize that name. 15th power. i was right there are 15. the extinction? im trying to remember what ive heard. oooh spooky. no i gotta be real i dont understand this fear but i'll believe you that its a thing. ew lukas is so squealy. lukas can turn invisible? oh boy. oooh martin put the tape recorders there. lol lukas is worried he's gonna be an avatar of the eye. ep 135: yoo its the third Daedalus statement! maxwell rayner (reiner? reigner?) i dont know who that is but ik its somebody. is he the cult leader guy? church of the divine host? 4 people?? what? did they kidnap somebody and keep them up there?? oh dear jon are you dying? did he try to See or Know or whatever? why does everyone call basira detective lol. ep 136: he was the one from the spider movie that ate ppl right? the special effects artist? is it annabelle cane? "its a joke jon" lol. hmm they wanted to record the therapy session with melanie? i wonder who that is. i almost wanna guess annabelle cane but im not sure. ep 137: this is the one! he went to the other place and read the war statement but it wasnt the one she took. not the music again. sounds like the slaughter. who the heck is eric lol. "the watcher's crown" like the crown of eyes we saw in the piccrew ep 138: oh boy Robert Smirk time. is that elias? as unhelpful as usual. if new powers can be "born" can others die out? did jonah magnus wear the watchers crown? maybe they were born from our fear or maybe our fears were born from them. ceaseless watcher does ceaselessly watch so. idk what you want

big man. yeah jonah for sure did something. ep 139: agnes!! lol that one dude threw off all their plans thats so funny. BUT this does tell us something. the tree in the backyard of the hilltop house? not made by her. it going down didnt kill agnes. im guessing gertrude tied agnes to the house using the tree? u good jon? cuz every time you try to Know smth intentionally it seems like it causes you great pain. how come he can do it accidentally with no problem but the second he wants to know smth of plot relevance he gets a headache or whatever ep 140: lol pagan exultation. classic. "oh thats my rib" lmaoo. ppl are always so mad at jon and his Eye powers except when it benefits them. they're like "oh you shouldnt do that its not right" and then all of a sudden they want to know something and its all "oh cmon jon its the only way" ep 142: oh god jon what did you do. its interesting she's giving her statement in the way that they do when jon Asks. did he see her in the Coffin? and so he's following her? ok cmon jon you're supposed to let them come to you. lmao ikr martin. "start to hear the blood" "suure." lmao ep 143: lol that awkward moment when gertrude is already dead. big J if you die im gonna kill you. bruh. ayo helen? i guess it worked? ep 144: lol this reminds me of that one edgar allan poe story where he kills the old dude with the weird eye. spooky music stuff. lol thats my favorite symptom of a heart attack its hilarious. so its smth abt the location probably? bro i feel like you should write down the numbers idk. 162830165049 564846474827. seems like the distortion? like the kinda thing that causes you to go crazy because of the numbers. oh boy is it the extinction again. bro what?? im?? his dad just died and he's like eh. martin dont be mean. he's being all lonely again. big man ur pushing ppl away. oh god its fucking squealy boy. ep 145: that almost sounds like breekon/hope... Arthur? agnes. aah was he from the lightless flame cult. a tree. lol he's just ranting rn. hehehe fuck landlords amirite. yay someone tells jon outright to go to therapy. now do it big man. ep 146: oh great! the distortion! i'm making a spiral themed building in mc right now! jon maybe accept you did a bad? nah this goes back to what i said before. they're fine with him compelling ppl when its convenient for them but otherwise its "no jon you cant, youre a monster jon" the tapes didnt turn on. i spose that means its not important? i agree with daisy, this seems unecessarily dangerous. ep 147: is that a tape? the first tape? well that went better than i expected tbh. BAHAKJASHDJKF she did the "can i call you jon" like nikola says "elias, can i call you elias?" damn annabelle is such a girlboss. oh! the one thing from the picrew. its been a while since ive connected smth to that. lol all the other avatars always talk abt their patron so lovingly and the jon just. absolutely hates the eye. ep 148: lol thats the most elias thing. "i just like the way it sounds" ep 149: did he disappear? bruhh. ur lonely powers are popping off i guess. oops i accidentally deleted my notes for 150 - 152 ep 153: thats the cult right? yeah. it doesnt sound like the church of the divine host? idk. if it is the church of the divine host then they worship the dark right? so is the eleventh the dark star or wtvr? it almost sounds like the corruption b/c of the oil or grease or whatever. oh dear what happened. oh its the hunters. theyre so annyoing. not an "it" he has a name. he's a person. is this a page from the skin book? ep 154: oh shit this is gerry's dad! oh shit he quit! oh dear god. jon don't you do it. haha martin. yeahhhh... is he gonna tell the others? cuz you know theyre gonna get mad if he doesnt. oh also picrew connection! the bandages over the eyes? yeah thats this im guessing. ep 155: oh good he told them. oh my god what did you do. lol i have no mouth and i must scream. nah you get none of my sympathy you're straight up murdering ppl. its like the desolation, destroying lives to sustain your own. ok but taking their statements doesnt

kill them. oh... bye melanie. ep 156: lmao imagine if the tape recorder spoke back. oh boy decker! i swear we got a statement from him already. oh god mirrors scary. They're gonna eat the body arent they. Yup... sounds like the flesh or the slaughter, but I'm not sure. Could be the extinction for sure. Smth at the center! Like Helen mentioned. God Peter you dick. Ep 157: peter's just so :/ another decker statement i see. a statement about the corruption? hmm. maybe its not abt the corruption. the extinction. lol pandemics. topical. John Amherst. helen? lol i can hear admiral purring in the background. oh cmon helen dont be like that. im trying real hard to like you but you make it so difficult. ep 158: did they fucking free the stranger? im gonna lose it. you absolute dumbass. im sorry who is that? jonah magnus? my guy. peter. you absolute dickhead. that's elias. (im p sure i had this spoiled for me that elias is jonah) oh dear this is her death. god peter you prick. i hope this is a pop off martin moment and not a "martin you idiot" moment. i hope the hunters kill the stranger entity. or she kills them. furry daisy pop off! yeah fuck you peter martin can make his own decisions. you know that clip from Twisted where jafar says "ok what the fuck was that" martin D: ok like i know its gonna work but still D: D: ep 159: peter you bitchboy. because if im alone i cant hurt anyone else. imnotgonnacryimnotgonnacryimnotgonnacry do it do it do it do it. pop off jon. ok its a pretty good idea for a ritual i gotta be honest. she didnt even have to blow it up lol. oh dear that was certainly a noise. "he gets you" did he not have jon already? he's back! our boy is back! awwww thats so cute. ep 160: oh right this is the thing in the safe house. i love him. "obviously im going to tell you if i see any good cows" martin my beloved <3 :)) oh boy who is this. fuckin. people. jonah you dick. gahh. you can tell he's trying to resist so hard lol. ohh. hehe keep an *eye* on him. altho if the extinction is a real thing he needs to be marked by that right? lol he sounds so intense im sorry- i want martin to just burst in and be like "look at this cow i saw!" its so dramatic and for why.

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that-one-girl-behind-you · 4 years

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Illicio 11/?

Part 10

Gerry gives a dry, humorless snort as he sits up on the chair, and Jon lets go of his face to give him more movement. "It's- she was fond of me, she says." Jon stiffens, when Gerry's forehead lands softy on his stomach. "Where was that when she was making my page?"

"...I don't know." Jon whispers, bringing his arms to rest across Gerry's shoulders. "I- there are a lot of things I don't understand about her."

Gerry's arms tighten around his waist. "Of course. Night and day." His voice is muffled against Jon's sweatert, his breath filtering through the fabric, searing hot against Jon's skin.

"You loved her." Jon says, not really asking what he already knows.

"It didn't matter, in the end." Gerry snorts again. It sounds like it did. Like it does.

The fact that the Institute building is so beautiful when it holds so much horror is both very fitting and very jarring, Georgie thinks.

Once you know what you're looking for, you can see the subtle eyes carved amongst the leafy motifs wrapping around the exterior pillars, and the unnerving gaze of the rounded window above the double oak doors.

She doesn't go too close despite the pouring rain, preferring instead to lean against a lamppost across the street and text Melanie that she's already there. This is how she gets a first row seat, partly hidden behind her large umbrella, when Jonathan Sims comes down the street towards this terrible place.

With him is a man she's heard plenty about, tall and broad-shouldered, with long black hair and blue-green eyes. The hand he's not using to hold an umbrella above their heads is deep inside the pocket of Jon's coat, along with his own; Jon is leaning against his arm in that way Georgie knows means he wants you to hold him closer.

That last thought draws a sigh out of her, as the two men draw closer to the Institute. Jon has always been a complicated subject, but he's so much more so lately. Georgie loves him, but she's also terribly aware that every time she allows herself to care, she comes out burned. Just earlier this year she had to sit by his bedside wondering if he would ever wake up again, and if it would really be better if he did.

They seem to be saying goodbye now, and Georgie can feel the tension from here. Jon is tilting his chin up and slightly to the side, but also leaning slightly away from the man, who's leaning towards Jon, but retreats after a moment, taking a deep breath. Jon lets their hands fall apart as he climbs the steps towards the Institute. The man watches him disappear behind the door, and Georgie starts crossing the street.

"Hey." The man doesn't flinch at her voice, and Georgie wonders if he knew she was watching. "You're Jon's Gerry, right?"

The man snorts with a hint of resigned humor. "Yeah. I guess that's the only of putting it. You're Georgie?"

"The very one." Georgie nods. "Melanie has told me about you."

"Has she? I'm almost afraid to ask." Gerry smiles at the name, and Georgie finds herself mirroring it. "You look well. Jon will be happy to know."

Georgie sighs. "Actually... please don't tell him you saw me."

"Oh?" Gerry arches an eyebrow.

"I don't- we're not really talking anymore." Georgie shrugs. It's painful to say aloud, because Jon grows on you, with his rare smiles and his quiet gestures of love. Every time she lets him back in, it's a battle to rip him out.

"Huh. I thought he'd stayed with you last year while-"

"While the police looked for him, yes." Georgie crosses her free arm over her chest.

"That's... you do know he didn't do it, don't you?" Gerry frowns.

"Wouldn't have let him into my house if I didn't believe him. I just-" Georgie's gaze drifts towards the Institute. While it -like anything else, really- doesn't inspire any fear in her, she can hardly ignore what she knows about it. "I don't really approve of his decision to stay involved in all of this."

Before her, Gerry stiffens. "Excuse me, his what?" His eyes harden.

Georgie scoffs. "I'm not sure how long you've been here for, but Jon is very self destructive."

"Oh no, trust me, I know." The man shakes his head, and Georgie knows there's a story there. "But calling it his 'decision' is-"

"Listen, I'm not interested in discussing it," Georgie says, shaking her head. "I saw Jon recording his creepy stories even when he didn't have to, when I asked him to stop, and now Melanie's trapped here because-"

"Because you brought her here," the man snarls, and Georgie freezes.

"Excuse me?" she asks, her voice low and dangerous.

"Wasn't it you who told her where to give her statement? You're flinging a lot of bullshit accusations around for someone who doesn't even know-"

"Georgie?" Melanie's voice drips down on them colder than any rain could be. "Gerry? What's going on?"

Gerry's face does soften when he looks at Melanie, who descends the stairs and slips her hand into Georgie's like a reverse of the scene she just witnessed from across the street.

"Nothing. You should talk to her." He turns around then, and starts the walk back up the street, without a single look back.

"...What happened?" Melanie asks, squeezing her hand and looking up at her with a frown.

Georgie forces her body to relax, the man's last accusation still echoing in her mind. She looks back at Melanie, taking in the worried curve of her brows, the raindrops shimmering in her hair, the bags under her eyes from the nightmares. She loves her, Georgie thinks, she has for a while. Was this really all her fault?

"Melanie?"

"Yes?"

Georgie knows, really, that it is her ignorance as well as her lack of fear that has kept her somewhat safe from this world her loved ones move in; it's becoming increasingly difficult though, to stay that way. "I need you to tell me everything."

--------------------

"What are you thinking?" Melanie asks, reaching a hand to intertwine their fingers together. "It's a lot to take in."

