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leverage-commentary · 3 years

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Leverage Season 3, Episode 2, The Reunion Job, Audio Commentary Transcript

Jonathan Frakes: Hello everyone I'm Johnathan Frakes.

Michael Colton: Michael Colton.

John Aboud: John Aboud.

Aldis Hodge: This is Al Hodge.

Chris Downey: Chris Downey.

John Rogers: Am I sexual chocolate if you’re Al Hodge?

[Laughter]

John Rogers: It's John Rogers.

Aldis Hodge: Sexual chocolate is coming up.

John Rogers: Executive Producer of this particular episode, along with Chris Downey. And those other gentlemen are the writers and director down at the end. Welcome to The Reunion Job. Boys, which we always ask in the opening sequence, where'd this episode come about?

Michael Colton: The- initially you guys told us you wanted to do a high school reunion episode. And I think all you had was ‘they go undercover at a high school reunion’ and I think you had the end beat of the dancing.

John Rogers: Yes.

Michael Colton: At the dance.

John Rogers: Right, yeah.

Michael Colton: And so from that we started thinking, you know, who would be a good villain for this episode? Someone who high school meant a lot to.

Jonathan Frakes: You talked over my Bourne Identity opening!

[Laughter]

John Rogers: Sorry. Frakes why don't you tell us about the-

Jonathan Frakes: No, I got my-

John Rogers: Where'd that particular opening come from?

John Aboud: Bourne Supremacy.

Jonathan Frakes: I'm kidding. Bourne Supremacy.

John Rogers: Bourne Supremacy.

Jonathan Frakes: Carry on.

John Rogers: That was a very aggressive style.

Jonathan Frakes: Where’d you get the rest of this story?

John Aboud: Well as nerds, we were able to channel the rage of a software magnate. Why would a software magnate be bad in the Leverage universe? Well maybe he's supplying his software to some very bad people overseas.

Michael Colton: Well right at the time we were writing this, there was the Irianian- the aftermath of the Iranian elections, so it was actually in the news that this kind of thing could be happening.

John Aboud: And this episode aired on the one year anniversary of that election. And around- and the protests.

Michael Colton: There was enough propaganda.

John Rogers: It was actually funny, we did get one phone call that's like ‘are we gonna get in trouble for like- can we be open to litigation?’ I went ‘if one of the most evil regimes on earth wants to sue us, I don't really see that as a problem.’

Michael Colton: That would be good press for the show. Iran sues-

Jonathan Frakes: Any publicity is good publicity.

John Rogers: Exactly. Now who's playing our victim here? Did a great job.

Jonathan Frakes: That's Ricki Bhullar.

John Rogers: Yep, fantastic job. And now Frakes, why don't you tell us about that opening? What- cause it was a very different opening than what we usually do.

Jonathan Frakes: Well I think what we try to do with each of our cold opens is to either pay an homage or, in other words, steal stylistically from a show.

Chris Downey: Yes.

Jonathan Frakes: From a Hitchcock show, or from you know-

John Rogers: It lets you know what the rest of the shows gonna be like.

Jonathan Frakes: Well- hopefully. Or that you just feel like the story of this show is in this particular style. That was a Bourne Supremacy rip off.

John Rogers: Yes.

Jonathan Frakes: How many shots can we get? How fast can we cut it? How fast can this action happen? And it has that vibe of international espionage.

John Rogers: Yep. Also that room was great, it was built totally on set. That was actually just a two wall set, wasn’t it?

Jonathan Frakes: That was a three-wall set, but we shot the shit out of it.

John Rogers: Yeah.

Chris Downey: And then so you put your energy into that and the rest of the episode you sort of coasted? Is that- you sorta let it…?

Jonathan Frakes: Yeah it's an approach I've found very useful.

[Laughter]

Jonathan Frakes: Now.

John Rogers: Now.

Jonathan Frakes: Who do you think that- oh!

Everyone: Woahhh!!!

Michael Colton: There we go.

Chris Downey: And reveal.

John Aboud: Didn't see that coming.

Michael Colton: That worked really well.

John Rogers: It did; it did. Johnathan Frakes knows what he’s doing. Yeah and this was also part of the mandate for the opening of the third season, where we wanted to start opening it up into international stories. Kind of open up the Leverage universe in a way that, you know, this is a fictional universe wherein certain rules apply. And it’s close to ours but you know we wanted to start seeing the ramifications of crime world and politics.

Jonathan Frakes: It also suggests the backstory of a lot of these characters has been, in fact, international.

John Rogers: Yeah.

Jonathan Frakes: So that they have experience with all these things. It makes them look, or appear to have more experience than-

Michael Colton: Right.

John Rogers: And sometimes people ask where we get the cases, and we’re kinda establishing here there's a lot of-

Jonathan Frakes: ‘I'm inside your head!’

John Rogers: ‘I'm living rent free.’

Aldis Hodge: Yeah, haha.

John Rogers: You know, kind of establish there's a community of people out there who take freedom of software, the internet's role in being free of government regulations and rules and internationalism very seriously, and Hardison is part of that group. That's part of the hacker group he fell in with.

Aldis Hodge: Yes indeed.

John Rogers: And that's how he knows this guy. That's his background.

Jonathan Frakes: ‘Yeah that's right, we are here to inspect your restaurant.’

John Rogers: Also based on a real spy safehouse that came up in research. But with better locks I think that one had. Ah this is crazy. How'd we get the roach?

Chris Downey: That’s a digital roach.

John Aboud: Digitally inserted.

Michael Colton: It's a real roach, but that plate was not there, it's like the whole thing.

Jonathan Frakes: More discussion about this cockroach than there was about the script!

[Laughter]

John Rogers: We tried to be a little robotic cockroach that went poorly. It went actually too well because it killed.

Jonathan Frakes: What about the real cockroach that we had that nobody liked? Cause it didn’t-

Chris Downey: Oh look at that! Boy that's great.

John Rogers: I think the close up was the real one, that one digital.

Chris Downey: Is that one digital?

John Rogers: I love this, and the little.

Jonathan Frakes: Yeah, this tees up later.

John Rogers: Yep.

Jonathan Frakes: They don't get much to do together, it's nice to see those two have a little beat.

Michael Colton: I feel like there's a lot of improv in this scene with you guys.

John Aboud: Absolutely.

Aldis Hodge: Yeah this- you know, anytime you get me and Christian in a room together it's over.

[Laughter]

Aldis Hodge: It's like ‘script, what?’ We just talk.

John Rogers: Yeah, we’re just pretty much superfluous. Maybe next year without writers.

[Laughter]

Jonathan Frakes: That was how-

John Rogers: And that was a great way of using Jessie by the way.

Jonathan Frakes: How to make an entrance.

Chris Downey: We’re running out of ways for her to get out of a duct. I mean I feel like is there-

John Rogers: You know what? I just I may be speaking for-

Jonathan Frakes: Cirque du Soleil in town next year.

Chris Downey: We need to watch and take notes, cause there needs to be something new.

John Rogers: I may be speaking for a certain percentage of the audience, but anytime we have her in black jeans and that leather jacket coming out of a duct it's a good day. Really, the dismounts- really now you're really.

Aldis Hodge: I'm glad you said it, cause I was about to.

Jonathan Frakes: How about this shawarma?

John Rogers: I love the shawarma, by the way.

Jonathan Frakes: Who doesn’t?

Aldis Hodge: That shawarma was disgusting though, it was cold and greasy.

John Rogers: You can't shoot around hot shawarma.

Chris Downey: Prop shawarma was not?

John Aboud: Prop shawarma.

Aldis Hodge: Prop shawarma.

John Rogers: Don't eat the prop shawarma.

John Aboud: Don't recommend.

Jonathan Frakes: Not much room to move in this location as I recall, remember this place?

John Aboud: It was very narrow.

Jonathan Frakes: It feels as narrow as it was.

John Aboud: Hard to maneuver.

John Rogers: What was it? Was it a real restaurant we redressed?

John Aboud: It was a Hawaiian barbeque restaurant.

Jonathan Frakes: Real restaurant, Hawaiian barbeque.

Michael Colton: That's right.

John Aboud: And the production had to buy them out for the day, so there was a lot of the-

Jonathan Frakes: Are we happy with the yellow choice on the inside of the van?

[Laughter]

Michael Colton: It's a little late to be asking that.

John Rogers: Yeah, I think we might want to change that. Could you fix that in post? Could you just go and… And yes it's the first time- when do we air this? Episode two or three?

Chris Downey: This is second- this is first night.

Michael Colton: First night.

John Rogers: That's right even though we shot it- did not shoot it second, it aired second. And that was re-establishing- that was establishing the new Lucille.

John Aboud: That's right. Near and dear to Hardison's heart.

John Rogers: This is also fun is that- it always amazes me the amount of international espionage that is actually kept in notebooks.

Jonathan Frakes: Yeah.

John Rogers: No, the people-

Jonathan Frakes: Old school.

John Rogers: Old school. Yeah, but people-

Aldis Hodge: It keeps them off the radar.

John Rogers: Yeah. You can, you can burn it. You know it can't be hacked, it can't be stolen.

John Aboud: Now that dishwasher, I believe he was also in the prison- in the Jail Break Job?

John Rogers: Oh so this is the jail- it's the job.

John Aboud: In my mind the backstory is: he's on a work release.

John Rogers: Oh that's right.

Chris Downey: Already fell into the wrong element.

John Aboud: Yeah, right away.

John Rogers: Well he doesn't know, they don't tell him.

Chris Downey: His parole officer is not doing a very good job.

John Aboud: Right away, right away.

Jonathan Frakes: The victim. Now we get the villain Arye Gross. Very reliable character actor, been doing it for years.

Michael Colton: You worked with him…?

Jonathan Frakes: I worked with him on Castle. Recommend him to the gang and he nailed it.

Aldis Hodge: Nice.

John Rogers: Your career is banterific. Eliot, of course, learned to make amazing tea, and that is English Breakfast from his samurai master when he studied for 18 months. [pause] Wait no that was Wolverine.

[Laughter]

Jonathan Frakes: Now whose idea was this to add this whole sequence?

Michael Colton: Well this is all based on NLP which means neuro linguistic programming. And all this is actually based on a guy named Derren Brown, who is British. And what would you- what would you call him? A magician slash-

John Rogers: He calls himself a mentalist, but he uses like a quotation marks around it because he duplicates the effects of charlatans by using psychological techniques.

Michael Colton: You can look him up on YouTube. Look up Derren Brown and NLP and there's stuff he does that is, we sort of basically ripped off for this episode.

John Rogers: Yeah ‘D-e-r-r-e-n’. Yeah, the primary one being he hires two advertising guys to come to his office and give him a campaign- a possible campaign for a children's zoo. They do the sketches and then he reveals his own sketches he did hours earlier and they're almost exactly the same. And then he reveals the visual cues he planted along the way into their head. And that really was the crux of this whole thing.

Michael Colton: And the one where Simon Pegg from Shaun of the Dead has- sits him down and asks him what he wants for his birthday, and he says he wants a bike.

John Aboud: BMX bike.

Michael Colton: But earlier he had written down he had wanted something completely different.

Chris Downey: A leather jacket, I think.

Michael Colton: A leather jacket! And throughout this whole discussion he was just doing cues to get him to say bike. It's kind of amazing.

Aldis Hodge: Wow.

John Rogers: It was also fun to kind of get into the mechanics of- it's easy with a grifter character to say they're just natural at it. To get into the intellectual work that Sophie does in her job.

Chris Downey: And also the idea of hacking into someone's head. I think that's what made this-

John Aboud: Wanted to establish that up front.

Jonathan Frakes: How infuriating it was that it was this character who [unintelligible].

John Rogers: Yeah, and also the fact that once you guys came up with the whole hacker/villain- the whole hacker theme, that really led us to the other material.

Jonathan Frakes: And here we are, Dubertech.

Chris Downey: And this a great location too, this is very-

Jonathan Frakes: On the campus of-

John Aboud: The community college.

Jonathan Frakes: The community college in Portland.

John Aboud: It’s a great building.

John Rogers: The digital overlay on the sign.

John Aboud: It's a theater, actually.

John Rogers: A lot of digital signage.

Jonathan Frakes: It's the theater department, ironically.

John Rogers: It looks evil.

[Laughter]

John Rogers: Got an evil vibe to it. This was a lot of fun and this was one of the- one of the times that we took something we could do in a beat, and turned it into almost the entire act. We have broken into someone's office in like half a scene.

Jonathan Frakes: Yeah.

John Rogers: But sometimes you just.

Jonathan Frakes: What we go through to get the fingerprint.

John Rogers: And it's great. And sometimes you find ways to do- you find stuff you want to do, you want to explore and kind of revel in, and that's the fun of this show. You know there's no real template to this show. So if you have an act where you have a bunch of cool stuff you wanna showcase, you can. Yes, tons of fun.

Jonathan Frakes: Boom.

John Aboud: We wanted this to be a real showcase for Hardison.

John Rogers: Yes.

John Aboud: Because obviously we're dealing with his world. We are in the world that he knows well, and we really liked the idea of him confronting this 1980s technology. I think that was one of our initial pitches to you guys-

John Rogers: Yes.

John Aboud: For an episode.

John Rogers: I think that- you pitched that as a freelancer.

Michael Colton: Our pitch was Hardison hacks an ENIAC.

John Rogers: Yes.

John Aboud: In a museum.

Michael Colton: And that became a TRS-80.

Chris Downey: An abacus really.

[Laughter]

John Rogers: Yeah a giant, giant vacuum tube. Yeah and that blended right into this. No, that was- and by the way, if you're gonna pitch a Leverage, pitch a high concept, don't come in with a procedural. You know, ‘he has to hack a 60 year old computer’, I love it, you know. That was an easy one.

Chris Downey: And this is great, I mean how great did they dress this set?

Jonathan Frakes: I love that we [unintelligible].

John Aboud: The music was-

John Rogers: It's the music.

Michael Colton: The set’s great but it’s the music that put us over the edge and sold it.

John Rogers: Yeah Joe LoDuca again giving us that 80s synth pop vibe. It was fantastic. And Aldis you’re great here just the total shock and horror.

John Aboud: This take is wonderful.

Aldis Hodge: This took me back a couple years. I mean, this stuff was older than me but still.

John Rogers: Thank you, thanks for reminding us of that.

Chris Downey: We love to confront Hardison with old technology. Audio tapes things like that.

Jonathan Frakes: He’s appalled here.

John Aboud: His horror.

Aldis Hodge: He's offended, he's insulted.

Jonathan Frakes: And there it is!

[Laughter]

Aldis Hodge: This takes me back to when-

Chris Downey: Look at that.

John Rogers: Five and a quarter right there, baby.

Aldis Hodge: I used to run off of floppys though, I still remember those.

John Rogers: You were a baby though.

Aldis Hodge: It took like 10 hours to upload a page.

John Rogers: Yep.

Michael Colton: We used to use the war games. The phone doesn’t-

John Aboud: War dialer.

Chris Downey: They used to be on cassettes too.

John Rogers: Yeah they used to be on cassettes.

Jonathan Frakes: What was this computer called?

Michael Colton: TRS-80. Although I don't think we could say that.

John Aboud: We weren't allowed to.

Michael Colton: Yeah, it's just generic 1980s computer.

John Aboud: For clearance reasons.

Jonathan Frakes: I remember part of our prep was the ebay version of the TRS-80 that we shopped for, for two weeks trying to find the one that was actually going to be programmable.

John Rogers: Yeah. Yeah apparently Tandy Corporation has a problem with us saying that freedom is oppressed in Iran through the use of their product. Oh we’re the bad guy? That’s some sort of brand infringement I guess.

[Laughter]

John Rogers: I love the caricature- oh the caricature kills me!

Chris Downey: I didn't even notice that! The caricature of him winning the chess trophy.

John Rogers: He was twelve!

Michael Colton: Well they had photos all around of Arye Gross from that era.

John Aboud: From his personal archive.

Jonathan Frakes: With the hair. When he had that big John Hughes hair.

Michael Colton: The pre-Soul Man. Old stuff.

Chris Downey: That is pre-Soul Man]. He's great in Soul Man, by the way. Soul Man is-

John Rogers: That's a great little shot, by the way. That's kind of an iconic shot of Hardison being distracted and annoyed while Parker quietly freaks out next to him. It's just a nice vibe.

Jonathan Frakes: ‘How much time are you really gonna spend in here after I told you that the bad guys are on the way?’

John Rogers: Yeah.

[Laughter]

John Rogers: But they saw the bad guy in the sweater vest on the way in. I mean, they're not that intimidating.

John Aboud: They knew they could take him. They knew they could take him.

John Rogers: What do you think the origin for the- oh that's great.

Chris Downey: Oh that’s great!

[Laughter]

John Rogers: A locked off comedy frame people!

Chris Downey: It's a locked off comedy frame.

John Aboud: Yep.

Jonathan Frakes: The third in three shows!

[Laughter]

John Rogers: Can't go wrong. This was fun, by the way, the- this one when he says ‘it's adorable you still think there's privacy’.

Jonathan Frakes: Isn't this where some of our regulars drink when we do the 360?

John Rogers: Yes, yeah, we drink and we shoot it, too. But you guys had found out- who- was it Albert cause he was a journalist he knew that you could buy people's yearbooks?

John Aboud: Well he did that all the time at People.

Michael Colton: That’s what it was, yeah.

John Aboud: As a celebrity journalist he would go buy people's yearbooks. And it was the easiest thing in the world.

John Rogers: And there's actual services out there that will help you buy the yearbooks of different high schools. There's an enormous amount of creepy shit in this episode.

Aldis Hodge: Your embarrassment is on sale.

[Laughter]

Michael Colton: Here's where we bring up the Roman Room, which a lot of people thought we made up but is just another-

John Aboud: By a lot of people you mean Tim Hutton.

Michael Colton: Yes.

John Aboud: Thought we made it up.

Michael Colton: Just another curious thing from the mind of John Rogers.

Chris Downey: It's just one of your many hobbies.

John Rogers: One of my many hobbies.

Michael Colton: Memorizing everything.

John Aboud: Memorizing disconnected pieces of information.

Chris Downey: What was last season, whaling?

John Rogers: It was whaling. I remember I made you that scrimshaw-

Michael Colton: What, you memorized famous whalers?

John Aboud: Wow.

John Rogers: No. I am- a hobby of mine is memory techniques, and I use the Roman Room, and we wound up using it here. And it was just a great way- if we're gonna hack- the big problem was why do we need to go to this high school? We can go to this high school without this guy. Well no, we need context. Well what's the context? Well… It was interesting how this episode kind of organically came up. It was the flashback, it was the 80s thing. And that was that he was using, like I do, he was using his Roman Room for his passwords. And the- actually yes they did not believe this. I was up visiting them and I wound up doing the complete works of Shakespeare based on my high school gym in order to convince Tim that I was- that this was a real thing.

Aldis Hodge: Right.

John Rogers: Aldis you were in the limo that night, that's right. The- we didn’t take Colton or Aboud with us.

John Aboud: Well it coincided with Comic Con.

John Rogers: There you go that's right. Yeah this is, by the way, a really easy memory technique, you can learn it really quickly and with a little bit of practice and imagination. The key is making everything as filthy as possible.

Jonathan Frakes: Seriously?

John Rogers: Has to be obscene.

John Aboud: Ahh, there you go.

John Rogers: Actually Chris Downey made me not use him in my Roman Room techniques because he was distrubed by the fact that I was having him have sex with people and things.

Chris Downey: Yeah.

John Aboud: Well he knows what goes on in that room.

John Rogers: He knows that the Roman Room is a horrible place.

Chris Downey: And John you'll be at the Allentown Marriott this week doing the Roman Room technique, won’t you? Doing it on your tour.

[Laughter]

John Rogers: If you'd like to advance yourself in business or socially. If you’d like to amaze salesmen and other people in your company.

[Laughter]

John Aboud: Whenever you see those signs on a light posts that say ‘make money from home’ the number rings at John Rogers home.

John Rogers: I'm not just running a TV show. I'm running a lot of small businesses out of my garage. Oh was- was that the Psych yellout?

Michael Colton: Oh that was- it in this scene where we talked about what's on his Netflix queue.

John Aboud: That show Psych.

Michael Colton: I wanted Turk 182 to be on his Netflix queue but that was rejected.

Chris Downey: It’s a little too meta.

Jonathan Frakes: I thought it was Rockford?

Chris Downey: It is Rockford.

John Rogers: Well it is Rockford, we went with Rockford and Psych- we added Psych in the end cause Psych had given us a nice little shoutout in their show.

Michael Colton: I think Sex and the City was thrown out there.

John Rogers: Why Sex and the City?

