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stagefoureddiediaz · 2 days

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Buck (and Eddie) mini meta - 7x10 (probably but could also be 7x09!)

I was going to make a quick post about this new shirt we have bts pictures of Buck and Eddie wearing - but well, I spiralled and it turned into this!! (under the cut to save your dash!)

So let's do Eddie first shall we!!

there are actually two shirts we've got bts of Eddie wearing which have me 👀👀👀

first up is this green number we have bts of him wearing at the firehouse (not 100% sure if this is an actual costume or just Ryan's clothes but I'm fairly sure it's an Eddie outfit!)

Why am I side eyeing so hard at this do you ask? well its a very similar shirt to the one we have seen him in before - in 5x13 when he has his break down. Its not the same, but similar - no cut off sleeves, but its the same army green.

We see this tee at he culmination of Eddie isolating himself from the fire fam (especially Buck) through the start of 5b and then blowing up his life in 5x13 - when he trashes his room and Chris calls Buck.

I think we're about to see something similar play out in the last couple of episodes of season 7 - Eddie increasingly choosing to isolate himself from the fire fam (especially Buck) as he spirals out with this vertigo arc. Ryan has said in interviews that Eddie will be isolated by the end of the season, this costume therefore parallels Eddies arc of 5b - especially if we include the use of white on Eddie as well (and Buck in Blue in the same scene!). Eddie does something drastic and then pretends everything is ok - before proceeding to spiral out and blow up his life in some way.

5x11 - we have the aftermath of Eddie leaving he 118 - dinner with Buck and Taylor when he and Buck have a mini disagreement about Eddie coming back to work - which is preceeded by us being shown how Eddie is not actually ok - leading in to 5x13 when Eddie has his breakdown whilst wearing an army green tee and Buck breaks down the door to get to him and literally steps in to the mess, bringing the 118 into help as well (represented by Bobby being there when Eddie wakes up).

Then we have season 7 - the aftermath of Eddie asking Marisol to move in with him and then it is made clear that Eddie has moved too fast, that he doesn't actually know Marisol, or ultimately feel comfortable with the relationship - and now we've watched him (still in white in the scene where he sees Kim) spiralling out and heading towards isolating himself in the same way he did in season 5. The use of a similar army green tee in 7x10 suggests that we're going to see something similar unfold as things come to a head in the vertigo arc. Im especially intrigued because Buck it seems is going to be in uniform for the scene (which side note plays into the Buck and Eddie blue green colour palette they've been using and in a reverse of the gym scene from 7x05!) we don't know where in the episode this scene falls, but my guess would be that its actually a scene from earlier in the episode - allowing for the blow up to happen and the fall out begin. (I also think this because of Helena and Ramon appearing - which I think will be later in the episode and in response to Kim's existence being more widely known about, but thats just me speculating!)

We do also have the t-shirt from 7x01 - which is not the same as the other two - its darker and more brownish than the two above, but it does play into a similar narrative - Eddie finding out about Chris and his multiple girlfriends and Buck stepping in (at Eddies request this time) to help and support the Diaz boys!

Eddie outfit two!

Then we have this outfit - which is contrary to popular belief, not the will reveal outfit, but actually the Ana as Eddies girlfriend reveal to Chris outfit.

The two outfits are very similar, but the will reveal outfit is a navy blue shirt (which is important as it plays into both blue/green and blue/yellow theory - which gains even more significance now we know that it is likely this was meant to be the beginning of at the very least a queer narrative for Buck and the implication is that it would've been the beginning of buddie canon) this shirt and the Ana reveal shirt are both black and have silver eyelets on the shirt opening

For me, the fact that it is the same outfit as that reveal rather than the will reveal is suggestive that this outfit is in some way going to be connected to the reveal of Kim. In the same way that the Ana reveal outfit is connected to two scenes

- Eddie telling Chris and the salad bowl getting smashed,

- Eddie realising Chris has gone missing only to find out he's run to Buck's

I feel like this one is also likely to be connected to two scenes - what they are and where this hospital scene fits within the wider episode, it is hard to fully form ideas on the full meaning behind the fact that he is wearing the same outfit. Because does this scene come before or after the arrival of Helena and Ramon, what is the connection to Bobby being in the hospital and Eddie wearing this outfit? My personal opiion is that this outfit is going to be involved in people finding out about Kim.

As an addition to this, we should also talk about the fact that Eddie always wears black in relation to key scenes with Marisol and Kim and it continues a trend of Eddie wearing black in key scenes in relation to his relationships.

When Eddie and Marisol meet at the hardware store he is in black, when asking her to move back out, black shirt. Then with Kim -both scenes with her when he talks to her he is in black - black shirt in the store and a black jacket when they go on their date.

He was also wearing Black in key moments with Shannon (divorce request scene as well as in flashbacks) and with Ana ( first meeting and panic attack scenes). I've spoken before about the choice to put him in a black singlet when he's in an emotionally vulnerable place, but with these additional scenes in mind, as well as the fact that we see him wearing black in the hospital during Bucks coma, as well as the fact we also get a similar shirt on Eddie back in 7x01.

I think its fair to associate black more generally with Eddie being in a vulnerable place emotionally - the singlets are just worn at points when those vulnerable moments are about to tip Eddie into something stupid and this makes the use of the singlet in 7x04 for the basketball game even more interesting as it places Eddie into emotional vulnerability around Bucks bi journey and less about Bucks own emotional vulnerability - plays a little into the idea that they were going to have Eddies queer journey come before Bucks!

From a purely speculative position - my feeling is that this outfit comes after the arrival of Helena and Ramon and possibly towards the end of the episode.

The fact Eddie is wearing it at the hospital is possibly important, but I get the feeling it will be an outfit with more than one key scene attached to it (much like Eddie being in a black shirt when Buck came out to him was in two key scenes - Bucks coming out and Eddie asking Marisol to move out).

In the same way that in season 4 the Ana reveal was paired with a scene where Chris runs to Buck my feeling is that we're going to see something similar in season 7 with this - further adding to the parallels between the two seasons (see this excellent post by @iinryer for more on those!).

Part of my thinking comes from the fact we had this other bts of Buck, Eddie, Chris and Helena and Ramon. So we know that Eddie will be wearing a maroon henley for a scene in this episode.

I've spoken about Eddie wearing maroon long sleeved tops in relation to things being about Chris and Eddie parenting, and this one is likely to follow that theme, especially with Chis seemingly wearing the same outfit he was wearing when the fact he had multiple girlfriends was revealed.

The fact that buck is in a reverse outfit to the one from his discussion with Chris after that reveal (navy blue bottoms and yellow ochre top v yellow ochre bottoms and navy blue top), suggests to me that the are trying to do a couple of things here - they are flipping the scene - so it is still about a multiple girlfriends reveal, just Eddies rather than Christophers. It is also possibly a way to contrast the fact they set up Buck as sitting in parallel to Shannon (from both a costuming and directorial perspective), now they are reversing it and setting them in juxtaposition with one another - playing on the concept of one being alive while the other is dead and contrasting the actual reality of Eddies life with Eddies rose tinted version of things - the version he's trying to recreate with a doppelgänger.

Onto Buck

The shirt that changes colour depending on which picture you look at - is it brown and cream or dark greyish brown and blue/grey?!!

My personal feeling is that it will look more brown and cream on camera, but that we might see a little bit of the blue pinstripe come through! This means we need to not only look at Buck in pinstripes, but also when he has worn brown!

So lets look at when we've seen Buck wear brown!

We have 2x05 - a scene where Maddie is ranting about Gloria calling her constantly. In this scene Buck is in a brown marl tee (you'll have to take my word for it - I ran out of pictures and this one was the least important!), personally I don't think it fits into the narrative as it is a tee rather than a shirt or jacket, so I'm not including it in my wider anaylsis!

We get Brown sports jacket Buck - in 3x04 when he delivers the results of the 118's assessment and discovers Lena filing his space - Buck gets jealous and a little mad. (had to include the still where Edie is checking out Bucks ass because it will never not be funny and now has the added layers to it`!)

one episode later and we get more brown in the divorced buddie era 1.0 supermarket arguement of 3x05.

Things go quiet on the brown front for Buck until 4x14 and the 'it would've been better if it had been me who got shot' scene - this is is a borderline brown - it sits in the yellow ochre spectrum, but is closer to brown than yellow! This, like the last tine he wore brown, comes in the aftermath of Buck doing something stupid (climbing the crane)

Then Buck doesn't wear any brown in season 5, so its on to season 6 where we have 6x04 and this russet brown (which is a reddish brown) which Buck wears when Connor pays him a visit regarding the sperm donation.

Then later in the same season - 6x18 - we have the most recent Buck in brown sighting - when he is talking to Connor once more about Kameron being at his loft. with the added bonus of this being veritcally ribbed making it look like stripes!

As you can see we only see Buck wear brown in very specific moments and they tend to come in pairs - we get bright russety browns in the build up to Buck doing something stupid followed by a darker more muddy brown in the aftermath (in both s2 and s6). Only the one from season 4 doesn't fit the pattern as it doesn't have a pair.

But while events in seasons 3 and six are essentially of Bucks making - he sets things in motion - season 4 is not - Buck is not the instigator, he is a bystander dropped into the middle of something, if anything the fact his brown has yellowish undertones plays into its having a reverse effect - that it is the same as the russet browns - setting something in motion, but its pair is the brighter yellow ochre shirt from the will reveal - which sits in opposition to the darker browns - its not something Buck needs or wants to try and fix - its more of an affirmation of Bucks belonging and not something he needs to fight for.

I've spoken before in various meta's about brown being a colour of stability support and protection. it is also a colour of wisdom and counsel - and I think all of these will come into play with this new shirt in some capacity, because to put Buck in brown at this point is definitely a choice with intention behind it.

Now onto Buck in vertical stripes!

We'll do the light ones first. It's still insane to me that the first time we ever see Buck in vertical stripes is the shooting scene in 4x13.

Then ten episodes later, in 5x13 we see the next white striped shirt and its when Taylor is moving into the loft. These are the only two we have in a white and black/grey colour way.

The next time we see light stripes is in 6x01 - only now they are cream and blue rather than white and black/grey - when Buck moves his armchair and decides he doesn't need a couch .

Followed by 6x08 when Buck is in Uncle Buck mode and looking after Jee and being given the run around by her - again cream and blue.

The last Buck in light shirts with stripes sighting is from 7x05 - when he meets with Tommy for coffee, this time its cream with black and red stripes.

Then we have a couple of outliers - this light blue jacket from 6x01

and this grey one from 6x09

Then we have the dark ones!

This one from 4x14 when Taylor appears back on his doorstep after the shooting and kissing him

This one from 5x09 - the most awkward 'I love you' scene in the history of mankind

6x04 when he tells Conor and Kameron that he will be their sperm donor

in 6x07 we get two - both when he is trying to donate sperm and not being successful in this endeavour

in 6x17 we see him in this shirt when Maddie comes by for help with getting her stuck engagement ring off

and finally we have Buck and Tommys first date - which ends in failure.

and now we have a brown and cream/blue one joining the mix!