"It's true." Georgie looks down at her cold, untouched meal, replaying Melanie's story in her mind. "If I hadn't suggested you give Jon your statement-"

"Elias would have found me some other way," Melanie says immediately. "I- it's not even like I was marked already when I first came to the Institute. I think what really matters is that I came back, once I was. It's- really, nobody forced me to go around looking for more ghosts, Georgie. I just had to know. The Eye... it really is subtle."

Georgie runs a hand through her hair. This is- all of this, it's too much. "Is there really no way to stop it?"

Melanie pokes at her own half-eaten panini. "Not- I mean, I'm not controlled by the Slaughter anymore. But I signed the contract. That's- as far as we know, we're trapped in there. Jon says he and Daisy sort of were human again when they were in the coffin, but that's another dimension. I don't think there's a way to break it, not while we're alive."

She mulls this over for a moment. So... so Jon wasn't just being difficult when he said he couldn't stop recording the statements, or when he got his hand burnt. He- it's like all the frustration she's been harboring towards him the past year has congealed into a viscous, disgusting knot at the bottom of her stomach.

'You don't even have the credentials to be the head archivist', Georgie had said. It's terrible to know that that's probably the reason why Jon was offered the job in the first place. Jon, who's always doubted himself, and overcompensates by throwing himself head-first into things. Almost too easy, like throwing a stray dog a sausage stuffed with crushed glass, and watching it die painfully because it gave in to the need to eat.

"You don't have to just... like him again, you know?" Melanie reaches out to lay her hand on Georgie's. "I don't. I just- this is Elias' game."

And yet the only thought in Georgie's mind is that she left the hospital room without saying goodbye, and the dozens of unread texts and ignored calls in her phone. The fact that they stopped coming, when it became clear they weren't well-received.

"I- let's talk of something else, please," Georgie mutters, nearly begs. Were the nights on her sofa the last peaceful rest Jon had? "Did- did I show you this picture of-"

"Georgie, you're shaking-" Melanie mutters, and Georgie's voice cracks. "I- tell me what's wrong. Please."

But she can't, can she? Distancing from Jon was the right decision, even he probably agrees with that. Still, Georgie can't get rid of the feeling that Jon was reaching out a hand while he drowned, and she just watched him go under.

"I just- I need a moment. Please."

She doesn't look up when Melanie moves her chair beside her, but Georgie does lean into her embrace. This at least she's sure of.

"All the time you need." Melanie says, patient in a way Georgie knows is non-existent with anyone else. "I'm here."

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Everything feels different about statements, lately.

The ones at the Institute never feel like the ones he gets fresh off the source, of course, but even reading those old stale ones, or listening to Gertrude's recordings, bring forth a barrage of information that leaves Jon feeling as though he just finished a well-seasoned meal.

Exactly ninety-eight prisoners were 'freed' from the Japanese encampment by the Nemesis. A hundred and twenty two Japanese soldiers killed each other to the beat of the drums, and some of their hearts were still beating as their recently liberated prisoners stepped over their bodies to go meet the boats at the shore.

Leonard Holden's last thought, as he twisted Milton Gallagher's neck, was that the commander officer was right, and this was really just like killing chickens back at the farm. When the bayonet first stabbed into his back, he let out not a scream of fear, but the bestial bray of a pig after you slit its throat. He never stopped tapping his feet to the Piper's music.

He barely registers the sound of his door opening and closing, his eyes focused -but unseeing- on the tape recorder on the desk.

As Gertrude moves on with her suppositions, Jon can See the Spider's webs all over the Nemesis, obscuring it from those who could have fed more violence into its fire.

"Doesn't help with the Unknowing, though," Gertrude says, and Jon gives a bitter smile, leaning back against the wide, warm hand that comes to rest at his nape.

"I don't suppose it would." Jon brings a hand of his own to cup the back of his neck, and Gerry intertwines their fingers together.

"Dekker always did have fun ideas," Gerry chuckles.

"Gerard may have a connection to the Eye, but I'm not sure it's enough... besides, I must admit I've grown fond of the boy."

Oh shit.

Jon scrambles to stop the tape, but Gerry reaches it first, and puts his weight on Jon's shoulder to keep him from getting up.

"Gerry, don't-"

"I do wonder sometimes, if I should tell him about Eric. He might decide to follow in his father's footsteps, but it's not like it did Eric any good in the end... Anyway, point is..." Gertrude continues to ramble on, but Jon couldn't care less about what else she has to say as he pushes his chair back. Gerry's grip on his shoulder has grown lax, as he stares at the tape recorder in his hand with a raised eyebrow.

"Gerry-"

"What does she mean, my father's footsteps?" Gerry's eyes, confused and hurt, fix on his when Jon climbs to his feet. "Jon?"

"I- I don't know." Jon closes his eyes, but the Watcher won't volunteer any information. He digs harder, but is only shoved back with the same ferocity with which knowledge is forced into his head. "Gerry I- oh!"

When he parts his eyelids again, twin streams of ink are flowing down from Gerry's nostrils, and Jon wipes at them with his sleeve.

"Your shirt-"

"Stop it," Jon snaps. "What makes you think it will let you Know, if it won't let me? Sit- just stay still already!" he bats away at Gerry's hand, pulling and pushing at him until Gerry's sitting on his chair and Jon stands between his legs, dabbing at the still flowing ink. "Stop trying to-"

"Jon, I can't!" Gerry snaps, wrapping a hand around each of Jon's wrists to pull them away from his face. "Do you even- what does she mean?!"

"Gerry, I don't know." Slowly, very slowly, Jon moves his hands to cup Gerry's face; his eyes are still unfocused, his breathing wild, and the ink is starting to run down his neck. "Please stop. You're hurting yourself." Jon's voice is very nearly begging, but he couldn't care less because Gerry's eyes finally focus on him.

Gerry lets go of his wrists, and Jon's heart skips a beat when his hands come to rest at Jon's hips almost tentatively.

"Doesn't-" Gerry starts, then clears his throat when his voice comes out hoarse and rough. "It's not fun when it's someone else, huh?" he asks, his breathing still coming in long, shaky pulls.

"I- I suppose it's not." Jon slides his thumb over Gerry's cheekbone in an awkward gesture that he hopes transmits comfort. "Are you alright?"

"...I don't know." Jon whispers, bringing his arms to rest across Gerry's shoulders. "I- there are a lot of things I don't understand about her."

Gerry's arms tighten around his waist. "Of course. Night and day." His voice is muffled against Jon's sweatert, his breath filtering through the fabric, searing hot against Jon's skin.

"You loved her." Jon says, not really asking what he already knows.

"It didn't matter, in the end." Gerry snorts again. It sounds like it did. Like it does.

Jon digs a hand in Gerry's hair at the base of his neck, a mirror of the gesture Gerry uses on him all the time.

"I think it matters. I- I don't think Gertrude could afford to care, Gerry, but these recordings- they were for her." She couldn't have expected anyone would find them in her mess of an Archive, for sure. "She cared for you."

Gerry flinches like the words are yet another blow, and Jon tightens his grip on him, this man who only ever wanted to do good with his life, and who was hurt in return every time.

This man who is his now, something dark and slithery whispers at the back of Jon's mind, to correct the damage, to protect and comfort, if only he was powerful enough.

It's really hard to ignore the Beholding, when it speaks Jon's thoughts aloud.

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Martin waits until the woman leaves, before he heaves a long, tired sigh.

This is... Less than ideal. He gives the whirring tape recorder an accusing glare and a shake of his head.

"Don't just 'brrrrr' at me. What are you doing, Jon?" he snaps. "Are you just- preying on people now? What am I supposed to do with this?!" He can't give it to Basira or Melanie, they'll kill him before they give him a chance to explain. Martin runs a hand through his hair.

There is someone else isn't it?

It's a dreadful thought, but after talking to the- to Jon's victim, he feels human enough to realize it's the Lonely feeling it, not him. Gerard is... whatever he is, he's helping. With Jon.

Martin pockets the tape recorder, and locks the door to Peter's office before starting down the corridor. It's relatively easy to follow in the specific direction the Lonely doesn't want him to go, but Martin feels another, lighter pull against his destination that he suspects might be the Eye.

"Of course you'd prefer him to keep doing it, wouldn't you?" Martin grumbles, glaring at one of the carved eyes in the masonry. "Well-"

"Are you talking to yourself?"

"Jesus!" Martin flinches, turning in time to see a smug smirk spread over Gerard's lips. "Could you stop doing that?!"

Gerard lifts both hands in surrender, his smirk still there and not apologetic in the least. "Sorry, sorry. It works just fine to get a bit of color back into you, though."

Martin huffs. "Well, don't. Anyways, I was looking for you."

"You were?" Gerard raises an eyebrow. "Got another Extinction statement?"

"No, actually..." and now that Martin has him before him, he's not really sure of how to put this into words. "Its- Jon has been taking statements," he says, shoving the tape in his direction. That's probably easy enough to understand right?

"O...kay? That's his job, isn't it?" Gerard does take the tape, but he's still giving Martin a quizzical look.

"No, I- he's- Gerard, he's been looking for statements. From people who don't come to the Institute to give them." And that's when he seems to catch on, because he grimaces, and lets out a low whistle. Martin nods. "A woman came to my office today, he- I think he compelled her."

Gerard looks down at the tape in his hand, the slightest curl of distaste at his lips. "How did she look? Was she...?"

Martin sighs again. "Said she's been having nightmares."

"Yeah..." Gerard shakes his head slowly. "That tracks."

"I just thought... he'll listen to you," Martin says, every word a little sting in his chest.

"He'd listen to you too," Gerard frowns, "I know you don't want to talk to him because of your isolation thing, but I think it would be better-"

"He loves you," Martin says simply. Like ripping a bandaid, if ripping a bandaid felt like tearing your skin off. He misses the numbness of the Lonely a little, but it's very unlikely he'd be able to call on it right now, not with Gerard right here.

"Whoa!" Gerard's eyebrows shoot up again, and a nervous chuckle escapes his lips as if it's been punched out of him. Martin doesn't miss the color rising on his face, and his lips twitch. "That's- you don't know that."

Martin rolls his eyes. "Gerard-"

"Actually, can you not... call me that?" Gerard interrupts. "It gets on my nerves. Just... Gerry's fine, alright?"

"Oh." Martin blinks. "Okay? What does that have to do with this?"

"Nothing. I just- listen, I've spent every single moment since I was brought back to life hearing about how bad Jon has it for you." Gerry pockets the tape recorder, and Martin wonders if it's really alright, that they went from talking about Jon's victims straight to discussing which one he's in love with. Maybe Peter wasn't that far off when he called the Archives a soap opera. "And it's very frustrating when you keep being as obtuse as possible about it."

"I can't exactly do anything about that, can I?" Martin rolls his eyes. "I'm supposed to be isolating myself to- to save humanity or something, and like we established before, he has you, so-"

"There's more than one way to do these things, you know?" Gerry speaks over him, and Martin has to stop on his tirade due to choking on absolutely nothing. Gerry pats him on the back, and Martin bats his hand away, face burning.

"What is that supposed to mean?" Martin asks.

Gerry groans. "You're impossible. I'll talk to him."

He stomps down the stairs to the Archives, and Martin stays there, mortified, confused and a bit exasperated, which is apparently becoming his usual state after any interaction with Gerry.

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"I know you've been feeding." Gerry says once they've sat down at the café, because there is probably not a good way to tell the man you're in love with that the man he is in love with had to come to you so you'd ask him to stop feeding on the fear of innocents.

Across the table, Jon pales immediately. "I- how?" he stutters out, and Gerry wants more than anything to reach over and lay a hand on his to reassure him, but there are things that must be said first. "Who told you?"

"Martin did. He... there was a tape. Apparently someone came in to complain." Gerry reaches inside his jacket, only to find that the pocket is... empty. "Huh. Wait."

He pats the other pockets, as well as the ones on his jeans just in case, but the tape is just gone. Gerry frowns, confused, until the very clear memory of a yellow door at the bottom of a drawer pops up in his mind, and he groans.

"Why- what would Helen want that tape for?" Jon asks, and Gerry frowns at him when his eyes start to give off the faintest green glow.

"Don't do that. That's exactly why we're here, Jon."

"I- yes. Sorry." Jon sheepishly lowers his gaze to the table. "I... know. I know I shouldn't have done it," Jon sighs. "I just..." his elbows come to rest on the table, and he buries his face in his hands. He looks... small.