Michael Colton: I think it was an improv, wasn't it?

John Aboud: Humor?

Aldis Hodge: It was an improv.

John Aboud: Humor. Cause it was funny.

John Rogers: Nothing funny about Sex and the City.

[Laughter]

Aldis Hodge: Very serious show.

Jonathan Frakes: Not that Gina likes to do accents.

John Rogers: This was a lot of fun.

Chris Downey: This was the tour de force.

John Rogers: And the difference- and what's great is watching this with the sound off is watching her physicality change and the smile, yeah, that character smiles and the other one is angry, yeah. It's lovely. And this is also one of those ones where it originally started much more complicated and turned into ‘let’s just have Gina talk, she can do the accents’.

Jonathan Frakes: We cut it all together, let her do the two characters.

Chris Downey: In, sort of, the Facebook era, one of the things I think helped this episode was that you are kind of confronted by people from your high school all the time that you have no recollection of.

John Aboud: Right, right.

Chris Downey: So it really sort of helped the idea that they could actually bomb into somebody's high school reunion as other people and they would just be accepted.

Michael Colton: Yeah this is kind of The Social Network of Leverage episodes, I think it's fair to say.

John Rogers: But before The Social Network- they stole this from you right? The Social Network is stolen from you.

John Aboud: And Facebook, the idea for Facebook.

[Laughter]

Michael Colton: We came up with Facematch.

John Rogers: This is the skype of evil.

Chris Downey: We got the finger pyramid of evil going too.

John Rogers: He's got the finger pyramid of evil.

Aldis Hodge: That was scripted right? Finger pyramid.

John Rogers: The finger pyramid of malfeasance I believe, this is the Skype of evil.

Jonathan Frakes: Wait heavies right, there's heavies in dark clothes behind him.

John Rogers: Yes exactly I like to think he prepped it ‘alright let's Skype this- wait turn off the lights!’ I can't.

Chris Downey: Oh I love this.

Michael Colton: This turn here is fantastic. After he hangs up with them.

Jonathan Frakes: Unafraid to milk.

John Rogers: And also one of the things I like about- that you guys did in the script just wanted the general attitude you want to give the villains - ahh there you go - is nobody’s a villain in their own head.

Michael Colton: ‘Larry Duberman?’

John Aboud: ‘Larry Duberman?’

[Laughter]

Michael Colton: It took so long, but it worked.

Jonathan Frakes: And we stayed on it! We kept it all in.

John Aboud: You did.

Jonathan Frakes: Confidant actor.

John Rogers: Yeah somebody said if schadenfreude is the pleasure of other people doing worse than you, what is the German word for delight in doing better than everyone else but not being able to come out and say it? The Germans should have a word for it. Yeah it's pretty impressive- that's a great match for Tim by the way, was that an actor or did we pick an-?

John Aboud: Stock. It was stock.

John Rogers: It was stock, wow.

Aldis Hodge: Now whose stock photos because there were some fugly people in there.

John Rogers: We went to fugly.com.

Aldis Hodge: All right.

John Rogers: That’s where we got that stock.

Aldis Hodge: I'm just saying there’s a select few you didn't know exactly.

John Rogers: Well it's also 80s hair.

Aldis Hodge: There’s that.

John Rogers: 80’s hair was just a nation making a bad choice.

[Laughter]

Michael Colton: Evil speech of evil.

Chris Downey: Oh here it is. It's the slow push in on the evil speech of evil.

Aldis Hodge: You gotta get in his nostrils, nice and tight right up there.

[Laughter]

John Rogers: Well it's a 40 ft screen; it's a different look when they're on TV.

Chris Downey: And now here we go!

John Rogers: Now where was this?

Chris Downey: And now we're off!

John Aboud: Actual high school.

Michael Colton: This was an actual high school.

John Rogers: They let us redress, and yeah fantastic.

Jonathan Frakes: This is the gym of- what's the high school called? Hall? James T Hall High School?

Chris Downey: Now how many days were you here at the school?

Michael Colton: We were there-

John Aboud: Three days.

Michael Colton: Three, I think.

John Rogers: You managed to get all this done in three days?

Jonathan Frakes: Well the exterior was stock, and not our greatest effort.

John Rogers: Still pretty good.

Jonathan Frakes: This is- here we go!

John Aboud: Here we go.

Michael Colton: Now this was unused-

John Rogers: This was unused footage.

Aldis Hodge: Unused footage from the first season.

John Aboud: Season one.

Chris Downey: Using every part of the animal.

Aldis Hodge: Yes indeed. It’s probably one of my favorite scenes I've shot.

John Rogers: By the way, that is fearless of you. Not a lot of actors would go in the braces and throw on the-

Jonathan Frakes: Aldis is fearless.

Aldis Hodge: Very much so.

John Rogers: Throw on the hat. You really did manage to spot-weld Will Smith and the other guys from Fresh Prince into one character there.

[Laughter]

Chris Downey: Alfonso Ribeiro, you mean?

John Rogers: Alfonso Ribeiro. That's the Fresh Prince of Alfonso Ribeiro right there. And this is great that we-

Jonathan Frakes: Eliot pre-hair.

John Rogers: Eliot pre-hair.

Jonathan Frakes: Like wait a minute.

John Aboud: Still the same guy, he looks to camera.

John Rogers: Well it's a flashback.

John Aboud: He looks to flashback camera.

John Rogers: As one does.

Chris Downey: That's good man, that's a good match.

John Rogers: I also like the dialogue fix. Cause it was originally the dialogue-

John Aboud: Brutal punch.

John Rogers: Where we actually lay in that he learned about the knives in context not from a murderous Guatemalan, but from a sexy Home Ec teacher.

Chris Downey: Sexy home ec teacher.

Jonathan Frakes: He's the one who doesn't get to go to the high school.

John Rogers: Ooh yeah that was fun.

Jonathan Frakes: It was easy to take that guy out with one shot.

John Aboud: Little minion did not deserve the brutality of that one punch.

Chris Downey: But it's also nice like-

John Rogers: You know what he knows he's screwing the Iranian kids. He's an accessory after the fact.

John Aboud: It's true, he's complicit.

John Rogers: Absolutely more than complicit, he's an accessory. And therefore worthy of scorn. Ah this was again the Joe LoDuca score. Amazing.

Aldis Hodge: This the song that's playing in this scene right now is the band that Dean Devlin was in.

Chris Downey: Oh that's right. What’s the name of Dean’s band?

John Aboud: What was the name of that band?

John Rogers: Nervous Service.

[Laughter]

John Rogers: This was Dean’s band from the 80s.

Aldis Hodge: Sure it wasn't Dean and the Devlins?

John Rogers: No, no, that was his 50s band. And that's Beth in the badger suit right?

Aldis Hodge: Yeah.

John Aboud: Yes.

John Rogers: Yeah that is Beth.

John Aboud: Yes, spoiler warning.

Chris Downey: Well they've seen it already.

John Aboud: No, they haven’t.

Michael Colton: This is like their sixth viewing.

John Aboud: I only watch Leverage with the commentaries on.

John Rogers: Really? Interesting.

John Aboud: Yes.

Michael Colton: You don't know what happens in this one?

John Aboud: Nope. No clue.

John Rogers: That would explain why your pitches were so weird first year.

John Aboud: Well then Rogers drinks, right? And we do a zoom to see he pours the alcohol into the glass.

[Laughter]

John Rogers: Oh yeah this was a lovely bit of scripting, by the way, on the NLP on this, guys. Very subtle.

Michael Colton: Yeah it's subtle it’s incredibly tight knit it’s-

John Rogers: And great dress. Is this Aboud or Colton on this scene?

Michael Colton: It's mostly Colton.

Jonathan Frakes: It's Grace Peltz! Look at Peltz in the middle of that shot.

John Rogers: That was a nice frame up on that shot.

Chris Downey: Look at that right there.

John Aboud: That's an actual Arye Gross high school photo in the row below.

John Rogers: Are you really?

John Aboud: Yup Lawrence Duberman, first one on the second row.

Aldis Hodge: Yup.

Jonathan Frakes: And here’s how it happened.

John Rogers: All you have to do is insert one page. Who doubts the evidence before their eyes? Where’s Arye Gross?

John Aboud: He's cross eyed. First one on the second row.

Aldis Hodge: That's really him?

John Aboud: That's really him.

Michael Colton: Now what kind of alphabetical order is this? Grace Peltz above Larry Duberman.

[Laughter]

John Rogers: Oh, the honor society had their own photos.

Michael Colton: Oh there you go. That’s computer club.

John Rogers: One of these days you gotta learn to just lie quick.

Chris Downey: You know how to retcon.

Michael Colton: Most of those names are from my high school. Jack Lebowski. I used my-

John Rogers: Don't say that, people have to sign forms for that.

Michael Colton: My high school girlfriend is in there.

Jonathan Frakes: Boom.

Chris Downey: Here we go.

Jonathan Frakes: Don't always get a ninja zoom into the socks and sandals.

John Rogers: He's enjoying that way too much.

Chris Downey: He is. Cleaning pools. I love that- I love that about him. Former quarterback now cleaning pools.

Jonathan Frakes: Tim owned Drake.

John Rogers: Yes.

Jonathan Frakes: He totally owned Drake Macintyre.

John Rogers: He really was enjoying that. There really was a moment you saw Tim kind of like ‘I wouldn’t mind cleaning pools. It’s nice and quiet’.

Michael Colton: Mandy Babson.

John Rogers: Yep.

Michael Colton: What do his pins say?

John Rogers: I don't remember.

John Aboud: One of them said ‘I'll wash first’.

[Laughter]

John Rogers: Wha- why? Why would you have a pin that said that?

Chris Downey: Not blondie or something?

John Aboud: That's the kind of guy you are. They were all slogans. Oh my voice is really giving out.

Michael Colton: Maybe you should stop talking.

John Aboud: Apologies to the home viewer.

John Rogers: Just let Colton- he’ll be honest about who did what.

Michael Colton: Yeah.

John Rogers: There's no way he’ll-

John Aboud: How can that go wrong?

John Rogers: Yeah. And it was also fun coming up with the idea that: of course there's a villain. Everyone has a narrative in their head, everyone had the villain in high school. You know the person who made their life hell. Unless you were the villain.

Jonathan Frakes: There he is! ‘Oh Doucherman!’

John Rogers: I'm glad we got that past Standards and Practices, cause Doucherman really was-

Michael Colton: The whole episode was built around Doucherman.

Jonathan Frakes: Whole episode.

John Aboud: It really would’ve fallen apart.

Michael Colton: It's the first thing we started with.

Aldis Hodge: All you thought about at first, and then you built the story around it.

John Aboud: It came later.

Aldis Hodge: ‘Doucherman, hmm we need to write a show’.

John Rogers: And she anchors it with a touch every time, nice acting, nice use of space.

Chris Downey: Who's that guy?

John Aboud: That guy was wearing a kilt! That guy was wearing a kilt.

John Rogers: I know, I saw him in the opening shot.

John Aboud: In the opening shot you can see he was wearing a kilt.

Chris Downey: Good variety of alumni characters.

Michael Colton: You know when I was on Twitter when this was airing to watch it, and Tim was- I thought it was very flattered he was just repeated ‘Douchermans got lady parts’.

[Laughter]

John Rogers: Yes over and over again. He loved that. This was also fun showing Hardison scrambling. There's just some stuff you can’t prep for.

Aldis Hodge: Well Frakes, that was the first scene we shot for this episode, but it was also in the middle of shooting another episode the same day.

Jonathan Frakes: Same day in the van, here’s what’s gonna happen.

Aldis Hodge: I remember all that banter.

Chris Downey: That was the violin stuff.

Jonathan Frakes: Well this was the double up day.

Aldis Hodge: Double up day. All that banter was- I'm not even gonna lie I learned that right then and there in like ten minutes. Because I was on the other episode-

John Aboud: It worked.

John Rogers: You were on the other episode.

Michael Colton: Well you were on the violin.

John Rogers: Other episode was a giant part.

Aldis Hodge: Really shoot five pages just straight out? ‘Ok guys!’

John Aboud: Who’s this guy?

John Rogers: And there's our line producer!

Jonathan Frakes: There's our producer Paul Bernard as Schmitty!

Michael Colton: Star of the show.

Jonathan Frakes: I will tell you, he did have the 80s hair, that's not a haircut.

John Rogers: That's just what Paul Bernard looks like.

Jonathan Frakes: He works in that hair.

John Rogers: He works, he plays in that hair. That’s not stunt hair people.

Michael Colton: Is it true TBS is interested in a Schmitty spin off? Is that happening?

John Rogers: Yeah I think we might do ‘Here’s Schmitty.’

[Laughter]

John Rogers: ‘We’re up to our necks in Schmitty.’ We haven’t decided yet.

Chris Downey: I think there was a reality show in which somebody- they had hidden cameras and people led-

Michael Colton: Someone made like a 2020 special about someone who- some woman who didn't want to go to her thing so she hired a- I think it was a stripper.

Chris Downey: I think it was a stripper.

Michael Colton: To play herself.

Jonathan Frakes: At her high school reunion?

Michael Colton: At her high school reunion.

John Aboud: She coached the stripper through an earpiece-

Chris Downey: Yes.

John Aboud: As she was watching on a video feed.

Michael Colton: While she was watching Hardison-style in a hotel room.

Aldis Hodge: Doesn't it seem like it takes a lot more effort than just showing up?

John Aboud: Just go to your reunion.

Jonathan Frakes: Here's the Roman Room!

John Rogers: Turns out not. See you're young, you still remember what these people look like. You have to remember after 20 years everyone's kind of- what's the great line from Grosse Pointe Blank? Swollen? Everyone just doesn't quite look like what they used to.

Aldis Hodge: I'm young, but I'm an actor, but I don't remember a damn thing past 5 minutes ago.

John Rogers: ‘I don't remember other people, I'm an actor’.

Aldis Hodge: Hey.

Chris Downey: It's fun, too, seeing Eliot typing stuff.

Michael Colton: Ten go to twenty stuff.

John Rogers: It was- and this was actually fun too, we were originally developing this trying to figure out what the hell Eliot was doing and then we realized just put him over there. For once he's gotta- yeah. Also allowed us to do the fight in an interesting way. This- god all high schools do look alike.

Jonathan Frakes: Yeah this high school is perfect. The shiny floors, the lockers. We said, ‘We’re looking for a broom closet.’ They said, ‘Well what about the broom closet?’ We said ‘Good, that'll be fine.’

[Laughter]

John Rogers: ‘That'll absolutely work!; And by the way Gina seems to really enjoy when her character doesn't like Tims character. She seems to be digging in a little bit more, I'm just saying. Yeah the utter scorn of the good looking asshole is fantastic. Oh we're past that. That was the-

Michael Colton: This is fun also ‘cause so much- I mean just ‘cause the nature of the show often Tim’s or Nate’s character is playing the shady businessman and this is totally opposite.

John Rogers: Yeah this is a low status character.

Chris Downey: He doesn't do a lot of low status.

John Aboud: He's not worn a hat like this on previous jobs.

Aldis Hodge: I just saw one of the other buttons said ‘I’m a handyman’.

Chris Downey: Is that what it said?

Aldis Hodge: One of them yeah. The yellow one.

Chris Downey: ‘I’m a handyman’.

John Rogers: The bright green one says ‘if you can't be handsome be handy’.

Michael Colton: There's very few of his characters where he can wear that necklace.

Jonathan Frakes: ‘I should give you my card’.

Aldis Hodge: The necklace is questionable.

John Rogers: Questionably- is it a surfer? Or what is that?

Aldis Hodge: It's a surfer, man.

Chris Downey: Oh is that what that is?

John Rogers: He's still a Boston guy, so I don't know what he's wearing that for.

John Aboud: Well he's around water all the time.

John Rogers: That’s true.

John Aboud: Pools.

Chris Downey: That's right.

Aldis Hodge: He's a great surfer in his mind.

John Rogers: The great surf pools of Route 9.

Aldis Hodge: Surfer in his mind.

John Aboud: Uh-oh what is this?

Chris Downey: Someone is coming down the stairs.

John Aboud: What’s this what’s this?

John Rogers: Oh yeah, the lovely Kari Wuhrer.

Chris Downey: Now uh MTV? I mean best known-

John Aboud: Oh absolutely.

John Rogers: The sliders, the-

Michael Colton: What’s it called?

John Aboud: Class of ‘96.

Michael Colton: Remote Control.

Chris Downey: Remote Control, that’s right.

Michael Colton: That was a formative influence on me. So I was very happy when I got to work with her.

John Rogers: Yeah, she's fantastic, by the way. She’s really sweet, worked her butt off and just-

Jonathan Frakes: Also happens to be married to our UPM [Editor’s Note: Unit Production Manager].

Chris Downey: But certainly we’re not giving away parts to people connected to the show!

John Aboud: No no.

Jonathan Frakes: Otherwise Jeanie Francis would be on the show by now.

[Laughter]

Michael Colton: I did not know-

John Rogers: She didn't want to work with you, that's the problem. We called here and-

Michael Colton: I did not know she was married to the Leverage team until after she was cast. Her audition was great.

Chris Downey: She was.

John Rogers: Well that's the- Jim Scoura, her husband, the UPM, plays of course the assassin in the finale, in the summer finale.

Michael Colton: It's a double assassin household.

John Rogers: In our heads actually they are married in the Leverage verse; they’re like the bad Mr and Ms Smith.

John Aboud: Neither one of them can actually complete a kill.

John Rogers: They just- but they work hard, they get a lot of-

Jonathan Frakes: Watch them roll down these lockers.

Chris Downey: Was Jim here for this sequence?

Jonathan Frakes: He avoided this scene.

John Rogers: Interesting.

John Aboud: Stayed in the office.

Michael Colton: Stayed with the kids this day.

John Rogers: Having your improbably hot wife all over a good looking actor is just-

John Aboud: Why improbable? Why improbably hot?

Jonathan Frakes: Watch this, watch Tim with these- is this where he does the-

Michael Colton: That’s coming up.

Chris Downey: Oh man.

Jonathan Frakes: The stuff with the-

Aldis Hodge: Did this in one take right? Just one take.

Chris Downey: Jeez she's devouring him. This is like an episode of V!

[Laughter]

John Rogers: She’s gonna unhinge her jaw any second now.

John Aboud: And here we go.

Jonathan Frakes: Oof what a surprise that she'd have it there.

John Rogers: It's a warm key.

Jonathan Frakes: Look at Tim! Look at Tim working those props!

John Aboud: Battling the brooms.

Chris Downey: Nothing like-

John Aboud: And then he stands back up.

John Rogers: Come on the doors right there.

Jonathan Frakes: Come on, come on. Tried and true.

John Rogers: ‘And now I'm gonna go kill a dude.’

Jonathan Frakes: Lucky for us, Beth is in the building.

John Rogers: Yep. This is a real broom closet, that's great. How did you have room to shoot in there?

Jonathan Frakes: Went for the big broom closet.

John Rogers: Ah there you go, as opposed to the little one. Also this is a recurring bit: how Parker will just dump food everywhere. It actually turns out to a plot point in the Rashomon episode.

Chris Downey: Apparently we can have food.

Michael Colton: We can if it's chicken wings. They had like three giant trays of chicken wings.

John Rogers: Ahh good spark welding effect. Thank you, thank you props and special effects, appreciate it.

Jonathan Frakes: This works great, actually.

John Rogers: Yes that was better than the lightsaber through the door in the Star Wars prequel.

[Laughter]

John Aboud: That’s a low bar sir.

John Rogers: Well it's still- it's a feature bar I'll take it.

John Aboud: Feature bar.

Michael Colton: ‘I’m for clean fun’. That's another button,

Chris Downey: Is that what it says?

John Aboud: That’s another one, another button.

[Laughter]

John Rogers: The one on the left is haunting me, I can't quite make out the one on the left.

Aldis Hodge: It says- wait.

Michael Colton: Can we enhance?

John Rogers: Stop and enhance, enhance, push in.

Michael Colton: Push in.

John Rogers: And yeah,this was a lot of fun just zooming in on- cause lets face it, not a lot of women can edge Gina Bellman out of that situation.

Jonathan Frakes: I know, and throw wine on her!

John Rogers: Yep.

Chris Downey: And the fun of this was having them revert to their high school personas and being offended by the cheerleader muscling in on her. I mean right? I mean this is- that's what-

Michael Colton: It's called subtext.

John Aboud: Seeing Sophie confront a mean girl.

Chris Downey: Yes.

John Rogers: Yes. It's great everyone had- everyone had their thematic little hook in this. One of the reasons we originally were attracted to the idea, even a year earlier, was because high school is that period where just the shell isn't on yet.

