I'm obsessed with the concept of time on this show since it's one of the themes of this slow burn.
Since season 1- with the sound of the alarm in the pilot, time looms over Carmy's head.
This is also a tool used to set Carmy and Sydney's relationship apart from the rest. The viewers can't consider her like family because he still makes time for Sydney, and when he doesn't make time for her, shit hits the fan throughout the show.
This concept of time is prominent in season 2 and it shows up as-
18 weeks until friends and family. Sydney wants to hire Natalie, and Natalie says time could be better on her side. Time is presented with clocks around Claire and scheduling issues with plumbing and drywall. Time is against Donna to prepare a festive meal. For Carmy, he needs to spend his time correctly. It's checking the efficiency of the stove and island placements, and it's Carmy trying to be present. For Sydney, it's having a short amount of time to lead her team to victory and always wondering if she has enough time to be successful.
Along with the clocks in season 2, there's the theme Every Second Counts, which shows how time is perceived differently for most of the characters on the show.
For Marcus, every second counts is having more time with his mom. It's about where you spend time, who you’re spending it with, and if being a chef is worth the time.
For Richie, time reminds him that not much has changed, and in Forks and through Chef Terry, it’s not about being too late to live life; it’s finding ways to have more time well spent.
From Chef Terry's dad, Every Second Counts is embracing the moment. Hundreds of entries with details about Palm trees he'd seen, escargot he tried, how purple the ocean was. And he signed each one the same every time.
But every second counts against Sydney and Carmy. Their anxiousness sees that time can sometimes move too fast to really embrace the moment. It's their quick-paced lifestyle as chefs and a reminder that they don’t have much of it. Sense of Urgency is the motto.
That is until they’re near each other. The audience even gets a reprieve with Sydney and Carmy on screen because they're also experiencing time standing still together. When they can focus on each other, it becomes plentiful and expands so they can develop their relationship.
Now I'm excited to see what role time plays with season 3- will there be so little of it, and will we continue to see the consequences of Sydney and Carmy not making time for each other? Or will Carmy, with his lesson learned, attempt to make more time for Sydney?
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I don’t know if anyone else has thought about it, but I think the first time Sasha and Milla met would have gone terribly. Because if you imagine what it’s like meeting them for the first then you think of both of their backgrounds? They would be afraid of each other.
A fire survivor paired up with someone who smells of (cigarette) smoke? With someone who smells like death?
Someone with complicated mother-related issues being paired with a cheerful, outwardly affectionate girl? With someone who’s calling everyone “dear, darling, sweetie, honey, baby”?
They could have that “love at first sight” trope where they meet for the first time and get butterflies in their stomach. But the butterflies are on fire, and screaming, and chewing through their skin because it’s trauma-induced anxiety.
And they smile through their teeth trying to get through the interaction. But then he gets her name wrong, and her heart skips a beat and she has to tuck a suddenly levitating piece of hair behind her ear and they find the other endearing to the point that they can’t bring each other to hold this pain against them. They both intimately understand it’s purely them, and not the other person’s fault.
And over time they spend more and more time together and those butterflies begin to still. Brutal, breath stealing smoke starts to feel more like a gentle hearth you’d crawl next to. Oppressive, maniacal smiles more closely resemble the small grin you’d have when you listen to a song for the first time you know you’ll play over and over again. And then one day neither one of them don’t feel any of that anxiety at all, and they start to realize after that feeling goes away that they might be in love with each other.
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Fairy tail spoilers s1 phantom lord arc
I'm rewatching fairytail and I always knew Gray was nice and one of my favs but I just realized that he is way more kind than he needs to be. The fact that he rescued Juvia, made sure she was okay, waited next to her until she woke up qnd when he said "You wanna go at it?" Meaning if she wants to continue fighting and Juvia misunderstood and started blushing and freaking out he was worried, saying "Hey are you okay? Talk to me Juvia!". Like omg he did not know her at that point. It was literally their very first interaction and she was his enemy. She powered a spell that was going to wipe out the entire city, she kidnapped Lucy once, wanted to kidnap her again and tried to kill him, tried to scorch his skin with boiling hot water. It would have been way more than understandable if he would've let her fall and splatter to the ground after he had beaten her and then go about his day like nothing happened. He was so kind for no reason other than the fact that he felt it was appropriate. I know for a fact that he would not have been like this with any other random woman. It was love at first sight and I'm calling it.
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Burton’s First Encounter with Taylor (1953)
“It was my first time in California and my first visit to a swank house. There were quite a lot of people in and around the pool, all suntanned and all drinking the Sunday morning liveners – Bloody Marys, boilermakers, highballs, iced beer. I knew some of the people and was introduced to the others. Wet brown arms reached out of the pool and shook my hand. The people were all friendly, and they called me Dick immediately. I asked if they would please call me Richard – Dick, I said, made me feel like a symbol of some kind. They laughed, some of them. It was, of course, Sunday morning and I was nervous.
I was enjoying this small social triumph, but then a girl sitting on the other side of the pool lowered her book, took off her sunglasses and looked at me. She was so extraordinarily beautiful that I nearly laughed out loud. I didn’t, of course, which was just as well. The girl was not, and, quite clearly, was not going to be laughing back. I had an idea that, finding nothing of interest, she was looking right through me and was examining the texture of the wall behind. If there was a flaw in the sandstone, I knew she’d find it and probe it right to the pith. I fancied that if she chose so, the house would eventually collapse.