There are places of power, for people aligned with the Entities. Mooreland Manor for the Lukases, Ny-Alesünd for the Dark's freaks, and Gerry can't even think about Hilltop Road without getting a headache.

The Archives are like that for Beholders; Elias is never as powerful as he is when sitting behind his desk, but Martin put him in jail and that means Jon is the biggest dog at the Archives now. Here at the little coffeeshop, however, apologizing for his very existence, Jon has never looked more frail. It's a relief, really. He doesn't know what he'd have done if Jon had reacted differently.

It means he's still Jon, even after all that's happened.

When Gerry reaches out to lay a hand on his shoulder, he's half afraid Jon will crumble to pieces under his fingers. Instead, the man's desperate gaze is aimed straight at him, and Gerry's relieved to notice it's not the bright green of the Archivist's eyes, but the sweet dark brown that looks at him over the edges of books at home.

"I don't know how to stop it. I don't even know why I'm doing it. It's- I don't want to hurt people." Jon says in the strained tone of a confession. "I- before the coffin, I knew I would need the strength, it was for Daisy. But after that I've just- it even made the statements a bit better, because I can Know more things about them-"

"Makes sense. Feeding regularly would make you more powerful." Gerry observes. Jon flinches back like the words had been a strike, and Gerry gives him a sympathetic shrug. "It's what you're doing; it's what Avatars do. At least people survive when you feed from them."

"That's... not helping." Jon's face looks pinched.

"No. I don't suppose it is." Gerry squeezes at his shoulder.

"I just- maybe I can live off of statements alone from now on. It's- they don't really.... but it's better, isn't it?" Jon asks, with the same fervor of a child insisting they can fix the toy they just broke.

"You don't have to stop." Jon's eyes widen at his words, narrowing in suspicion just a moment later. Gerry rolls his eyes. "Yes, yes. You do have to stop feeding off of innocent people, that's not debatable. I wouldn't let you, either. It will only make you change faster, and I'd like to think that's not what you want."

"Of course not!" Jon snaps, shrugging Gerry's hand off his shoulder with an indignant huff. "I don't- that's the opposite of what I want!"

"Mhm. Thought so." Gerry nods. "Feed from willing people, then. People who won't be afraid of you." Jon's face is still fairly flushed after his little outburst, and Gerry has the sudden, very distracting thought that he would very much like to kiss him. But he's got a purpose, at least for now, and most importantly, he doubts it's the purpose the Eye had for him. "Feed yourself, not the Watcher."

"I don't- is that how it works?" Jon frowns.

"Maybe? It can't hurt."

"That's- I don't think people like that exist, Gerry. Should I only take statements from Institute employees now? Basira won't hear of it, and I won't ask Daisy or Melanie. I'm not going to-"

"Well no, not them." Gerry feels a smile tugging at his lips. Jon is ridiculously blind sometimes, for someone on the cusp of becoming quasi-omniscient. "Start me off, come on"

"...What?" Jon asks, and Gerry doesn't bother holding his grin back. "Gerry, what on Earth are you-"

"Yeah. You know...." Gerry schools his face into stern determination and forces his voice into a deep, affected accent. "Statement of Gerry Keay, regarding-"

"Are you crazy?!" Jon snaps. Gerry doesn't miss the new hungry, predatory gleam in his eyes. Maybe if Gertrude had reached this stage of becoming the Archivist, Gerry would've had an easier time mistrusting her; but then again he's literally just offered himself up as a meal for Jon, so maybe his self-preservation instinct is just not great. "I'm not going to take a statement from you!"

"Why not? I've got them in spades." Gerry shrugs.

"Haven't you heard what happens to my statement givers?!" Jon insists, but Gerry can see his hands shaking, white-knuckled around the edge of the table. A dog before a steak that he knows he's not allowed to have.

Gerry chuckles. "I have nightmares all the time, Jon. This would just be choosing which episode I get to watch. And honestly? Having you there will add a bit of novelty, if you ask me."

"Novel- are you mad?" Jon is shaking. Gerry wants to hold him close and whisper in his ear about the time he set a Vast avatar on fire. "Gerry, you don't want me in your dreams, trust me."

Gerry leans an elbow on the table, resting his chin on his hand with a smile. "Maybe I do, you don't know that."

"Gerry!" The result is just as he expected, Jon goes red from neck to hairline, and Gerry gives him a wink. "I- that's-"

"Oh my God, he's flirting with you, you absolute moron," comes a new voice from somewhere next to their table. "No wonder you never noticed Martin wanted your sorry ass."

Gerry turns to face the newcomer, and his mind flares with alarms when his eyes land on the man's and the only thing he can see is fire. He was marked by the Stranger once, and the Eye as well; both marks have been burned away though, and they remain in his soul only as a reminder, with no real pull over him.

"Coffeeshop date and everything, statement included? You're getting lucky, Boss." The man speaks again, fixing Jon with an amused smirk, like this is a shared joke between them. Gerry can feel the temperature rise around them however, and see the barely concealed anger in his eyes.

It's not a look Gerry specially likes on a Desolation avatar looking at his Archivist.

Jon's face that was so flushed with color just a minute ago has gone pale, and Gerry tenses in preparation for a fight.

"... Tim?" Jon's voice is soft, almost... hopeful. After a moment though, his brow furrows, and his next words are grave and laced with a compulsion so heavy Gerry can taste the resentment as the words flow into his core. "Are you the real Timothy Stoker?"

The man's face contracts into a bitter mask as the compulsion washes over him. His body stiffens and his shoulders tense as he tries to resist the pull, but he fails, of course.

"Thought I'd hate it less now, but it's still the fucking worst." The man rolls his eyes, letting out a huff of steam. "I am. At least as much as you're, you know... you."

"The Desolation claimed you-" Jon doesn't really ask now. "At the Unknowing?"

"Big fan of my work, it looks like." Tim shrugs. "They buried my remains you know? The Desolation turned the whole grave into a cremation chamber for me to wake up. Climbed out just like that; I think I'm made of ash now."

And… yeah, that would explain the random fires they've been hearing about.

"So- so you're..." Jon starts, stops and clears his throat. "You're what, an avatar now? You're lik-"

"Boss, if you say 'like me' I'm going to punch you," the man interrupts him, and Jon's face tightens in pained recognition, like the threat of violence is much more credible as a confirmation of this man's identity than a compelled confession.

Maybe it is, and Gerry feels a burst of unreasonable irritation at the way Jon looks at his former assistant like he's both a ghost and a miracle, when Tim looks at Jon like he's a bug he'd like to step on.

"Tim... why are you here?" Jon asks. The compulsion is subtler this time, but still there.

"Honestly?" Tim asks, like he has any other choice. "I'm not sure. When I woke up, I wanted to see how the others were. Martin at least. Melanie, maybe. And..." he purses his lips, but doesn't manage to keep the rest of the words in. "I wanted to hurt you, if you were still alive."

Gerry stiffens in his chair, ready to hop up as soon as the man moves too abruptly. Across him, Jon looks... resigned. Like he'd known the answer before he even asked the question.

"Ah. Yes I- I can believe that." Jon sighs. "Are you going to?"

"He can certainly try," Gerry responds before Tim can even open his mouth, because he's getting sick of seeing Jon grovel for this guy's abuse.

"Gerry-"

"I'm not a hunter, but I've put out some fires before." Gerry speaks over Jon this time, his eyes fixed on Tim. He makes sure to lean back on his chair, and leave his chest open. Show this man that whatever fear he came looking for, he's not going to find here. "Molina died just fine with a scalpel."

Tim frowns, and much to Gerry's displeasure, looks much more confused than he does concerned. Something seems to click in his mind, because his eyes go the size of saucers, and he whips around to face Jon again.

"Gerard Keay?! The Gerard Keay?" he asks, and now it's Gerry who's confused. How does- "You're getting your freak on with the angry goth that shows up in every other statement? Isn't he supposed to be dead?"

Oh.

"I don't think either of us have any right to criticize anyone for not staying dead." Jon frowns. Gerry feels his mouth dry up; that's not the part he expected Jon to take issue with. "Now answer the question, please."

"Oh? Why don't you try your thing again? Don't really want to know?" Tim arches an eyebrow in challenge.

Jon rolls his eyes. "I know what you think of me, Tim. I'm not going to-"

"You literally just did it."

"Because I didn't know if you were... something else!" Jon snaps "I wanted to know if you meant harm to anyone in the Arch-"

"Oh, so you're the watchdog now?" Tim takes another step towards the table, and Gerry's napkin begins to smoke. "You keep everyone safe, you protect them?" He asks. His words are laced with mockery, striking like a cracking whip.

"I try-" Jon stutters angrily, only to be interrupted once more.

"Well isn't that great? You're definitely good at that, Boss, it's not like you've gotten what? Four people killed already?" Tim snarls. Gerry puts his napkin out with a couple pats, but he finds himself realizing he's not too worried. Desolation avatars know how to destroy. Tim could probably send the entire shop up in flames so hot only he would survive it, but he clearly doesn't want to. "They must be so reassured that you're taking care of them, Martin must be over the-"

"Shut up!" Jon's voice cuts cleanly through Tim's, and Tim's mouth clicks closed as static builds up around them. "I'm- I tried Tim. I did- I am doing my best to fix what I did wrong. I'll be the first to admit I- I made mistakes. And I know you won't forgive me, but- but I'm done. I- I'm done with begging you. What was it that you told Elias while I was gone? Either kill me, or-"

"Or fuck off" Tim nods. His eyebrows are arched, and when he speaks again his voice carries a hint of reluctant admiration. "Grew a pair while I was away, huh? Bit too late. If you ask me."

"Tim-"

"Yeah. Yeah, whatever. I'm not... I should hurt you." Tim shrugs. It's stilted, too tense when he's trying to look casual. "But I don't want to. I think that part died too. The real me, you know?"

Jon's face goes from closed off to hopeful so quickly Gerry cringes a little. Whoever this man was -is-, he's... important, for Jon. Whether he likes it or not.

"So you-"

"I don't want anything." Tim rolls his eyes. "Well that's a lie. I want to destroy things. See the world burn and all, you know the drill. But I don't- Just stay away from me, Jon."

Jon flinches at his name, almost as if 'Boss' had been a quirky nickname and not some sort of mockery. Gerry guesses it could have been, and the thought makes him like it even less.

"Those are some bold words, when you were the one that came in here." Gerry arches an eyebrow, his hand balled over the smouldering napkin.

Tim rolls his eyes. "I figured I'd decide whether or not I wanted to melt his face off when I saw him," he says. "Wouldn't get too close if I were you. People who care for him don't end well."

He walks away without waiting for a response, and the air around them begins to cool down immediately. Gerry watches his back until the coffeeshop's door closes behind him.

"Do you want me to go after him? I can- Jon?" whatever he was going to add fades from his mind when he looks back.

If Jon had looked sad when apologizing for feeding, now he looks... miserable.

Gerry knows all too well he's not built for comforting people. He can protect them alright, but there's a lack of action inherent to comfort that always manages to make him feel like he's doing everything wrong, like he should be doing something to fix the problem instead of just being there.

Maybe it should've been Martin who brought Jon here, Gerry thinks bitterly, because he would fight the world for Jon, but what good is it if he cannot make things right?

"... Do you want to talk?" he asks. That's how this is done right? Communication, catharsis, comfort. He can't fuck up a simple formula.

Jon looks up at him, a hand buried in his tangled mess of hair. His eyes are still shiny, but less with the thrill of a potential statement, and more with something Gerry doesn't want to even think about.

"Tim was my friend," Jon says, and he seems to grow even smaller as he talks. "He moved to the Archives for me."

"Jon..."

"Guess this is the best outcome there could've been. At least he's free now."

-------------------------------------------------------------------

Martin notices the melted doorknob as soon as he walks up to his flat door. It's not a great sign, probably, but also not something he's really in the mood for dealing with after the day he's had.

The Lonely kept coming and going at random today, and the complete numbness of it coupled with the bursts of intense emotion when he found his mind clear of it were exhausting.

"Whoever's in there-" Martin calls as he pushes the door open, careful to not touch the still warm metal "-I'm really tired. Please just say what you want, and go?"

The flat is completely dark, and Martin's eyes latch on to the two burning embers that he guesses belong to whoever came to kill-

"Dear, sweet Martin, telling the entities to behave. Things really have changed, haven't they?"