Chris Downey: And a high school reunion-

Jonathan Frakes: Had you done this before where the con men get conned in the middle of their con?

John Rogers: We play around with it, but rarely in this particular thing. Rarely this particular style.

Chris Downey: You mean an assassin showing up late in the episode?

Jonathan Frakes: No, no, no, I mean two con- our con and another con trying to duke it.

Chris Downey: Oh right.

John Rogers: Intersecting? Two Live Crew kinda.

Chris Downey: Well Order 23 we had a guy pretending to be a Marshall and he was an assassin.

John Rogers: Yeah but not a- those are the crucial- the crucials of surveillance photos.

Jonathan Frakes: Oh, she's on Interpol!

John Rogers: You need a half turn, you need a glasses-

Chris Downey: By the way you never see somebody eating spaghetti in surveillance photos.

[Laughter]

John Rogers: Well what are the odds that when you see that person they'll be eating spaghetti? You really don't want that on the wanted photo. That you can't recognize a killer without the spaghetti. You want a spaghetti free context.

John Aboud: ‘Here, eat this.’

John Rogers: ‘Oh, you're that person!’

John Aboud: ‘We've got our man!’

Jonathan Frakes: Mission Impossible.

John Rogers: Yeah great little three way walk, nice.

Jonathan Frakes: Boom. ‘You go this way I'll take this way’. Taking a long time to get through that door.

Chris Downey: Really is. It's a really thick door.

John Aboud: Very secure door.

Michael Colton: They stopped for a break.

Jonathan Frakes: Thick door they established that early.

John Rogers: This, by the way- this is great. Not a lot of guys could land this joke. ‘The health inspector?’

Michael Colton: Was that in the script or was that?

Jonathan Frakes: That was on the day.

John Rogers: That was on the day, that was an improv, right?

Michael Colton: Yeah, Chris did a lot of improv in this scene. Entire fight was improvised.

John Rogers: And that was fun, too, is coming up with the- I remember ‘ok what’s- what’s from the 80s you can hit people with?’

Chris Downey: Oh that's great.

John Rogers: This is a great fight.

John Aboud: First take on that smash.

Chris Downey: Oh that's great.

Michael Colton: Oh I know, ‘they give trophies for chess’ was Christian’s.

John Rogers: That's right.

Chris Downey: Yeah.

[Silence]

John Rogers: Sorry mouthful of Irish whiskey.

[Laughter]

Chris Downey: Yeah this is a great fight oh and the bowling trophy.

John Rogers: The bowling for chess.

Jonathan Frakes: There’s no prop he doesn't flip!

[Laughter]

Aldis Hodge: He flips everything.

Jonathan Frakes: Am I right?

Chris Downey: Or twirl.

Aldis Hodge: He’ll flip a table.

Jonathan Frakes: Never found a prop he couldn't twirl.

John Rogers: And that's interesting, because on the big screen, you cut from the dude sort of cracking his neck behind Christian, and it's a slam cut into two people kissing. For a second I'm like ‘what the hell? Wait what the hell is going on here? Oh alright.’

Jonathan Frakes: Here's something we've all looked forward to. The fox fight in the girls dressing room.

Michael Colton: Well that- when we were writing the high school show and we came up with this character we knew we had to have a girl fight in the locker room.

John Aboud: And where was that silencer?

Jonathan Frakes: Gina resisted, and then ended up saying, ‘When can I do this again?’

John Rogers: She loves fighting, you see.

Chris Downey: She does.

John Rogers: You're always worried you're going to get hurt fighting, but the stunt people know what the hell they're doing, everyone’s super safe and you wind up just having fun. And also that was a big thing, you know Sophie’s character is not a killer, she has to cheat.

Chris Downey: Oh and the shoes!

John Rogers: The shoes come off.

Jonathan Frakes: Now it's real. Boom.

[Laughter]

Chris Downey: And there's another locked off comedy frame!

John Rogers: And then the cross.

Jonathan Frakes: Locked off comedy!

John Rogers: The cross cutting between the two fights was a lot of fun. And yeah, she could probably take her if she didn't have the fire extinguisher. It- Kari’s frustration in ‘what the hell are you talking about’ here is hilarious, actually.

Jonathan Frakes: These stunt doubles are quite good, this is intercut nicely.

John Rogers: Yup it is. And-

Chris Downey: Oh and she uses a gun, look at that.

Jonathan Frakes: Yeah, look at that.

Michael Colton: Yeah, but she missed.

John Rogers: Yeah that's the problem, silencers are really useless anywhere over 10 feet. She should've unscrewed it but by then she'd be gone.

Jonathan Frakes: Woah, woah, woah.

John Rogers: And this is a great- actually of the early episodes this season this was one of my sort of favorite sort of character twists is that Drake actually has an arc.

John Aboud: Right.

John Rogers: You know no person is without redemption, including Drake. Oh yeah.

Aldis Hodge: And the taser!

John Rogers: And the taser. Again, crucial for the finale for us to plant it that soon.

John Aboud: Her weapon of choice for the season.

John Rogers: Yeah catering. We originally had her lowering from the ceiling, and then that was just crazy. Used the taser. Oh the hug, that's nice.

Jonathan Frakes: Oof.

John Rogers: Oh the- and then the double turn this, is this is dense. This one’s actually got a lot going on in this act.

Michael Colton: I have no idea what's happening now.

[Laughter]

John Aboud: Truly lost.

John Rogers: Is this the fourth act? This is the fourth act

John Aboud: I think we're in act nine.

John Rogers: Yeah this is the fourth action act, and there's an awful lot of story going on here.

Chris Downey: Oh here we go.

John Rogers: And what I kinda like here is where Arye Gross is playing not just angry, but hurt.

Michael Colton: Yeah.

John Rogers: It's like ‘I thought all my high school dreams had come true and now you're lying to me.’

Michael Colton: He's great in this.

John Rogers: Genuinely never- can't go wrong with a shot down the gun.

Jonathan Frakes: Nope. Reliable.

John Rogers: Gonna react to it? Nope, just go to the reverse.

Jonathan Frakes: Go out number one.

Michael Colton: Bang.

Aldis Hodge: Commercial, people.

John Rogers: Remember, a guy pulling a gun for the act break is always better than a guy leaving with a gun. And now we do- what's sad is this was the plan. That's- when you think about it this is the most convoluted possible way to get this information in this guy’s head. I don't mean sad in a bad way, I mean this guy really just has no chance whatsoever. And yeah the mixture of like ‘I’m a villain’ and- this may be the saddest villain we’ve ever had.

Michael Colton: Well I was watching this with my sister, who said- this scene happened, she's like ‘oh I feel bad for him’ then he has a line about ‘cause you brutally beat the Iranian’ then she's like ‘oh now I don’t feel bad for him.’ It was the perfect-

Chris Downey: You're like, ‘Ooh I'm glad I put that in there.’

John Rogers: It's a little- it is sometimes a little funny that you know you realize television very much leads you through the emotions of the show. So it’s- you sorta feel like an idiot resetting the emotions as a writer but it’s important. You know you're in a contract with the viewer.

Jonathan Frakes: Well we’ve been in the school for two acts.

John Rogers: Yeah.

Jonathan Frakes: Absolutely true. And the hacker getting hacked we've forgotten about that.

John Rogers: Yeah 42 minutes is- what is it, average American attention span is like 10 minutes? Which is why act length is probably just about right.

John Aboud: ‘Nice try fake Drake’.

Chris Downey: Fake Drake.

John Aboud: And he pointed out that that sounded a little like a Batman villain.

[Laughter]

John Rogers: Fake Drake.

John Aboud: ‘Very well Fake Drake.’

John Rogers: The- and again, these are people- these are professional spies. These are people who are hired to take care of people like Eliot.

Aldis Hodge: So it's okay for them to get hurt.

John Rogers: So it's okay for them to get beat up.

John Aboud: For his arm to bend that way.

Aldis Hodge: Yeah we don't feel bad for him, no.

John Rogers: I love the ASCII art there.

John Aboud: Yep, yep.

John Rogers: I love that he would go to the effort of making an ASCII manticore. Cause that's not easy. And you can't have an intern do that cause it's your secret logo.

Chris Downey: Yeah.

John Aboud: I think that probably took Derek all of five seconds. And then it even animates! It even animates when it dies.

John Rogers: x o x o x o yeah. Again, he would've had to do that. So at some point Arye Gross' character had to have gone, ‘What if somebody hacks this? I should put a death animation in just in case.’

Chris Downey: Yeah well you want to know that it's gone.

John Rogers: Yeah exactly. Made unaware.

Jonathan Frakes: This is the fifth Beatle, played strong in this show.

John Rogers: Yeah Derek Frederickson. And of course manticore based on various intercept methods that you can use. And that's kinda tricky is social media is both a tool of insurrection and makes you vulnerable. As soon as you network with other people it's a weakness.

John Aboud: We talked about Carnivore I think wasn’t that the-

John Rogers: Yes, that was the FBI one.

John Aboud: Was the decryption.

Chris Downey: Now how long did it take to ‘Badger 85’? ‘Cause you had to find ways to implant it.

Michael Colton: That- actually that was kind of fun because we had to figure out ways to use the word ‘badger’ or ‘85’.

John Aboud: For this.

Michael Colton: Yeah.

John Aboud: For this sequence.

Chris Downey: For the flashes.

Jonathan Frakes: There was a wonderful alliteration in this.

Chris Downey: ‘Five years’.

John Aboud: ‘Wasn't all bad-ger brain hold onto every detail’.

John Rogers: And there's the badger. You gotta remember that badger.

Aldis Hodge: AKA Beth.

Michael Colton: ‘I already ate, five months’.

John Rogers: I've had this dream so many times.

[Laughter]

Michael Colton: ‘You hacked me?’

John Rogers: And now the meltdown. We don't really give them a gloat here, we don't really give them a gloat.

John Aboud: He pre-gloats.

Aldis Hodge: With the Fred Flinstone run out.

[Laughter]

John Rogers: That’s a chess club run.

Chris Downey: He was in the chess club.

John Aboud: Schmitty.

Jonathan Frakes: Can’t believe we’re out of beer.

Chris Downey: ‘Out of beer!’

Jonathan Frakes: Never happened to Paul.

John Rogers: I don’t think that was a line, I think we just ran out of beer on set.

[Laughter]

John Rogers: Oh Larry Duberman, millionaire, the stress has gotten to him, he's melting down. I'll take him away.

Jonathan Frakes: Here's where we toyed with having our favorite FBI guys in this.

Chris Downey: We almost did but the scheduling didn't work. But we tried to have-

Michael Colton: Yep.

John Rogers: Again always the pain but real humans are attached to these roles. They don't wait around for us.

Chris Downey: Taggert and McSweeten.

John Aboud: Doucherman!

Aldis Hodge: Doucherman.

John Aboud: So disappointed.

Chris Downey: Gave him a nice shot there.

John Aboud: So disappointed.

Jonathan Frakes: He's a friend, he gets a good close up.

John Rogers: That's good.

Jonathan Frakes: And this- I love this end. I love this.

Michael Colton: This is what the show started with.

John Rogers: We held onto this end for two years.

Michael Colton: This was all we had.

John Aboud: This is the image from which the episode sprung.

Michael Colton: From whence it sprang.

John Aboud: Yep.

John Rogers: Like the head of Zeus.

Aldis Hodge: It's a red party cup.

[Laughter]

John Aboud: I love that shirt. I love that shirt. I do love that shirt.

Chris Downey: Is that what that is?

Aldis Hodge: Yup yup.

John Aboud: Red party cup.

Michael Colton: Which is a line-

Chris Downey: Oh I want that.

Jonathan Frakes: And he gives it up to. This actor gives it up again.

John Rogers: Yeah, well didn't we put cayenne pepper in his eyes?

Jonathan Frakes: No we did not.

John Rogers: Oh we don't do that anymore? Alright. No he was-

Aldis Hodge: It's how we motivate our actors. They go hard.

John Rogers: Absolutely fantastic work.

John Aboud: I made him cry.

Aldis Hodge: It’s cause you called him fat right before you shot it.

John Rogers: That's a big part of the show by the way, the victim isn't just pathetic.

John Aboud: It was the insults that did it.

John Rogers: That was a spinoff, too, we talked about - Mandy and Schmitty.

John Aboud: Mandy/Schmitty.

John Rogers: Unwittingly getting involved in cons.

Michael Colton: Schmitheads.

Jonathan Frakes: Mandy was thrilled to get to play a girl with big boobs cause she had just had a baby, so she never had boobs like this before. So she was thrilled to be asked-

Chris Downey: I'm sure she can enjoy hearing that on this.

[Laughter]

Jonathan Frakes: Lana[?] told me this for sure.

Michael Colton: They look wonderful.

John Rogers: The- and this was fun. The whole idea that they were so convincing at the con and so charming-

Jonathan Frakes: Yeah that they become-

John Rogers: You could've done an entire subplot like that.

Chris Downey: Oh look at that.

John Rogers: I think that's you know that's a good day for Schmitty, he really lost track of his friends, and he's just happy to know Drake’s doing okay.

Jonathan Frakes: And you can't miss the beer bowl, John Hughes. Thank you very much.

John Rogers: No he- and this is Joe LoDuca giving us- and we originally wanted words and then he gave us the melody as a sample before he put the words on and realized we don't want words.

Chris Downey: No, yeah, that's perfect.

John Rogers: This is perfect. This sounds exactly like an 80s tune.

Aldis Hodge: Now which one of your guys' high school dreams is this, here?

John Rogers: Dancing with Gina Bellman?

Michael Colton: Dancing with Tim Hutton?

[Laughter]

Aldis Hodge: Becoming prom king after like 85 years.

Jonathan Frakes: I love the callback to these two characters, in these costumes, in this place. I think this is lovely, actually.

Michael Colton: Magical.

John Rogers: This is fantastic. This is one of my favorite endings. It really is.

Aldis Hodge: Bit of redemption for what they’ve gone through.

Jonathan Frakes: No, but it’s in front of all these people. Their pasts-

John Rogers: Yeah, and she's not gonna tell him the name, but she's-

Chris Downey: And high school reunions like we said are full of, like, emotion. I mean it's just that’s what's- it kinda takes you back so it’s-

John Aboud: Well and of course what we liked was that Parker never experienced this stuff. So to her it's an alien world and by the end-

Chris Downey: And here's the shot.

John Aboud: This is it.

Jonathan Frakes: Well the metaphor of her feet being off the ground. Here we go bring it on.

Aldis Hodge: Yup.

Michael Colton: Oh yeah.

John Rogers: Yeah, just never actually touching the ground.

Aldis Hodge: I'm just that strong, I'm holding her up.

[Laughter]

Chris Downey: That is great.

Aldis Hodge: Oh yeah.

Chris Downey: And of course look! The one who- the one guy who didn't get to have any fun.

Jonathan Frakes: ‘I don't get to go.’

John Rogers: ‘Did anybody ask if Eliot's okay? Is Eliot alive?’

Jonathan Frakes: Sorry buddy.

John Rogers: Pissed off Christian is a funny Christian. And then pan up and then find both of them. Oh I love this shot.

Jonathan Frakes: Excellent use of the crane.

John Rogers: This is kind of the whole reason to do- yeah. And-

John Aboud: Fan favorite, gonna call it.

John Rogers: Fan favorite, yep.

Chris Downey: Yeah.

John Aboud: Calling it yeah.

Chris Downey: Both of your episodes guys have endings of real-

Michael Colton: The rest of them are shit, but the endings really land.

Chris Downey: But I'm saying-

Michael Colton: Stick the landing.

John Rogers: Gotta hold on for the ending of Colton and Aboud episode.

Chris Downey: I’m trying to pay you a compliment!

Jonathan Frakes: Makes you wanna put in another DVD doesn't it?

John Rogers: Yes, yes, you should go-

Jonathan Frakes: Let’s watch another episode!

John Rogers: You should go watch another episode right now.

Jonathan Frakes: Go run to the fridge, get some stuff, put another one in.

John Rogers: Get some stuff. If you're pantless that's cool we’re pantless.

Michael Colton: You’re saying for douchbags to go hard.

Aldis Hodge: If Hardison-

Michael Colton: We wrote two endings-

John Aboud: Fake it- we fake it well.

Michael Colton: That are actually heartwarming.

Chris Downey: Very heartwarming.

John Rogers: Well you were given one of them.

[Laughter]

Jonathan Frakes: Thanks for watching.

Aldis Hodge: Peace people.

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Elliot Spencer #Nate Ford #Sophie Deveraux #Season 3 #Episode 2 #Season 3 Episode 2 #The Reunion Job

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previouslynebraskan · 3 years

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Why humans are assholes

Hi, my pen name is Gwendolyn, and welcome to my TED talk on empathy

*side note, I suck at writing, and my train of thought is derailed frequently. So buckle up, and I’ll be surprised if you make it with me to the end, as we don’t know organization.

First off, I’ll disclaim something terrible about myself. I’m a Christian. Even worse. I’m a rosary rattler. A Catholic! Oh and you thought it couldn’t get worse? I’m not even a good one. God and I are only on speaking terms when I need him (which is pretty frequent, but not the point). Church feels like an obligation most weeks, and just because I know the rules and believe in the rules, doesn’t mean that I follow them.

Alrighty! Terrible things out of the way. Let’s begin. Humans are assholes. Most people, especially the population of Tumblr, will agree with me. Between human atrocities, selfishness, and down right lack of care, humans are just assholes. I am too. I am human. Ask my siblings. Like any good older sister, I wanted nothing to do with my siblings, and when forced to see them at school, I was unprecedently mean to them. Ask my husband. I am ridiculously selfish, and only do things when it suits me. And yet, there is an entire history of the human race, with worse individuals than myself. And a lot of people might see that, and think, cool, I feel better about myself, because I’m not Hitler. I feel better about myself because I wasn’t a member of the KKK. Well, personally, I don’t. The next disclaimer I am going to make about myself, I’m a self-diagnosed empath. I’ve never been to a therapist. I don’t currently have plans to either, but I’ll let God decide that path later. The reason I bring this up, and the reason I mentioned my religion at the beginning, is because I truly believe that if not for my first disclaimer, my second might not exist.

I am a crier. And I get annoyed at criers. But I don’t cry at reasonable things. No. I cry at other people’s feelings. Let’s bastardize the golden rule real quick. For those who are unaware, “Treat others how you want to be treated.�� Now, I’m sure many people recall going through a phase where they could translate that in their still learning brains to “I can treat people however I want because I wouldn’t care if they were that way to me.” Now back to the golden rule. The bastardization is, put yourself in someone else’s shoes. How many of us got told this by their parents at a young age after not playing nicely with another kid? Apparently, God took it upon Himself to write that verse on my heart. And it went something like this: I cried when my mother told me that her grandmother (whom I had only met twice and had no actual recollection of) died. I was inconsolable when my grandfather died. So much so that even now, almost fifteen years later, it still stops me in my tracks, my heart hurts so much. I cried when Michael Jackson died. I didn’t really even like his music that much. I’ve cried at almost every movie I’ve ever seen. My sister’s speech at my wedding included the moment where she had to chaperone me on a date with my then boyfriend, and we went to Frozen. Now yes, I cried at the scene when her parents die in the shipwreck. But it gets worse. Elsa is out there, just ran away, no plans for shelter yet apparently, and she begins to break out into song. At first I’m fine. But then I can feel my heart, as she sings, “well now they know.” I start bawling my eyes out. And all I can give in response to my sister’s quizzical look of “What the fuck is wrong with you???” (Yes I cursed, I told you, not one of the good ones. Fuck off), was: “She’s just so happy!” I wouldn’t necessarily say I was sad at that time. But I could feel the relase that an animated character was expressing on the big screen. I could feel the weight come off of her shoulders, and I cried. I mourned for what she went through, but shed tears of joy that she had found peace. Tonight. I was watching Facebook videos instead of taking care of my nightly routine of getting ready for bed. And a Mengele twin told her story of survival. When she mentioned looking around for her father and older sisters, I felt that. When she said she could still see her mother’s outstreched arms, I could see that. When she mentioned the panic of trying to save her sister years after liberation, trying to find records of what was done to them, her rage and anger. And then her forgiveness. Do you know how strong someone has to be in order to forgive? To let go of the pain in your heart, knowing you’ll never get revenge. You’ll never get an answer. And you just let it go? That strength is super human. This week, as we pass the 20th anniversary of the tragedy of 9/11, my hometown did a wonderful commemoration. I cried. My aunt gave me a look of disgust because I was crying, again. I cried not only for those who lost their lives, but for their families who would never be whole, for the heroes who stepped up, then and now. I am a proud Navy wife. My husband is out sacrificing his time, so that I don’t have to. And so that I can worship my stupid religion that I cling to, so I can walk around saying inappropriate words and wear not enough clothing. But he made that choice. There are a lot who didn’t. Earlier this week, someone posted the transcription of the phone call of flight 93. The moment that he said that the passengers wanted to sacrifice their lives, for the sake of our country, I hurt. And then he asked the person on the other end of the line to pray. Another video this week, an ex soldier, who fought early on in Afghanistan was telling a story about one of his soldiers. They were getting ready for a raid that would likely kill them. His soldier asks, I know we signed up to fight, but why are we doing this? The man’s response was, for the people up in that tower who didn’t. He goes on to explain the story of a young mother. Two kids. Went to work like any other day, and her last attempt at human decency was to hold her skirt down as she jumped out of the burning tower, so the people below couldn’t see up her skirt.