I've written before about Bucks vertically striped shirts - in various episode metas, as well as a separate post which is linked on my pinned post under Buck, But I'm going to talk about them again because he just keeps on wearing them at really interesting moments!

Buck seems to wear them at moments when he is essentially ‘imprisoned’ by something mentally - at moments when he either steps forwards or backwards in his self development, or stays in stasis - and which of these it is, is determined by the colour of the shirt and the stripes. The lighter ones are connected to moving forward and ultimately escaping, while the darker ones are about Buck being trapped and moving in the wrong direction.

Starting with the white shirts - I know on the face of it, it isn't easy to see either of the white shirts with black pinstripes as Buck moving forward, but while the scenes they are worn in themselves may not seem to be freeing, the resulting actions - the will reveal for the first one and the second one reveals Bucks true thoughts on his and Taylors relationship and thus marks the beginning of the end, I mean obviously the kiss is the actual moment that marks the beginning of the end but this moment - when he is talking to Maddie, the audience is made aware that Buck really and truly isn't all in with Taylor and that he has imprisoned himself - his ability to recognise that - the fact he is able to verbalise that he is afraid of being left - that is the moment of growth and escape for him.

The unhappy moments, the moments when he is regressing or clinging are signified by the black shirts with white or silver pinstripes.

With Taylor the two scenes we get black shirts with pinstripes are connected to Buck being in trauma response mode - the first in the aftermath of the shooting - starting a relationship when he's in a super raw place - his best friend has been shot and he's looking after said best friends son and climbing cranes to try and protect the rest of his found family (also adding Maddie's impending PPD to this as well as the Daniel of it all although those are less central in this moment in time).

Then the second one comes in the 'I kinda love you for it' scene - and off the back of Buck feeling and fearing that he is being left - that Taylor is pulling away from him.

The three all connected to the sperm donation all play into the narrative that Buck hasn't thought the sperm donation through fully - that the universe is screaming at him and he's trapping himself in a prison - we do see some of that play out as the season progresses when he becomes embroiled in Conor and Kameron's marriage and pregnancy dramas when his part in it all should've been done.

The scene with the stuck ring is a scene very much about Maddie but Buck does drop himself in it on two fronts - the ring cutter and in letting Maddie know that Hen and Chim had an arguement over Chim proposing to Maddie.

Buck and Tommys first date - again a prison of Bucks own making - this shirt very much plays into the disastrous nature of the date - with Bucks 'I'm and Ally' and comment about going to 'find chicks'

Then we have the shirts that somewhere in the middle. - the blue one from 6x01 where we have a Buck doing some mental self torture trying to work out why he’s been passed over for the interim Captain job but finally figuring it out,

The three cream ones are all essentially the cure for the previous, darker stripes - they play into the idea that Buck is learning and growing - in a way he wasn't when it was just black and white shirts and stripes from seasons 4 and 5 when we got a white shirt followed soon after by a black shirt (4x13 - White - 4x14 - black) or vice versa (5x09 - black - 5x13 - white).

We have 6x01 with the blue then cream - Buck in a mental prison around what he wants in life, but choosing to embrace being on his own and seeing where life takes him by the end of the episode. 6x04 and 6x07's navy blues connected to the sperm donation arc followed by 6x08's cream and blue one of the very real children in his life - one who he gets to be an active part of watching grow up. 7x04's navy date shirt one followed by 7x05's cream, black and red shirt when Buck requests and is granted a do over with Tommy

So how is this brown and cream one going to fit in? Well that is the million $$$$ question isn't it! My feelings are that it's going to fit in with the pattern and have a reverse one to go with it. Now I have two theories - the first is that its actually the brown pair to the one from season 4 - that its going to connect into Buck's statement that it would've been better for Chris if he'd been the one hurt - and therefore connect into the will of it all, playing on the concept of Chris (and Buck) finding out about Kim - connecting Eddies outfit into the equation - and lead to Buck once again stepping up to look after or support Chris in some capacity (maybe we'll get a parallel of Chris running to Buck after finding out about Ana and have Chris running to Buck after finding out about Kim, who knows!).

The other option is that we'll only see the pair to this brown striped shirt later down the line - whether we see that before the end of the season or have to wait for the start of season 8 I do't know - it really depends on how they close out this season and the Buck and Eddie arcs.

I'd like to think the fact that its brown and therefore means stability, support, protection and wisdom, means that it will be connected to Buck discovering Eddies cheating and then stepping up to support him and Chris through the fall out (after perhaps taking a moment to consider things) and that it is tied into the season 4 parallels, but I guess we'll all have to wait and see!

Essentially all of Bucks striped and or brown tops have a pair and play on the idea of light and dark to varying degrees as well as the concept of being trapped or imprisoned by some form of traumatic event.

Hopefully this makes sense and that you've enjoyed reading this deep dive into Bucks stripes and Eddies wearing of black! I can't wait to hear your thoughts!

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sweetcloverheart · 1 year

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Clover Rants Miraculously: Complexity

Miraculous suffers badly from complexity addiction and it’s gotten absolutely worse since season 5 started. Character routes can’t be predictable or just being A to B to C anymore - no, there has to be a twist every minute, they have to deconstruct all the tropes and chara types, they have to keep the audience on their toes every second or else! No one’s allowed to predict anything and things can’t be simply as they appear. However, they also lacks the patience to make the complexity they put in relevant or meaningful. As a result, character growth becomes flat as their personalities and values are changed or reverted back to previous stages to suit whatever the plot needs, with opinions that seem ripped straight from reddit pages and twitter threads that seem to lack any understanding of the topics they’re preaching. No one is allowed to contradict or question anything and status quo must be maintained at all costs, even as it bogs down all the new plot elements and lore they try to bring in. It wants everything to be “deep” without actually doing any work in digging for it.

Which is why the canon Chloe salt, Marinette’s bullying backstory, sentikids, and the Gabriel thing fall flat in their jobs to get everyone to subscribe to the writer’s sole interpretation of the characters/plotlnes they present (and nothing else) - because the writers want the benefits of creating a deeply thematic work that goes outside the bounds of its genre without actually doing anything to create said depth.

Chloe can’t just be a dumb mean girl bully with a sad backstory to explain why she does it - nah, she has to represent the worst of humanity and parallel an abusive parent and monologue about how she has no soul and everyone’s stupid for thinking she does and turn out to be responsible for every bad thing to everyone ever, but the writers will never actually address any of it meaningfully while actively trying to pretend that any implications they made about her character or backstory doesn’t exist or act like it was actually this super malicious psyop done by Chloe herself and we just imagined seasons 2 and 3 in a collective mass hallucination.

Marinette can’t just be cringe about her first crush because she’s a teen and that’s what teens do when it comes to first crushes - nah, she has to have this completely out of nowhere and nonsense dramatic backstory about a prank by Chloe and Kim that justifies all the (kinda borderline creepy) stuff she pulled in the start of the show with PTSD and now you can’t make fun of/criticize her or your mocking a trauma victim you jerk (all while these issues get solved in one episode and all the other reasons to properly explain her flightiness around Adrien are either swept under the rug or just ignored due to inconveniencing their insistence of pushing this “Dating trauma” storyline that somehow only effects her with Adrien and not Luka or Chat Noire for reasons)!

It’s not enough that Adrien (and Kagami and Felix) is an abused kid trying to get out of his father’s controlling grip and come to his own as he explores expanding his boundaries and learns to stand up for himself - nah, he has to be a magical slave golem with 180 different flavors of awful implications baked into the lore of how his creation works and no feasible way for him in canon to actually break away from his dad on his own or with help, with the ending (if it makes it to the final draft/actual episode) regarding it making his entire journey of self-actualization and independence basically meaningless

Gabriel can’t simply be being an over-the-top control freak because of losing his wife and have that be shown as unreasonable - nah, he needs to be given Marinette’s exact same backstory (minus the bullying but I would not put it past them at this point) to justify why he’s totally in the right to be ruining children’s lives and terrorizing citizens and should totally be allowed to win in the end. It’s not that he’s unfairly putting the responsibility of his grief onto completely strangers and poorly justifying it with the idea that it’ll restore his family back to their idyllic days and benefit his son - in the end, guy’s just “a man who loves his family”, so let’s just forget about all the terrorism and emotionally abusing his only living child and focus on the important stuff, like the fact that Chloe and Lila are both the devil and more evil than him.

(Speaking of) Lila can’t just simply be a consummate liar who develops an irrational hatemance against our leading lady for pointing this out - nah, she has to turn out to have a gajillion different damn fake families and even faker aliases to jump through when she get tired of it or they get compromised, and all with it’s own naming system! Are her eyes actually green? Does she really have hair? Is she even Italian? Who knows - certainly not the writers! Isn’t great you invested years of interest and headcanons into a character who turned out to be a complete sham and whom the writers are now going to use to recycle the S1 villain gimmick because the Butterfly is the only villain allowed to exist? I sure am!

The writers want their story to be overly complicated and “deeper than average kids cartoons” but they want to retain their “silly simple cartoon” format and while it’s possible to do, the show runners seem adamant in not taking the steps forward necessary to achieve it, causing a constant conflict in both the show’s genre and character narratives that hurts it’s plotline

TLDR: In the immortal words - pick a lane my dude

#Clover Rants Miraculously #ML Salt #I spotted a queuety

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nekoettesan · 2 years

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i am once again confused about the mystreet/diaries crossover.

mystreet is hinted at being set thousands of years after diaries takes place, making the mystreet characters reincarnations/decendants of the diaries characters. the evidence to back this up is ghost, or emmalyn. as she says she died thousands of years ago, and watchers can infer that zane killed her while on the run with her (in mcd season 3 which i pretend doesn’t exist), because that’s the only name she can remember. the plot point is fucked because the filler episodes between season 3 (lover’s lane) and season 4 (emerald secret) literally have emmalyn alive and in modern times with them, but i assume that was just jesson not realising where they wanted the plot points to go at the time.

however, in season 5 of mystreet (or maybe even season 4 i can’t remember), it shows lady irene watching over the mystreet characters and i distinctly remember reading somewhere that jess said that lady irene had created the mystreet world to give aphmau and aaron a chance to be safe and fall in love. but then why is emmalyn there as a ghost? if mystreet takes place in an entire different universe that irene created, why does emmalyn say she died years ago, as if mcd and mystreet take place in the same timeline? unless emmalyn fucking transcended realms as a ghost to find zane, but she said she died in the house and was unable to leave without posessing kim, meaning that there’s not really any way for her to travel through realms when she can’t leave the house.

i only wrote this post to make a point about the fuck ups in the writing lol <3 sorry

#aphmau #aphblr #aphmau mystreet #Minecraft Diaries #minecraft mystreet #diaries #aphmau diaries

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mathiassen48mccoy · 2 years

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rainbuckets8 · 2 years

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I think I understand now why I've never liked the idea of Scorpia or someone else (maybe Entrapta) telling Catra, "I don't forgive you." And people who have a different opinion have told me, it would be more convincing that way, bc in real life people don't always get another chance. But that's exactly why I don't like the idea. Bc to me, Catra is a wish fulfillment character. She messes up. She hurts people. But she was put in stressful circumstances and that doesn't erase her responsibility but it does explain it. And she tries. She tries so much in season 5. She's done awful things but she's willing to try and everyone else gives her that chance.