The voice crashes against him like a wave, terrifyingly familiar and entirely too disorienting; Martin leans heavily on the table by the door, knocking his mother's picture back. The warmth and the slight hint of humor contrasting with the raw bite of the words.

"T- Tim?" Martin gathers himself enough to flick the lights on, and sure enough there's Timothy Stoker, leaning by the door to his kitchen.

He looks exactly like he did the day he left for the wax museum with Jon; the scars from the worms littering his skin, the artfully messed hair, the confident curve to his lips. The only difference is his eyes, two burning coals in the middle of the much beloved face.

"Surprise," Tim says, elongating the word so much Martin can see the sarcasm bleeding off of it. "Turns out my old flat is not mine anymore, who knew? I'm going to need a place to crash for a while."

"I don't- how are you here?" Martin asks, still holding to the table for the stability that seems to have fled his world so suddenly. "You were- we buried you! Is- is it really you?"

"I had my doubts." Tim shrugs, making no move to get closer. "But I said I was when Jon asked, and it's not like I can lie to him, so I-"

"Jo- you went looking for Jon?" Martin's heart skips a beat. That can't be a good thing, that- "did you hurt him?"

Tim laughs at that, long and loud and bitter in rivulets of steam that raise from his parted lips.

"I should've known. No, Martin, I didn't hurt Jon." He says, his voice curling venomously at the name. "I wanted to. I really did. But when I was there, I-" his mouth moves around half formed words that he can't seem to give voice to, and his eyes flare up bright enough that Martin sees the glow even with the lights on.

"You couldn't." Martin blurts out when the revelation strikes, and Tim flinches. "I- that's- not that that's a bad thing, but Tim-"

"He compelled me, you know?" Tim spits out. "At the Unknowing. I was going to give her the detonator, but then he asked me to look, and I was so angry at him that everything was clear for a moment. And I killed us."

Martin takes a small, careful step towards him.

"You saved the world, Tim."

And Tim looks up at him, with a humorless smile.

"All I wanted at that moment was to kill him, her, and me, Martin. And I couldn't even do that." He pushes sharply off the wall then, and Martin restrains the urge to move back. "And I had him there today, he was practically begging me to do it, and I couldn't- why couldn't I kill him, Martin?"

He looks... devastated. Like the only certainty he had was just ripped from him and shattered before his eyes, and Martin has a moment to consider just how sad it is, that Tim depended so much on his hatred for the man whose friendship he treasured once. This new world has made strangers out of them all, empty husks that feed on resentment while yearning for a past that won't come back.

Martin takes a step forward, and then another, and another, and he only remembers Jack Barnabas' statement by the time his arms are closing around Tim, but it doesn't do much to stop him. Tim is in need of a friend, and Martin -or whatever is left of him that Gerry has managed to wrestle out of the Lonely- is the only one left.

Tim's arms come to wrap around Martin's back roughly, almost violently- Martin guesses that's now just as much a part of Tim as anything else.

"You melted my doorknob," Martin mumbles into the hug.

Tim snorts, and just for a moment, everything is right.

-------------------------------------------------------------------

"Ouch," Basira grunts, and Daisy flinches back like she's been burned.

"Did I bite you? I'm sorry, I-"

"No, stop." Basirs lays a hand down on her head to still her, and Daisy looks up. Basira's rubbing at her with a pained frown on her face. "Something just fell on me."

Daisy scowls, but a look around the room reveals they're alone. "What-" she catches the corner of something black and shiny poking from between the sheets. "Is that a tape recorder?"

Basira groans, and Daisy pats her thigh with a sympathetic smile.

"I'll ask Melanie to talk to Helen about timing."

#jongerrymartin #illicio #vit writes

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smolbeandrabbles · 4 years

Text

Somethin’ I’m Good At - Gerry x Reader (Mississippi Grind)

@sufferthesea - Not the one I had in mind, but one none the less ❤

I want to call this a Pre-Sequel to Diligence. Because it is a sequel, but it’s not the one that ‘Reason Why’ is waiting for.

Author’s Note: I remember telling @mandy23b that Brett Eldredge songs were to be earned, but then I went to see him in concert on Friday and this one smacked me in the face. And here we are...!

That isn’t to say Gerry didn’t earn this

Somethin’ I’m Good At - Brett Eldredge

Disclaimer: Mississippi Grind Characters not mine / lyrics not mine / gifs not mine / lyrical liberties taken.

Premise: Having dated for a few months, Gerry knows for sure, there could be one thing he’s good at...

Words: 2056

Warnings: Fluff, mostly.

______

I'm a real bad liar, I'm a burnt toast kinda guy Or if I try to build a fire I'll burn the woods I ain't a mover or a shaker, can't keep up with the pacer Never met a dancefloor that ever did me any good I got a poor sense of direction, sometimes too strong of affection For a whiskey made in Lynchburg, Tennessee If there's a hole in my boat son, you bet that's all she wrote I'm a Titanic sinking down into that deep blue sea I can't change the world, no I can't change a flat If you give me your heart, girl, well, you may never get it back You said you'd never smile again, but oh no, here it comes Would you look at that? I finally found somethin' I'm good at

---

It'd been a few months down the line since your little talk over hot chocolate. When you'd given him your number, and he'd waited two days to call you. When you enquired as to what had taken him so long, he'd simply told you he didn't want to bother you on your day off. And you thought that maybe he hadn't quite grasped the point of you handing your number over.

Gerry still used the cafe like an office. It was well frequented, but had long periods of quiet where - to him at least - there was little difference between this and being in the estate agents. Besides, most of the time he also had you here. And now he knew that all those small looks and gentle smiles were for him. Really for him.

You didn't think you'd been in a relationship quite like it. Gerry was, as his demeanour would suggest, just adorable. You'd thought that before just watching him - but now he got to be yours, and somehow he could up the ante on that. The little I saw this and thought of you - which happened fairly often. Or, if you or he wasn't working or... At least in the cafe on any particular day the I was just thinking about you... messages you'd get on your phone. And each one was sweet - unlike texts along those lines you'd ever got before.

He was cute, and according to a lot of people who had commented more than once, the two of you together we're even cuter.

He liked watching you work sometimes - but also just liked leaving you to it, and he loved when you'd walk passed and just brush gently against him, or lace your fingers just long enough for it to be considered holding hands, until his arm refused to stretch after you or bend back any further. Or on occasion you'd even reach out and run your hands through his hair - and if he was busy concentrating on his laptop that was your favourite time to do it. Gerry longed for those fleeting moments the most, and you liked that sound he emitted and that excitable shiver as his heavily fixed concentration switched from whatever he was reading to the sensation of your fingertips.

Sometimes you'd stop by because he wanted to show you something, and you'd lean your arms on his shoulders and your head on his, and on occasion kiss his hair - and for a moment things didn't get better for him. But you didn't stop by all the time, and he didn't want to hinder your work either. He just liked being surrounded by you. Even if you were super busy and all he got was the scent of your perfume as you ran back and forth between tables. He would still smile absentmindedly and get to think about you.

But, if you ever had a break between the busier and quieter shifts, or you got a full lunch break you still liked sitting with him. Gerry might have told you about the way he hyperfixated on things... How his obsession, and addiction, to gambling had all culminated and been put on... you. But if it was supposed to induce pressure, you never felt it. And he was the only consistently calm thing in the room. You knew he'd slide his laptop and notes to one side and give you his full attention as you told him about your day, or picked his brain for advice. He knew when you came first. If you had an issue, and what hadn't he been through!?, he likely had some kind of solution. He just liked seeing you smile - and being the cause of such a beautiful thing. Gerry knew just when to make the right joke, or be gentle and easy going, or get excited about something... He'd watched you so long he knew your emotions, your expressions... Your body language. That was something he’d picked up from tables that he could be thankful for. Perhaps he knew you better than you knew yourself - and he was only getting more used to it now you were dating. And that obsession meant he wanted to know everything, and help in whatever way he could. You were still responsible for keeping him from tables, after all.

Sometimes he still felt like he was gambling with feelings... It wasn't like Gerry could possibly know where this was going to lead.

Sometimes he'd drop by for a few hours and then leave and come back, the way he used to when you'd have his coffee order ready for him by the time he crossed the parking lot. Only this time the name Gerry was accompanied by a heart, and he got to kiss you over the counter as he picked up the cup and left. ‘See you later’ really meaning that, even if he didn't return to the cafe.

When he did return from his house viewings though, he was always happy, and all he wanted to show you were these houses. And Gerry didn't miss out on one single detail, because sometimes pictures couldn't do any justice to it. You gotta hear about this one, it has the works!! He didn't seem like the type to get so excited about houses - even if he was an estate agent. And, usually, Gerry would agree with you... That was simply what his job happened to be. And he was just pretty good at it. But, he wasn't thinking about the people he was showing around, or even the houses themselves. (Heck, not even the pay check and well it's a job!) But he was thinking about aspects of those houses, and you.

It always came back to you.

What would you like to live in? What sort of house would you walk into and say this is where I want to be. Would it be with him? That's obviously where his thought process was going. But Gerry knew it was far too early to start asking you questions like that - and he kept it quiet. But secretly he'd show you these houses and take note of what you liked. Or, what caught your interest when he described them. If he could build up that perfect picture in his mind - he knew eventually it would come onto the market... Even if it was only close enough; and he'd find it.

Back when you'd first had a real discussion, you'd talked about being therapy for him. But you didn't talk like any therapist he'd ever known. And he thought you were doing better for him than any therapist ever could. And sometimes those conversations got intense - and you took a lot of Gerry's emotions and burdens on for yourself. So he would pull you to him and cuddle you and end up reversing the situation. He was as much a remedy for you.

The end goal was just to see you smile again - he didn't matter what kind or how small - he'd count it as a win if he saw one. Usually it didn't take long, the second you were wrapped in his arms and one of his extensive collection of jumpers, you were almost always good to go.

But today you were having a tough one, and he could tell that the second you sat down. You had this cheerful service front you put on. But Gerry knew all about fronting situations - and yours was a real poker face - so he'd been worried from the moment he'd heard it. Your shoulders slumped and you placed your head in your hands - exhaling loudly. "What's up?" This time he closed the laptop as he slid it across the table - and leant forward on his elbows "Nothing." You looked up at him "It's okay." Well, he knew - or at least from what he'd heard - that it wasn't customers, so it must have been personal. "You know you can tell me anything." He reached for your hands, "And you also know that you won't get passed someone who spent a lot of his life at card tables with a face like that-!" He meant your fake little smile; the only one he wouldn't accept seeing. "I dunno, I don't want to bother you with it." He gave a shrug "You might as well, I'm going to worry anyway." "Well that's really the last thing I want." Your eyes met his, "Me too, so just tell me." "I dunno... Maybe it's all in my head." "Boy trouble?" He raised an eyebrow, and you laughed - and it was score 1 to Gerry because that was genuine. "No, you know, for the first time in my life I actually don't have boy trouble." His smile became playful, "Good - had me worried for maybe half a second..." You ran your hands across the tabletop to his, and let him hold you between his; large hands enveloping yours safely. "I guess… I just… Sometimes I guess, it just feels like my friends would be better off without me… Then there’s times you miss one thing and you just feel totally lost.” You gave a shrug, “I don't think it's conscious - I can't blame 'em. I don’t blame them. But… If you go quiet for a while what happens? Does it show they care if they don't bother you because they are respecting your space? Make you think they don't care if they don't check in? Maybe I'm just fragile. I'm certain some of it's in my head." You looked to him "You ever get that?" Given that his hands were in yours, Gerry tipped his head as he began thinking; "I'm sure everyone wants to give you their 5 cents on it." "For sure, but I'm asking you." "Friends? I ran out of a lot of them a long while ago when I was incredibly bad at paying people back. Enjoy the ones you have. Remove the ones you no longer enjoy. Not worth risking your own health if it keeps happening, huh?" He gave a gentle smile, "Ask me and my... Acquaintances!" You smiled gently; "I'm not so great at forgiveness either..." or maybe you just weren’t good with the right words, sometimes you felt you found them a little too late… "Forgive those worth forgiving. Unless the bridge is well and truly burned… But that’s not my decision to make – is it?" "But what if my reaction-!" His eyes narrowed; "Hey. Who do you think I care about more?" "Me." "You." He nodded in agreement "So, whose side am I always going to be on?" That smile continued to grow as you realised what he was getting at "Mine." "Yours." His smile continued to coax yours out of hiding. "I'm happy to talk it out with you, but I want you to realise that all I'm going to want at the end of it is you happy..." "Well that's all I want for you, too." "Me?" He tipped his head once more, gentle sparkle in his eyes "Whenever I'm with you I'm happy. So, of course..." He chuckled "Yeah. I'm... I'm happy." But then he pushed it right back where it belonged; "Are you?"