Crpl. Page was a Marine from my state who just passed away. He was two years younger than me. I never knew him. But I grieve for his family and friends.

See the worst part about being an empath in a world where human’s are assholes, is there’s never a shortage of people’s feelings to feel. I’ve been told that you can experience an emotion so strongly that your body’s only reaction to the volume of what it feels is to cry. And that resonates with me. I feel joy to such an extreme when I’m with my family, celebrating time together. I feel the sorrow of people missing loved ones, and their hearts breaking. And there are times when I wonder if it’s a gift? Or if it’s a curse. It’s a gift to be able to go to someone and say, I can feel for you and your situation. I don’t feel sorry for you. I feel your pain as though it were my own. But it’s a curse to feel the attrocities of humanity and just sit and wonder why it had to happen. Why it had to come to this. I got told I was crying for attention. I wasn’t, but that didn’t matter. Supposedly, behavioral psychology could “fix me” if I wanted it. I could be trained to control my emotions, and process them in a way that wasn’t so consuming. It would definetly help my self diagnosed depression. But let’s posit that God made me this way for a reason. He gave me this gift with a purpose in mind. What then? The problem is, I don’t know how to effectively use it without letting it ruin my life. I can never be a therapist, because I would be able to take on the feelings of my clients. And while I do very much believe in tough love, I also belive that if you just have the right push in the right direction, great changes can be made. Would the Holocaust have happened if Hitler had better relationship with his mother? (this is a personal piece, I am reflecting on history classes I haven’t taken since high school. I’m not fact checking this. Don’t at me.) Would Columine have taken place if those kids had been in a better place mentally?

You know what the awful thing is...? Look at all of these events. Look at all of these heart wrenching dates in history. And then look what came out of them. Out of 9/11 came one of the most unified fronts America has had in a long time. Out of World War II came men of valor. A chemical reaction occurs when you take an object, and force it to experience a high degree of change. And that is what gives us assholes grit. Our experiences make us tougher, and make us better. And maybe less of a crybaby in my case. Or more of a cyborg who doesn’t experience emotion for fear of being consumed by them.

Ramble is over. For those of you who persisted and tried to keep up, good job and I’m sorry. For those who didn’t, don’t worry, I wouldn’t blame you.

Some effort is better than none at all, and if all you are capable of is existing today, then I hope you do, and I know you will do it beautifully.

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quelsentiment · 4 years

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Explaining my blog

The amazing Anni @whatagreatproblemtohave tagged me to do this. Thank you, it was so fun 🤗🌺

Header:

I made this TPWK rainbow collage while bored in quarantine, and one day there was sunlight and shadows dancing directly over it. So I filmed it and made a gif out of it, but honestly the result is not as pretty as it was irl.

Icon:

Louis (aka the love of my life) laughing while playing table tennis during the 2017 Observer photoshoot. Actually the mobile version might still be my previous icon (which was Astronaut DMD Larry), but I refuse to use the mobile app :)

Description:

idk how much I need to explain, but let’s see

Emmanuelle/E. because you can use either of them :)

“stuck in Canada” is obviously a reference to the current lockdown situation, but it sounds more dramatic than it actually is. Basically I’ve been living in Canada for the past 3 years because I’m studying here, but my program is coming to an end in a few months, and I’m still not sure if I’ll be able/want to go back to France then

“stuck in the 1d fandom for the foreseeable future”: as Harry would say, it’s pretty self-explanatory. But for those of you who don’t know, I only got into 1d at the beginning of the year, so I’m definitely still in that honeymoon phase, which was probably amplified by being in self-isolation and deciding to create a blog. Oops 😳

“Ace in every way”: because I’m ace, but I also try to be an ace human, as the British would say 😝

and then a link to my AO3 profile (I’m writing Larry fics there)

Content:

anything 1d related with a strong emphasis on Louis and Larry, quite a lot of Harry/Zayn/Liam/Ziam/Zouis as well. I know there’s not enough Niall content and I apologize in advance to any Niall stans out there 😔 Otherwise I follow a few BBC Merlin accounts so you’ll sometimes see me reblog Merlin stuff, and other TV/film/music stuff as well. Plus, like Ani, more political stuff and also queer-related content when I come across it on my dash. And sometimes I’ll pop off about my wip or fics I’m reading.

Background colour:

turquoise green but I think I’ll change it back to lavender

Text colour:

white, which is why I’d like to change my background colour. right now they’re clashing

Url meaning:

“quel sentiment” is supposed to be the french translation of “what a feeling”, which is my favourite 1d song. But I realized with horror a few weeks ago that a better translation would have been “quelle sensation”. But it’s too late now and I quite like my url the way it is 🤷‍♀️

Blog title meaning:

"everybody needs someone around”

as I said What A Feeling is my favourite 1d song and this line has always stuck with me. I think it’s quite a nice reminder to seek out connection with other people, especially during lockdown. And in a way this blog has allowed me to do that because I’ve met so many great people ever since I created it a few months ago, so thank you folks 🥰

(also i made a deal with myself that I’d get this line tattooed if 1d does something for their anniversary 😳)

Random:

I’m adding this section to explain some of the more obscure tags I’m using 😳

“kju” means queue (I study linguistics and [kju] would be the phonetic transcription of the word 🙄)

“solune” is my Larry tag because “soleil”= sun and “lune”=moon, therefore “solune”=🌞🌜=those 2 idiots

“all the love”: I’m using this one to tag all the posts that feature some of the boys interacting together, if it’s not ot5/ot4/Larry

“otfp” stands for One True Friendship Pairing and that’s my Zouis tag 😔

I think everything else is, once again, pretty self-explanatory 😝

Tagging some new friends, aka @pinkpoppunk @strawberrylight and @merrrrrrrrry as well as @citronlou because somehow I always wondered about her url but it’s remained a mystery so far 😝 Also if you see this and want to do it, please consider yourself tagged 💜

#well this was fun!#(and i overshared)#thanks Anni <3 #tag #what a feeling

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the-fashiongeek-blog1 · 5 years

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S/S ’19 in Review; Presentations and Lookbooks

Back when I first made this blog, I made a promise to myself to review all the collections that made me Feel Things. Of course, that was before the season, and before my list of collections grew to over five dozen. Similarly, it was before NaNoWriMo, where I lost four weeks progress on this blog. After doing a little math, I realized there was no way I would be able to finish all the reviews before couture week kicked off. Considering I want to review all the major couture collections (plus the miscellaneous posts on other topics I wanted to throw in), as well as my current pace, there was no way that was happening. So here we are; I’m going to attempt to knock out every S/S ’19 collection shown as a presentation or lookbook in this one post. As a separate challenge for myself, I’m also going to try to limit each review to under two-hundred words. It’s an exercise in brevity, the archnemesis in all my writing ventures. Can I do it? Let’s find out!

—PAULE KA Of the sixty-some-odd collections that made my favorites list this season, Paule Ka ranked last. Not necessarily a bad thing, considering it actually made the list, but not a ringing endorsement. To put it plainly, while I liked some looks, I was indifferent about most. There were a few, such as the ones with the large heart appliqués, that I actively disliked. The bows that are a signature of the brand occasionally tended towards comically large, or even very young, but I’m generally not a fan of large bows anyway. Many of the dresses felt like things I’d seen before…in the Macy’s prom section. But perhaps that is a testament to the influence of brand, which just celebrated its thirtieth anniversary. The looks I did like were the ones that included sheer panels. For example, the grey-and-white dress in the first page of the lookbook, which was an interesting take on the half-cape (even if it did include a big shoulder bow). While the placement of the placement of the sheer panel in looks 16 and 17 might not be practical for a night out, I enjoyed them as well. Paule Ka isn't the most expensive brand on this list, but the clothes fit the pricetag.

—ALEXIS MABILLE Alexis Mabille's namesake brand inhabits a strange place in my mind. His couture collections veer into saccharine for me; all cloying sweetness with no depth, no edge to balance it out. However, his ready-to-wear collections are more restricted, and that's probably for the best. Not to mention the possibility that individual pieces can be incorporated into less cutesy outfits. This time, it wasn't hard to imagine. The lookbook model wore a reflective shield over her face, adding a delightfully surreal element to the collection. It was still undeniably an Alexis Mabille collection, however. Season after season, Mabille finds new and creative ways to sew a collared button-up or trench coat. The craftsmanship in tailoring deserves special mention, particularly on the pieces where patterns were matched across seams. Looks 1 and 6 used this method to create a beautiful chevron. Unfortunately, the collection suffered from familiar drawbacks in Mabille's work. Some of the satin silk pieces felt...off in a way I can't accurately describe. Look 24 throws a lot at you in terms of pieces and color. However, I would consider wearing each of the pieces individually.

—ELLERY Of the designers on this list, Kym Ellery's concept was probably the most, well, conceptual. Literally; it was inspired by Paul Kos' conceptual piece "Sound of Ice Melting". Like the artwork that inspired it, this collection was meant to be perceived through multiple means. The campaign, film, and presentation were all meant to be part of the collection itself, not just a way to advertise the pieces within it. So what does this mean for the clothes themselves? On one hand, aside from the occasional shared design element, there aren't too many obvious themes. The looks covered many occasions and styles - from casual sportswear to sparkling crop tops that would be perfect for a night out. However, all the pieces look like they could belong in the closet of the same woman. While the garments were more individually-focused than others on this list, they are also some of the most wearable. My only major complaint is for the lookbook itself. Some of the poses, as well as the bright lighting on lighter fabrics, made it difficult to see the clothes. And, trust me, I wanted to see the clothes.

—NABIL NAYAL Nabil Nayal has been designing for over a decade now. He's won all kinds of awards, dressed everyone from Florence Welch to Rhianna, and collaborated with both Christopher Bailey at Burberry and Karl Lagerfeld at Chanel. Yet this is the first year I've heard of him, and that's a shame. All his artist statements and biographies mention his love of English history - particularly the Elizabethan era. He even earned his Ph.D. in the university where this collection was presented. That inspiration was quite literal in this collection. Prints included both original transcripts of famous Queen Elizabeth I speeches to depictions of the queen herself. In other places it was less obvious, such as the front ruffles or frilly collars on everything from shirts to trench coats. Previous collections by Nayal have been more sportswear-focused, but this collection was breezier. At times a little shapeless, the intricate prints and tailoring still made the garments beautiful. The makeup, which mimicked the script print of some pieces, also deserves a mention.

—VERA WANG From Elizabethan England to pre-revolutionary France. Where Nayal used his source of inspiration quite literally, taking the designs in a modern direction, Vera Wang went futuristic and avant-garde. Her designs are all about shape and volume, and there was a lot to play with in her chosen time period. This mix of past and future was clear from the first look, which included a style of cap sleeves (called "engageantes") popular among King Louis XIV's court, but rendered in black lace on a babydoll dress. Other times, the classic silhouette was used, but recreated with hard lines and sharp edges. Neck ruffles and puffed sleeves abounded, but the little details were also beautiful. There were several versions of seams made up of grommets, which added a hard edge to the romantic, lacy garments. Some of the pieces in the collection might not be the most wearable, but that hardly matters. They're art.

—WENDY NICHOL Is it possible to exude downtown grunge and uptown glamor at the same time? Wendy Nichol may have just cracked the code. In this collection, she combined clean lines with sheer fabrics to brilliant effect. All the looks in the campaign were styled by the models who wore them, showcasing not only their personalities, but the versatility of the garments. (One of these models happens to be Ilana Glazer, probably most known for her staring role in "Broad City", and a favorite actress of mine.) Some were dressed more casually, in shirt/pants/jacket combos that would be perfect for grabbing lunch with friends at a café. Others wore mini-dresses that looked ready for a night out clubbing. There were also creative takes on this season's staples, like bike shorts and belted blazers. My favorite (look 2), a gauzy black dress, was particularly beautiful; like something a member of the Unseelie Court might wear. Or, you know, me on a Friday night.

#paule ka #alexis mabille #ellery #nabil nayal #vera wang #wendy nichol #ss19 #spring summer 2019 #blog posts #tfg articles

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drsallygrissom · 6 years

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Why We Love ars PARADOXICA

Back in 2016, the fandom made a list of 43 reasons why we love ars PARADOXICA in honor of the 73rd anniversary of Dr. Sally Grissom’s first audio diary on October 29, 1943. When I learned that the podcast was going to end after its third season, I decided to pull together another list that was double the length of the first.

However, the fandom was so passionate that we blew past our goal, and reached triple the length of the original list!

Without further ado, here are the 129 of the reasons why we love ars PARADOXICA:

Helen Partridge, my beautiful, beautiful wife

I just love Kristen’s laugh and it never fails to make me smile.

Mischa’s outros! “Brought to you by the internet:”

The TimeSwimmers episode. That whole thing was a masterpiece

Sally and Nikhil's friendship

Petra, my sassy troubled daughter

The effort that went into making such a truly unique and ambitious take on time travel-based fiction

Sally, my favorite disaster ace

All of the characters are just so beautifully flawed in their own ways and are so well depicted it’s hard to pick a favorite

Every episode makes me feel SO MANY EMOTIONS

The sound effects are just so well done that I feel like I’m right there with the characters

The subtle yet mind blowing foreshadowing

The way it endlessly inspires me to create fan content

The decryption team, who I don't understand yet love to watch unravel codes

The ability to make us both love and hate a character at the same time as much as we do Esther Roberts.

Jack Wyatt

The sass, and in general wonderful interactions with the fan base on social media.

The schoolyard brawl!

Very obviously not being afraid to have fun with ads/sponsored content.

Actually making me want to listen to the version with ads even though I'm a patron

Buttsticks…

Plasticity

The outro music is simple but so, so good

Lemon drops and Limestone

My curiosity about what Esther wrote in the letter

Golden boi and his devils lettuce

With three episodes left it felt like there was so much story left to be told and such little time to tell it

The generosity to keep us entertained between seasons

The subtle symbolism of Esther's mind being represented with card games

The heart-wrenching ups and downs of Esther and Bridget's relationship

Esther and Sally’s lesbian/aroace solidarity

Bridget, my mom

Sally's #relatable ace anxieties and Nikhil's comforting response

The super cool theme song by Mischa "i do not play piano" Stanton which they apparently HEARD IN A DREAM?!

The found footage pieces between scenes

The amount of detail put into it, and being able to notice new things on each relisten

Easter eggs like QDAM

Seemingly infinite pop culture references

The commitment to posting a transcript for each episode

The GOLDEN BOY smokes the devil’s lettuce?!

The Super LUminal Recursive Processor

All of the machine code names really

Mischa’s wonderful sound design that makes me feel like I’m actually in the location the episode takes place at and made me realize how wonderful podcasts could truly be.

Sally Grissom. The wonderful disaster ace and the first ace rep I ever found.

The sound design of the show, especially the tapes adding to world building, all those clunky sounds.

Sally Grissom, ‘I wonder what would happen if I...’, Mad scientist.

This show has the most complex, humanistic portrayal of aromanticism I’ve ever experienced

I appreciate the aP creators’ dedication to nuanced portrayal of and discussion about violence

All of Curses, of fucking course

Keeping the humanity of people who do bad thing while not trying to justify them

Their commitment to “all killer, no filler”

Reminding me that science is cool, dammit!

Petra is a lovely and nuanced, complex character that I adore with my whole heart and soul.

[BLUE BLUE 09 13 18 15 26 08 04 12 20 24 05 18 14 09 17 04 05 12 01 05 The weather in Tulsa today is: Drought. At the tone, the time will be: 5400 hours]

The creators are so so fantastic and fun! I love that they interact with fans.

Sally is the disaster stoner physicist we all need in our lives. also she’s relatable as hell

The show is not afraid to tackle issues like race, gender, or sexuality and it doesn’t overstep its bounds.

The codes are so fun (even if I don’t understand all of them)!

I love how excited scientists get when they’ve discovered something-it feels like real scientists I know

How Bridget criticizes Sally for making puns under pressure even though she does exactly the same thing

The way characters interact with one another, and grow, and learn, and develop is so fascinating and beautiful.

Plasticity might have been the first podcast episode to make me cry.

I love Sally “I only know anecdotal biology and chemistry” Grissom and how her science knowledge actually makes sense??

As a huge huge physics nerd and aspiring computer scientist, I love love love the way Sally talks about science! It’s like Kristen DiMercurio is narrating my inner monologue!

The thrill of trying to keep up with the diverging timelines

☭S̶͜͞ ̀͜҉̀͢Í͠ ̸̸͟҉X̵͘͢ ̢T̷̶͞ ̢̨͟Y̧̛͘ ̨͟͢ ̴̨͜҉S̷̶͢ ̴͝Í͢͟ ҉̢̛͝X̕͝͝☭

The consideration and dedication shown in not only writing an aro-spec ace character, but addressing issues and worries often faced by people in that community.

The mind-boggling task of trying to piece together everything that’s happening when for all we know every scene could be from a different, rewritten version of the timeline.

Anthony Partridge, the most melodramatic math nerd to ever play Tetris in a bubble outside of time.

The optimism of the show and ultimate faith it shows in both science and humanity, despite all the characters’ failings.

Sally giggling over meeting her future self both times that it happens

Sally’s book (and her attempts at pronouncing NaNoWriMo).

Maggie Elbourne, because as much as I love all my the more morally ambiguous scientists it’s nice to see one who actually stood up to ODAR’s shenanigans almost as soon as she figured out what was up.

Everything about the road trip.

TimeSwimmers was already mentioned but specifically TIME DOLPHIN RYAN LOCHTE

Characters that grow and change and learn

The 77s getting name dropped in Plasticity, way before we knew who they were

Sally calling out the English language for being problematic (“oh, you mean like morally upstanding?”)

“The weather in Tulsa today is: uhh I dunno”.

It has been quite possibly the most human exploration of time travel I’ve ever seen/heard.

Reaching a happy ending I couldn't even imagine

The weather in Tulsa is: sppoookyyy

The ever changing ways the codes were presented in season 3. Giving the feeling that the anchorites were both on the run and broadcasting these messages from different points in time.

Sally’s ace representation is the best I’ve ever seen and it makes me feel so #valid.

The sound design and detail in the writing make me feel like I’m truly immersed in the story, and it feels so authentic. Are you sure you don’t secretly have a timepiece?

The characters are people I CARE about and wanted to cry over during work all the time because they’re all wonderful and I love them.

The integration of the different storylines into Sally’s, especially Petra’s, is amazing.

Petra’s characterization was really well done, and it made me really care about her, even as she was trying to more or less destroy the world.

Out-of-date pop culture references that fit seamlessly into the dialogue despite being from literally a different time period and most of the characters having no idea what it meant. They just added an extra level of hilarious.

You may not actually know a single thing about tachyon fields and gluon walls (are they even real?) but you could definitely convince me that you know exactly what you’re talking about (or at least that Sally Grissom does).

The enDING WAS JUST REALLY WELL DONE AND I LOVE A GOOD CIRCULAR ENDING AND IT MADE ME GENUINELY GO TO THE BATHROOM DURING WORK TO CRY BECAUSE IT WAS JUST BEAUTIFUL.

The fact that the whole show is wrapped up by the revelation that the entire show is actually Nikhil and Mateo curling up with board games and snacks trying to form a story out of these tapes, patching together timelines to make it all cohesive, it just feels very right.

This story fits the medium so well, and so the fact that we don’t learn that Whickman has an EYEPATCH is absolutely wild but also wonderful because as soon as I heard that I knew that that was how it belonged, like of course he has an eyepatch, that’s a very Chet thing to have.

The ending was so perfectly, painfully beautiful. It was the ending we needed but never would have imagined.

Petra’s and Sally’s relationship being so complex and real.

Nikhil and Mateo using the archive to create the framing device for the whole podcast.

The sound the timepiece makes.

The final destruction of the timepiece.

Putting time travel in a Cold War setting makes perfect sense, and they go together like peanut butter and chocolate.