I smiled at her and, after a long moment, just as I felt my own smile turning into a cross-eyed grimace, she started slightly and smiled back. There was little friendliness in the smile. A new ice cube formed of its own accord in my Scotch-on-the-rocks.
She sipped some beer and went back to her book. I affected to become social with the others but out of the corner of my mind – while I played for the others the part of a poor miner’s son who was puzzled, but delighted by the attention these lovely people paid to him – I had her under close observation. She was, I decided, the most astonishingly self-contained, pulchritudinous, remote, removed, inaccessible woman I had ever seen. She spoke to no one. She looked at no one. She steadily kept on reading her book. Was she merely sullen? I wondered. I thought not. There was no trace of sulkiness in the divine face. She was a Mona Lisa type, I thought. In my business everyone is a type. She is older than the deck chair on which she sits, I thought headily, and she is famine, fire, destruction, and plague, she is the Dark Lady of the Sonnets, the on lie true begetter. She is a secret wrapped in an enigma inside a mystery, I thought with a mental man-to-man nod to Churchill. Her breasts were apocalyptic, they would topple empires down before they withered. Indeed, her body was a miracle of construction and the work of an engineer of genius. It needed nothing but itself. It was true art, I thought, executed in terms of itself. It was smitten by its own passion. I used to think things like that. I was not long down from Oxford and Walter Pater was still talked of and I read the art reviews in the quality weeklies without much caring about the art itself, and it was a Sunday morning in Bel Air, and I was nervous, and there was the Scotch-on-the-rocks.
Like Miniver Cheevy I kept on drinking and, in the heady flow of the attention I was getting, told story after story as the day boozed slowly on. I went in swimming once or twice. So did she, but, lamentably, always after I’d come out. She swam easily and gracefully as an Englishwoman would and not with the masculine drive and kick of most American girls. She was unquestionably gorgeous. I can think of no other word to describe a combination of plentitude, frugality, abundance, tightness. She was lavish. She was a dark unyielding largesse. She was, in short, too bloody much, and not only that, she was totally ignoring me. I became frustrated almost to screaming when I had finished a well-received and humorous story about the death of my grandfather and found that she was turned away in deep conversation with another woman. I think I tried to eavesdrop but was stayed by words like – Tony and Janet and Marlon and Sammy. She was not, obviously, talking about me.
Eventually, with half-seas-ed cunning and with all the nonchalance of a traffic jam, I worked my way to her side of the pool. She was describing – in words not normally written – what she thought of a producer at M.G.M. This was my first encounter with freedom of speech in the U.S.A., and it took my breath away. My brain throbbed; I almost sobered up. I was profoundly shocked. It was ripe stuff. I checked her again. There was no question about it. She was female. In America the women apparently had not only got the vote – they’d got the words to go with it.
I was somewhat puzzled and disturbed by the half-look she gave me as she uttered the enormities. Was she deliberately trying to shock me? Those huge violet-blue eyes (the biggest I’ve ever seen, outside those who have glandular trouble – thyroid, et cetera) had an odd glint in them. You couldn’t describe it as a twinkle…. Searchlights can not twinkle, they turn on and off and probe the heavens and so on.
Still I couldn’t be left out. I had to join in and say something. I didn’t reckon on the Scotch though. I didn’t reckon that it had warped my judgment and my sense of timing, my choice of occasion. With all the studied frenzy of Dutch courage I waded into the depths of those perilous eyes.
In my best chiffon-and-cut-glass Oxford accent I said: “You have a remarkable command of Olde-Englishe.”
There was a pause in which I realized with brilliant clarity the relativity of time. Aeons passed, civilizations came and went, brave men and cowards died in battles not yet fought, while those cosmic headlights examined my flawed personality. Every pockmark on my face became a crater of the moon. I reached up with a casual hand to cover up the right-cheeked evidence of my acne’d youth. Halfway up I realized my hand was just as ugly as my face and decided to leave the bloody thing and die instead. But while contemplating the various ways of suicide and having sensibly decided, since I had a good start, to drink myself to death, I was saved by her voice which said, “Don’t you use words like that at the Old Vic?”
“They do,” I said, “but I don’t. I come from a family and an attitude that believe such words are an indication of weakness in vocabulary and emptiness of mind…. Despite Jones’s writing that in times of acute shared agony and fear, as in trench warfare, obscenities repeated in certain patterns can at times become almost liturgical, almost poetic….” I ran out of gas.
There was another pause; more empires fell. Captains and kings and counsellors arrived and departed. She said three four-letter words. These were, I think, “Well! Well! Well!”
Somebody laughed uneasily. The girl had turned away. I had been dismissed. I felt as lonely as a muezzin, as a reluctant piano lesson on a Saturday afternoon, as the Last Post played on a cracked bugle.
I went home and somebody asked, when I told them where I’d been, what she was like. “Dark. Dark. Dark. Dark. She probably,” I said, “shaves.” To nobody in particular I observed that the human body is eighty percent water.”
Words by Richard Burton
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