There was silence for a moment as you looked between his eyes, and that prolonged smile on his face. That you were just as responsible for as he was the one manifesting on your own. You realised that it was a longer discussion for another time - but you knew that by what he was saying he'd help you as far as he could... But the decision was yours. Still, it was a million-dollar decision, and he'd probably made a billion of those in his life. Probably not always called right, so hopefully he'd help you with the right call. Even if that would be all your own.

"I'm happy." And there it was, a genuine, beautiful, full smile. Almost a beam, but there was a soft blush across your cheeks as you admitted it all out loud. And he knew it wouldn't be long until he got it there.

Gerry wasn't good at much, he knew. But he sure was good at that.

---

@dennismitchell @happyskywhale @wltz-bby @3134045126 #MendoTagSquad.

#I've kept that up.#Minimal dialogue? Linzi what happened-!?#Gerry x Reader #Gerry #Mississippi Grind #tsk tsk I still haven't named her...!#Ben Mendelsohn #111 #HUH-! 111!#Here is the heavily cut edit.#I'll... keep the authors draft version to myself.#Honestly if I didn't promise this I wouldn't be posting.#Softcore version of the original discussion #would hit a little too close.#Suri

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thedeaditeslayer · 4 years

Photo

Running Time Restored Interview: 1997 Josh Becker and Bruce Campbell Indie Gets a New Life in 2K.

You can read the full interview on the upcoming release With Josh Becker, Bruce Campbell, and Don May Jr. from Diabolik Magazine below.

In 1995 on New Year’s Eve, Josh Becker had an idea. Born out of a session pondering Alfred Hitchcock’s legendary, true crime classic, Rope, he decided that he was going to improve upon the master of suspense’s legendary concept of shooting a film in real time. A daunting task but Becker was up to the challenge.

What resulted was perhaps one of the most ambitious efforts to ever grace the silver screen, Running Time. This neo-noir thriller about a heist gone wrong and a small-time criminal who rekindles his love affair with his high-school sweetheart was a hidden gem that didn’t get the recognition that it deserved. Written expressly for Becker’s childhood friend and Super 8 cohort, Bruce Campbell, the pair were once again, doing gonzo-style filmmaking just like when they were growing up in Michigan with the likes of Sam Raimi and Rob Tapert.

Josh Becker was and is an adventurous soul who does things his way, just like the director gods of old. When I think of his work, the names of John Ford, William Wyler and John Huston readily spring to mind. There is something admirable about his driven determination that was the heart and soul of this black and white throwback to another era which is ultimately endearing. Yes, I have a special place in my heart for Running Time because it is honest and not filled with “tentpole” tendencies. At the core of it is the written word. The end result is one of the most overlooked masterpieces of both Becker’s and Campbell’s careers.

What is truly amazing is that this flick was shot in two weeks and that everyone went home early. It was like having a 9 to 5 job. No 18-hour-days, just fast, efficient, run and gun style filmmaking that resulted in a production that could stand toe to toe with noir classics from a bygone era like The Petrified Forest and Desperate Hours.

Prior to Running Time, Bruce was known predominantly for his work in the horror and science fiction genres which can sometimes be limiting for an actor. Becker gave him an incredible script to work with that really showcased his range as a thespian. Behind the smart-ass quips and bravado lies a talented individual who takes his craft seriously. He is capable of creating complex characters and he is most assuredly fit to be a romantic lead.

I had the chance to sit down with the major players in the restoration of Running Time (Josh Becker, Bruce Campbell, Don May, Jr. and Gerry Kissell) to reminisce about the journey of this film from its humble beginnings to preserving this indie classic for future generations.

The Director and His Muse

Diabolique: Bruce, I have to start off by telling you that Running Time is my favorite out of all of your films.

Bruce Campbell: It’s a cool, little flick. Too bad it sort of escaped, it wasn’t released as the old joke goes.

Diabolique: What I like so much about it is the neo-noir aspect. It’s a throwback to the 40’s and 50’s. In Josh’s book, Rushes, he talks about how he convinced you to be in the film. You weren’t getting paid and you invested in it. What was his pitch, how did he sell the concept to you?

BC: The pitch was that it was NOT McHale’s Navy. I just spent 11 weeks in Mexico just sort of bullshitting our way through that film where we would make up our lines of dialogue because there was nothing written for us. In the script it would say things like, “McHale and his guys get off the boat,” “McHale and his men go to Cuba.” Which means they hadn’t thought anything up for you. I did it because I liked the show as a kid. It was a very popular thing; it was from Universal. It made sense at the time. It was just a case of when something is underwritten, the problem that it causes actors. I had just come off of that, and Running Time was very ambitious, low budget it was meant to be this conceit of being done in one shot so it was cinematic. So, I was like, okay, yeah. It was like the anti-studio movie, small crew, fast moving and yet no money. Basically, I invested the money that I was paid back into the movie in order for them to make it. It was definitely for a love of the movie type deal.

Josh Becker: I’ve known Bruce since we were twelve and I’d seen him in a number of plays. I knew that he had a much bigger range as an actor than he’d had a chance to show at that point. Plus, he’s a pleasure to work with. Once I pitched him the idea, he was all for it, partially because the long takes are a way for an actor to really show their ability.

Diabolique: Thinking about your filmography, Bruce, you haven’t played a traditional romantic lead. Do you see Running Time as a love story of sorts?

BC: What’s funny is Josh had Carl come back. In a proper film noir, he would have gone, you would have heard the tires squeal and she would be sitting there crying and the credits would roll and that would be it. It would be bleak, but Josh deep down is a sentimentalist and I think I am too. We had no issue with the happy ending. We wanted to make the audiences think for quite a long period of time that it’s going to be a sad ending. She packs her bag and then she unpacks it. The whole thing is quite an extended piece but I thought it was well worth playing just to kind of throw a little wrinkle in it. Maybe even in a criminal story you can have a happy ending.

Diabolique: In terms of the storyline, Josh, we all know that Rope was the blueprint for Running Time. You hadn’t made a film in 7 years. What was it about that production that captured your imagination besides the challenge of the “long take”?

JB: Part of my inspiration was simply getting another feature film made after seven years of working in television, which was never my goal. But as I thought about Rope, I wondered why the continuous, real-time concept didn’t really have any impact on the story. Then it occurred to me that there was no time element involved. Two young men—ostensibly Leopold and Loeb—have killed another young man for the fun of it, put the body in a chest, then invited people over for a party, including a cop. Well, if the chest was spring loaded and had a timer on it so that at some point it would pop open and reveal the corpse, that would be a time element. So, I thought, how do you use the real time technique and add a ticking clock? The first story that came to mind was a heist which generally has a time element—we’ve got to get the money and get out of here before we’re caught.

Diabolique: Running Time was shot in sequence like a play. Did it pose any challenges for you as an actor?

BC: I liked what Josh was trying to do. These long uninterrupted takes from an actor’s point of view, you know stuff can get really choppy these days. My complaint from Burn Notice is they wouldn’t let a full sentence stay on camera; they would have to cut away to somebody else. It felt like they had to keep cutting, cutting and cutting. This movie was no cutting for like ten minutes at a time. It’s great from an actor’s perspective because you can feel the juices flowing. It’s like a play. You can work on the pacing; you can have something build over a period of time and minutes to play out in literally real time. It’s a real time crime drama. I liked it conceptually and it was challenging. There was a fair amount of dialogue because my guy, Carl is calling the shots. I thought it was a good premise. Guy gets out of prison turns right around and robs the prison because he knows how the prison laundry system works. I thought that was pretty sound. I am always sympathetic for the low budget independent movie. I always will be.

Diabolique: Were there any other films that influenced you and your writing partner, Peter Choi? The entire concept is very noir and the desperate situation that Carl finds himself in is reminiscent of any number of films from the 1940s.

JB: My main inspiration was Straight Time with Dustin Hoffman, an overlooked movie from 1978. And though I didn’t think of it at the time, several folks brought up Joseph Lewis’s Gun Crazy after it came out, and I do see that. The film has one long take in it during a bank robbery, and even though the camera stays in the backseat of a car, it has that same feeling of a real time event.

Diabolique: I know you are a fan of classic movies, Bruce and in a sense Running Time reminds me of Desperate Hours or The Petrified Forest especially when the robbery is botched and the situation is escalating in the enclosed office. Did you find any inspiration from the noir genre for your portrayal of Carl?

BC: No, but the classic tough guys were always awesome. We loved them all, Bogart and Robert Mitchum…the fact that Josh shot the film in black and white was perfect. Because it really helped lend itself to a look of that time period when Jack Palance was a leading man.

Diabolique: In your book Rushes, you talked about your decision to shoot in 16 mm Kodak ASA 64 black and white stock. You get sharper images due to the finer grain of the film, but did that pose any problems in terms of showcasing your work at that time since most people weren’t shooting in black and white?

JB: I didn’t think of it regarding showcasing my work. I thought it was appropriate for the subject matter and that it would be visually striking. Also, moving the camera from inside to outside in color posed the problem of adding or removing filters which would not be an issue with black and white.

Diabolique: You shot over a period of 10 days which was unheard of even back in the 90’s. How were you able to keep things moving along?

JB: It was based on pre-planning. I knew exactly what I wanted. We rehearsed the film and the actors were all very comfortable with the dialogue. Then it was just an issue of getting the complicated camera moves in regard to the actor’s blocking to work right, and that didn’t turn out to be all that difficult.

Diabolique: As an actor, did you enjoy working on an accelerated timetable?

BC: It was exciting to do and so different. The toughest thing was the technical demands. It wasn’t like there were explosions and stuff like that. But in order to do blocking inside of an apartment, the camera is moving in circles, well, the crew had to move every object behind the camera before it got there and then had to put it back before the camera saw it again. So, there was a lot of voodoo, a lot of magic. We would rehearse and rehearse and rehearse and we could never get it right. Finally, we were like fuck it. Let’s just start shooting because everyone gets a little more alert when you shoot. That did it. That allowed us to conquer the impossible. After 3 or 4 takes if we got it, we were done even if it was 10:30 in the morning. I don’t think we spent more than two thirds of a day getting that particular shot. The end result is cool. I’ve seen the cleaned-up version without all the scratches and the dust marks. You can’t even tell what year it is. It almost seems like its videotape transferred like those teledramas of the 60’s that were done on TV. There were moments in the film that weren’t perfect, and that’s okay.

Diabolique: When I revisited Running Time recently, I was impressed with how well it holds up because some efforts don’t. With the 2K restoration, Bruce, this will give your fans a chance to see it. For some, it might be their first time. Do you have a scene that you are particularly fond of?

BC: There’s some scenes that are fun to do. After I get shot, I am in Janie’s apartment and she’s trying to put me together, that fainting on the toilet while she’s trying to patch me together it felt kind of real, playing shot and being delirious. Stuff like that. Just fun to be able to take the moment to do it.

Diabolique: Josh, do you feel shooting in black and white made the 2K restoration more challenging?

JB: Slow speed black and white film stock has a lot of silver in it which creates an inordinate amount of static electricity. When I did the initial film transfer back in 1997, the negative kept getting covered with dust, causing us to have to stop and clean the film every 30-60 minutes. Since the transfer was $375 an hour—in 1997 dollars—I could only stop so many times before it became financially prohibitive. Dust on a black and white negative shows up as white dots. Using the newest technology, Don May was able to remove all of the dust digitally. Therefore, the film has never looked as good as it does now.

Diabolique: What excites you the most about Running Time getting restored, Bruce?

BC: I am always happy when something gets re-released which means in this case, it gets preserved. It will look fantastic in 2K. That’s why with all these reissues fans are like, “Why should we care?” Like well, if you care about preservation, this means it will be the latest version of a movie that is fairly obscure. Sometimes a movie can die on the vine because no one will pay the money to keep it current. Now, we can show the sucker, hopefully, anywhere.

Diabolique: Josh, do you have any plans to showcase Running Time once the restoration is completed? This is a great film that fans should definitely see.

