Dad, he's going to shoot me. He's going to kill me, Dad. Don't listen. Put it down. Now! Do it! Put it down! Pull the trigger. Come on. Listen to me, you put the gun down now! Shoot me. Put the gun down now! Shoot me! Put the gun down! Shoot me! Argent, you put it down!
“Neither Achilles, nor Helen, nor the poet, can change the outcome of the Trojan War, or save any mortal from death. But each can offer a sense of the larger story within which each life’s thread is woven.
Patroclus, Hector, and Sarpedon—and ultimately also, Achilles, Priam, and all the other men and boys in Troy—must die. All the women will be seized and enslaved, and the beautiful lofty city of windy Troy will be sacked and burned to the ground. We always know that these things are destined to happen. But The Iliad makes us feel the excitement and the heartbreak of these well-known, entirely predictable plot points, by nurturing doomed hope, dwelling on what happens before the rope of destiny is pulled tight, when the endings of the characters’ stories seem, for a brief moment, undecided. The impossible seems only just out of reach. We seem so close to the alternative story, when the scales might turn the other way, these brave young men might not have to die, these women might not lose their homes and their freedom, and the city of Priam could have remained standing into future times.”
― Emily Wilson, from the Introduction to her translation of The Iliad
Stop saying shit like that. It's unprofessional. [...] Like you 'smell a psycho's fear' or you're in 'someone's faded memory of a town' - just stop.
TRUE DETECTIVE (2014– ) — 1.01 "The Long Bright Dark"