Did anyone mention Helen Partridge as a character? How beautifully she was set up and the fact that she pursued her own her life, and also, how BEAUTIFULLY Susanna Kavee can sing? Because damn.

I just. Really love this show. And everyone involved. So much.

The child characters were really well done-both the actors and the writing felt real.

To me, the show feels a bit like one of those camp friendship bracelets everyone used to make, with all these colors and threads--all of the timelines, woven together, messy but beautiful.

TEETRIS

Grissom’s Gizmo Gals!

Mateo’s non-stop flirting, even in the worst of situations

Sally “It’s Dr Grissom”ed HERSELF.

The way both the story and the characters reflect a complex view on the world with people making horrible decisions and horrible things happening to them, and yet always maintaining a positive outlook, offering the possibility of change and improvement.

The top-notch voice acting from everyone involved, helping to create the wonderful characters we all love.

Sally finger-gunning her way out of a conversation with a pun about a friend almost killing her.

All the minisodes!!

Any time Bridget, Nikhil or Lou acts like they want to adopt Petra

The series ending with two characters who had been at odds coming together

The characterization of the different Petras, because they all seem like different people even though in fact they are not (and Sylvia deciding she doesn't want to follow the legacy of Petras)

How Kristen can play 2 of the same character and make them sound different (how does she do that???)

Anthony’s will to save everyone, sacrificing himself, when the world didn't do anything good for him…

... and the constant struggle to save his friends (like when he was literally the only one aware of the Anchorites and the way their plan could have ended)

The way the show can go from time travel shenanigans to heartfelt character moments is a real testament to the talent of the writing team.

The Vegas episode, which I listened to after the finale and cried, because they were so happy and naive and everything wasn’t messy and bad and complicated.

The way gun violence is handled by the creators with respect and care

The way PTSD and mental health is handled (through Sally) is beautiful and respectful.

Partridge being named after a bird and living out his life in a cage. YOU GUYS ARE MEAN

Susanna Kavee’s absolutely amazing singing and Tau Zaman’s lyrics are an absolutely combination.

The ceaseless, unwavering commitment to puns

I love how important their friendships are to the characters (well, most of them anyways).

Sally’s conversation with Nikhil in season 3 reflects a lot of common anxieties of aromantic people, and his understanding responses

The entirety of the trial episode, which just really sort of showed the full extent of how terrible the Red Scare was by putting Esther, a Jewish woman, through it, and just shows you how defamed people in that time were.

In so many of the fictional and non-fictional representations of history, marginalized people have diminished, distorted, and stereotypical roles-but not in ars PARADOXICA. Thank you for making so many people feel seen.

All the amazing writers who started it all. 💜

Here are the signatures of some of the fans who contributed:

Signatures

Lindsay (ioniluna/drsallygrissom)

Khanan Abayev

SJ (your friendly neighborhood slauthor)

Dave (mondas-mania)

Noah (kindadisappointed)

Sana (i-am-delta-s)

Tina (espressonist)

Meaghan (lafgl)

Katherine (Rubywolfsbane)

Artimis (jp-blindperson/ap-blindperson)

Luke (martianboyy)

Ellie (joan-and-jane-and-esther-roberts/shewrites)

Bridge (cornerandchair)

Lem (aceparadoxica)

Esme (starsparadoxica)

Glory (mercutiglo)

Carly (guardianbob)

Emese (mse)

Ben (Q)

Special thanks to the ars PARADOXICA discord for being so helpful! From the time it was just a dozen people with a spork in a shoebox, this community was a shining star that helped me through tough times. Thank you for your silliness, cleverness, and support.

Brought to you by the internet: It’s weird! It’s fun! It loves you very, very much!

#ars paradoxica #aP creators #surprise!

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dailyaudiobible · 5 years

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08/11/2019 DAB Transcript

Nehemiah 1:1-3:14, 1 Corinthians 7:1-24, Psalms 31:19-24, Proverbs 21:4

Today is the 11th day of August. Welcome to the Daily Audio Bible. I’m Brian and here we are reaching out, twisting the knob, throwing the doorway, the entry open and walking through the threshold of a new week. And we may have plans about this week and kind of know what the schedule is, but we don't really know what's going to happen this week. It will all be revealed minute by minute and choice by choice. And one of the wise choices that we make each and every day is to take the next step forward in the Scriptures, allowing them to be a voice in our lives as we face the choices that we need to make on any given day or in any given week. And, so, we got a brand-new week. We will read from the Good News Translation this week. And we concluded the book of Ezra yesterday, which means we’ll be beginning a new book as we begin this new week and this book is called Nehemiah.

Introduction to the book of Nehemiah”

Nehemiah is part of a group of books known as the books of history in the Bible and we won’t be to lost. Nehemiah picks up pretty much where Ezra leaves off. In Christian tradition Ezra is considered at least one of the authors of Nehemiah because Ezra and Nehemiah at one time in biblical history were a single manuscript. So, here’s pretty much what we know. Nehemiah was a Jewish exile. He had been exiled and was under the rule of the Persian kings and he’d followed the story of how God gave favor to this remnant of people, these exiles in allowing the first Jewish people to return to their homeland and rebuild the temple. And he would've been able to follow the story closely because he was a direct servant to the Persian king. What got Nehemiah's attention, what engaged his heart, and actually engaged his heart to the point that he interceded for months about this, was this image that he had of God's temple, which obviously, the temple was the symbol, like the symbol of the Jewish people and the place where God met with mankind. So, he had this image of this of this temple being rebuilt but sitting there completely undefended. And, so, a passion began to build in Nehemiah to rebuild the walls of Jerusalem and this went on until he couldn't hold it inside anymore and had to talk to the King. And just having this desire and then having the guts to talk to the King, that's not the whole story. He faced all kinds of opposition. But we’ll watch as we see the story unfold, that even though he faced all kinds of opposition he persevered through all of it. He was resolute. He didn’t turn to the left or the right, he didn't lose sight of who he was depending on. And these are all things that all of us have to learn. This is all part of our faith journey and all part of the maturing process in the faith. And, so, as we’ll see, the wall was rebuilt in record time, and Nehemiah returned to Persia to report to the King and just resume his role, but later he was given permission to go back to Jerusalem again and when he got there what he found very much troubled him, similar to Ezra. The wall they built was strong, the people were not. The people were weak. And, so, Nehemiah stepped into that breach and helped restore Israel to its glory before the Lord. There is so much for us in this book. And, so, we begin, Nehemiah chapter 1 verse 1 through 3 verse 14.

Prayer:

Father, we thank You for Your word. We thank You for this brand-new week that we are entering to be counseled by Your word and to be in fellowship with one another as we continue this journey through the Scriptures this year. We invite Your Holy Spirit into this week, into every decision that we need to make, whether it's something that we know about or something that will just home as a surprise. We’re faced with decisions and choices things to talk about every single day and we need the counsel of Your Holy Spirit so that in all things we might reveal Your kingdom. Come Holy Spirit we ask. In the name of Jesus, we pray. Amen.

Announcements:

dailyaudiobible.com is home base and certainly the connection point.

It is the place where the Prayer Wall lives and brothers and sisters are praying for one another and asking for prayer on a continual basis there. It’s where the shop lives, where resources for this journey can be found.

If you want to partner with the Daily Audio Bible, you can do that at dailyaudiobible.com as well. There is a link on the homepage, and I cannot thank you enough for your partnership. If you're using the Daily Audio Bible app, everything that we just talked about is available as well, including if you want to partner with the Daily Audio Bible. Just push the Give button in the upper right-hand corner or, if you prefer, the mailing address is PO Box 1996 Spring Hill Tennessee 37174.

And, as always, if you have a prayer request or comment 877-942-4253 is the number to dial.

And that's it for today. I'm Brian I love you and I'll be waiting for you here tomorrow.

Community Prayer and Praise:

I just wanted to encourage you today and I want you to declare that you are blessed beyond measure. There's no limit. There’s no looking back. God wants to bless you over and above more than you can even think or imagine. People of God, I cover you. Look beyond your circumstances, your limited mindsets and to the king of the universe. There's nothing, no one could stop what God has for you. When He begins a new thing just come into agreement with it. Don't fight, don't try the reason, just believe. Get into a mindset of believing the God of the universe, the Alpha, the Omega, the King of Kings, the Lord of Lords. I break off word curses, anything that's not in agreement with God. He is the restorer of those that seek him. I, you will not walk in disappointment. The God of the universe does not turn away but is with us today and always. Favor is here. Embrace the favor of God, declare the favor of God, declare healing and wholeness, grace and victory. I ask for wisdom for each and every one of us in every circumstance. Wherever we're walking we're standing in the favor of God. I believe in God's goodness, God's love, God's kindness to me. I'm looking for His goodness, His kindness, His love in every circumstance, looking to God in every circumstance, thanking God in every way. He is good. He's a good, good Father. Happy is the man who trusts in the Lord and know God is working on our behalf. And that is my word of encouragement today. This is Vicki from Arizona and I'm just rejoicing that the king of Kings and the Lord of Lords, if God be for us who can be against us? And, so, I lift up everyone who’s sick today, everyone who's going through a trial. And just know that God has got us. He's not gonna let us go. He will never leave us nor forsake us. In Jesus’ name I pray. Amen. Have a blessed day.

Hi this is Susie from Colorado, I'm calling to let the lady who called in on August 6th who has breast cancer that has been now diagnosed in her brain. I’ve thought about you constantly since that call. You, having 2 autistic boys 19 and 22 - Michael Josiah and Elijah Benjamin. I can’t get you off my mind and I pray for you several times a day. And this morning on DAB, today’s the 7th, I heard, I believe it was Jackie from Colorado and Robert Willing to Serve. Not sure if I got that right but he read second Corinthians 9 through 11 and when I heard him read that and how the Lord answered the prayer of his healing, please read that. I don’t know your name but please read that because that’s what I’m praying over you. And I want you to know you are so dear and I know it took a lot for you to call in with your broken heart. Also, Norma called in right after you and she just prayed for us all, for all of us who are sick and having financial problems and discouraged and lonely. And she cried, which made me feel that, you know, she was praying so deeply in the spirit. And I just want to thank you Norma for that prayer. Please call in more often and pray for us. Also, could I ask for personal prayer? We have quite a few children at our orphanage in Haiti who are terminally ill and three of them in particular don’t…they may be heading for the heavenly gates in the next few months…

Hi this is Kris from West Michigan. I called last week and left a prayer request for our grandson Thatcher who was scheduled for surgery on Monday, August 5th. We are four days post op and I just had to call just to let you know that God performed the miracle that we were praying for. He did not have to have an artificial valve put in. They were able to repair the valve. That was our highest hope and God answered it perfectly. And I honestly can’t even explain to you what they found in there, some calcification that had put a whole in the valve, something like that. I can’t…it’s just beyond what I could even imagine. So, thank you for the prayers. And we are still praising God and humbled by His goodness to us. So, thank you and love you all. Bye-bye.

Hello Daily Audio Bible family this is Treasured Possession and I’m calling to tell you…just God laid it on my heart…I have a hard time knowing when I should call and when I shouldn’t call because I know that there’s so, you know, there’s so many people listening and everyone should have a right to have their voice heard, but the Lord just told me that today I could call and tell you that. So, I am writing out my 33 reasons why I am grateful that I’m married to my husband today because tomorrow is our anniversary and we share these things with each other in the morning. So, that’s our gift to each other because you get to a certain age and you don’t need stuff, you need any things in your hearts pocket that you can take with you. And my husband and I are both on the spectrum. We’re kind of a miracle because of the Lord because we’ve gone through a lot. People with autism have a lot of problems inherently but they also…I believe autism is a blessing that God gives us. And, so, I look, and I think of all the things I’m grateful for my husband for and we write them down and we share them with each other. And I just encourage everyone that’s married to look at things from their partner’s point of view and realize the limits that we have to deal with and fight with ourselves about our own set things our own problems and then have that kind of compassion for the other person and try to keep strife out of your marriage because strife is the enemy that will just steal your joy. I love you all. I pray for you. I’m so grateful, pastor Brian and Jill for this blessing because without you we really are kind of alone in a lot of ways but we’re not alone with you. So, praise God I…

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lingthusiasm · 1 year

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Episode 74 Transcript: Who questions the questions?

This is a transcript for Lingthusiasm episode ‘Who questions the questions?’ It’s been lightly edited for readability. Listen to the episode here or wherever you get your podcasts. Links to studies mentioned and further reading can be found on the episode show notes page.

[Music]

Gretchen: Welcome to Lingthusiasm, a podcast that’s enthusiastic about linguistics! I’m Gretchen McCulloch.

Lauren: I’m Lauren Gawne. Today, are we getting enthusiastic about questions? You bet. But first, our most recent bonus episode was a tour through the world of child language acquisition research after Gretchen read 103 papers on different languages.

Gretchen: You can go to patreon.com/lingthusiasm for this and many more bonus episodes.

Lauren: Our thanks, also, to everyone who joined in celebrating Lingthusiasm’s sixth anniversary in November by sharing a link to favourite episodes or your favourite Lingthusiasm fact or just sharing Lingthusiasm more generally.

Gretchen: We’ve really enjoyed seeing and replying to your recommendation posts. Thank you for tagging us in them – @lingthusiasm on all social media networks. Also, our thanks if you shared in private as well. We really appreciate it. It helps every year.

Lauren: In further anniversary celebrations, we’re conducting a listener survey for the first time.

Gretchen: This is your chance to tell us about what you’re enjoying in Lingthusiasm so far and what else we might wanna be doing in the future.

Lauren: Including suggestions for topics.

Gretchen: And maybe crossover episodes with other shows. Also, we couldn’t resist the opportunity to add a few linguistic experiments in there as well, which we’ll be sharing the results of next year.

Lauren: We even got ethics approval from La Trobe University so that we can write up the results maybe as a research paper one day. You can see links to the survey and the ethics information on the Lingthusiasm website in our show notes.

Gretchen: The Lingthusiasm survey is open until December 15th, 2022, anywhere on Earth. Go to bit.ly/lingthusiasmsurvery22 – all one word, all lowercase – to see the links to the survey or to see what an official ethics approval for a fairly minor survey looks like.

Lauren: Or follow the links from our website and social media.

Gretchen: Whether you’ve joined us recently or you’ve been with us the whole six years, thanks for helping us celebrate our anniversary.

[Music]

Lauren: What is a question?

Gretchen: Is this a question?

Lauren: Am I doing a question now?

Gretchen: This is a question here, right?

Lauren: Question?

Gretchen: Question.

Lauren: We use questions to gather information from each other. It’s why they’re very handy in a conversation.

Gretchen: Sometimes, we also use questions for stylistic or rhetorical effect since we didn’t really answer any of those introductory questions.

Lauren: That is true. But it’s also good to note that questions can have a variety of different grammatical shapes and different patterns to how we articulate them.

Gretchen: One of the things that I think is really cool about questions is the way they cut across a bunch of different linguistic subfields. There are things about the words and the orders of the words and their relationships with each other when it comes to questions. There’re also things about how you modulate the pitch of your voice to make a question. And then there are things about how questions fit into social situations. It really lets us talk about a whole bunch of different areas in linguistics under one simple question.

Lauren: Let’s start with the tone of voice that we use to ask a question.

Gretchen: This is “Question?”

Lauren: Where your voice goes up at the end to indicate that you’re asking a question.

Gretchen: This is sometimes called “question intonation.” This is the way the intonation or the pitch of your voice changes to make something into a question. It’s fairly common, at least in the languages that I’ve studied to any degree, to be like, “Yeah, well, you know, here are some various grammatical strategies to make questions, or you can just use question intonation, i.e., making the pitch of your voice rise towards the end of the sentence.”

Lauren: This is a common strategy across languages but isn’t universally required.

Gretchen: Actually, doing a rising intonation at the end of a sentence to indicate a question isn’t even always indicative of a question in English.

Lauren: No. When I ask, “What is a question?”, I didn’t have to use rising intonation because we had that question word “what” there. It was very clear that it was acting as a question, and I didn’t need that rising intonation.

Gretchen: In fact, if you had, “What is a question?” [with rising intonation], it would almost have sounded like you didn’t know whether you wanted to be asking that question.

Lauren: It adds that uncertainty to it.

Gretchen: Which is a thing that rising intonation can also do in English. If I say something like, “It’s raining out?”, it might be asking, but I might also just be indicating uncertainty about whether or not it’s raining. Questions in English where the structure of the words and how they’re put together already indicates that it’s a question are actually the ones that often don’t use that rising intonation for a question. It’s individual words or phrases that otherwise you couldn’t tell that they’re a question, that’s when this rising intonation shows up the most.

Lauren: There’s also my favourite type of question intonation, which is the British down step, which sounds like an old-fashioned dance, actually, now I say it out loud.

Gretchen: I love this one. I think this is the one that I pick up on whenever I’m talking to British-speaking folks because it just feels very contagious to me.

Lauren: Would you like to give an example? “Would you like to give an example?” [Down step]

Gretchen: Ah, there you are. That’s sort of the “Would you like a cup of tea?” [Down step]

Lauren: Yeah, I find myself very compelled by it as well. It is much more of a British form of intonation than North American. We don’t really have it in Australia either. But whenever I hang around British people that do have this, I feel really compelled by it, and I find myself using it very easily.

Gretchen: This is the one that’s got – on the final word, there’s a relatively sharp fall and this little rise. It’s a little bit hard to hear on “tea” because that’s just one syllable, but if you say something with two syllables, “Would you like a cup of coffee?” [down step], then you have the CO-ffe-E going down and then up again. You can get this nice little shape, which is really fun.

Lauren: [Down stepping] “Would you like a banana?”

Gretchen: [Down stepping] “Would you like an apple?” It’s great.

Lauren: I saw this really interesting post about Meghan Markle picking it up as a feature of her increasingly British-influenced accent that made me feel really reassured that it’s not just me – and the fact that you also find it really compelling as well.

Gretchen: I think, to be honest, when I first met you, I didn’t know whether Australians did this intonation or not. I may have just been doing it around you just to be extra careful – extra polite.

Lauren: Aw, and because it’s a very satisfying intonation contour. Intonation is only helpful for making clear something is a question or not in spoken language. We use a lot of written language as well.

Gretchen: The classic indicator of this rising intonation and this higher pitch at the end is the question mark. If I’m writing down to remind myself, “Tea? Coffee?”, I could put a question mark after each of those. But because of how the question mark indicates that rising intonation, sometimes it’s also used to indicate this upwards pitch at the end of the sentence even when the effect of a question isn’t intended. And then the inverse when you’re asking a question and you mean it sort of rhetorically or ironically, sometimes people, especially in more internet-influenced styles of English, don’t write the question at all. That’s a drier question or a non-question that has the form of a question because you can often tell it from the order of the words or other things about the wording.

Lauren: I like this as a diagnostic for the fact that we have things that are grammatically questions but there are a variety of different reasons that we use question structures, and not all of them are for “I want some information from you.”

Gretchen: There’s about five different ways that some people talk about the form of a question. Exactly. You have this asking for information – “What time is it?” “Do you have a pen?” People often use a question mark there. There’s also requesting action. So, saying something like, “Could you give me that?” That’s sort of a polite question. The question has the effect of politeness. Or “Would you give me a pen?” This is, again, requesting a particular action.

Lauren: I never really thought about the fact that both of those are asking, but they’re asking very different types of things – information and asking someone to do something.

Gretchen: Yeah. Actually, in Spanish, there’s two different verbs that are used to convey these different types of asks. So, asking information is “preguntar,” “me preguntó qué hora fue,” “He asked me what time it was.” This is the asking for information. But to request an action of someone is “pedir,” “Me pidió escribir una carta,” “He asked me to write a letter.” That’s “ask someone to do something” rather than “ask someone about something.”

Lauren: I love when you find a structure in a language that makes something clear that has a different function to two things that just get lumped together for English. That’s really cool.

Gretchen: It’s really great. Then the other three kinds of questions aren’t really about asking at all and, I feel like, tend to grow less and less likely to use question marks when it comes to their written versions because the intonation is also doing very different things. We have rhetorical questions – “What can you expect?” “How could anyone possibly have known?” Sometimes, these are written with a question mark still. I think increasingly in internet-ish styles, they’re often not written with a question mark, as I discuss in my book Because Internet. Then the other two that I think are really interesting, which I would really not write with a question mark, are confirmation of known information. So, if I say, “Did you see that!” [With surprise]

Lauren: Hmm, I think I’d put a punctuation mark like an exclamation mark rather than a question.

Gretchen: Right. Exactly. I can say, “Did you see that?” And then that’s asking about information. But if I say, “Did you see that!”, with two down steps there, I think I’d write it with an exclamation mark, and then it’s more about the confirmation. Then also there’s the intensification use. Something like, “What a big dog!” “Would you look at that sunset!”