JB: We have no plans at the moment, but then the film isn’t out yet. When it’s done, we’ll see what happens.

Breathing New Life into Running Time: The Art of Restoration

Don May, Jr. along with Jerry Chandler and Charles Fiedler created Synapse Films in 1997. Known for their work in preserving unique genre classics, May had previously collaborated with Josh Becker when his company restored the director’s 1985 production, Thou Shalt Not Kill…Except.

Gerry Kissell was the official artist on Running Time and will be reprising his role for the 2K restoration. He has been friends with Josh since the Freaky Film Festival where he and Bruce premiered the film on the University of Illinois campus.

Both gentlemen were kind enough to take time out of their busy schedules to talk to us.

Diabolique: Were you able to obtain the original negative for Running Time?

Don May, Jr: Yes, thankfully. Josh Becker is a true movie fan and loves the filmmaking process, so we were fortunate to work with him. He kept everything stored properly in a climate-controlled vault, as a man who cares about his movies should.

Diabolique: Can you talk about the scanning process for 2K?

DMJ: The 16mm negative was separated into A/B rolls, so we had to scan a lot of reels separately at Prasad in Burbank, CA. Luckily, because of the actual nature of the “one-take” aesthetic Josh utilized, there were only a total of about 30 cuts in the entire film… hidden in editing, of course. So, we basically scanned the 30 separate shots, and then assembled them digitally using DaVinci Resolve. We had to be VERY careful the way we put the 30 cuts back together, making sure the shots were frame accurate and of the proper length. Unlike a film that has a conformed negative separated into 10- or 20-minute reels, Running Time was all in separate pieces, with each shot edited on separate reels. It was a challenge, but we were able to use a previous master as a reference and most of it went together without a hitch. Being shot in B&W also helped in color correction to hide the edits properly to make the real-time aspect as seamless as possible. Once the film was properly assembled, we were able to ship everything off to India for restoration. Because Josh had everything stored properly for decades, the negative itself was fairly free of a lot of dirt and scratches, but we did carefully sonically clean all the pieces before scanning commenced.

Diabolique: How long does it take the digital artists to fix debris or scratches on the original negatives?

DMJ: There’s a lot of data wrangling involved. Copying data for safety. Making backups, etc. But we have a great working relationship with Prasad. They have worked on such classics as Lawrence of Arabia, How the West Was Won, A Fistful of Dollars, Gandhi, The Red Shoes, etc. They do the lion’s share of my output, and I put a lot of trust in them. They’ve never failed me. We do ship the film scans to India and that takes time. I think Running Time took about 4-5 months. I let them take their time, though, because I don’t want to have to keep sending things back for fixes. With Running Time, they did an excellent job, right from my first restoration test reels. But, again, Josh had taken very good care of his materials, so it wasn’t much of a challenge.

Diabolique: Gerry, what artwork did you originally provide for Running Time and what can we expect from you for the 2K restoration?

Gerry Kissell: I did promotional art that ended up on tee-shirts. It included the shot of the three main characters, which I called Tres Hombres, on one, Jeremy Roberts aiming the pistol at the camera on another, and the last, which you’ve seen of Bruce’s mug all heroic and chinny. All of the art was done on Bristol cold press illustration board. The new painting for the Synapse release is me, 20+ years later, a tad bit better at drawing and painting, lol.

Diabolique: Besides the idea of preserving Running Time, Don, what attracted you to the project?

DMJ: We had worked previously with Josh on Thou Shalt Not Kill…Except, and we had a lot of fun with that one. I like working with Josh. He’s a great guy, and I love that he’s so passionate about film. He loves movies, and he loves MAKING movies. It’s so great to see people like Josh doing things like Running Time, back when using computers to do a “one take” approach was non-existent. You see things today like the film 1917, which is a fine film in its own right, but they cheated a lot of its “one take” aspect using computers. Josh did Running Time, but used his brain, and actual organic film splicing and editing to achieve the same result. He’s smart, funny, talented and I love working with people like him. It also doesn’t hurt that Running Time stars Bruce Campbell, so… yeah… of course, we jumped at the chance to do it.

Diabolique: When can fans expect to see the Running Time 2K restoration?

DMJ: I would imagine late summer/early fall 2020. We’re wrapping up extras and artwork now.

#Running Time #Bruce Campbell #Josh Becker

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ty-talks-comics · 5 years

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Best of Marvel: Week of July 3rd, 2019

Best of this Week: Captain America and the Invaders - Roy Thomas, Jerry Ordway, Jay David Ramos and Joe Caramagna

What better way to celebrate American Freedom than by having Captain America inspire us to keep the country safe from Facist, Authoritarian rule of the dirty Nazis?

Reuniting two of the co-creators of DCs All-Star Squadron, Captain America and the Invaders tells a one-shot story of an adventure in the Bahamas Triangle a short time before the team actually assembles. With fantastic art by Ordway and perfectly campy writing, this book captures the feel of both the 1940s books and the stellar 80s works that these two are famous for.

Beginning with Captain America, Steve Rogers, bursting through and interrupting a meeting of home grown Nazi-sympathizers, the book manages to set the stage for what the action and dialogue will be like for the entire issue. Captain America is certain of his every action, punching and jumping over obstacles to take down the bastards and when one tries to escape, Steve sets upon him with fervor as the FBI emerges to arrest the Nazis. Once they’re taken down, Cap gets his next assignment, Protection Detail for President Roosevelt as he meets the Duke of Windsor as he governs the Bahamas.

We get the background that the Duke stepped down as King at the request of Winston Churchill for getting too cosy with the Nazis after being guests in Germany. President Roosevelt hopes to sway them to America's side by offering them protection from Nazis. Ordway makes sure that everything looks absolutely of the time. Cars and some structures look exactly like they did in the 40s, however, the US Navy Sailor uniforms he and another sailor by the name of Jim Hammond wear for the undercover assignment, are not. Captain America himself looks very good in his original costume.

After a nasty storm, the President’s ship arrives on the island and not long after, he, The Duke and his wife are met by Baron Heinrich Zemo, the father of Helmut Zemo. Zemo takes everyone hostage as his men kill all of the Sailors protecting the President aside from one draped in the American flag and another who can become living fire. The Human Torch looks absolutely awesome “flaming on” to contrast the cloudy night sky. His flames are seen from the house and he proceeds to fly into the air and burn several Nazis alive. I’ve always loved the old look of a mostly naked Torch with bright oranges and yellows for the flame and his body with hatch lines for details.

As Zemo prepares to kill Roosevelt, the lights in the house turn off and a mysterious agent proceeds to knock out Zemos men while the Baron runs away. The rain picks up and Hammond’s flame goes out as other Nazis escape into a U-Boat. Rogers catches up to Zemo who uses a Death Ray of some sort to fight the American and is goaded into fighting in an enclosed space during the chase. Cap gets one good punch in, sending the Death Ray out of Zemos hands, causing the roof to fall on Caps head as Zemo makes his escape.

Cutting back to the escaping U-Boat, the Nazis think they’ve made the escape from America’s living flamethrower as their ship is torn through by an unknown assailant, Namor showing up to make sure that they didn’t get away. Cap and Hammond get back into their uniforms and make up stories about what happened to them during the night as they rejoin the protection detail with their flimsy excuses before musing to each other about meeting up again in the future.

This book was a fun little romp in a simpler time and definitely had less seriousness than the current Invaders series, but did have the heart given that Thomas co-created the team way back in 1969. It felt like he was slipping back into his old baseball glove and found that it still fit. Ordway’s art was well complimented by Ramos’ colors and looks amazing. I know he’d done some cover work recently, but his panel to panel art was certainly fantastic, like he hadn’t missed a step at all.

Flying the flag high and on Independence Eve ensures that this book is a must-read!

---------------------------------------------------

Well, this was wild, wacky and amazingly violent.

Runner Up: Savage Avengers #3 - Gerry Duggan, Mike Deodato Jr., Frank Martin and Travis Lanham

Gerry Duggan and Mike Deodato Jr. have come up with an absolutely fantastic story that’s full of brutal action, some cheeky comedy and remains true to every character involved up to a point. It pulls no punches and with Deodato’s amazing art, not only does it read well, but it looks damn good at the same time.

Starting off with a bang, we see Frank Castle tearing his way through Kulan Gath’s stronghold in the Savage Land looking for the bodies of his family. Of course Frank knows that it’s a trap, but never in his life has he let that stop him. With rage as his eyes, he tears through the Hand Ninjas, using a sniper rifle at close range and taking their own katanas to use against them. Suddenly, one of the ninjas puts a sai into the barrel of his weapon and he immediately recognizes them. Elektra has joined the fight.

Elektra seems to know of Kulan Gath’s plan to use the blood of warriors to summon something and she’s there to put a stop to it. She looks absolutely fierce back in her old gear, especially as she roundhouses and slices through Hand Ninjas while telling Castle to be careful as they make their way through the castle.

Meanwhile, Wolverine is captured by Gath and is suspended over his blood pit. Unfortunately for Logan, his healing ability only helps the evil Wizard as his blood only makes the plot come closer to fruition and Logan has an ever flowing amount of it. Soon after, Jericho, in the disguise of one of Gath’s students, tries to fool him. The Wizard sees through the ruse and gets stabbed in the chest, but given his sheer power, says that the insult hurts a lot more than the blade does and Jericho insults him by saying that’s not even worth Doctor Strange’s time.

Just as Gath is about to stab Jericho again, remarking that in his time he is the Sorcerer Supreme, he is shot right in the head by Castle. Gath makes Castle an offer to return his family to him alive in exchange for finding the thief who stole his amulet. Logan smirks and muses that the thief is long gone by now… only for him to return and threaten the Wizard. Conan is portrayed is a comedic man out of time and element in contrast to his own books where he is as serious as death and twice as deadly. Elektra frees Logan who collapses as he tries to stand and fight and Gath commands his forces to attack.

Conan picks up Logan and uses his still unsheathed claws as weapons as he swings the diminutive mutant around. Gath uses his magic to toss Logan into Elektra and runs his hand through the heart of Conan for the Amulet of Power and just as things are getting bleak, a certain symbiote attaches itself to the warrior as Gath summons his creature, Jhoatun Lau, The Marrow God.

Savage Avengers is shaping up to be the same kind of sleeper hit that Secret Avengers was back in 2012, especially while building Conan up to be a possible major player in future stories and hopefully in the upcoming Absolute Carnage event now that he’s had the Symbiote become part of him. The rest of this team itself is pretty good, fusing Castle and Logan’s rage with Jericho’s magic, Elektra’s skill and Conan’s cunning, this is definitely a book to keep watch of.

#comics #marvel #marvel comics #4th of july #captain america #the invaders #human torch #namor #roy thomas #jerry ordway #gerry duggan #mike deodato jr.#the punisher #elektra #conan the barbarian #wolverine #doctor voodoo #jericho

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yarnzipangirl · 5 years

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Dynamic duos: thoughts after 126

MAG126 certainly gave us a lot to chew on. Believe me, I’ve got SO MUCH swirling in my head after that episode, and a lot of people have touched on some of it. But the one thing that it really gave me was a definite feeling that something which seemed simple is anything but:

I do not believe Peter Lukas is, has, or ever was working with Elias Bouchard.

Instead, I think Peter Lukas was working with Gertrude Robinson AGAINST Elias from within the Institute.

I believe he provided her the necessary transportation, financial backing, and interference to avoid Elias’s notice while she went about her business. I think he’s the one who gave her the protection she needed to disrupt the Shaper in Clay. After all, despite having been an Archivist from much longer, we know from Michael that Jon is, even from his short time, more of an Archivist than Gertrude ever was (MAG101) and yet she was able to walk in the middle of the ritual without an issue, ‘eyes cold’, no one noticing she was there. Any resemblance to Mr. Pop Out Of Nowhere or is it me?

We know from Jon saying so that despite more fully accepting his role as Archivist and ‘stepping away from humanity’ he seems MORE inclined to feel connected to his assistants and worry about them and sad about the loss of them. Gertrude, according to Gerard Keay, ‘traveled light’, ‘left things behind’ (MAG111), and put him in the Book of Skin despite clearly knowing Gerry hated the thing and Gerard hinted at knowing why but didn’t specifically say. Gertrude could lie like a boss/manipulate liek wo, (re MAG101 and how she was with Michael, where she preyed on his loneliness) meanwhile Jon lies like a 13 year old trying to get a later bed time. Slightly worse, in fact. Beholding deals in TRUTH, wielding it like a scalpel. See 90% of Elias’s Fuckery.