And Adora.. in some ways that's all I've ever wanted my whole life. Not even romantically, but I've always wanted that kind of friendship. (Kim Possible and Ron Stoppable was one of my first fandoms for a reason.) Catra tells the world, "There's no one left in the universe who cares about me." And the camera cuts to Adora as if to say, "I'm always gonna be your friend. You matter to me." Adora jumps head first (and also foot first, off a damn bridge - like mom always said, if your friends jumped off a bridge, would you follow?) into metaphorical hell, and who the heck doesn't want a friend(s) who would do that for you?

In the end, I can't really argue against the people who I disagree with. Bc they're right. People don't always get another chance. Adoras don't always exist in real life. And there are plenty of perfectly justifiable reasons why. But god damn if it's not nice to pretend. Even just for a little.

(If you can guess what this is about. Please. Just let me have this. It's all I have left.)

#she ra

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peepspersonalperspective · 4 years

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MY PICKS: Top 10 K-Dramas

Disclaimer: These are totally subjective choices and I've justified them as per my preferences. Consider them friendly recommendations and let me know if you disagree. Also, I've discovered the wonderful world of K-Dramas over the last couple of years and they've really evolved not just in storytelling but also production value so I personally prefer the more recent ones. So for example I haven't put a very popular pick like My Love from the Star simply because I've seen better stuff since (don't shoot me). Anyway, 가자!

MEMORIES OF ALAHAMBRA

This is my first recommendation for anyone who's just starting out watching Korean television content simply because it's so different from what new viewers expect it to be. It's so gripping and thrilling. I would expect nothing less from Song Jae Jung's writing.

So it's a sci-fi show, set in Spain, about an augmented reality game, that seems to have physical implications in the real world, sending the lead, Hyun Bin on a rollercoaster ride to find answers. Exo's Chanyeol has a recurring role as the game developer, so that's exciting too. I learnt that he was cast because of his love for PubG. Lol.

Every episode will leave you wanting more, and you'll find yourself as desperate to search for answers as Yoo Jin Woo (Hyun Bin).

Granted, mid season, it gets a little complicated, especially with newer nuances of the game unfolding, but fret not because the characters are discovering the secrets of the game with you. So they're as confused as you would be, and that's why this show is so good! More so because the graphics are excellent! You can tell they really spent money on ensuring high quality work. You will really feel like you're part of the game with Yoo Jin Woo.

Anyway, if you are an EXO-L, or you like gaming, sci-fi, thriller and Hyun Bin, this show is great!

2. W - Two Worlds

Another piece of awesome from Song Jae Jung. I would still rank this show a little below Alahambra, because I think the makers made improvements from this sci-fi drama in Alahambra, in the sense of storytelling. Still, W is just as intriguing.

Oh Yeon Joo (Han Hyo Joo) gets sucked into a comic book where she falls in love with the lead character of the comic book, Kang Chul (Lee Jeong Suk). Sounds like a typical romance drama right? Don't be fooled because there are many many twists and turns along the way.

I feel like there is metaphor in there somewhere about existentialism, the creation and destiny. But maybe that's just me reading into things.

Lee Jeong Suk is extremely desirable as Kang Chul, unsuspectingly charming and endearing, and Oh Yeon Joo is an absolutely relatable character, and how she deals as an ordinary girl thrown into extraordinary circumstances is genuine.

I would say this drama is wholesome, with sci-fi, suspense, thriller, action, romance, filial relationships, and more. And while it's usually difficult to jam pack all this into one show without screwing it up, W emerges exceptional.

3. Extraordinary You

This show is so cute! If you want just a light hearted, quirky show, this is the one for you.

It's about characters in a cartoon becoming aware of their existence in a cartoon. But don't worry this is NOTHING like W.

The best part about the show is that it's not about the main characters of the said cartoon. It's the story about the extras finding their way in that world, hence the pun intended in the title. The main characters (of the cartoon) are actually the most dull, because they are bound by the laws of stereotypical high school romance. But the real stuff is happening on the sidelines, with Kim Hye Yoon as Dan Oh and Rowoon as Haru.

Dan Oh is a hilarious character and Kim Hye Yoon does a fantastic job of switching emotions when she's in and out of a scene in the cartoon. One minute she goes into character mode, next minute she's bitching at the sorry fate of her character when she wakes up, to the astonishment of the characters surrounding her (who aren't aware of their reality yet).

Rowoon has a quiet charm about him that perfectly complements Hye Yoon. Check it out for a chuckle and a taste of something different.

4. Crash Landing on You

This show is hard not to like. Apart from the poorly picturized tornado carrying our leading lady over the border to North Korea, this show is a wonderful Netflix and Chill kind of show, I think.

The cultural disparity between the South and North is interesting to watch and also entertaining. Like when they mention buying mobile games at an App store (a literal application store in a Pyongyang market).

Ri Jung Hyuk (Hyun Bin again) and Yoon Seri (Son Yejin) are such a delight in comedic, romantic, and dramatic scenes. But the scene stealer for me was Yang Kyun Won as Pyo Chi Soo, and his unshakeable nationalism that he is ready to set aside for some shampoo and conditioner.

The interesting thing is going into the show, you have an idea of the longevity, so ofcourse, Seri's journey back to the South ain't going to be easy, also her relationship with Ri Jung Hyuk is doomed, and yet you find yourself rooting for them at each step, crying with them during their failures and crying with them even in their triumph. But the most tears were shed for the least expected character, who simply left us all heart broken.

5. Weightlifting Fairy Kim Bok Joo

In a world where women are expected to behave and look a certain way to be considered attractive by someone they're vying for, here's a food hogging, tomboy, weightlifting champ, with her first crush.

The premise may rope you into the show, but midway you realise that the heart of the show is in its characters, and without realising you become so invested in them that you feel their fears, insecurities, and cherish their victories with them.

This coming of age show really relishes on the quirks of each character, friendship, love and aspirations. It's not a very dramatic story which is probably why it didn't rate very high during its broadcast, but that's part of its charm, and that's why it's been able to gather a significant cult following since.

Lee Sung Kyung and Nam Joo Hyuk portray the most sincere friends and eventual couple. Their relationship blossoms in the most organic manner and it's so heartwarming. They're not cheesy or unrealistic; they even beat each other up! I don't think I've seen that level of comfort portrayed on screen so well before.

Watch out for guest appearances by Ji Soo and Lee Jeong Suk.

6. Strong Girl Do Bong Soon

I'll be honest, this recommendation is mainly for Park Hyung Sik. He's amazing in the show. And there could be no better supernaturally strong petite girl than Park Bo Young, either.

So there are actually a lot of things happening in the show, story wise, but I promise it all comes together in the end. There is quite a build up and I'm happy that it pays off adequately.

This is like a superhero show with all the spices and flavours of a Marvel movie, but K-Drama style. There's an invincible villain, some idiot gangsters for comedic value, romance (a love triangle infact), functional training, a point of lost hope for Bong Soon, and then her resurrection as a superhero.

It's all there, and more.

But Park Hyung Sik.....

7. Itaewon Class

This recommendation is simply for the refreshing change of representation on TV. I know a lot has already been spoken about it already, but I have to admit that that's what sets this revenge drama apart. That, and the music. Dayum, Start by Gaho is so catchy! And let's not forget V's Sweet Night.

This show starts off slow but give it 3 episodes before it gets to the real shit.

Park Saeroyi is almost too good to be true, and in that lies his shortcoming. His character is so strong that while watching him I forgot that Park Seo Joon was acting. And despite some unnerving moments I found myself rooting for him. He has some strong motivational lines too, like about his choice for a better life. His determination is almost unreal, as he goes on to take down his mortal enemy.

Some of the best scenes, though, are of Jo Yi Seo (Kim Dami), a sociopathic enterprising genius. She was the one who actually kept me hooked to the series. She added some much needed flair to the show, and as it appears to Park Saeroyi's establishment.

Actually, every character was strong, every character had a strong backstory and motivation for the action, and most importantly they never broke character.

Watch out for Park Bo Gum's special appearance.

8. Love In The Moonlight

Speaking of Park Bo Gum...

This show is all kinds of weird in the best way! A girl pretends to be a palace eunuch and falls in love with the crown Prince. That is so messed up!

But that's the fun part! And Park Bo Gum and Kim You Jung make it a wonderful ride. Full of quirky romance, political conflicts and hidden identity issues, this show is addictive af!

And even though this wasn't in the show and was just a promo, be sure to watch Park Bo Gum's Bombastic dance. It's adorable!

9. The Third Charm

I'm sure this is my least popular recommendation. But something about watching this show was so cathartic. I highly recommend it for those who may have gone through heartbreak ever in their lives.

This is probably one of those rare times when I was lost in the story instead of Seo Kang Jun's eyes. Hehe. This story is about an on again off again couple and their journey through life together and apart.

This was meant to be a healing drama, and it really does take you through the emotional evolution that comes with growing up. I think it's the perfect medicine for a healing heart.

10. It's Okay Not To Be Okay

This show! This is my current obsession. Kim Soo Hyun's comeback couldn't have been more perfect. Seo Yeji couldn't have been a more perfect casting. And the two leads couldn't have had a better chemistry.

This show is all kinds of whimsical and I love it. Also a healing drama, this show deals with.... Baggage....to put it simply. Some baggage may be bigger than other baggage, some even irrevocable. But seeing all the characters overcome this baggage is so fulfilling.

But the charm of this show is in Ko Moon Young's (Seo Yeji) craziness and the Tim Burton-esque setup, that really makes one perceive fairytales in a whole new way. I mean I always knew that fairytales were sanitized German folklore, but I never thought to find a very different messaging from the material. The parables are ingenious, and it really is a pleasure to watch each and every person on this show.

Special mentions: Goblin, Reply 1988, 30 but 17/ Still 17, My ID is Gangnam Beauty, Hotel Del Luna

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leverage-commentary · 4 years

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Leverage Season 2, Episode 6, The Top Hat Job, Audio Commentary Transcript

Dean: Hello I’m Dean Devlin, Executive Producer.

Christine: I’m Christine Boylan, one of the writers.

Peter: Peter O’Fallon, Director.

John: John Rogers, Executive Producer.

Scott: Scott Veach, the other writer.

Chris: Chris Downey, Executive Producer. And this is the Top Hat Job.

John: See, I was hoping we’d pretend that there were like twelve more people [All Laugh] in this, like, baffling list. Uh, the Top Hat Job was born actually of two things. One, Scott Veach, who’s a name you haven’t heard before on the show, came in as a freelancer to pitch a magician show. And at the same time, Tim Hutton had said that he would like to play a magician.

[Chris and Christine Laugh]

John: And Tim makes very few requests of us, so it seemed like not a bad idea. The question is, of course, well, how would you go about doing this? Um either Christine or Scott, can you tell me where we got the villain from?