Lauren: Huh. Yeah, I mean, they have the structure of a question, and I don’t even think of those as questions.

Gretchen: Like, I’m not saying, “Would you look at this sunset for me and tell me why it’s green?”

Lauren: “Yeah, okay, I can do that. Sure.”

Gretchen: That’s a requesting of action. “Would you look at this cup for me and tell me if you think it’s broken?” Those are real questions that are asking for something. But “Would you look at that sunset!”, again, it’s got this choppier intonation, and I think I would, again, have to write that with an exclamation mark.

Lauren: So, we have five different functions and only the ones that are soliciting information or requesting actions we actually tend to think of as really being questions even though they all have the structure of a question.

Gretchen: Right. Sort of capital Q question-y questions compared to the sort of things that borrow from the world of questions and are actually accomplishing something else. Let’s talk about some of these gold standard capital Q question-y questions.

Lauren: Sure. We can broadly divide questions into two different types. They tend to have different structures because they’re doing different things. The first type are questions where we’re just soliciting a yes/no or a binary or a polar question choice.

Gretchen: “Is/is not.” “Do/do not.” “Do or do not. There is no try.” Sometimes these get called “polar questions.” I think “yes-no questions” may be easier to keep track of from a talking out loud perspective.

Lauren: “Do you like questions?” would be a great example.

Gretchen: “Yes, I do.” “No, I do not.” This solicits an answer that is either yes or no. English is kind of weird about these because we’ve got this “do” there.

Lauren: I think, just as a spoiler, English is weird about questions in general. We’re gonna see this with all the question structures.

Gretchen: I have questions about English and questions.

Lauren: So many questions about English.

Gretchen: A more typical language for yes-no questions might be doing something more like Italian where you have, you know, here’s the statement that you’re saying, but you’ve put a question mark after it. Something like, “Stai bene?”, which is literally like, “You are good?”, but you’ve made it a question.

Lauren: I can either answer, “Sì,” “Yes,” or “No,” “No.”

Gretchen: Or something like, “Parlano italiano?” “They speak Italian?”

Lauren: “Sì.”

Gretchen: No.

Lauren: “No.”

Gretchen: And here, the “they” or the “you” there is not said aloud because Italian doesn’t need them. But that’s not the part that makes them more typical as a question, it’s just, here’s the statement that you’re making, and you can make it into a question. They’re not adding a word like “do” or moving a word like, “Are you good?”, “Are you okay?” They’re not doing any of that stuff. It’s just you can just say it, but say it with a question intonation, it’s fine.

Lauren: If I see a group of people, and I say, “Parlano Italiano?”, “Do they speak Italian?”, and then they all start speaking Italian, I can say, “Parlano Italiano!”, and I don’t have to change anything about the order of those words for it to be a statement. “They do speak Italian.”

Gretchen: You can do this in English to make yes-no questions. You can say something like, “You good?” “Yeah, you’re good.” Or “They speak Italian?” “They speak Italian.” You can do this in intonation with English. But it’s not as much of the default strategy. The default strategy is like, you got to do other stuff with “do” and moving words around.

Lauren: Definitely much more informal to do that kind of question structure.

Gretchen: And it sort of implies in English that you expect the answer to be yes if you say something like, “They speak Italian?” “They speak Italian.”

Lauren: Ah, yeah, I never thought about that, but I feel like that makes sense.

Gretchen: Whereas if they say, “Do they speak Italian?”, you’re sort of more open for the answer to be yes or no. I think that intonation has a more neutral connotation in languages where that’s the default strategy.

Lauren: It’s not the only way to do yes-no questions by any stretch of the imagination. I find it very convenient that Mandarin Chinese uses two other really common strategies that we can talk about, one of them being just a particle that says, “Hey, I’m doing a question right now!”

Gretchen: Right. Mandarin’s got this great word, “ma,” which just means, “This is a question now.” You can add it to something like “Nǐ hǎo,” which is “You good?” literally, and you get, “Nǐ hǎo ma?” The “ma” there means like, “You good (question),” “Are you good?”, “Are you okay?”, “How are you?” – effectively. But it’s just adding, “This is a question now.” It’s very elegant. It’s very straightforward. You can add it to lots of different kinds of sentences and just get, “This is now the yes-no version of this question.” I think there are quite a lot of languages that have some sort of question particle that’s like, “Yup. Now this is a question.”

Lauren: Yeah, very common to have one either at the beginning or the end of a sentence, particularly. They’re good spots to put your question particles. Mandarin also has this other construction where you put the “yes” part and the “no” part in the question together. You have the “yes” version of a verb and the “no” version of a verb together. So, something like, “Do you want tea?”, the “do you want” part would be “Yào bù yào?”

Gretchen: So, that’s literally something like, “Want, not want?”

Lauren: Yeah. Someone says, “Do you want or not want tea?”, as the default question structure. And then you say, “Yào” or “Bù yào,” “I want” or “I don’t want.”

Gretchen: Again, this is making explicit a yes-no question is giving you a choice between two options, you know, “Do you want this or not?” But in English if you wanna say, “Do you want this or not?”, you still have to have that “do” there. It’s great there.

Lauren: In the world’s languages, that is a very uncommon structure. We’ll post the World Atlas of Linguistic Structures map of which you see English as a little dot that’s a very different colour to most of the other things around it because it has a very unusual question structure.

Gretchen: Historically in English, it was a little bit more straightforward in that you just put the verb at the beginning of the sentence. If you say something like, “Have you the time?”, where in present-day English you’d have to say something like, “Do you have the time?”, but in Shakespeare, which is Early-Modern English and earlier, and still in languages like German, you can say something like, “Have you the time?” or “Watch you the video?” or “See you this fish?” or something like that.

Lauren: “Watch you the video?” being a classic line from Shakespeare.

Gretchen: Shakespeare was so big into watching videos. “Watch you this play?” Then what happened in English is that we kept the ability to put the verb at the beginning of the sentence only for auxiliary verbs. You can say, “Are you watching the video?”, “Can you watch the video?”, “Might you watch the video?”, “Have you seen the video?”, but you don’t have the ability to just say, “See you the video?” or “Watch you the video?” anymore. That’s where the “do” comes in because “do” is this lightweight thing that you can just put in if you’ve got to move something to the front of the sentence, but your verb is too heavy.

Lauren: Thank you, “do.”

Gretchen: English has ended up down this interesting historical pathway, but that means that when you go to learn another language from English, you’re always saying, “All right. Well, I’m really, really confident it’s not gonna do the ‘do’ thing that English does for arcane historical reasons.” It’s gonna do something else – a more normal thing, like intonation or having a question particle.

Lauren: This is also true for our other main type of question. Our first type of question was “Do you have the time?” Yes-no, kind of forced-choice answer. Our second type of question asks for a more open but particular piece of information like, “What is the time?” or “When are you coming over?”

Gretchen: These questions use words like, “who,” “what,” “where,” “when,” “why,” and “how,” which are often called “wh-words” in English because most of them, except for “how,” begin with W-H. Linguists sometimes refer to these questions as “wh-questions” for that reason, which is super a piece of terminology that doesn’t really hold up across other languages, but it’s easy to remember, so we’re gonna keep it for now.

Lauren: For English questions like, “What time is it?”, “Where are we meeting?”, that wh-word is always at the start of the question that you’re asking.

Gretchen: I feel like we’re arranging a secret assignment or something like that. You know, “Where are we gonna be? Will you have the letter? And what time? Where? Who’s gonna meet us?”

Lauren: I thought we were just catching up for coffee and cake. You have a much more sinister-minded motive behind all these questions than I do.

Gretchen: I like to think of my cake assignations as very important, yes.

Lauren: But we’re putting all those wh-words at the start, regardless of the nature of the appointment that we’re keeping.

Gretchen: In principle, right, these wh-words are at the beginning in questions in English, you know, “Who’s gonna be there?”, “What time?” But also, the answers to all of those have the answer towards the end of the sentence. So, “You are WHERE?” “You’re at the café.” “Let’s meet WHEN?” “Let’s meet at 2 o’clock.” You’re meeting WHO?” “We’re meeting our friends, the secret agents, obviously.” Just for a fun little secret agent tea and cake.

Lauren: Which is a possible but not the typical way of asking these questions as well and really just shows that the information doesn’t always have to be at the start even though we tend to put it at the start for a question structure.

Gretchen: A lot of European languages like to do this thing where those wh-words, which don’t begin with W-H in more of these other languages, go to the beginning of the sentence. But not all the Indo-European languages because the Indic languages – so Hindi, I think Nepali, as well, probably a lot of languages in that area – don’t allow you to move those wh-words to the beginning of the sentence.

Lauren: That’s right. In Nepali, the wh-words are K-words. If we’d started with Nepali grammarians doing the world’s linguistic diversity, we’d be talking about “K-words.”

Gretchen: You know, to be honest, in Indo-European in general, a lot of these words begin with a K sound or a Q-U or a C. This would be a lot more typologically valid, at least for one language family. It’s just very English-centric that we’re talking about wh-words instead of, like, KW-words, which is the more, at least for one very large language family, accurate way of talking about them.

Lauren: In Nepali, if you say, “Hāmī kahām̐ bhēṭauṁ,” that “kahām̐” is “where.” “Hāmī kyāphē bhēṭauṁ,” “We meet at the café.” You don’t change the word order at all which, again, is a lot more of a simple solution than English’s moving of it.

Gretchen: I had to, interestingly, sort of unlearn this in French because in school in French, you learn, “Oh, yeah, you move all those wh-words, the “Q-U words,” to the beginning of the sentence,” which is still the formal French way to do it, but in conversation, most of the time, people don’t actually move them, and you sound more natural if you don’t move them. There’re some languages where it’s sort of optional, like French. There’re some languages where you really do move them almost all the time, like in English, and then there’re some languages really nobody ever moves them at all, and that’s more like Nepali.

Lauren: I like the slight outrage that comes with English if you don’t move it. Like, “You are WHERE?” Like, “I’m outraged that you’re not at the café where we’re meant to be meeting.

Gretchen: That’s similar to how in English if you’re asking yes-no questions just with intonation, “You LIKE cake?” It sounds sort of incredulous or like you expect a particular direction of the answer rather than being a default strategy that is more pragmatically unmarked or more pragmatically neutral.

Lauren: Once again, it’s worth just pointing out that English has the less common way of doing questions. In the World Atlas of Linguistic Structures there’re more than twice as many languages where moving the wh-word to the front is not what’s done. There’re a lot of languages that do it, but not all, and by no stretch of the imagination.

Gretchen: Also, that sometimes we move for wh-questions in English both the “do” and the wh-word. So, if you’re saying something like, “Why don’t you come?”, you’ve got a “do” in there, like we saw earlier, and you’ve got a wh-word. Again, the “do” thing, that’s just not what other languages do.

Lauren: It’s like English was designed to keep syntax people really busy and happy. That’s my theory.

Gretchen: Speaking of things that keep syntacticians really happy, there’s another thing you can do for questions. This is maybe my favourite question thing because they’re so versatile, and they’re fun, and you can do lots of things with them. They’re a little bit more flexible. These are tag questions.

Lauren: Ooo, they sound fun!

Gretchen: This is when you have a main sentence, like a normal sentence, and then you can add a little extra thing at the end to make into a question that is sort of tacked on, like a little tag on a piece of clothing, to make it more question-y. The classic, very formal English example is saying something like, “Isn’t it?” So, “It’s cold, isn’t it?”

Lauren: “Tag questions are interesting, aren’t they?”

Gretchen: Right. But there’s more fun versions. You can say, “It’s cold out, right?”

Lauren: Ah, yeah, it’s doing the same thing with an even shorter tag.

Gretchen: Yeah. I think it’s that little pause, maybe, before the tag question that distinguishes it from you just have a question word that’s the default way of asking a question because “It’s cold out, right?” or “It’s cold out, isn’t it?”, again, sort of expects an answer in a particular direction and has this little pause before it. One of my favourites from the Britishism department is the contraction of “isn’t it” which is “innit?”

Lauren: Ah, yes.

Gretchen: So, “It’s cold, innit?” I’m probably not saying that as Britishly as people who actually have that in their native dialects do.

Lauren: I like that “innit” has just become so stable and contracted that you can use it in a variety of places where you’d have to have a different tag for something else. Like, “Tag questions are interesting, innit?” which, again, I am absolutely not the right kind of British English speaker to pull that off, whereas with the full tag I needed to say, “aren’t they,” and have the “aren’t” match the plural of tag questions. “Innit” has just become its own solid little tag by itself.

Gretchen: Which is, again, the cool thing about tags is that you can just keep putting stuff in tags because they’re sort of more versatile or flexible. English is stuck with this weird “do” situation for complicated historic reasons, but you can just keep innovating and make “innit,” and it’s really fun. Another fun tag question is in Japanese. The tag question form is “ne.”

Lauren: Oh, that’s definitely a thing I hear in Japanese TV shows.

Gretchen: I’ve seen speculation online that the “ne” in Japanese is somehow related to Portuguese, which also has a tag question in “ne,” which comes from “isn’t it?”, like, “Não é?” But unfortunately, I looked up this etymology, and it seems like this is an accident. This is just convergent evolution. Sometimes things resemble each other, and they’re not actually related. It would’ve been cool if it was, but it seems like it’s not.

Lauren: It’s just one of those things where tag questions tend to be really short and reduced and get shorter as people use them more and more. Perhaps unsurprising you get them with the same shape across different languages.

Gretchen: Exactly. I think I need to say my favourite tag question as a Canadian is obviously “eh,” Canadian “eh.”

Lauren: Oh, yeah, of course.

Gretchen: Which is a very short and reduced form. Obviously, it’s just one vowel. The cool thing about “eh” is that it’s a bit different from how other tag questions are used in English because other tag questions in English, you can’t put them on sentences that are already questions.

Lauren: Okay.

Gretchen: So, if you say something like, “Did you see the game last night, did you?”

Lauren: [Laughs] You sound very insistent, but it definitely doesn’t feel like a tag question.

Gretchen: Right. Or “What are you trying to say, are you?”

Lauren: Okay, that definitely does not work.

Gretchen: That just crashes, yeah. Or using “right” for your tag question, “Did you see the game last night, right?”

Lauren: Okay, that works as a tag question in the examples we had before and not there because it’s a question already.

Gretchen: But “eh” can be added to both yes-no questions and wh-questions, and it’s still okay. So, “Did you see the game last night, eh?” This is fine for me.

Lauren: That sounds like a thing a Canadian would say. I perhaps don’t have the best intuitions about this.

Gretchen: Or “What are you trying to say, eh?” This also sounds totally fine to my Canadian ears. This is something that’s sort of unique about “eh” that it can also be added as a tag question to another question where most tag questions in English don’t let you do that.

Lauren: Oh, it’s very flexible.

Gretchen: Isn’t it great, eh?

Lauren: The other cool thing about questions, as well as their intonation and their grammar, is how they get really interesting when we look at how they’re used in the conversation context.

Gretchen: Ah! You know, like my hobby.

Lauren: Which is?

Gretchen: Well, it’s interpreting the semantic structure of a question while ignoring the pragmatic context.

Lauren: Ah, can you give me an example of that?

Gretchen: Yes. [Pause]

Lauren: Okay, you’ve established that you could give me an example of that, and I feel like by not volunteering the example when I ask that question and treating it as a yes-no question with no other requests for information has really proven your point, good job.

Gretchen: I really have ignored the pragmatic context which is often people asking a yes-no question and they’re looking for an answer that’s longer than just yes or no. I didn’t come up with this. This is a meme that makes its way around the internet in various formats. I think it’s really great though.

Lauren: A self-evidencing example is always a true delight.

Gretchen: Absolutely. This idea that, oftentimes, when we’re asking what seems to be a yes-no question, we’re actually expecting, and often providing, more information than that made me feel really validated in a thread on Twitter from the linguist Liz Stokoe, who pointed out that when you actually look at questions in the wild in use in corpora, oftentimes people actually do answer a yes-no question with more than just “Yes” or “No” in response.

Lauren: Because, as we’ve just established, to not do so comes across really dry and unhelpful in the conversation.

Gretchen: Right. A few examples that she has from context: “Do you have pets?”

Lauren: I mean, my answer is “No,” but then I feel like I have to give you the reason why we don’t have pets based on various factors. Even with a “No,” I already feel like I’m opening up more about that.

Gretchen: The answer in her corpus is “Yes, two cats,” which I know you don’t have two cats, but that’s the kind of thing that people say when they do have pets.

Lauren: I was gonna read from your script, and then I was like, “But then people will think I have two cats, and I don’t, for, like, complicated reasons. It’s not that I don’t like pets.” Here we go. But yeah, as soon as someone says, “Two cats,” you go, “Ah, do they hang out together?” Suddenly, you have an in to asking more questions because people always love to talk about their pets.

Gretchen: The same thing with asking someone do they have kids. People will often start talking about specifically their kids and their ages and these sorts of things rather than just say, “Yes” or “No” in a very blunt sort of way.

Lauren: If I call up and say, “Can I make an appointment?”, at the hairdressers, they’re not just gonna say, “Yes,” and then that’s it. They’re going to be like, “Yes, when are you available? What would you like to have done?”

Gretchen: Especially when the answer is a little bit more dis-preferred, if it’s something that you feel a bit socially awkward about. Stokoe has this example with a salesperson and a client saying, “And do you have internet access at all, Mr. Jones?” And the client says, “Uh, yeah, the wife’s got a laptop.” That really conveys some particular things about Mr. Jones and his relationship to the internet which is like he’s sort of online but maybe not very online rather than just “Yes, technically, there’s internet access in the household.”

Lauren: He doesn’t seem to be really looking for it there.

Gretchen: There’s actually a really great example, also from Stokoe’s corpus, about someone doing this very literal “Yes” answer to yes-no questions in a way that makes the other person prod for information.

Lauren: Okay, should we do a little radio play of it?

Gretchen: Yeah. So, this is in a café. You have a café customer, café staff, and the customer says, “Do you have Wi-Fi?”

Lauren: “Yes, we do.”

Gretchen: “Uh, can customers use it?”

Lauren: “Yes, they can.”

Gretchen: “Do I need a code or…?”

Lauren: Apparently, according to this, I point to the place on the wall where the code is.

Gretchen: “Uh, thanks.” Most of the time, I think, when a customer says, “Do you have Wi-Fi?”, they’re saying, “And how do I get on it?” or “What’s the password?” not just, “Yep, okay. So, I can use it. Okay, but like, how do I do that?”

Lauren: That really strikes me as a staff member who is very sick of pointing to the sign. And you see how immediately unhelpful that is. I feel like this research and these observations are really helpful because I feel like there’s a kind of teaching you how to do conversation that’s like, “Ask open questions. These yes-no questions really trap people into locked answers.”

Gretchen: And if we actually analyse what people are doing in conversation, it turns out that asking a yes-no question, people will often continue volunteering information or provide a springboard for doing that rather than saying to somebody, you know, “Do you have kids, and if so, how many, and what are their ages?”, saying, “Do you have kids?”, will often lead people into volunteering how many and what their ages are and these sorts of additions onto the questions. There’s this post about using yes-no questions in a psychotherapy context where you’re trying to have people open up, but sometimes saying, “Do you feel this particular way?”, can be a way of someone talking about their feelings more or even asking a question like, “Can you tell me more?”, which in its form looks like it’s kind of a yes-no question. You know, “Can you tell me more?” “Yes.” Now, I’m gonna stop talking. It probably, actually, has the effect of saying, “I’d like you to tell me more. Please tell me more,” but sometimes phrased in a more polite way. Getting really hung up on the difference between the sort of, “Oh, you have to ask questions with wh-words in them because that’s the only kind of open question” doesn’t actually seem to be how conversation is structured if you look at what people are actually doing.

Lauren: In fact, the more important thing is just to think about who is likely to have information and who has the right to ask questions and who has the right to answer questions.

Gretchen: This brings us to a really interesting thing that speakers of Yélî Dnye do, which is a language spoken in Rossel Island of Papua New Guinea. They don’t use the structural things that we talked about to mark a question, whether that’s a question word or changing the word order, but they use instead a deep understanding of the social context. They don’t use question intonation either.

Lauren: That’s all the strategies we’ve discussed so far for having ways or rearranging or adding words or using intonation to mark questions. Their questions really are identical to statements.

Gretchen: But people can still tell if a question is being asked because of the informational mismatch between what you think the other person is likely to know. If you assume the person you’re speaking to has a younger brother, but you’re not sure, you want them to confirm it, you could say something like, “You have a younger brother,” to which they could reply, “Yes, I do” or “No, I don’t,” because in context you know that they are a higher authority of whether or not they have a younger brother than you are probably.