As early as MAG108, Peter shows up and speaks to Martin and asks him about Elias as a boss, already kind of promising that he’ll TOTALLY be a better one, setting up a certain dynamic well before we even know technically that Elias is going to be going anywhere. What if Peter’s been angling to remove Elias for a while and Elias was only barely holding him off? Kind of like a CEO promising dividends and once it’s clear he can’t deliver, the shareholders-

Well, replace him.

And the person who had the plan to replace Elias? Martin.�� The one Peter talked to. The one he’s taken into his ‘confidence’ and wants to team up with to do something that Jon won’t like that will theoretically ‘protect everyone’ but also involves distancing himself from them to an unprecedented degree. Not to mention that, well, Martin ‘won’t want to tell’ Jon when it’s all over. Sounds a lot like something that might destroy the Archives to ME which was, in fact, Gertrude’s plan. ETA: And can you imagine how effective it would be if Peter pulled out something like ‘I once loved an Archivist and that place killed her too’. I don’t know how much truth there is to that, but he almost certainly saved her (MAG101): “And somehow Gertrude Robinson was back on that boat before Sannikov Land once again never existed.”

We ALSO know that Elias has put an uncommon amount of space between Jon and Peter, as meddling with the Lukases is one of the very few ‘full stop’ demands he’s made of Jon when it comes to poking around. Something I could understand if you’re trying to 1. get your Archivist in working order quickly without interference and you saw the last one stagnate and never commit properly and 2. if you know that Lukas is trying to supplant you and you don’t want your Archivist getting nicked off of you. We know that Jon has always been Elias’s project (I have some theories as to how long but I’ll leave off) and that his development was definitely seen as important. That Jon woke up is a ‘roadblock’ to Peter’s plans seems like a giant honking flashing light not just to not doing things the way Elias did but to ANYTHING Elias wanted.

Add to that the fact that we know Gertrude has interrupted at LEAST two rituals before this and possibly a third and yet this whole ‘attack the archives’ thing never came up? It seems pretty likely that there was very possibly some manner of interference or a lack of coverage or sabotage that created the kind of crisis situation which would allow the Institute to fall into other hands. All seems a LITTLE too pat. And that’s not even bringing up the fact that Elias reacted like WHOAH to Martin burning statements but didn’t seem to care (what with letting the worms build up and clearly knowing about it as Jon accuses in MAG102) when Jane Prentiss was destroying statements (MAG 39). Things were on an edge, one I don’t think Elias was ready to handle an extra variable for, and Peter swooped in for the snatch.

Do I think Peter let Gertrude take the fall for their shared schemes? 120%

Do I know why Peter is doing what Peter is doing or what it is? Nope.

Do I think it’s at ALL what Martin thinks it is? HELL NO.

But I have a feeling this season that we’re going to have a lot of our preconceptions (about the Entities, about the characters and their interactions, about what’s ‘good’ and what’s ‘bad’ in general) flipped on their head.

Totally looking forward to it too.

PS How long do you think it’s going to take Jon to realize that if he’s still dreaming Daisy’s fears SHE’S CLEARLY NOT DEAD?

Come on, idiot man. I love you but come on.

#the magnus archives #tma spoilers #tma wmg #mag126

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flauntpage · 7 years

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DGB Grab Bag: Halloween Hijinx, The Nuclear Option, and an Ode to Offense

Three Stars of Comedy

The third star: The Nashville Predators enjoyed Halloween – We won't clog this whole section with NHL player Halloween costumes. If that's your thing, you can find a rundown on the league web site, although they seem to have left one out. But we will mention the Predators, who may have been enjoying themselves a little too much, starting with P.K. Subban:

But the real stars were Nick Bonnino and his wife Lauren, who went as the scariest thing a hockey player can imagine.

The second star: Ryan Reaves vs. Phil Kessel – OK, one more Halloween one.

The first star: Chance the mascot – The new Vegas mascot has not had a warm reception, as documented here.

Honestly, the whole thing is reasonably funny, but I'm putting it in the top spot solely for the little girl who goes "GOOD ONE, DEL." That kid kills me. That needs to go right up there with "Way to go, Paul" as a generic hockey putdown.

Be It Resolved

We're a month into the season, and the Golden Knights are still decent. Sure, everyone realizes that they're not as good as their record indicates, but they're far better than most of us expected. It turns out that expansion teams in the salary cap era can be reasonably competitive right away.

Meanwhile, the Arizona Coyotes began the year with a record-tying 11 straight losses, and their season is already basically over. Other teams, like the Sabres, Rangers, Canadiens, and Oilers are another bad week or two away from being in the same boat.

All of which leads us to our crazy idea of the month. From the same minds that brought you the Jagr Draft, Cup champs picking their banner night opponent on live TV, and using the Cliffhanger guy to announce player signings, please welcome the league's newest rule: The Nuclear Option.

Yes, the name's kind of dramatic, I know. The idea lives up to it.

It would work like this. Every year, at the end of the regular season, all the non-playoff teams have the option of hitting the reset button on the entire franchise. If a team decides to go nuclear, they get to protect up to three players in the entire organization—not just NHL, but prospects, unsigned picks, etc.—and everyone else instantly becomes a free agent. No cap hits, no buyouts, no re-signing anyone, no compensation. Everything you spent the last decade building is gone.

In return for nuking the entire organization, the team gets two things. First, they move to the front of the line for that year's draft lottery odds, if they're not already there. And second, they get to restock in an expansion draft, under the same rules as the ones the Golden Knights just had.

Three players, an otherwise barren cap situation, top odds in the lottery, and an expansion draft to start all over with. Would you do it? Would you take the Nuclear Option?

It goes without saying that not many teams would. This year's Coyotes wouldn't, for example. They've been rebuilding for years, and have plenty of good young players worth holding onto. I doubt any of this year's bad teams would seriously consider it, unless things go completely off the rails somewhere.

But last year's Avalanche would have had to at least think about it, right? And you can bet that a team like the Sabres would have jumped at the chance a few years ago leading into the McDavid draft. You'd probably see the option used once or twice a decade, just about always after a team had fired its old GM and hired a replacement with a mandate to rebuild. Imagine that new guy having the option to walk in, take one look around, go "NOPE" and just bulldoze the entire thing.

(As an added bonus, the same league full of cry-baby GMs who spent all of last year whining about how the expansion draft made their jobs slightly harder would absolutely lose their minds if they had another one dropped on them with a few weeks' notice. That's not the main point here, but it's a nice side-benefit.)

How much fun would it be to argue over whether your favorite team should use the Nuclear Option? How hard would you have to work before you started to talk yourself into it? How mad would you be when Nuke Day came around and your team chickened out and didn't do it?

Like most great ideas, the NHL would never do it in a million years. But they should. Terrible teams need hope too, and the Golden Knights have proven that it's not as far away as you might think. You just need a way to get there. You need the Nuclear Option.

Obscure Former Player of the Week

Today's obscure player is a guy you probably saw a few photos of this week: former Sabres and Canucks goaltender Gary "Bones" Bromley.

Bromley was never drafted, but was signed by the expansion Sabres in 1971 and made his NHL debut two years later. He played 12 games backing up Dave Dryden for the 1973-74 Sabres, then won the starting job for most of the 1974-75 season after Dryden left. He played well, going 26-11-11 and helping the Sabres to a league-high 113 points. That team went all the way to the Stanley Cup final, but turned to late-season acquisition Gerry Desjardins and Roger Crozier for the entire run; despite appearing in over 50 regular season games, Bromley never even saw the ice in a playoff game that year.

He'd play just one more game for the Sabres the following year before heading to the WHA for two seasons. He returned to the NHL in 1978 after signing with the Canucks, and spent three years pulling part-time duty. After a year in the minors, he retired in 1982, having won 54 games over six NHL seasons.

Today, he's probably best remembered for the fearsome skull mask he wore in Vancouver. It was one of the most unique looks of the era, and to this day often shows up on lists of the greatest masks ever.

Trivial Annoyance of the Week

Have you ever been at a point when things were going well—not awesome, not great, but reasonably well—and then your stupid friends show up to remind you that their lives are way better than yours?

That's what it felt like to be a hockey fan this week.

The big news in the sports world this week was the World Series, a seven-game thriller that drew big ratings. Games six and seven were good, but the real show came earlier in the series, as the league's secret new baseballs resulted in every third batter hitting a home run off the face of the moon and everyone went crazy over how much fun it was. Oh, OK, so now sports fans enjoy games with lots of offense. When did this happen?

[Checks earpiece]

I'm being told that everyone has always thought offense was fun. Huh. Well OK, then where were all of you during the NHL playoffs?

[Checks earpiece]

Right, I'm told that the deciding game of the Stanley Cup final featured 58 scoreless minutes, a fluke goal that had to be reviewed, and an empty netter. Huh. I'd completely forgotten about that game. I can't imagine why.

Meanwhile, the NFL stole a few headlines with it trade deadline. If you follow football, you know that their deadline is usually a bust. Unlike in the NHL, where GMs just pretend because they like excuses, the salary cap actually does make trading hard in the NFL because signing bonuses get instantly converted to dead money when a player switches teams. So moves are rare, especially midseason ones, and the trade deadline often passes without anyone really even noticing.

But not this year, where everything went insane and trades were happening everywhere. And not just NHL deadline-style veteran rentals, but big names, young stars, potential franchise quarterbacks…everyone. It was madness. Glorious, wonderful madness.

And then you've got the NBA, where the season is only just starting but everyone has a personality and says interesting things and players quit on their teams over Twitter and fired coaches go scorched earth on Instagram.

Look, other leagues, we get it. You're more fun than the NHL. Leave us alone.

I mean, we're trying, OK? The Golden Knights are a genuinely cool story, Nikita Kucherov and Steven Stamkos are killing it in Tampa, the Kings are kind of back, and the Blues and Devils are surprisingly good. That's something, right? Scoring's up slightly because of extra power plays, there's intrigue in New York, and the Coyotes are terrible, which can be entertaining in its own kind of way.

Sure, we may not have record offense and blockbuster trades and social media wars. We're working on it, OK? You don't need to rub it in our faces all at once. Why don't you go lose half a season to a work stoppage?

[Checks earpiece]

I'm told that other sports don't do that anymore. Wonderful. Good for you. Now finish your seasons, pack up and get out of your stadiums. We're going to need them for our outdoor games pretty soon.

Classic YouTube Clip Breakdown

Hey, it's not like the NHL never serves up a ridiculously high-scoring playoff game. For example, today let's travel back to 2006 and see what happens when two rivals decide to play with the goaltending sliders pushed all the way down…

It's the second round of the 2006 playoffs, and the Senators are hosting the Sabres for game one. It's a great matchup, featuring a 113-point team facing a 110-point team. It also pits the conference's lowest goals-against against its fourth-lowest, so I'm sure there won't be much offense. Hey, defense wins championships, am I right?

Our clip begins a few seconds after the opening faceoff as we get a look at the Sabres lines and yeah it's already 1-0.

Mike Grier has tipped in a Derek Roy feed to give the Sabres the lead. Nice start. Now they just have to settle in and play a classic road playoff games, take the crowd out of it and wait until—oops never mind it's 1-1.

That Ottawa goal was Jason Spezza from Dany Heatley and Wade Redden, as the Senators deploy their famed "guys we love right now but will eventually leave town as villains" line. I guess Daniel Alfredsson missed a shift.

The Senators make it 2-1 just 15 seconds later. A quick warning here: This game is in Ottawa, which means it features the Senators goal horn guy, which means you're going to be deaf by the end of it. He's a tad excitable. Here's some behind-the-scenes footage of him at work, but it's a preseason game so he's taking it easy.

On the other hand, we've got Bob Cole. You win some, you lose some.

Six minutes in, the Sabres tie it at 2-2. (Hello, Numminen.) Amazingly, this will be the last goal of the first period, as everyone's arms are tired and they decide to just skip ahead to the intermission.

By the way, the goaltending matchup here is Ray Emery against Ryan Miller, which is fine, but we have to point out that this was the year the Senators had Dominik Hasek. But he got hurt at the Olympics, depriving us of one of the great face-the-former-team revenge matchups in league history. Damn you, Olympic injuries, maybe Gary Bettman was right about you all along.