Christine: Uh... where did- where did we get the villain from?

John: I think it was-

Christine: Uh, was a-

Scott: Oh, yeah.

Christine: -magazine article. Again, I believe Albert Kim brought that into the room-

John: Yes.

Christine: -a lot of these, this season we all had a hand in everything and I love that. Albert brought in this article about a foods company that was knowingly putting out salmonella-laced meals, frozen meals on the market and we were just really upset.

John: As a matter of fact, the really ridiculous villainous thing we have this guy say, which is, ‘You’re supposed to cook it to this temperature. It’s on the package; that’s why we’re not liable’ is something that company actually said-

Christine: Completely true.

John: Without mentioning the fact that even in their laboratories, they could never get it that hot.

[All Chuckle]

John: So these guys, the real life villains, are far worse than the enormously cartoonish evil guys we have in this show.

Christine: Absolutely.

John: And now, who’s this actress?

Chris: This is, uh, Jennifer, uh… Skyler.

John: Chris always has the cast list, thats-

Chris: Yes, I got my cast list right here. This is Jennifer Skyler, she’s a local Portland actress, and tried out and was fantastic.

Peter: She did a great job.

John: Now Peter, this, y’know, I think this is another one we really cast almost entirely out of Portland, right?

Peter: All but the bad guy. I think the bad guy-

Chris: I think so, yeah. I think-

Dean: Yeah, yeah.

John: What was it like working with, like, the Portland humans, Peter?

Peter: Overall it was pretty good. We had a little bit of uh, well, you know, and it turned out very well, thank you.

[All Laugh]

John: We got a state grant on the line here, Peter, so don’t screw this up for us, man.

Peter: No, she was- she was great, she was uh, she did a really good job. The concept was to try to add as much pressure to her so that you’d have compassion for her, and as you can see right where we are right now, she does a very good job of it.

John: And during the uh, during the... um, horrible credit sequence we all hate.

[Christine Laughs]

John: And I can say that, ‘cause it’s the DVD, they’ve already bought it.

Peter: Saga sell.

[All Laugh]

John: Yeah, it’s the saga sell. That’s actually, you know Pete, it’s the first time somebody’s brought up the phrase ‘saga sell’. Uh, who wants to define the ‘saga sell’ for the nice folks?

Peter: That was uh, I did the show The Riches and that was the bane of our existence, was trying to sell what the show is about, that’s what the saga sell-

John: In thirty seconds you have to remind new viewers what the show is about, and annoy old viewers.

Christine: Wow.

John: And now, why is this scientist drinking? Someone tell me that.

Christine: Because her last name is Jameson.

[All Laugh]

Christine: You’re welcome.

Chris: I believe that was your addition to the- to the character, wasn’t it? I mean-

Christine: I do like naming characters, yes.

Chris: She was initially known as ‘plucky research girl’, I believe?

John: Science girl. Plucky science girl.

Christine: Many variations on that.

Chris: And then a lot of the- there was a big cry out in the development of the story: “more plucky science girl!” And I think Christine, you added the little wrinkle that she likes to— likes to drink a few.

Christine: She does like to drink a few. I’m a big fan of uh—

Peter: Drink a lot.

Christine: Yeah, she does like to drink a lot. Um, I’m a big fan of victims who like to get involved and crusade a little bit and we hadn’t had one in a while, so getting her involved was a lot of fun.

John: It’s always tricky, because the victim, in theory, you don’t want to endanger these innocent people who’ve always been in some sort of danger, but if you don’t check in with them or don’t make them present in the story, they disappear.

Christine: But she’s plucky, has no discernible friends or family, and is a drunk, [All Laugh] so I think it’s okay that we go ahead and, you know, put her in danger.

Peter: And we decided on the set to have her play that— she’s playing really, uh, she really enjoys Tim’s company; would like to be with Tim a lot more than she’s letting on.

John: Well, you know, Tim’s a dreamy guy, right?

Christine: He is.

John: You know, when I use his photo and pretend to be him on the internet, I do very well.

[All Laugh]

Scott: I do that same thing!

John: Yeah, exactly, there’s a lot of guys pretending to be Tim Hutton on the internet, so if you ever get something dirty from Tim Hutton on the internet, it might not be him.

[All Laugh]

Christine: The actual Tim Hutton [unintelligible].

Chris: Interesting thing in his little reaction here. When I was watching this, it really, it took me back to Ordinary People because, remember him playing flustered, in Ordinary People, around the girl?

John: Yeah.

Chris: It’s very much, you see it on his face right here.

Peter: Little nervous.

Chris: It’s kinda right there-

Christine: Yeah, there’s an ‘aw shucks’ quality to it. I love it.

John: And it was interesting because, trying to get the Sophie character, trying to reconcile like what was going on here, was the understanding that they had screwed up whatever they’d kind of had first season. And so this is the phase where, you know, even if Sophie doesn’t necessarily want to see Nate off with somebody else, she knows he has to at least have some sort of human relationship—

Christine: Mhm.

John: — that this isolation that he’s engaged himself in will eventually, you know, isn’t healthy, and it is, as a matter of fact, what eventually destroys him over the course of the second season.

Christine: Mhm. Spoiler. [Laughs]

Peter: And she’s also trying to uh—

John: I think people know it’s not ending well. [Christine Laughs]

Peter: And she’s trying to break his balls a little by leaving him there alone.

John: Yeah, yeah, exactly. And that’s great, that’s— this take goes forever.

Timestamp: [5:00]

Christine: Yeah, he has this nice uncomfortable beat.

John: And still—

[All Laugh]

Scott: Ooooooh…

Peter: Well… so… uh.

Christine: Been on that date.

[All Laugh]

Peter: What about them Yankees? How ‘bout those Yankees? [More Laughter] So, you gonna make a move there, son? [laughter continues]

John: So—

Peter: No, I’m not.

John: No, no. Aaand thank you, sir.

Christine:And, leave the bottle.

John: Another drink.

Chris: One more drink.

[All Laugh]

John: Yeah she’s gonna be very lonely, looking like that, drunk, in a bar in Boston. She’s not gonna do well. Uh, this is actually interesting. Now, Scott, you wrote a big chunk of this sequence, if I remember correctly. This is interesting, this is not something we usually see on the show; uh, why don’t you tell us about it?

Scott: You mean where, where they’re failing?

John: Yes. But Scott—

Scott: They never fail!

John: Scott came in and made the characters you love suck. Now Scott, explain why you did that.

Scott: [Laughs] Uh, yeah. No, but it was, you know, I think it was a, it was a group idea. But it was- the idea was it’d be really fun to see them get overconfident, and to see what happens when, you know; it’s usually, they’re so good at everything that they do, what happens when that sort of falls apart and how do they react? And so we thought it’d be really fun to see what that looks like.

John: How did you— how many takes to get him to balance the damn ball on his forehead?

Peter: We stuck it to his head. [John laughs]

Christine: Aww, that’s adorable.

Scott: There’s some, there’s some tape under there.

Peter: The other one too, is a- the- the bandana on his head is covering a scar—

Christine: Oh, yes, he is.

John: Oh, this was this episode.

Peter: — that was left because, in one of the fights he got caught and got stitches.

Chris: We’ll get to that; that’s a good story there.

Christine: This is the one, yeah.

Peter: So we added the scarf to cover the stitches.

John: Yeah, and it’s also, it’s interesting because it is- it is something they’re doing, and you know, when he says after Tim walks in, you know, there’s no blueprint fairy. The idea is, this scene, all this act here, is what happens in act zero of every other show. Like in every other show, they’re doing this, they’re showing up as pizza guys, they’re getting sketches of buildings and stuff, we just never bother to see it because this time they, they—

Dean: Actually this particular scene here was not actually, was not in the episode—

Scott: Oh, that’s right.

Dean: — when we came in, when we came in short, [All Laugh] we added this scene, and one of the things I’m so proud about is that it seamlessly goes into this scene, which was part of the show—

Chris: That I could not believe.

Dean: And it actually ended up adding a very nice-

John: The other side of the door, that first side of the door was shot how many months after the- this side of the door?

Dean: About a month.

Scott: Probably a month, it was probably about a month. And see if you can track, uh, Gina’s pregnancy there.

[All Laugh]

Scott: It’s an interesting thing.

John: Yeah, it’s really— you’re kind of in a medium-close there. There she’s okay.

Christine: She’s glowing, she’s gorgeous.

John: She is glowing.

Peter: We decided to give Tim a lot of movement here because the concept is, he knows it’s all gonna go bad—

John: Yeah.

Peter: — they don’t.

Scott: He’s convinced it’s gonna go bad; he’s gonna sit down and wait.

John: Well, in the research, it was a little stunning. When we started investigating these food companies, because, you know, in the show it’s always, how do you have a threat? And uh, the scale— the amount of money that these guys throw around, is truly boggling, and the depths to which they will go to cover up their maleficence is uh, it’s… they’re not putting people in shallow graves, but they’re ruining people’s lives.

Peter: Did you notice his name?

John: What’s that?

Peter & Christine: Oleg.

John: Oleg, why?

Peter: I dunno.

[All Laugh]

Christine: Damn sexy name.

Scott: Yeah, I don’t think that was in the script.

John: I like that it’s “Super Hot Pizza”, because you wouldn’t want to buy another kind.

Dean: But I also notice that this- this entire sequence, the camera never stops moving, and it— just love the way you use the camera in this sequence.

Peter: Try to keep the heat going on, the pressure.

John: Now when you’re planning on shooting something that cross cuts between two to three situations, I mean, you know, are you trying to match actual camera left-to-right movement? Or do you just keep it in motion and assume that when you’re cutting it that’s gonna play?

Peter: I try to match it, right-to-left. You know, the idea was that Tim’s static, and he’s just sitting there doing, uh, you know, he’s confident about what’s going on while the rest of them are panicking.

John: He’s Reed Richards back there, he knows.

Scott: It’s like his version of TV, to watch this.

Peter: Exactly.

John: Nice fight, by the way.

Scott: By the way, this was literally maybe twelve hours after he’d gotten stitched up, he did this fight.

Peter: If that, yeah.

Christine: He is a superhero, seriously.

Peter: He takes it very seriously.

John: I always say, shit kicker is genetic.

Dean: And I think that’s our first ‘in the nuts’ shot of the series.

John: I think it is.

Peter: I like to do those nut shots.

Christine: Nice.

John: That was in your contract.

Dean: And I love the whole Parker thing here, this whole Parker exchange here was just inspired.

John: Yes, her idea of witty banter just doesn’t quite cut it.

[All Laugh]

John: But yeah, neither one really gets it.

Christine: Who put Parker in the glasses? A+. She looks great.

John: Thanks for bringing the lesbian vibe tonight, Christine.

Christine: You know, I’m here, you know, I’m representing all kinds of people.

Chris: Here’s another shot.

John: Nice green screen. Have you not seen that nice green screen? Nice green screen shot. Um yeah, there’s a lot of green screen in this one actually, just because there’s a lot of Parker hanging places.