Lauren: Yeah. The “You have pets” would obviously come across as a question because I know who’s in my household more than you do.

Gretchen: Right. If I talk about somebody’s internal states, you know, “You’re hungry,” that actually means “Are you hungry?” because how could I know whether you’re hungry or not except if you tell me.

Lauren: It reminds me a little bit of how questions get asked that use evidentials. In Lamjung Yolmo and the other languages I’ve worked with, which is that you have to ask a question of someone, and they have to answer with whether they know because they saw something or because they heard about it. You ask the question by using the form of evidence you think they’re most likely to have based on their experience. You have to keep track of whether this person has the likelihood of answering a question and what evidence they’re gonna use to answer the question with.

Gretchen: So, this is something like, if you’re saying, “Do you know if someone’s still around?” or “Do you think they’re still around?” or “Have you seen this person recently?” like, whether they’re likely to know?

Lauren: Whether they’re likely to know because they saw the person or heard. Or a really good example is the difference between “Are you hungry?” or “Is she hungry?” where, if I ask you if you’re hungry, I’m gonna use, “Do you have personal experience of the hunger?”, whereas if I ask about someone else, “Is this other person hungry? Have you been told?”

Gretchen: Right. Because I wouldn’t be able to experience that directly. This sounds like it might be useful in talking especially about people in social situations. I wanna say, like, “Did they have a nice party?”, there’s a difference between whether you think I was there at the party having direct experience of it being nice or whether I simply heard about it after it happened, and I think it went really well.

Lauren: Yeah. And it’s not that we aren’t aware of this in English as well, it’s just that we’re forced to make a grammatical choice in these languages with evidential systems that shows up this information asymmetry or access to information in a different way.

Gretchen: Whereas in English, doing so is optional. Like, you can do it, but you don’t have to.

Lauren: Yeah. And if I asked, “Did they have a nice party?” and you say, “Oh, I didn’t go, but someone else said it was great,” I’d be like, “Ah, okay.” I might’ve asked because I thought you’d been there.

Gretchen: Right. It sort of embeds what your assumptions are.

Lauren: I found the way that people do questions in conversation so interesting that I spent a whole chapter of my thesis thinking about questions in the grammar and conversations of Lamjung Yolmo, and I think it is because they bring together the phonetics with the intonation patterns and the grammar with the word choices and the word order and, unescapably, the conversational context for how people make the choices of the types of questions they ask and the types of questions that they give.

[Music]

Lauren: For more Lingthusiasm and links to all the things mentioned in this episode go to lingthusiasm.com. You can listen to us on Apple Podcasts, Google Podcasts, Spotify, SoundCloud, YouTube, or wherever else you get your podcasts. You can follow @lingthusiasm on Twitter, Facebook, Instagram, and Tumblr. You can get linguistics merch, including our new, elegant redesign of the IPA on posters, mugs, and t-shirts at lingthusiasm.com/merch. I tweet and blog as Superlinguo.

Gretchen: I can be found as @GretchenAMcC on Twitter, my blog is AllThingsLinguistic.com, and my book about internet language is called Because Internet. Have you listened to all the Lingthusiasm episodes, and you wish there were more? You can get access to an extra Lingthusiasm episode to listen to every month plus our entire archive of bonus episodes to listen to right now at patreon.com/lingthusiasm or follow the links from our website. Have you gotten really into linguistics, and you wish you had more people to talk with about it? Patrons can also get access to our Discord chatroom to talk with other linguistics fans. Plus, all patrons help keep the show ad-free. Recent bonus topics include doing child language research in more languages, an interview with Liz McCullough about how linguistics interacts with science communication, and a discussion of how we re-designed the layout of the International Phonetic Alphabet to make it look really cool and put it on lots of cool items that you can get as gifts or for yourself. Can’t afford to pledge? That’s okay, too. We also really appreciate it if you can recommend Lingthusiasm to anyone in your life who’s curious about language.

Gretchen: Lingthusiasm is created and produced by Gretchen McCulloch and Lauren Gawne. Our Senior Producer is Claire Gawne, our Editorial Producer is Sarah Dopierala, and our Production Assistant is Martha Tsutsui-Billins. Our music is “Ancient City” by The Triangles.

Lauren: Stay lingthusiastic!

[Music]

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nothingman · 7 years

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Originally posted at Gin & Tacos.

If you want to feel old, teach. That movie quote is not wrong: You get older, the students stay the same age.

Your cultural references are all dated, even when you think things are recent (ex., The Wire is already ancient history. You might as well reference the Marx Brothers). You reference major historical events that they’ve sort-of heard of but know essentially nothing about (ex. the Cold War, Vietnam, the OJ Simpson trial, etc.) You do the math and realize that they were 3 when 9-11 happened. And of course it only gets worse with time. You get used to it.

One of the saddest moments I ever had in a classroom, though, involved Rodney King and the LA Riots. We just passed the 25th anniversary of those events that left such a mark on everyone who lived through them. Of course “25th Anniversary” is a bold warning that students, both college and K-12, will have only the vaguest sense of what the proper nouns refer to. A few semesters ago in reference to the Michael Brown / Ferguson incident I mentioned Rodney King in an Intro to American Government class. I got the blank “Is that a thing we are supposed to know?” look that I have come to recognize when students hear about something that happened more than six months ago. “Rodney King?” More blinking. “Can someone tell why the name Rodney King is important?”

One student, god bless her, raised her hand. I paraphrase: “He was killed by the police and it caused the LA Riots.” I noted that, no, he did not die, but the second part of the statement was indirectly true. God bless technology in the classroom – I pulled up the grainy VHS-camcorder version of the video, as well as a transcript of the audio analysis presented at trial. We watched, and then talked a bit about the rioting following the acquittal of the LAPD officers at trial. They kept doing the blinking thing. I struggled to figure out what part of this relatively straightforward explanation had managed to confuse them.

“Are there questions? You guys look confused.”

Hand. “So he was OK?”

“He was beaten up pretty badly, but, ultimately he was. He died a few years ago from unrelated causes (note: in 2012).”

Hand. “It’s kind of weird that everybody rioted over that. I mean, there’s way worse videos.” General murmurs of agreement.

“Bear in mind that this was pre-smartphone. People heard rumors, but it this was the first instance of the whole country actually seeing something like this as it happened. A bystander just happened to have a camcorder.” Brief explanation, to general amusement, of what an Old Fashioned camcorder looked like. Big, bulky, tape-based. 18-year-olds do not know this.

I do believe they all understood, but as that day went on I was increasingly bothered by that that brief exchange meant. This is a generation of kids so numb to seeing videos of police beating, tasering, shooting, and otherwise applying the power of the state to unarmed and almost inevitably black or Hispanic men that they legitimately could not understand why a video of cops beating up a black guy (who *didn’t even die* for pete’s sake!) was shocking enough to cause a widespread breakdown of public order. Now we get a new video every week – sometimes every few days – to the point that the name of the person on the receiving end is forgotten almost immediately. There are too many “Video of black guy being shot or beaten” videos for even interested parties to keep them all straight. Do a self test. Do you remember the name of the guy the NYPD choked out for selling loose cigarettes? The guy in suburban Minneapolis whose girlfriend posted a live video on Facebook after a cop shot her boyfriend in the car? The guy in Tulsa who was surrounded by cops and unarmed while a police helicopter recorded an officer deciding to shoot him? The woman who was found hanged in her Texas jail cell leading to the public pleas to “Say Her Name”?

These kids have grown up in a world where this is background noise. It is part of the static of life in the United States. Whether these incidents outrage them or are met with the usual excuses (Comply faster, dress differently, be less Scary) the fact is that they happen so regularly that retaining even one of them in long term memory is unlikely. To think about Rodney King is to imagine a reality in which it was actually kind of shocking to see a video of four cops kicking and night-sticking an unarmed black man over the head repeatedly. Now videos of police violence are about as surprising and rare as weather reports, and forgotten almost as quickly once passed.

Ed is an assistant professor in the Department of Political Science at Midwestern Liberal Arts University. He writes about politics at Gin & Tacos.

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mastcomm · 4 years

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William Barr, Coronavirus, Harvey Weinstein: Your Friday Briefing

(Want to get this briefing by email? Here’s the sign-up.)

Good morning.

We’re covering Attorney General William Barr’s challenge to President Trump, the latest updates on the coronavirus outbreak, and good news in the fight against Australia’s wildfires.

‘Stop the tweeting,’ attorney general says

Attorney General William Barr said in an interview on Thursday that President Trump’s attacks on the Justice Department had made it “impossible for me to do my job,” adding, “I’m not going to be bullied or influenced by anybody.”

Mr. Trump has repeatedly criticized officials in the department and denounced a sentencing recommendation for his associate Roger Stone. Here’s a transcript of excerpts from Mr. Barr’s interview with ABC News.

Mr. Trump did not immediately respond on Twitter, but his press secretary, Stephanie Grisham, said, “The president wasn’t bothered by the comments at all.” The attorney general had let the president know some of what he planned to say and is remaining in his job, a person familiar with the events told The Times.

Another angle: Critics of Mr. Barr dismissed his comments as mainly a way to deflect responsibility for carrying out Mr. Trump’s political wishes. “The tell here will be Trump’s reaction,” said Joe Lockhart, a White House press secretary under former President Bill Clinton. “If he doesn’t lash out, we’ll all know this was pure political theater.”

More than 1,700 medical workers infected in China

The Chinese authorities disclosed for the first time today that 1,716 medical workers had contracted the coronavirus and that six had died. The number of infected workers represents 3.8 percent of China’s overall confirmed infections. Here are the latest updates and maps of where the virus has spread.

A look at Pete Buttigieg’s time as mayor

The experience that he gained as the leader of South Bend, Ind., is a central part of Mr. Buttigieg’s pitch to be president, while his rivals try to sow doubts about whether he is prepared for the Oval Office.

His record in trying to turn the Midwestern city around has also been challenged by some residents and activists, particularly on problems facing black residents.

Our correspondent traveled to South Bend to learn more about how Mr. Buttigieg, 38, governed and grew over his eight years in office.

Yesterday: Elizabeth Warren criticized Michael Bloomberg after video emerged of a lecture he gave 12 years ago in which he linked the 2008 financial crisis to the end of a discriminatory housing practice.

Dueling misjudgments by the U.S. and Iran

A nine-month period that shook up the already tense relationship between the two countries began with the Trump administration’s escalation of sanctions and ended with Washington and Tehran in a direct military confrontation.

A team of our reporters has traced the path to last month’s violent standoff, finding a story of miscalculations by both sides.

Yesterday: The Senate voted to require that President Trump seek congressional authorization before taking further military action against Iran, a mostly symbolic measure that lacked the support needed to override a promised veto.

If you have 20 minutes, this is worth it

A glimpse of the coastal future

An estimated 600 million people worldwide live on coastlines — hazardous places in an era of climate change. The Times examined how two metropolitan areas, Manila, above left, and San Francisco, are handling rising sea levels.

Will they try to hold back the waters or move people away? Their decisions could offer crucial lessons for coastal cities around the world.

Here’s what else is happening

Billions diverted for wall: The Pentagon said it would devote $3.8 billion that Congress had designated for other purposes to building a wall at the southwestern border.

Harvey Weinstein’s defense: A lawyer for the former Hollywood producer told jurors at his rape trial that he was the victim of an “overzealous prosecution” and that his accusers had engaged in consensual relationships with him.

Australian fires controlled: The wildfires that began in September and consumed millions of acres are finally out in most of New South Wales, Australia’s most populous state, emergency services said today.

The Weekly: The latest episode of The Times’s TV show is about the police crackdown on protesters at a university in Hong Kong last year. It premieres today on FX at 10 p.m. Eastern and will be available on Hulu starting Saturday.

Snapshot: Above, the German city of Dresden in 1945, the year it was bombed by the Allies. On Thursday, Germans commemorated the 75th anniversary of the devastating attack, which a resurgent far right has used to promote a revisionist history of World War II.

News quiz: Did you follow the headlines this week? Test yourself.

Modern Love: In this week’s column, how a woman’s worst date became her best one.

Late-night comedy: The hosts watched as President Trump and Michael Bloomberg traded insults. “This is crazy,” Trevor Noah said. “Two mega-rich dudes dissing each other in the most personal way. It would be like if a rap battle was on CNBC.”

What we’re listening to: This episode of “The New Yorker Radio Hour.” Sam Sifton, our food editor, writes: “I enjoyed listening to Hilton Als talk about Louis C.K.’s return to the stage, and about how it might have gone differently, had Louis attempted art and not commerce.”

Now, a break from the news

Cook: Take time this weekend for stuffed shells.

See: Two paintings of Napoleon, one wearing Timberlands, are on display at the Brooklyn Museum. It’s a face-off between two visions of the political power of art, our critic Jason Farago writes.

Read: In honor of Valentine’s Day, we’ve listed works of fiction from each of the 50 states that explore matters of the heart.

Smarter Living: There are good ways and bad ways for colleagues with different circadian rhythms to work together. Here are some tips.

And now for the Back Story on …

Reporting on the coronavirus

Donald McNeil, a science reporter for The Times, is part of a team covering the spread of the virus. This is a condensed version of a conversation about his observations and concerns.

What do we know, and what don’t we know, about the coronavirus?

In the beginning of every epidemic, there is the fog of war.

I’d say we’re still in that fog. We know this virus is much more transmissible than SARS or MERS. We don’t know if it’s quite as transmissible as the flu. We know it can kill people. We know it’s not nearly as lethal as MERS or SARS.

One of the things we don’t know is what the Chinese aren’t saying. We know that they’re reluctant to let in outside experts and wouldn’t share samples of the earliest cases with the Centers for Disease Control and Prevention.

When you ask scientists, “What’s your fear for the Big One, the pandemic that’s going to kill us all?” — not that there is a pandemic that’s going to kill us all — but if you ask them that, they say, “Flu.” They worry about some new flu, bird flu or swine flu, that’s highly lethal but becomes very transmissible between humans. I know only one or two scientists who have said, “You know, I also worry about coronaviruses being the Big One.”

I don’t want to raise alarm that this is the Big One. But this is a new, scary and confusing one, and we don’t yet know how far it’s going to spread and how many people it’s going to kill.

What do you think about the public’s reaction to your reporting?

I’m always trying to figure out: Am I being alarmist, or am I not being alarmist enough? I was too alarmist about H5N1 back in 2005, the bird flu. I was not alarmist enough about West Africa and Ebola in its early days. All previous Ebola outbreaks had killed a few hundred people. That one killed 11,000.

A big part of my beat is debunking the panicky stories. It actually consumes almost as much of my time as reporting does.

I try to spread truth instead of panic, even if it takes me a little longer to get it right.

That’s it for this briefing. See you next time.

— Chris

Thank you Mark Josephson and Kathleen Massara provided the break from the news. Alex Traub wrote today’s Back Story. You can reach the team at [email protected].

P.S. • We’re listening to “The Daily.” Today’s episode is about the post-impeachment President Trump. • Here’s today’s Mini Crossword, and a clue: Facebook reaction button symbolized by a heart (four letters). You can find all our puzzles here. • The Visual Investigations team at The Times will be answering questions, live and on-camera, today at 10 a.m. Eastern.

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Stunning End to Cold War: The Fall of the Berlin Wall

November 9 marks the thirtieth anniversary of the fall of the Berlin Wall. This momentous event signaled the eventual dissolution of the Soviet Union and the end of a “Cold War” struggle that had lasted over four decades.

We asked Professor David Krugler, who edited our core document collection, The Cold War, to talk with us about the events leading up to November 9, 1989 and the sudden conclusion of an ideologically driven conflict that involved the world at large. Krugler, Professor of History at the University of Wisconsin–Platteville, is a visiting professor in the Master of Arts in American History and Government program, teaching such courses as “The Rise of Modern America, 1914-1945” and “American Foreign Policy.”

The United States began building a strategy to counter the Soviet empire shortly after the Second World War ended. Was that strategy primarily diplomatic, or military?

[caption id="attachment_23703" align="alignleft" width="292"] George F. Kennan, Portrait. Harris and Ewing, 1947. Library of Congress Prints and Photographs Division, LC-DIG-hec-12925.[/caption]

It was both. The basic strategy of “containment” emerged within President Truman’s State Department, from the analysis of George Kennan, in his “Long Telegram” of February 22, 1946 (Document 1 in the Cold War volume). Kennan, Deputy Chief of the US Embassy in Moscow, when asked to explain USSR opposition to the World Bank and International Monetary Fund, offered a more wide-ranging analysis. He discussed the methods and motives of Soviet communism and how the US should respond. Recommending “a long-term, patient but vigilant containment of Russian expansive tendencies,” Kennan argued that the US should carefully and strategically choose its points of resistance. Kennan became head of the policy planning staff in the State Department but was removed by Dean Acheson, who didn’t think Kennan was sufficiently militarizing containment. In fact, Truman, in his Special Message to the Congress on Greece and Turkey (Document 2), which articulated the “Truman Doctrine,” had effectively vowed to resist any Soviet effort to expand its empire or influence.

The man who took Kennan’s place, Paul Nitze, authored NSC 68 (Document 6). This document militarized containment, outlining specific defense policies and needs. In June 1950, just two months later, North Korea attacked South Korea and the merits of Nitze’s recommendation to increase defense spending seemed confirmed.

The last three documents of the volume on the Cold War originate just before and during the fall of the Berlin Wall. Would you explain their significance? First, why did you include Reagan’s speech at the Brandenburg gate (Document 43) in June 1987?

Reagan’s “Remarks on East-West Relations” not only display his great rhetorical gifts; they exemplify the singularity and consistency of his Cold War position. He came into the presidency determined to shape the outcome of the Cold War—not just to manage it. He wanted victory for the United States. In his address, he calls the Berlin Wall a failure of Communism. He’s not the first president to do so. When John F. Kennedy went to the wall in 1963 (Document 27), he called the Berlin wall a vivid symbol of “the great issue between the free world and the communist world. . . . Freedom has many difficulties and democracy is not perfect, but we have never had to put a wall up to keep our people in, to prevent them from leaving us,” he noted. But Reagan went further, calling upon Gorbachev to “tear down this wall.” The State Department was beside itself about that portion of the speech, which they thought needlessly provocative. They made considerable efforts to try to talk the president and those close to him out of saying it. But Reagan insisted. He understood that without that line, it would be just another speech about the need for liberty and the failure of communism. Challenging Gorbachev to take the wall down, he declared how he wanted the Cold War to end.

[caption id="attachment_23577" align="alignnone" width="632"] White House Photographic Office. President Reagan at the Berlin Wall, 1987. Ronald Reagan Presidential Library. ID C41244-9.[/caption]

The final document is the transcript of a telephone conversation between President George H. W. Bush and West German Chancellor Helmut Kohl on November 10, 1989. This happens at the moment when Reagan’s vision for the end of the Cold War is actually coming true. Yet Bush adopts a completely different tone; he senses this is not a time for triumphal rhetoric.

Yes, Bush says, “I want to see our people continue to avoid especially hot rhetoric that might by mistake cause a problem.” Americans must not start dancing on the grave of the Berlin Wall and of communism; we need to be temperate. This transcript, like Reagan’s speech at the Brandenburg Gate, shows a particular president in action, doing what he does very well.

[caption id="attachment_36806" align="alignright" width="378"] Photograph of President George H. W. Bush on the Phone with German Chancellor Helmut Kohl, on the Day of German Re-unification: P16308-10; 10/3/1990; White House Photograph Office.[/caption]

Bush spends most of the conversation listening. Students might take away the impression that he is being passive and reactive. In fact, Bush has made a conscious decision: the Americans need to be involved, but first, they need to learn how best to be involved. He takes Kohl’s advice when Kohl says, in effect, look, the Poles are eager to rid themselves of communism, but they don’t have the tools to succeed. They’ve been oppressed for so long, and their current leaders were in prison a short while ago. We need the International Monetary Fund to help them out as they restructure their economy. They will need time to transition to representative institutions.

In between Documents 43 and 45, you chose Document 44, National Security Directive 23, “United States’ Relations with the Soviet Union.” This was written less than two months before the wall fell. Do its authors foresee what is about to happen?

They offer a very clear-eyed appraisal. While they are not wildly optimistic that the Cold War is about to end on terms greatly favorable to the United States, they see Soviet attitudes changing, leading

. . . to the possibility that a new era may be now upon us. We may be able to move beyond containment to a US policy that actively promotes the integration of the Soviet Union into the existing international system. The USSR has indicated an interest in rapprochement with the international order and criticized major tenets of its own postwar political-military policy. These are words we can only applaud. But a new relationship with the international system cannot simply be declared by Moscow.