We're back for the second period, both teams having made their intermission adjustments. In the Sabres case, that was apparently "let's give up easy breakaways." and they go out and execute it beautifully.

Buffalo gets it back quickly, as they get a 2-on-1 and then do that video games move where you forget which button is the pass one and just end up with everyone skating into the goalie and pushing the puck into the net because you have penalties turned off. It's super effective!

A few seconds later, the Senators have a 5-on-3 and you can probably guess how this turns out. They do that thing where they park Zdeno Chara directly in front of the net and dare the goalie to do anything about it. It works, because the only goalie crazy enough to ever swing at Chara was Ray Emery.

We skip ahead to goals by Derek Roy at the end of the second and Mike Fisher at the start of the third, and it's 5-4 Ottawa. Both starting goalies are still in, by the way, and will stay in for the entire game. I always thought that was an underrated aspect of this game's silliness.

Side note: This is somehow only the second craziest game featuring Ray Emery and the Sabres.

At this point, things actually settle down and the two teams decide to play NHL playoff hockey, which is to say nobody does anything interesting for almost an entire period. The keyword here is "almost," as things are going to go off the rails as soon as we get to two minutes left. Which is right…now.

The Senators have a one-goal lead late in regulation, a powerplay, the puck in the Sabres' zone, and still somehow manage to give up a 2-on-1. Derek Roy buries the one-timer and it's 5-5.

Hey, was I the only one who called him Derek Wah for his whole career, like Patrick Roy? I don't think I was.

We get a brief glimpse of a dude with an Obscure Player Alumni Maxim Afinogenov jersey, but before our brains can process that we're back to the action. The Senators still have a powerplay, remember. You'll never guess what happens next.

This may be my favorite moment from the game, as Bryan Smolinksi bangs home the go-ahead goal with a minute left and makes one of the all-time great "whew, did we ever just dodge a bullet there" smug faces. Hold that thought, Bryan.

We're down to 20 seconds left, and all the Senators have to do now is cram all six guys into the goal frame and call it a day. Instead, there's a mixup behind the net, the puck comes out front, and Tim Connolly buries it to tie the game. The crowd makes that classic "Are you F-ing kidding me?" noise you only get in the NHL playoffs, and we're off to overtime.

OK, settle in because these two teams are going to smarten up and get conservative. Ha, no, just kidding, the overtime is going to last 18 seconds.

The end comes when Anton Volchenkov commits what might literally be the worst turnover in modern playoff history. Seriously, let's just admire that thing. Not only does he fan on the pass, he kicks it off both skates and then turns his back to the puck as the Sabres break in. By the time Chris Drury scores the winner, Volchenkov is just sadly sliding off into the corner on his belly. Other than that, I thought the shift went well.

The Sabres ended up taking the series in five games, three of which came in overtime. But the Senators earned revenge in 2007, knocking out Buffalo on their way to the Stanley Cup final. This time, Emery and the Senators learned from their mistakes and made sure that when the puck was behind their own net at a crucial moment, they never let the other team even touch it.

Have a question, suggestion, old YouTube clip, or anything else you'd like to see included in this column? Email Sean at [email protected]. Follow him on Twitter @DownGoesBrown.

DGB Grab Bag: Halloween Hijinx, The Nuclear Option, and an Ode to Offense published first on http://ift.tt/2pLTmlv

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DGB Grab Bag: Halloween Hijinx, The Nuclear Option, and an Ode to Offense

Three Stars of Comedy

The third star: The Nashville Predators enjoyed Halloween – We won’t clog this whole section with NHL player Halloween costumes. If that’s your thing, you can find a rundown on the league web site, although they seem to have left one out. But we will mention the Predators, who may have been enjoying themselves a little too much, starting with P.K. Subban:

But the real stars were Nick Bonnino and his wife Lauren, who went as the scariest thing a hockey player can imagine.

The second star: Ryan Reaves vs. Phil Kessel – OK, one more Halloween one.

The first star: Chance the mascot – The new Vegas mascot has not had a warm reception, as documented here.

Honestly, the whole thing is reasonably funny, but I’m putting it in the top spot solely for the little girl who goes “GOOD ONE, DEL.” That kid kills me. That needs to go right up there with “Way to go, Paul” as a generic hockey putdown.

Be It Resolved

We’re a month into the season, and the Golden Knights are still decent. Sure, everyone realizes that they’re not as good as their record indicates, but they’re far better than most of us expected. It turns out that expansion teams in the salary cap era can be reasonably competitive right away.

Yes, the name’s kind of dramatic, I know. The idea lives up to it.

In return for nuking the entire organization, the team gets two things. First, they move to the front of the line for that year’s draft lottery odds, if they’re not already there. And second, they get to restock in an expansion draft, under the same rules as the ones the Golden Knights just had.

Three players, an otherwise barren cap situation, top odds in the lottery, and an expansion draft to start all over with. Would you do it? Would you take the Nuclear Option?

It goes without saying that not many teams would. This year’s Coyotes wouldn’t, for example. They’ve been rebuilding for years, and have plenty of good young players worth holding onto. I doubt any of this year’s bad teams would seriously consider it, unless things go completely off the rails somewhere.

But last year’s Avalanche would have had to at least think about it, right? And you can bet that a team like the Sabres would have jumped at the chance a few years ago leading into the McDavid draft. You’d probably see the option used once or twice a decade, just about always after a team had fired its old GM and hired a replacement with a mandate to rebuild. Imagine that new guy having the option to walk in, take one look around, go “NOPE” and just bulldoze the entire thing.

(As an added bonus, the same league full of cry-baby GMs who spent all of last year whining about how the expansion draft made their jobs slightly harder would absolutely lose their minds if they had another one dropped on them with a few weeks’ notice. That’s not the main point here, but it’s a nice side-benefit.)

Like most great ideas, the NHL would never do it in a million years. But they should. Terrible teams need hope too, and the Golden Knights have proven that it’s not as far away as you might think. You just need a way to get there. You need the Nuclear Option.

Obscure Former Player of the Week

Today’s obscure player is a guy you probably saw a few photos of this week: former Sabres and Canucks goaltender Gary “Bones” Bromley.

He’d play just one more game for the Sabres the following year before heading to the WHA for two seasons. He returned to the NHL in 1978 after signing with the Canucks, and spent three years pulling part-time duty. After a year in the minors, he retired in 1982, having won 54 games over six NHL seasons.

Today, he’s probably best remembered for the fearsome skull mask he wore in Vancouver. It was one of the most unique looks of the era, and to this day often shows up on lists of the greatest masks ever.

Trivial Annoyance of the Week

That’s what it felt like to be a hockey fan this week.

The big news in the sports world this week was the World Series, a seven-game thriller that drew big ratings. Games six and seven were good, but the real show came earlier in the series, as the league’s secret new baseballs resulted in every third batter hitting a home run off the face of the moon and everyone went crazy over how much fun it was. Oh, OK, so now sports fans enjoy games with lots of offense. When did this happen?

[Checks earpiece]

I’m being told that everyone has always thought offense was fun. Huh. Well OK, then where were all of you during the NHL playoffs?

[Checks earpiece]

Right, I’m told that the deciding game of the Stanley Cup final featured 58 scoreless minutes, a fluke goal that had to be reviewed, and an empty netter. Huh. I’d completely forgotten about that game. I can’t imagine why.

And then you’ve got the NBA, where the season is only just starting but everyone has a personality and says interesting things and players quit on their teams over Twitter and fired coaches go scorched earth on Instagram.

Look, other leagues, we get it. You’re more fun than the NHL. Leave us alone.

I mean, we’re trying, OK? The Golden Knights are a genuinely cool story, Nikita Kucherov and Steven Stamkos are killing it in Tampa, the Kings are kind of back, and the Blues and Devils are surprisingly good. That’s something, right? Scoring’s up slightly because of extra power plays, there’s intrigue in New York, and the Coyotes are terrible, which can be entertaining in its own kind of way.

Sure, we may not have record offense and blockbuster trades and social media wars. We’re working on it, OK? You don’t need to rub it in our faces all at once. Why don’t you go lose half a season to a work stoppage?

[Checks earpiece]

I’m told that other sports don’t do that anymore. Wonderful. Good for you. Now finish your seasons, pack up and get out of your stadiums. We’re going to need them for our outdoor games pretty soon.

Classic YouTube Clip Breakdown

Hey, it’s not like the NHL never serves up a ridiculously high-scoring playoff game. For example, today let’s travel back to 2006 and see what happens when two rivals decide to play with the goaltending sliders pushed all the way down…

It’s the second round of the 2006 playoffs, and the Senators are hosting the Sabres for game one. It’s a great matchup, featuring a 113-point team facing a 110-point team. It also pits the conference’s lowest goals-against against its fourth-lowest, so I’m sure there won’t be much offense. Hey, defense wins championships, am I right?

Our clip begins a few seconds after the opening faceoff as we get a look at the Sabres lines and yeah it’s already 1-0.

That Ottawa goal was Jason Spezza from Dany Heatley and Wade Redden, as the Senators deploy their famed “guys we love right now but will eventually leave town as villains” line. I guess Daniel Alfredsson missed a shift.

The Senators make it 2-1 just 15 seconds later. A quick warning here: This game is in Ottawa, which means it features the Senators goal horn guy, which means you’re going to be deaf by the end of it. He’s a tad excitable. Here’s some behind-the-scenes footage of him at work, but it’s a preseason game so he’s taking it easy.

On the other hand, we’ve got Bob Cole. You win some, you lose some.

Six minutes in, the Sabres tie it at 2-2. (Hello, Numminen.) Amazingly, this will be the last goal of the first period, as everyone’s arms are tired and they decide to just skip ahead to the intermission.

We’re back for the second period, both teams having made their intermission adjustments. In the Sabres case, that was apparently “let’s give up easy breakaways.” and they go out and execute it beautifully.

We skip ahead to goals by Derek Roy at the end of the second and Mike Fisher at the start of the third, and it’s 5-4 Ottawa. Both starting goalies are still in, by the way, and will stay in for the entire game. I always thought that was an underrated aspect of this game’s silliness.

Side note: This is somehow only the second craziest game featuring Ray Emery and the Sabres.

At this point, things actually settle down and the two teams decide to play NHL playoff hockey, which is to say nobody does anything interesting for almost an entire period. The keyword here is “almost,” as things are going to go off the rails as soon as we get to two minutes left. Which is right…now.

The Senators have a one-goal lead late in regulation, a powerplay, the puck in the Sabres’ zone, and still somehow manage to give up a 2-on-1. Derek Roy buries the one-timer and it’s 5-5.

Hey, was I the only one who called him Derek Wah for his whole career, like Patrick Roy? I don’t think I was.

We get a brief glimpse of a dude with an Obscure Player Alumni Maxim Afinogenov jersey, but before our brains can process that we’re back to the action. The Senators still have a powerplay, remember. You’ll never guess what happens next.

This may be my favorite moment from the game, as Bryan Smolinksi bangs home the go-ahead goal with a minute left and makes one of the all-time great “whew, did we ever just dodge a bullet there” smug faces. Hold that thought, Bryan.

We’re down to 20 seconds left, and all the Senators have to do now is cram all six guys into the goal frame and call it a day. Instead, there’s a mixup behind the net, the puck comes out front, and Tim Connolly buries it to tie the game. The crowd makes that classic “Are you F-ing kidding me?” noise you only get in the NHL playoffs, and we’re off to overtime.

OK, settle in because these two teams are going to smarten up and get conservative. Ha, no, just kidding, the overtime is going to last 18 seconds.

The end comes when Anton Volchenkov commits what might literally be the worst turnover in modern playoff history. Seriously, let’s just admire that thing. Not only does he fan on the pass, he kicks it off both skates and then turns his back to the puck as the Sabres break in. By the time Chris Drury scores the winner, Volchenkov is just sadly sliding off into the corner on his belly. Other than that, I thought the shift went well.

Have a question, suggestion, old YouTube clip, or anything else you’d like to see included in this column? Email Sean at [email protected]. Follow him on Twitter @DownGoesBrown.

DGB Grab Bag: Halloween Hijinx, The Nuclear Option, and an Ode to Offense syndicated from http://ift.tt/2ug2Ns6