Dean: I love this Aldis ending here, trying to, like, put a good spin on it.

[All Laugh]

Peter: And Aldis was quite at adding little quips here and there, and the fun stuff.

John: Yeah, a lot of— by this point, these actors know these characters well enough that, you know, a lot of times you’re just trying to get out of their way when they’re on pace.

Peter: This was a note that Chris gave me, which I loved, which is that they’re, like, children.

Timestamp: [10:00]

Chris: They’re siblings.

Peter: And Tim’s the father.

Chris: And Dean, you were here for this, I believe—

Dean: I was here for the poking.

Chris: And I think that I gotta give you credit for kinda, getting the whole poking thing. You know, ‘Stop it. Stop it. Stop it.’

Dean: Yeah, we just wanted to get that vibe of ‘Daaad.’

[All Laugh]

Peter: ‘He’s bugging me, stop it!’

John: The ice thing we actually established early in the season; the idea that they’re constantly raiding Nate’s apartment for the tools- his life has turned upside down, at some point, three AM, he will wake up and they will be in his apartment, like, bandaging themselves up with his stuff.

Christine: Eating cereal.

John: Yes, eating cereal. He has not had ice for a drink in, like, four months; it’s all for Eliot’s bruises.

Scott: ‘She’s poking me!’

[All Laugh]

Peter: ‘Leave me alone, dad.’

Dean: Love it.

John: Now, this whole section where they introduce how we get the information because these guys couldn’t get in, uh, Erik with a ‘k’.

Christine: Always evil.

Peter: I love the reaction with the ‘k’, too, here, that she’s uh, ‘I didn’t know that.’

[All Laugh]

Dean: And she goes, ‘Everyone knows that.’ [All Laugh] And he’s like, ‘What the fuck?‘

Christine: I got a lot of weird Facebook messages after this aired, by the way, from Eriks with ‘k’s.

John: You actually get all three character’s attitudes flawlessly there, which is: Parker just lives in a slightly different world, it’s about ten degrees off of everyone else; and Sophie treats her like its just, oh, I didn’t know it was that way in your world; while Nate, Nate is the only sane man in an insane world.

Chris: Here, look at this, we gotta give credit to Apollo Robbins, here. Apollo gave us [unintelligible].

Dean: I love this camera work, I love this idea of attaching the camera to the packet.

John: What is it? Is it just a button cam, or…?

Peter: Eh, we just attached the camera with a c-stand onto the box itself.

John: Oh cool. Um, that whole trojan horse thing comes from Apollo Robbins.

Chris: Apollo Robbins, our consultant, gives us all kinds of, you know-

Peter: And you will see a short little cameo of him in the back in one of the scenes.

John: Oh cool!

Peter: We’ll point him out.

Chris: We’ll talk more about him later.

[All Laugh]

Peter: Oh that was a great idea. Speedos are always good.

John: But there’s a hacker conference in vegas called DefCon every year, and that year, the trojan bluetooth cellphone happened to be the big thing of that year, so we ganked that. Um, you know, we really should, like McGuyver, leave out one crucial element, because we have taught people to do fairly horrible things on this show, and only later do we realize, oh we…we taught them exactly how to do that.

[All Laugh]

John: We should have rethought that.

Dean: Oops.

John: And then they’re talking about the horrible corporate meeting.

Chris: I think that was- Albert Kim, who worked at Time Warner and their magazines for many years, introduced us to the state of the company meeting, where they often have magicians. That was, kind of, what brought the whole episode together.

John: And remember, I had done a bunch of those, and that’s why as soon as Albert said that, I was like oh god, I actually did one of these shows when they announced layoffs right before I went on.

Christine: That was a great day in their world.

Peter: Well that’s a tough room.

Chris: Because folks, surprisingly, to do a show - a heist/con show involving a magician, is not the easiest thing in the world.

[All Laugh]

John: No, really, oddly enough.

Chris: When that’s your mandate…

John: Yeah, we don’t usually start backwards like that, but you know what, this actually turned out pretty coherent, considering.

Dean: I love this whole magic bit here, I think this was inspired.

Christine: This kid’s great.

John: This guy is so- now why are they dressed like fif- by the way, Parker and Hardison here are either, a) dressed like a fifties’ couple or b) like the couple from Thriller, from the horror movie Thriller.

Christine: I thought b), I thought we were going for that-

Dean: They are college kids.

John: They’re college kids, is that how the flappers are dressing now?

Chris: This is Tim Gouran as Chronos.

John: [wheezing] Chronos… Oh the nipple rings are horrifying.

Christine: They’re fantastic.

Peter: The guy does- the guy’s channelling...what’s his name?

All: Chris Angel.

Peter: The way he does the movement, and all of that, we asked him to just study him and go wild with it.

Christine: I remember his audition tape; made me laugh.

Peter: I love that she’s reluctant to go up to the- first she goes, ‘Oh no no no, I don’t wanna go-’

Christine: ‘No, I don’t like magic-’

John: God, he’s so cheesy- oh man, and then him showing her exact- and that’s the- it’s interesting that the entire show’s, kind of, about trade secrets. Because you know, the whole idea is the advantage these characters have is, they know how these tricks work, which is a trade secret. Wow, that’s a really creepy look.

[All Laugh]

John: “Silence!”

Scott: Oh, he was great.

John: I almost enjoy this sequence more without words. Seriously, I’m like half a Guinness in and I’m loving this.

Chris: And kudos to the assistant, giving the bored reactions.

Peter: She’s just bored out of her mind.

John: I believe that’s actually in the script, right? ‘Even his assistant doesn’t like him.’

Peter: ‘That’s my girlfriend; that’s her up there, quit looking.’

Chris: A lot of great ad libs here from them.

John: Again, this is one of those places where when it’s, you know, Aldis and Beth, you just kinda get out of their way, and you assume it’s gonna work out.

Timestamp: [15:00]

[All Laugh]

Dean: This guy is so great.

Christine: We’re all just watching him.

John: I almost want to bring him back now; now that I’m watching this again?

Dean: He’s so over the top; it’s awesome.

Christine: Can we please bring him back? He’s adorable.

Peter: And once again, kudos to our magic… what’s his name again?

Christine: Apollo.

Peter: He helped him out with all these, how they do it.

Chris: He designed the box. I mean he did so much; he added so much to this episode.

Peter: That was a mistake, and it was hilarious, you know, with the sword; she grabbed it and pulled it in, and I thought it was hilarious.

John: No, I’m actually- I’m friends with David Ackroyd who designs tricks for Penn & Teller, and the whole, sort of, the loathing for stage magicians that these guys have is hilarious. Oh, the eskimo kisses. And the rings. Yup, I think we went through a whole day of, like, looking at tricks and seeing what could malfunction in the most annoying way.

Christine: That was an odd day of YouTube clips, I’ll tell you. We went down the rabbit hole there.

John: No odder than usual, really.

Christine: No odder than usual, it’s true.

Chris: I love the way this actor dropped the character at one point, like “stop it!”

John: That’s really, that’s dark, ‘cause now I can actually- now as he runs off-

Peter: ’Is there a surgeon? Is there a surgeon?’

John: Like, with Parker actually trapped in the box still, nice. And, another innocent human destroyed in our quest for justice.

Christine: Not so innocent. Not so innocent.

John: Yeah, that’s true.

Christine: He was sexually harassing his assistant, I believe it says in the text.

Chris: Here’s George Castillo, who’s playing Dan Markland, head of security, who is our bad guy’s henchman.

John: He’s the Busey. We can say Busey, Busey is the word we use all the time-

Peter: And here’s Tim, having fun.

Christine: Oh no.

John: If you haven’t heard the first season DVDs, the Busey is based on Gary Busey’s character in Lethal Weapon.

Dean: Are those Apollo’s hands?

Chris: Those are Apollo’s hands.

John: Uh, who is the thug who brings physical violence so that the main bad guy doesn’t have to. Yes, that’s Apollo doing the close up stuff. Although Tim did a little bit of it; Tim really got into it.

Dean: Oh, he was into it.

Peter: And again, Tim handled this so well, the idea that the- they just start pushing away and go through it all- they just start pushing their way in.

John: Yeah, exactly. Well, that’s the, you know, all of heist and confidence shows are just, just keep it moving so people can’t ask questions.

Dean: And carefully placing Gina behind the box.

[All Laugh]

Peter: She’s always carefully placed, you’ll notice.

Christine: We couldn’t have laundry in this one, so we, you know.

John: What is Beth- what is Beth wearing?

Dean: This got more and more obvious as the season went on.

Peter: I’ll bet.

John: Beth is like Neil Gaiman’s Death back there.

Christine: I know, I love it. Again, A+ Parker look right here. Just, all these Parker outfits are terrific.

John: And it’s interesting, it’s really interesting because you got, everyone’s got a very distinct look; in particular I love Aldis in the suit, as the engineer, as the kind of like.. you know, you can totally see how that character lives his life. He dresses up, he goes to these shows, he’s actually based- that character’s based on a British fictional character called Jonathan Creek, which is a British mystery show about a guy who designs magic tricks. He’s not the magician, he’s the guy who designs the impossible and he solves impossible crimes, and you know, when you have five humans, coming up with a role for everyone to play, never easy. That’s why Chris is actually in the box.

Peter: Oh, this is the rabbit gag.

Christine: Oh, the rabbit. I love the camera work here.

Chris: And this is all one shot, watch, watch this.

Dean: This is a beautiful steadicam shot.

Peter: Our steadicam operator was, uh, a bit nervous when we started, but- except for this.

Dean: Oh, this is awesome; one of my favorite flashbacks.

John: Now this- And we have not done a lot of the flashes this year-

Christine: Look at their face. [All Laugh] That’s great.

Scott: That was my mom’s favorite moment.

Christine: “It’s not the same thing.“

Chris: And the rabbit’s gone.

John: That was actually written as just an anecdote, and then we hadn’t done a flash in so long, it’s like, you know what, what the hell, let’s bury a kid.

Dean: And what’s the story with the girl who played Parker? Wasn’t there a story behind that? That she didn’t get to do that part in a different episode?

Chris: I think that’s right, she got cut out earlier.

John: Yeah, she got cut from the MMA one, the flashback of Parker’s first concert. And then, so instead, we gave this one where we buried her alive, in a backyard in Vancouver, Washington.

Christine: That girl’s adorable.

Chris: Backyard? That was a public park.

[All Laugh]

Christine: Buried a girl alive in a public park.

Peter: Marc Roskin shot that, by the way.

Chris: Yes, Marc Roskin did a fantastic job shooting that.

Christine: Only on Leverage.

Chris: That’s how accommodating they are in Portland.

John: ‘Hi, uh, listen, we’re the film department. We’d like to bury a twelve year old girl alive in a public park, if you can-’

Christine: ‘Great, great, we’ll get you a brunette, we’ll get you a redhead-’

Peter: I actually had a bet with the location department, because I’ve been all over the world shooting, where you could never dig a park up. In Portland you can.

John: No, they’re very happy to have us there.

Chris: We have eminent domain powers in Portland.