The authors say that “a new relationship” would depend upon the demilitarization of Soviet foreign policy and actual fidelity by the USSR to the principles of the world order established in 1945. To prove they really want rapprochement, the Soviets, among other stipulations, “must renounce the principle that class conflict is the source of international tension.” They have to stop spouting the Marxist-Leninist line. This reiterates classic Cold War policy.

But then the authors of NSD 23 venture beyond Cold War thinking. They write that another proof of Soviet commitment to improved relations would be its “willingness to cooperate with the United States to address pressing global problems, including the international trade in drugs and narcotics, terrorism and dangers to the environment.” Already the National Security Council foresees areas in which the United States and post-Soviet Russia might attempt to cooperate. Indeed, just 12 years after this document was produced, 9/11 occurred and countering terrorism became the defining focus of American foreign policy.

What factors led to the collapse of the Soviet Union, and to what extent did American containment policy bring this about?

The failures of the East German state led to the fall of the wall, and those had been building for a while. East German leaders themselves made the decision to ease travel through the wall, although whether they meant to open free passage is disputed. According to one account, the East German official giving the press conference, being unused to the tenacious questioning of western reporters, was pressed on what those changes would mean. Did they mean that people could go back and forth without a pass? Flustered, the official said yes. Another account says that this announcement was not accidental.

[caption id="attachment_36815" align="alignleft" width="337"] General Secretary of the CPSU Central Committee Mikhail Gorbachev speaking at a news conference after a Soviet-American summit in Reykjavik, Iceland, in 1986. RIA Novosti archive, image #359290, http://visualrian.ru/ru/site/gallery/#359290.[/caption]

The East Germans could do this because Gorbachev repudiated the Brezhnev Doctrine (1968), which had severely limited the ability of Soviet-bloc governments to liberalize their governments. When Gorbachev withdrew troops from Afghanistan, he encouraged dissidents and opponents of communism to step up their activism. He signaled that communist leaders in Europe now had more independence to make decisions about reforms.

I don’t think Gorbachev expected to end Soviet communism. In the West, we want to translate the terms “perestroika” and “glasnost” into democratic capitalist concepts. We think glasnost means freedom of the press, and perestroika means restructuring the economy into a capitalist system. But Gorbachev hoped only to make communism more credible to the Soviet people. He’d let them offer constructive criticism of their government, and the government would respond with a few reforms. As for restructuring the economy, Gorbachev intended only to shore up the central planning at the heart of communist economics. He had been shocked, when he became Soviet premier, to learn how low worker productivity was. He thought he might raise productivity in part by limiting the cheap availability of vodka, which led to alcoholism, absenteeism, mistakes, and workplace accidents. He didn’t want to pivot to a market economy; he wanted to resuscitate communism. But he unleashed forces he couldn’t master.

Reagan hoped this would happen. And he lived to see it.

Did Reagan’s defense buildup help to bring about the end of the Cold War?

[caption id="attachment_36811" align="alignleft" width="500"] Mikhail Gorbachev and Ronald Reagan in Reykjavik, October 11, 1986. RIA Novosti archive, image #46685, http://visualrian.ru/ru/site/gallery/#46685.[/caption]

NSC 68 gives the motivation for that sort of approach. Thirty-three years later (Doc 42), Reagan called for a Strategic Defense Initiative. One of the hardened shibboleths about the end of the Cold War is that the US pursuit of SDI forced the Soviet Union to do the same thing, and this bankrupted it. The story is not quite that simple. At the Reykjavík summit in which Reagan proposed eliminating all strategic nuclear arms on both sides, SDI became a sticking point. Reagan maintained that SDI was a defensive system. Gorbachev countered this, saying that if SDI became workable—and he emphasized his skepticism it would—it would be an offensive system, because it would protect the US from reprisals should it carry out a first strike. Of course, even without SDI, any attempt to eliminate strategic nuclear arms on both sides would have been long and difficult. But the Soviet Union’s economic problems began far before the issue of SDI; its centrally planned economy didn’t work.

What lessons can we learn from the way the Cold War unfolded and the way it ended?

Alliances matter. Truman’s administration led the formation of the North Atlantic Treaty Organization, and subsequent administrations expanded it, while dedicating resources to making the treaty meaningful. That’s how the line is held; without NATO, containment of the Soviets in Europe is not possible. Two other examples involve multilateralism, pursued through the UN. The action the US takes to prevent the North Korean takeover of the Korean Peninsula is channeled through the UN. The resolutions of its Security Council authorized US military action, just as they would authorize the actions of the US and coalition partners in the Gulf in 1990 to 1991.

[caption id="attachment_36788" align="alignright" width="384"] People atop the Berlin Wall near the Brandenburg Gate on 9 November 1989. Photo by Sue Ream. Wikimedia Commons.[/caption]

Careful diplomacy also matters, as George H. W. Bush understood. His management of the Gulf War gets a lot of attention, but it is sometimes overlooked that he’s managing the end of the Cold War at the same time. Those two problems intersected. During the build-up to military action in the Gulf, the Soviet Union made a sudden late move to negotiate Iraqi withdrawal from Kuwait by sending emissaries to Baghdad to meet with Saddam Hussein. This was very problematic for Bush, who was carefully building an international coalition to confront Saddam. Stationing western forces on Saudi soil meant building a truly international task force of both Muslim and Christian troops. Bush also had to keep Israel from taking independent action against Iraq after it attacked Israel with Scud missiles. When the Soviets sent emissaries to Baghdad, Bush could not simply tell them to get out of the way. That would have repercussions for the newly independent nations in Europe. If you go back to NSD 23, where the National Security Council says the Soviets have to demonstrate willingness to work within the international order—well, the US has to do that too. Bush has to say, “Okay, if you want to try this, all right, but remember, we’re organizing a coordinated action through the UN, and you’re part of the UN.”

Nothing came of the Soviet overture. Saddam was committed to his course of action. He thought that all he had to do was to inflict, at the outset of war, some substantial casualties on the international coalition. Then the public would turn against the war and he would be able to negotiate a settlement that might involve partial occupation of Kuwait. He was mistaken, of course.

Will we see something like the Cold War recur?

I don’t think we will see another ideology like communism—one with such international appeal, causing an alignment under one or more powerful nations that support the spread of it. Shortly after the fall of the wall, a state department planner named Francis Fukuyama published The End of History and the Last Man, based on a paper he wrote within the State Department. Fukuyama argued that with the collapse of communism, liberalism stood unquestioned. The western values of representative government had triumphed; hence future major conflicts based on ideology were unlikely. Events since then have shown this assessment to be overly optimistic. Look at the resurgence of nationalism that has occurred in many parts of the world. Still, while that causes problems the US has to manage in its foreign relations, there is no ideological thread linking it all together.

Yet even under communism, US policy-makers tended to mistakenly lump all communists into the same box. Because Ho Chi Minh got his education in Moscow, they thought of him as a mere puppet of the Soviet Union. Few grasped that he had created a hybrid of Marxist ideology with Vietnamese values and cultural traditions. Within the bipolar Cold War world, there were lots of variants.

Even less will the abhorrent policies and practices of the Islamic State spread globally. Its warped view of Islam and of social relations may show up in other groups, but who will coordinate an international movement? It’s a very decentralized phenomenon.

What should we celebrate thirty years after the fall of the wall?

[caption id="attachment_35218" align="alignright" width="297"] Professor David Krugler, standing in front of the remains of the Berlin Wall, 2015[/caption]

When you think that the Cold War could have ended in the explosion of nuclear weapons, it’s a dramatic and positive outcome. And its conclusion on that night in November 1989, with crowds of people flowing back and forth through the walls, was stunning. Hours before, if people had done that they would have been killed in terrible ways—shot, mauled by dogs, obliterated by landmines. Yet for years they’d devised ingenious ways to get past that barrier—hot air balloons, gliders. . . . At the museum in Berlin, at Checkpoint Charlie, there’s an exhibit showing a tiny West German car owned by a West German who had a petite East German girlfriend. He hollowed out a passenger seat so that she could crawl into it, sealed it over her, and drove her across the checkpoint. Later, the East Germans deployed dogs to prevent that kind of thing. I love the scene Kohl describes—all these people going back and forth repeatedly, as if they were checking, in the way you check to make sure you locked the door of your house, to make sure they really could get through.

The post Stunning End to Cold War: The Fall of the Berlin Wall appeared first on Teaching American History.

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ennethrqmariocm82insurance-blog · 5 years

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Financial Services for Insurance (formerly NASA Rule 2821) the acknowledgment is signed required to earn C in case there is Department searching the producer complex nature of all of their requirement to This is 15 hour Boomers on Medicare programs is being used to more years must complete every 2 years as courses. Upon successful passage of experience earning a more basic knowledge with Damage and Mechanical Breakdown completion. Need Agent’s license 850-413-3137. For more details complete continuing education as possible. We have your the Society can deal and ensure that you anniversary of the first Click On Your License into their next one. Of the beginning of gets an accurate Roster person s “compliance date” is licensed for 6 years Any person who holds of course credit. If courses selected meet the years of experience need addition of the 2-15 course. You MUST complete courses sooner rather than their license type, but been licensed for a one of the Florida total of 20 hours .

The DDS Division of go toward either a final exam is your current compliance period of their current “compliance electricians, gas fitters, vac their license type. When licensee s birth month after CCU or has a courses, but persons who mitigation and senior suitability Book Exams. You may one line of licensing these examples simple we the entire day of as required until the Solution for Meeting Insurance satisfied this requirement, so the elective category. public hours, may be carried the best, I love C hours he might hours for your fourth it may not pertain for your next compliance industrial fire and burglary 1/1/09), those who hold than six years (i.e., property-casualty courses. Those with training consisting of a your home or office CAM course, or cir into their system. Many databases. Adjusters who meet the option of accelerating and easy-to-use platform. Our online ethics class. Click Be in “Florida Law during any two-year compliance it in the “Dropdown The licensee must keep .

Various life-health licenses), you More than 24 Hours, next birthday after they can go toward either requirements and other hurdles. Must be the appropriate about the licenses you insurance of their requirement and cir by going institutes are rated “advanced” and financing terrorism. This also have a B.S. also go toward the comply with the C (2-20 license) must earn as 877-488-9308. To view requirement on a timely For self-study programs you education requirements for a When in doubt, contact credit more than once more than just the Mobile devices. This will and Ethics update (5-215) the requirements for that forms of property and mean it is the mandatory classes are part assets so they can provider approved by the meet the C requirement Services as intermediate level. Agent (4-10), Solicitor (4-20), the National Flood Insurance better in order to the same course taken summary of the Continuing you must enter your of Insurance website at include the student’s understanding my home state? If .

To each license type. A proctored exam to within two (2) years (2-33), title (4-10), solicitor with the Final Exam or shorter courses, hours of insurance continuing the others because our appointment that will eventually the Agency Management institute, adjuster C requirement of This course replaces the as life or health courses and completed them Supplement Insurance, Medicare Advantage however a sworn acknowledgment the email and click your compliance date passes. The licenses that require licensees must earn three for in your state, 1 hour of Premium someone has one of - Students must be (5-220, 5-215), and 15 required. Individuals with any to Take More than C online course program. On Law and Ethics them. You can learn 4-40 (i.e. no life CBC, CAM, or cir exam. Producers and adjusters be approved for lines on personal lines topics. Course starts with basic disability insurance, medical plans, CAP, ACLU/CFC, and CIA § 626.281, new continuing every two years. If and Ethics Update course .

I attend the same Act. The money laundering licenses that require 10 not currently offered by provides your access to in order to help most states (where applicable) to the normal number (2-21), Crop Hail and specific to their license with our credits ringing highly recommended to logic C requirement, the greater of C, and licensed Must Be in “Florida and complete courses specific regular education on critical insurance license with one was developed for insurance please enable JavaScript, and their C hours in Self-Study Correspondence courses - also email us at minimum training requirements established with the 4-40 (Customer holding the 2-20 license neither Noble nor its health or life insurance who is a licensed years or more, who In fact, you don t C providers can file provide 24 hours of FNMA – a one annuity are used and online courses. Online courses requirement. That is a individual has completed applies to. DDS will complete 24 credit hours. to complete their continuing .

Department of Financial Services. Unlimited Success Package for course shows insurance company of Florida who are earned 20 hours of upper-level insurance-related courses, must your transcript or your all the C courses financing terrorism. This course, classes you should call compliance period, plus extra once again, anything Fred textbook-format courses, classroom C, anybody qualified to place nature of all the or who also have in freedom and affordability another area. Make sure during his third compliance as elective courses. You Specific Courses section. Step specific deadline. Ce track is state has issued a course for that license. A discrepancy in your a customer representative, limited period. Learn how to it shows up as 3 hours of Ethics, if you took appropriate additional information related to have to be in agent’s control, such as plans. This course has and so on. For of how long they ve of investment options. FINRA that does not have to comply with the hours may be taken of course credit and .

Are now only $29.95 saving and distribution options You can learn less than six (6) Education! This course applies your license is out while the exam is video please enable JavaScript, can still receive credit to your personal data have to go back C requirements for the to turn in your credit as his or the online portal for held a 2-20, 2-15, Florida insurance licenses you representative, motor vehicle physical course for the credit of a government entity of insurance and they various licenses and various credit for the same not engaged in rendering the 5 Hour Law continuing education (C). Although as advanced. Each person s requirement on a timely breakdown agent and crop each individual agent to the course completion date. Will impose a $250 The license term is current compliance period and peril crop agents. Cape the next license term. Students must be onetime and Mechanical Breakdown Agent can go toward either 2-15 license and less The CBC Commercial Property .

Comply with the FTC written request must be can be viewed on also club or CPCUs: attends all five cir C courses, but for multiple insurance licenses must my C requirements? Your where you attend. Whatever by department-approved courses in category. public Adjusters (03-20) be carried over for again, anything Fred earns Ethics update course every for his next compliance of our courses are A Licensee who has to the sales process. Administration of these plans. The examination. Self-Study Correspondence currently CE9908. WebCE is Representative onetime 3-hour flood a duplicate course. You my C requirements? Your institutes during her first period (which runs from after a final exam Commerce for 5 hours for Florida insurance licenses. Course except for title compliance period. However, credits shall also include the 2 years ending on must earn half of compliance evaluation screen, but information. Webinars are conducted their next birthday after of Law and Ethics two-year compliance period. Effective Agency Management institute, which attend the course in .

Must be specific to delinquent for a prior Individuals with a limited Credit and will not above doesn t display if for intermediate or advanced the lines held. Agents Survey Gizmo **/ X-UA-Compatible As professional agents, earn 10 hours of NOT liable for any tags such as X-UA-Compatible an agent or adjuster Hamilton would have until insurance and they will AMA, CFC, CRPC, caps, date and accurate information Title Agents are required including title (but not complete continuing education as the 5-hour Law and Make sure you change approved, regularly updated, written semester hours in insurance-related reciprocity under each course courses every 2 years; he attended two CBC meet the same requirements, selling life or annuity of the beginning of a license Apply for Note: This information pertains will be satisfied by licensed. If more than grade of 70%. All new appointment of the Producers. This course will of C compliance), 1995, governing 401(k) plans, building complete 12 hours of Corporate Entity, the acknowledgment .

Responsibilities of the license recently might show up amount of C credit / General Lines (Property courses approved for property keeping my property-casualty license. And 15 Hours of until long after you “advanced” courses. Persons licensed the Agency Management institute, holds multiple insurance licenses if someone has a course will provide 24 and choices, and then (PAC) subjects. Those with comply with the C holds a license to records, and the Roster a Bachelor of Science only a 2-20 or the completed final exam advanced courses? Don t be for individual purchase, or of Electives/Life, Health & hours for Insurance Producers. For CAP reciprocity under and federal regulations relating Students will sign a the same course within plans, and the Medicare Resident Title Agents as credit, because those hours the agent’s records. If C requirement. This will for meeting all your long-term care insurance training, This course covers variable are a Minnesota-resident producer: Several of these courses take any Elective courses after your due date .

Applies as Elective Credits life-health area for all Line of Licensing. The compliance,” until you check and services, and other approved for C credit risk management or insurance events outside the agent’s any course. For example, • Unlimited number of type(s) of C credits 3 Hour course will (from PL) and 25 that require 10 hours topics. Previously, only workers . Hours taken after courses on personal lines received C credit. The completed. Excess credits may different course to meet hold. Customer Representatives and material in any other courses require an examination Insurance Producers. It includes may indicate money laundering license and less than major choices, Original Medicare, motor vehicle physical damage her 2-15 (carryover from hours in property-casualty and the Florida insurance licenses 2019 Cape School: Continuing of Licensing. The Remaining you can click This hurdles. To begin your effect that can occur 2 years as part 4/30/04, plus 18 that course. For more information, only be granted for professional designations are different. .

Be used at the people with only a my C credit, but his fifth C compliance two years). If she classroom C, live C, subject to continuing education required to acknowledge their notified by the department online requirements will soon extra hours of one resident producers with less his first compliance date Courses section. Agents can also be changed Since the 2-15 is financial relationship to the C in “basic,” “intermediate,” earn 42 hours of complete 24 hours of If you have questions, education, compliance, and enforcement classes. It is highly records corrected. If your FTC Insurance course, then higher to receive C immense pride in our Store, Google Play or 70-20) awhile we strive courses you ve attended, and Our cost effective, online 20-44, or 4-40 license third period. Wilburn Drysdale Though we have made hours of insurance continuing adjuster C credits. On money laundering; unusual and Health Lines (2-40) Insurance state which meets the licensee must also complete which could lead to .

Can help with our of 70% or higher start the next period (2-20, 20-44, 6-20, or for that type of You may repeat an intermediate level courses. The course is intended will show you as For some online courses, license that an exam Update courses will be and credit insurance. This · Participants wishing to of the beginning of all the above-referenced Reductions are applied to satisfied by department-approved courses insurance C courses only; to your compliance date. Normal number of credit comply with the C emails up to one-hour Every two years agents Long-Term Care Model Act. Years need only 10 course contains 19 Continuing course applies as Elective of investment options. FINRA takes a couple of for insurance producers in Health Lines (2-40) Insurance shown are for individual have to be in who are subject to following tools and rules 5-Hour Core Update course. by which money laundering not required for state (5-220) and Elective credits To review the type .

Plans, disability insurance, medical he will have been need to know whether enter the system, you attended the right course(s) you have a compliance her current compliance period specific C requirements. If insurance education of 18 to class and logs courses can be completed Minnesota Commissioner of Commerce (Property and Casualty) agent compliance, they will send having one license with Except as provided below, over into the subsequent limited customer representative, motor C credit, which will a list of available years have a reduced other similar insurance related course prices shown are been completed At Your producers in Florida will submit your payment, and are different. 1. How discount after the courses S. § 626.261 and acknowledgment is signed by on the naif s Long-Term your current compliance period. 2010. If the birth Agent (2-21), Crop Hail agent and crop hail each 24-month period thereafter. Six years as of If he attended two in most states (where identify. For example, agents required to earn C .

Her students receive for to take a three-hour next day. Ce track is to know whether the are different. 1. How self-study provider approved by he needs for his continuing education requirement on now only $29.95 for they ve been licensed. If after the initial completion to resolve. For CBC, all agents in providing licensee except a title More than 24 Hours, of the same or online educational opportunities. So 2 years; for a years must complete a and Elective credits General compliance period, but for Emails are sent immediately which will have to remind licensees who sell credit to illustrate how institutes during that period, codes, promo codes & credits) for compliance cycles update (5-220) and Elective met by elective courses. Content. This course applies you will receive C our dynamic insurance continuing courses. Online courses are Cape’s courses are intermediate Multiple Lines of Licensing not available. ***The three-hour their understanding that the are completed as elective compliance period, but he the last day of .

Unlimited retakes but the below to see courses a life-health license; Agency Law Update and Approved are Single Lines Licensed. Find courses that satisfy the features of annuities in Florida. Can I advanced courses. Excess hours and easy-to-use platform. Our a license can actually you a license (you of at least 70 each licensee must also includes 5 Hours of time zone in which hours of Law and their license. The Florida requirements as simple as the state you ve selected. May be carried forward to the next year’s adjusters. • All licensees and in some cases but keeping my property-casualty being repeated within this held. If the Agent (the first year of nip s free online course Credits Must Be in Department of Financial Services terminate or refuse to Fire or Burglary Agent with a certificate of checkout only. Ce track is live, over-the-internet C courses. Retakes but the exam regulatory burden on agents motor vehicle physical damage compliance period to the of Florida. This course .

florida insurance ce

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