[All Laugh]

John: ‘We’re here seize your home.’ ‘What?’

Scott: We’re like diplomats.

John: To be fair, we couldn’t have made this year without Portland. I mean, seriously, the locations we got?

Peter: No.

John: Oh yeah. ‘Where’s the rabbit?’ Nice running gag, by the way, I don’t believe that was in the script?

Peter: No, that was just [unintelligible].

Chris: Nah, that came up on set.

Timestamp: [20:00]

John: Nice. You didn’t actually lose the rabbit, did you?

Peter: No. No white rabbits were harmed filming this show.

John: Now, have you shot a con or heist show before?

Peter: Uh, I did The Riches.

John: The Riches, yeah. So— but that’s almost more of a character piece, than a— ‘cause they, they’re, he’s running a long con, but not—

Peter: Yeah, big tycoon, he’s lying to everyone all the time.

John: Yeah, exactly. Was there any—

Peter: Not quite this… this…

John: Yeah this is more heisty, y’know, was there any prep you did coming into this, just like looking at stuff, or, uh-? I’m always curious, because we have different directors come in, it’s a very different kind of show. It’s not like, say, ER, where it’s the hospital, there are doctors—

Peter: Everybody runs a steadicam shot all the way through.

John: Yeah, exactly.

Peter: No, actually, I just uh— I watched the, like, five shows that Dean had sent me, and in the big picture I got the idea, I mean the concept. Also, I love that Tim wanted to do the magic so badly that we ended up writing, what, four or five more pages that we shot for days on end. But it was great; it was really fun. And for me it was all movement; the whole show is about movement.

John: Yeah.

Peter: And we added a whole bunch of guards everywhere so, I wanted to have an extra pressure all the time, so every time they step around the corner there’s more security people walking around, so it appears as though—

Dean: I love this guy, who played the uh, the CFO.

Christine: Oh, yeah.

Chris: This is, uh, Jack Armstrong, another local Portland actor.

Dean: This bit was great, what was the story behind this bit?

John: I actually dropped this one in the script based on a guy who had been driving around, um, San Francisco with a RFID receiver, ganking people’s passport numbers out of their pockets. He was, like, driving around in a car, and the RFID chips were giving off enough of a signal that he could read their data as he drove by.

Peter: God.

John: So getting your car to do it was a piece of cake. I mean, getting your phone to do it at that range, eminently believable. That is one of the things about this show, is you spend an awful lot of time telling America they’re nowhere near as safe as they think they are.

[All Laugh]

Peter: This uh, this gag in the elevator, uh, the giant bar broke, and damn near took off… uh, who’s head?

John: Aldis?

Peter: Aldis, and Chris, actually. Both of them.

John: No, don’t hurt Aldis. I mean Chris, has the shit-kicker genes; he heals in like a day. Seriously he’s got some weird Wolverine stuff going on, but now, don’t bang Aldis up, man. You know, that’s weird, that happened on a pilot I shot in San Diego. They had a wire rig for two thousand pounds, had two hundred and twenty pounds of people on it, snapped, put them through like fifteen feet; dropped them right through the ceiling of a hut they were supposed to fall through. Now luckily, they were supposed to fall through the hut, so we got the shot.

Peter: Right.

John: And they were fine. [Laughs] But the point is—

Peter: Well, we had one take, we had one take of this, that’s it.

Scott: Yeah, this is it.

Peter: Luckily it worked really well.

Dean: Oh this is great, uh, falling through the, uh…

Chris: The elevator shaft.

Dean: The elevator shaft. Now part of the- this gag actually came because of TNT, right? What was the story behind that?

Chris: TNT said, ‘How come the in the script it just has him falling up? And we suggest her falling through the elevator shaft.’ And we said, ‘Well, if you’d like to pay for a shot of them falling through the elevator shaft, [All Laugh] we’d be happy to shoot it.’ And credit to TNT, they did.

Dean: That’s so great.

Peter: And I love– again, they’re arguing like — they’re back at arguing like kids, about who goes out and what they do and how they handle it.

Dean: Yeah, I love Eliot’s one, it’s like, ‘Who wants to be me? I punch people.’

Chris: ‘I get punched and kicked.’

John: That’s it. That is his lot in life, man, and he knows it.

Peter: And this was actually a auditorium from a large corporation.

John: Yeah. This is how they do those shows, man; those shows are death. They’re a lot of money, but they are death.

Chris: Hook it to something. There we go.

John: Now you shoot— Now, when you’re shooting up, this is green-, this is all computer generated right?

Chris: There we go.

John: But when you’re shooting up through the top of the elevator, was that green too, or—

Peter: Yes. I love his reaction here.

John: Yeah. And down.

Dean: I like the little pause, though. Like, everything’s okay, and then, Bugs Bunny.

John: It is Bugs Bunny, isn’t it?

All: Woah!

Dean: And that is digital debris, my friends.

Christine: Wow.

John: That is digital debris. So let me get this straight - we dropped digital pieces of cardboard, but we used a giant bar to lift our actor and slam him against the top of an elevator.

Peter: And slam him hard, too.

John: Okay. Good, that’s good, I’m glad we got our priorities straight.

Chris: There was a little smile from Aldis there because it was just so fun. I mean it was like, we couldn’t— and we only had one shot at it. I mean, you really wanted him to be scared, but it was just too impossible when he got pulled to the ceiling.

Peter: And we decided to add this part at the end where they drop.

[All Laugh]

Dean: “You didn’t see that coming, seriously?”

John: We actually, uh, it was a big debate this year, and most people watching the DVD might now know Jeri Ryan, until she shows up, when she would get her ‘seriously?’, because being allowed to say ‘seriously’ is part of the whole ‘you’re part of the team'.

Timestamp: [25:00]

Christine: On the writing staff, too.

John: Yeah, exactly, exactly.

Peter: Where did Erik Casten come from, the name?

John: Uh, clearances. [Laughter] Seriously man, we accuse people of such horrible, actionable crimes, we absolutely will.

Christine: Well what do we say, K's are evil?

John: K's are evil.

Christine: S's, P's, you know, things like that. And so I, you know—

John: An F or a Ph, that's usually evil.

Christine: I like to work with sounds, when we're naming.

Scott: Oh here he's covering his scar there, too.

John: Yeah.

Scott: If you guys are paying attention, he puts his hat back on.

John: And again, it's, it's—'cause we just did the commentary for The Order 23 Job, and this is another one where it's just, you just take Aldis and Chris, you let them be annoyed with each other, and you set them off on a separate plotline. And that will bring you amusement.

Peter: Yes. Mark Roskin shot this scene also, because my wife was having surgery.

John: Oh I'm sorry, is she okay?

Peter: Yeah, she's fine. God bless you guys though, it's the only time I've actually been able to leave. [All Laugh] 'My wife's having surgery.' 'Sorry, you can't-- have to stay.'

John: Well, Marc Roskin directed, uh, MMA, the MMA job which is on the set of discs and everything; he's actually our Producer/Director up there, who stayed up in Portland. So he picked up a lot of-- he shot a lot of stuff. We're... we shoot in seven days when we should really shoot in, oh, ten. Right?

Christine: Everybody gets to work with Rosky, that's uh, that's the way it goes.

John: That's the tradition. Uh, which hack is he doing right now?

Chris: I think this is when he hacks into the camera.

John: Oh, as he hacks into the remote camera.

Chris: He hacks into the remote camera.

John: That's another thing we—

Dean: Yeah this is when we decided to have that— the camera on his belt buckle allowed them to see what he was doing on the computer.

John: The phone camera.

Dean: The phone camera.

Christine: Right.

John: Also eminently doable. It's a bit cludgy, but you can- you can do it.

Peter: Tim's bombing here, which— we decided to give an arc here-

John: See, this is my question, because Tim's bombing, alright, and that's what I found delightful, is the fact that Nate Ford is finally not good at something.

All: Right.

John: What was the audience thinking? These are Portland extras, they've been told they're seeing Tim Hutton, did he just go up and suck, or did you tell them he was going to suck?

Scott: No, they were—

Peter: We told them that—Uh, we stood up and we showed all the uh, audience reactions, and Tim was up there with me and I was yelling out 'Okay now he really sucks; no, he really, really sucks' [All Laugh] 'No, he's boring', and they would all get really bored.

Chris: Now here were these real tricks that Apollo Robbins taught them to do, we did— we kinda had a little magic bootcamp while this filming was going on. And uh, you know these are all things Apollo brought up there, and we choreographed; they just had a ball.

Peter: It was astounding the show still turned out short with the four pages we added there. [All Laugh] Nothing but magicians.

Chris: But, but it's a testament to the pace of this show, I mean you really- it just flies.

John: It's, uh— and she's having another drink.

Peter: More drink.

Christine: Still in the bar.

John: Seriously, we're so—

Peter: Three days later.

John: We're so bringing drunk science girl back.

Christine: Oh, that's right.

John: I love science— I love a good science girl anyways, so.

Scott: Who doesn't?

John: Who doesn't?

Christine: Drunk science girl is just a bonus.

John: Yup.

Peter: Covered his scar again.

John: Yeah. But it's a tricky bit, because you know, your average television script is between forty five and fifty five pages, and because we're an action driven show we just never know where we're gonna land.

Christine: Yeah.

John: Um, that's cosy. [All Laugh]

Chris: That's a great shot right there.

Christine: No comment.

John: Yeah that's, that's a great shot.

Peter: Once again the bad guys walk by.

John: You know what, if they were- if they were really good at their jobs, they wouldn't be working at a food company.

Chris: Eh, now they're starting to get the hang of their magic act, you see things starting to turn around.

John: Uh, and then, oh yeah, we came up with the whole idea— this was the other thing, is, what were the constraints, what you need for security systems?

Peter: This the most— with the check, the chances of us timing this correctly were so slim, and this was the first take. Wow.

Scott: That was perfect.

Peter: Racked to it. And everybody got up at the right time.

John: Nice. You either get that— you know what, that always is a first take, isn't it? It's like, either you get it or you don't, yeah? Um, yeah that was a big part of designing this episode, is, we had to figure out what were the security systems in place, and how they could possibly interact with magic, none of us being magicians.

Chris: Right.

John: Yeah, it was a lot of, uh, a lot of big lists on the board that day. I like how the thing even has a top to hide her, uh, her pregnancy there. The sword thing is even at the right height.

Peter: The background absolutely loved Tim. They thoroughly enjoyed the—they sat there for, I dunno, eight or nine hours?

Christine: Wow.

Dean: I love that. 'No questions!' [All Laugh]

Chris: Yeah, first thing was- was a fingerprint. Okay—

Dean: 'Belieeeve in the magic.'

Chris: —well lets, how would they get a fingerprint if you're a magician on stage? Well okay, this is how. How would we relay it? And it was all... There's a lot of great gadgets here, we have the [Chuckles], you know the handy, uh, Brother P-Touch... [Laughs]

John: Yeah! The Brother P-Touch fingerprint printer.

Christ: The Brother P-Touch fingerprinter which, uh, available at [sounds like: hamburger shlemer] folks.

John: You know what? Again, this is why people underestimate Hardison. He has to have this stuff in his bag all the time. That's why he has the van. The van is there for a reason, people.

Christine: Respect the van.

Dean: Now, correct me if I'm wrong, but I think this was the first episode that we introduced the gummy frogs—

Chris: Yes.

Dean:—which now became a partner with the orange soda as a necessary thing for Hardison at all times.

John: It is required, it is absolutely required for Hardison to have gummy frogs while hacking.

Dean: And orange soda.

John: And orange soda.

Chris: Alright, now they got the fingerprint, now it's smooth sailing, we get to get in. Uh, not so fast.

John: Uh, well they need to get—it's not so fast because now they need the gel.

Peter: I'll never forget when the prop guy said— we started with gummy bears, gummy this, gummy that, and when you said, I think, gummy frogs, and he's like, "You're fucking killing me".

[All Laugh]

Chris: Nope, gotta be gummy frogs.

Christine: They're exactly the right size! They're perfect.

Timestamp: [30:00]

John: It's gotta be frogs. And again, by the way, I've actually seen the video where Bruce Schneier used this exact technique to fool a $150,000 fingerprint scanner.

Chris: Yeah.

John: The type that the TSA uses to secure airports.

Christine: So please try this at home.

Chris: This is a great reaction right here.

John: And that's a great reaction. Just the laser, just the mocking him with the lasers.

Chris: And literally, ‘I'm spinning plates here, I'm spinning plates here while you're asking me for retinas.’ He's spinning plates!

Christine: Doing a great job! Spinning plates. And juggling.

Chris: And the retinas part is, to me, what the show is all about, what Leverage is all about, is that we have to put a CEO in a magic box, to bring him to scan his retinas. That is a whole, whole thing.

Dean: That's my favorite part of this whole episode, that for me... when I read that in the draft, I literally fell out of my chair laughing. I thought that was the funniest bit.

Christine: I think that was our favorite bit to do in the room.

John: Yeah, I must have driven the staff crazy, because I must have said 'They put me in a box' a thousand times.

Christine: It was hilarious. And the fake music cues we would make up, wheeling along...

John: Yeah. Oh, remember the uh, the thing I had was the sound of the box [mimics squeaking] and then we cut to the box. [mimics squeaking] 'Hey, is anybody out there?''

Chris: And this was great, this is Apollo—Apollo figured out how we would do the uh, box switch.

John: Cause the box actually works slightly differently, that's not how you'd usually do it, but he—Apollo invented a version of the trick on the fly.

Christine: For us.

John: [mimics squeaking] Hello?

[All Laugh]

Chris: And this stuff, when we shot this, I literally was crying, I was laughing so hard. We were shooting the stuff of him in the box, the CEO-

John: How did you shoot that?

Peter: We attached a camera again, kind of like the box shot earlier, attached the camera to the box and spun it. But I was surprised, it didn't look like I thought it would. It looks great, but it didn't turn out like I thought it would. But he was great, we spun him around and around, at one point he said, 'I'm getting sick'...

[All Laugh]

John: And all the jokes about bosses here, this is what you do in a corporate show, is when you go, you find out like all the stuff, the name of the boss, and the one who's bad at golf, and you work it into the routine, and oh, man. It's filthy, filthy lucre.

Chris: Here's a beautiful shot I love here, too; there's a shot from behind of the box spinning I just love.

John: And, away.

Christine: The color palette’s great, for the entire show. Looks terrific. Really pops.

Peter: [Unintelligible] to our DP by the way, that was four cameras at once; we shot the whole thing in one day.

Christine: Wow. Dave Connell, superstar.

Dean: I love all these shots, I just love them. And he was great in these scenes. I mean, I totally buy him.

John: We just put him in the elevator. ‘Have a good time.’ Yeah like it's all sort of blue and orange down here, it's all sort of grey and pastels upstairs—

Peter: The crowd loved this gag.

John: Oh yeah.

Chris: And here we go.

John: [Mimics squeaking] It's just funny, I'm sorry, man. You put a CEO in a box... And the uh, did you use a real dove, or no, that was a fake dove all along?

Peter: It was fake. It was a little squeezy dove, that's really kinda cool.

John: There's actually a famous, uh, Penn and Teller famous story, they do magic exhibitions, where people demonstrate their tricks. And there's a youth category, where kids show that they have mastery of these classic tricks, there's one where you, like, show the dove in a cooking pan, and then close the pan and then light the fire and whip it away and there's like a cooked dove in its place? And as the kid did it, he screwed it up, so as soon as he lit the fire, like, a hundred magicians stood up at once and went 'THE DOVE!!' 'cause they all know how it works.

Dean: Oh noo.

John: And he's like the thing's on fire and he's beating it out with his tiny like, his twelve year old magician's coat... 'cause doves are expensive. I mean nevermind the cruelty, but yeah.

Christine: Aw... [Pause] These two need to have their own vaudeville act. I would watch a variety show that they hosted.

John: I like, again, just the constant choices that Beth is making at all times, just like- and she's kind of amused, and now she's bored with this. Ah, she's done, she wants to be breaking into things. Uh, excellent cheesy server room, nicely done.

Peter: It was the smallest room in the known world.

John: Ye—what's that?

Peter: It was the smallest room in the known world.

John: We like to build our sets really tiny.

Peter: It was basically a closet.

John: Yeah, and then this was again always our drive to the [unintelligible] complication.

Peter: Good bad guy, by the way.

Dean: Yeah, he really delivered.

Chris: This bad guy, he was really terrific, Kevin E. West is his name.

Dean: We actually met him through uh, Patrick Jakoni, who's our mixer, who mixes all the episodes of Leverage.

John: Did he have a—did he just bring the headshot in, or....

Dean: He was a friend and he just said "I really want you to meet this guy, he's a friend of mine, I really think he's a terrific actor." And I met him, and I thought he was great. You guys have met him, and—

Chris: Great kind of middle management evil.

John: The banality of evil. He gets a great evil speech of evil.

Chris: He does. Which is a late edition.

Dean: A little shout-out to Derek, who does all of our graphics on all the computers.

Peter: Unbelievable.

Dean: I mean, he does so much for us—

Peter: This is where he hit his head.

John: Yeah, see, no scar there, and then, uh, nothing but scarves afterwards.

Dean: I love this fight too.

John: This, I will—

Timestamp: 35:00

Dean: I love the closed quarter fights.

Christine: Absolutely.

John: I will fully admit, this is, um. I'm trying to remember....

Chris: Look at this. [All Laugh] There's the scene.

John: I'm trying to remember, there's a, it's not a Jackie Chan fight, it's a Jackie Chan produced movie, it's with three actresses, I think it's called So Beautiful, which has an elevator fight, that actually was the origin of this.

Peter: What I like is the 90 degree shutter in all these fights. It makes it feel, like...

John: It's very crisp.

Peter: Yeah. It makes it feel like, like you're missing a frame or something.

John: So what happened? Chris turned around, right, turned around and just smacked his head against the side of the cabin?

Chris: Well, I mean, we passed it, but there's a moment when he throws a punch, and it sort of—you can kinda see the edge, in the frame, and his head just continued into the edge of the box.

Peter: No, we had the— we didn't have the padded one in there. And he went against the hard one. Split it open huge too.

Chris: Seventeen stitches.

Scott: Wow.

John: Seventeen stitches, and then like a week later, pulled them out himself because he was sick of them.

Peter: I think it was actually right here.

Scott: Really?

Peter: I think it was this one. I think it was the last punch, if I remember correctly.

John: Never do the last punch.

Chris: Oh, might have been there, yeah.

John: Yeah, lotta elbows, lotta—I always loved a good fight—what, what is this? This is madness!

[All Laugh]

Christine: It's vaudeville!

John: What the hell was that?

Dean: Something like a Marx brothers movie.

John: I know!

Christine: It's delightful.

John: I'm really waiting for Zeppo to show up to that. I think Gina's Zeppo in this episode. And he's still in the box.

Peter: 'Hello? Hello?'

John: And then this, the getaway with the curtain trick.

Chris: Curtain trick, and this again was, you know, Apollo designed, because, you know, we had in the script, they disappeared in a cone curtain, and he, you know...

John: Well it's actually, it was uh, when I was seven, or something of that age, I saw Bill Bixby do that in The Magician, and it always stuck with me.

Christine: The greatest theme song in the world.

Chris: We watched a little bit of The Magician.

John: We watched a little bit of The Magician, and it has the greatest theme song of all time. If you can go YouTube the theme for The Magician, it's fantastic.

Christine: Our writers’ assistant had it queued up. Becky had it queued up and ready whenever we needed to play.

John: Ohhhh.

Chris: Ohh, gut punched into a chair, that's another kind of recurring theme of season two.

John: Well, it was our Rockford homage.

Christine: Ah yes, the gut punch.

John: Yeah, James Garner spent five years getting gut punched.

Chris: I think this is an iconic shot of this show, I do, it's a beautiful shot.

Peter: And this is Apollo's idea, I think, to put the rabbit back in, too.

Chris: Yes, it was, it was.

Christine: Fantastic visual.

Dean: And I love the way that Aldis plays this scene here, because I- the danger felt real. It didn't feel like, oh comedy villains' fake punch, he's really okay. You know when I watched it, I really felt like wow, we're in trouble.

John: Well Aldis is a very good actor. Yeah. This really also became the year where we kind of established the straight run fourth and fifth act.

Chris: Well this is very much a real time episode. I think three of the five acts were pretty much in real time.

Peter: I like that he talks about the uh, magician's union. You're gonna get a letter from them, I'm telling you.

Chris: And here is the evil speech of evil.

John: Just explaining that if people are stupid enough to eat frozen pot pies without heating them enough, they deserve salmonella.

Dean: That's not a rationale!

John: No!

Chris: That's what happens to people who don't follow instructions. Now I'm giving you instructions.

John: No, he's really selling this, he thinks he's gonna die here, or at least get seriously messed up. And the bad guy, uh, who played the Busey?

Chris: The bad guy was George Castillo.

John: Yeah he was good. He had a good physical menace. And the nice pass, there we go, if you're paying attention. And what I like is that Aldis made a choice there, like, as soon as he saw that—

Peter: Two different locations, by the way.

John: Oh yeah, you're not— that reverse isn’t anywhere near there?

Christine: Oh, nicely done.

Peter: It's like, thirty miles away.

Dean: Nice. Never knew that.

Chris: We coming up to— when we do this flash, about how we got the phone, is a, this right here is an absolutely beautiful shot coming up.

John: I like that he calls him magician too, as if— it's very, like [very dramatically] 'Magiciaan!'

Christine: I'm actually most proud of that line, by the way.

John: Yeah, exactly. It is. It's very Lord of the Rings.

Dean: And a terrific use of the ninja zoom.

John: Yeah, to reestablish that geography we talk about all the time. Um, yeah, and the poker chip, and the turn to the reveal, she’s gonna bump into him, but the thing I was going to say is, Aldis does a moment there where he sees the lift, he knows it’s going to be okay, and his expression changes.

Christine: His whole face relaxes.

Peter: She looks so hot there, too.

John: She does, she looks very good.

Christine: She's rocking the power pony. There's a lot of Parker's power ponytails this year.

John: Parker ponytails?

Christine: The power pony.

John: The power pony, is that what you're calling it?

Christine: That's what it's called.

John: By the way, if you google power pony that's not what you're gonna get.

Christine: Do not Google power pony.

John: [Laughing] Do not Google power pony.

Peter: Here's a flashback, this is a great shot.

Chris: Here it is, here's the shot.

Peter: This was— our operator nailed this.

John: It's coming.

Chris: It's a long explanation.

John: It is a long explanation.

Chris: Here it is, here it is. Oh, look at that. Perfect shot

Peter: Her look back is fabulous.

Timestamp: [40:00]

Chris: Perfect turn.

Christine: That is poetry. That's beautiful.

John: It also helps that Beth has good hands. You know, Apollo said that —

Chris: Well, he worked with her on this.

John: Yeah, he taught her how to lift.

Christine: She could be a thief if she wanted to.

John: And we'll see how season three goes, who knows where we'll wind up. Aww, thief of hearts, that's nice.

Christine: Isn't she?

John: And the whole idea of dumping, um, it was actually, the whole idea that phones now, you can just dump massive amounts of information on, was, I think Bruce Sterling had just done a thing about, um, the ubiquity... instead of cloud computing, but using the sort of—why go to cloud computing if your devices have more memory than the NASA moon landing?

Chris: And here, here's where we're—

John: And, ah, she's back!

Peter: 'I was in the box.'

[All Laugh]

Christine: 'I was in the bar!'

Peter: 'They put me in a box.'

Christine: He was in the box, she was in the bar, and now they're together again.

John: Seriously man, I had a fistful of scotch, and I must have been saying that for a week. 'They put me in a box'. I may drink during the day. And this, by the way, is an iconic shot for the show. That's a big one.

Christine: Aw, look at that. Look at those two.

John: It's tricky, when you find— our wardrobe has to be high style without ever going over the top, and that's what really— it's nice because that's what makes it visually interesting.

Christine: Look at these two together. Oh my god.

John: I know. They're great.

Dean: And this, again, was a real nice setup for where we ultimately go with the uh, the entire season.

John: That's right, because if you're listening to these commentaries in the—and we've split the season, it's— 209 is the last one. So you don't know what happens in the back end. Um. Dinosaurs.

Christine: They fight dinosaurs.

Dean: But this concept that he has replaced alcohol with control...

John: Right, this season is about addiction. Um, and people who cope with alcohol. Ahem.

Christine: Oh, this season is about addiction? [All Laugh] What? What show was I writing on last year?

Chris: Beautiful shot of her here, too, just really nice.

Peter: Hiding her pregnancy.

John: You know, she does a lot of work here when she's talking to—'cause it's interesting, this is a pairing we don't do a lot, and we wound up doing more this year. Um, is the idea that he is a little outside the team, and very hyper competent at what he does. And you can sort of see their relationship over the course of the first couple episodes arc where she feels comfortable confiding in him, in a way that was not there for season one.

Chris: And she's a little estranged from Nate, too.

Christine: I think because of that betrayal, first season, Sophie and Eliot have a special relationship in season two.

John: Yeah.

Dean: Well, Peter, thank you for being part of this episode, and being part of our show.

Peter: Loved it, enjoyed it immensely. I wanna live in Portland.

[All Laugh]

Christine: We do too.

John: And uh, Christina, Scott, nicely done.

Christine: Good job guys, everybody did a great job.

Dean: Stay tuned for the next episode of Leverage.

Peter: Single person clapping, single person clapping.

John: We're all clapping.

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Eliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 6 #season 2 episode 6 #The Top Hat Job

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tinylilvalery · 3 years

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Ok here are all the theories in my head of what tf happens to Kim by the end of BCS and why she isn't in BrBa. Please interact! Okay anyway:

1. I'm gonna rip the band-aid off and say the one I fear the most: Kim dies. Somehow, idk. There's argument for and against this in how Jimmy would cope: would he keep being a lawyer if Kim died (especially if it was too do with his connections to criminals)? But on the other hand, when people extremely close to Jimmy have died (big examples being Marco and Chuck) Jimmy does a very good job of burying them mentally, repressing them after a short period of grieving, and just basically pretending like they never existed as a way of coping... So, considering his character, maybe he could do that to Kim.

2. Kim and Jimmy go their separate ways. Who knows why: do they get divorced because they can't be in a relationship anymore? Do they stay married but seperate for each other's safety due to an outside threat? I could see this happening but also, Kim and Jimmy getting married was a massive step in the sense that despite the relationship reaching near breaking point, Kim would rather marry Jimmy than cut him from her life. Before their marriage I could see them seperating far easier, especially in the earlier seasons when their relationship wasn't so solidified and they had rocky spots, but after the marriage idk. They're extremely attached now and Kim has shown that she wants to be with Jimmy despite the dangers that have come into his life. At this point I really don't know what it would take to shake Kim so much that she leaves Jimmy. Jimmy is totally smitten with Kim so I have to squint really hard to just imagine him being the one to seperate them. I could see him trying to do it if it meant Kim was protected if her life was in danger, but this is Kim we're talking about, she would stand her ground.

3. This is a kind of extension to 2, but the theory that Kim disappears with a new identity thanks to the vacuum cleaner dude that Jimmy uses to set up his life as Gene. Maybe her life was in danger so that's what she does. I have the same rebuttal tho as I said in 2. Kim is fucking tough and stubborn, I can't see her running away from a fight, no matter if her life is in danger. Like, in season 5 after Lalo came to the apartment, it was Jimmy that insisted they go stay in a hotel for safety, and it was Kim who was like "okay cool but I'm still gonna go to work, I'm not hiding for the rest of my life".

4. Kim goes to prison???? I thought of this like half an hour ago and ahhhhhh. Idk tho idk.

5. Kim doesn't go anywhere. She's married to Jimmy throughout BrBa we just don't get shown it because he's a side character. While I do like this for obvious reasons, it is a bit cracked. Jimmy's remarks about other women (mainly in his first season of BrBa) indicate that he's single and not in a committed relationship with Kim. Knowing his characterisation and how much he worships the ground Kim walks on, cheating is out of the question for him. I don't think this theory has any real grounds to it, but it's nice and fun to think of them still being married and together in BrBa because it gives me emotional support lol.

This shit is fucking driving me crazy. I need Kim to be okay 😭. Also in the black and white post BrBa future that plays out in BCS I have no fuckin idea what the ending is going to be. The fairytale ending is that Kim finds Jimmy and they reunite and it ends with them being together again..... I'm not ready to face the possibility where the show doesn't end like that. Like, why tf would you build up these characters so much and make me love them so much to not give me a happy ending 😞😞

#kim wexler #Jimmy McGill #just me anxiously rambling #i had to expel this from my brain because it was festering and eating me from the inside #pleZe i need them to have a happy ending #they actually fucking deserve it #theyre the definition of deserve happily ever after #all the shit that both of them have been through

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nerianasims · 3 years

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Billboard #1s 1974

Under the cut.

Steve Miller Band – “The Joker” -- January 12, 1974

It always throws me when I remember how old this song is. Two years older than me, and yet I associate it with my own mid-20s partying. Okay, my "partying" was pretty mild. One of the things my friends and I often did was go to a dueling piano (really keyboard) bar, and they always played this song. I can taste the rum and Coke now. We had tipsy discussions about what "pompatus" meant. A guy tried to pick one of my friends up with "really love your peaches." Anyway, I love this song, but it's also so embedded into my life that I can't judge it fairly.

Al Wilson – “Show And Tell” -- January 19, 1974

1970s Philly R&B is great music. This is a pretty typical example of the genre; lots of strings, lots of horns, an adult with a voice he uses like an instrument to impart strong emotions. It's a love song, and the lyrics aren't anything spectacular, but they do the job. Very good.

Ringo Starr – “You’re Sixteen” -- January 26, 1974

GAH. Next!

Barbra Streisand – “The Way We Were” -- February 2, 1974

I was tempted to write, "GAH. Next!" here too, but I'm determined to save that kind of thing for songs that have elements to them that I don't want to discuss because of moral issues. That's not this. The problem is: I hate Barbra Streisand. Or I should say I hate her singing; though from what I've seen of her personality, I don't like that either. Every song she sings, she sounds like she's singing to the glory of the greatness of the only person who matters to her in the world: Barbra Streisand. I once read an article that called her singing "masturbatory," but that's not strong enough. It's full-on self-worship. I hate it.

The Love Unlimited Orchestra – “Love’s Theme” -- February 9, 1974

This is Barry White's orchestra, but sadly it's an instrumental, without his glorious voice. It reminds me so much of the Love Boat theme that now I'm wanting to watch it. Absolute kitsch, but as kitsch goes, there's worse.

Terry Jacks – “Seasons In The Sun” -- March 2, 1974

The singer is dying and saying goodbye to everyone. That kind of sentiment may be made to work in pop, I suppose, but I've never heard it done. It belongs in opera. This is schmaltz.

Cher – “Dark Lady” -- March 23, 1974

As one of only a couple dark-haired dark-eyed girls in my quite blonde high school graduating class, people used to call me "exotic." Apparently my high cheekbones had something to do with it too. I was asked where my family was from pretty regularly. I wasn't offended -- more bemused. The answer is "Europe," though I guess the dark hair and eyes are probably by way of France. It's rather tough to say, considering my mother's side of the family has been here since the 16th century (indentured servants), and were not the rich types who stuck to their own ethnicity. Anyway, this is to say that I feel some kinship with Cher, and how drawn she was to songs like "Dark Lady." Though in this case, the "dark lady" is someone Cher's character murders for cheating with her boyfriend. She kills the boyfriend too.

This song is dated ("gypsy music") Las Vegas cheese, and yet I like it. It's wildly melodramatic and fun.

John Denver – “Sunshine On My Shoulders” -- March 30, 1974

Bleeeeeh. I like big melodramatic songs. This is the opposite. Now, I do like small, sweet songs often too. But I just can't with this one. It's too slow, too simple, and feels aggressively, shallowly cheery.

Blue Swede – “Hooked On A Feeling” -- April 6, 1974

I learned from the Todd in the Shadows video about this song that its stupid "ooga chaka" thing was inspired by 1960's "Running Bear." Now I hate it even more! The original of this song is a nice, simple love song. Blue Swede made it shouty and dumb.

Elton John – “Bennie And The Jets” -- April 13, 1974

It's Elton John. Therefore I don't like it. I feel like it's too slow maybe? I feel like most of Elton John's songs are too slow maybe. I don't know. I'm bored.

MFSB & The Three Degrees’ “TSOP (The Sound Of Philadelphia)” -- April 20, 1974

An instrumental disco track. It is one I find danceable, so there's that. Not bad.

Grand Funk – “The Loco-Motion” -- May 4, 1974

A rock cover of The Loco-Motion. Sure, why not. Though this version is not very good. It feels like they slowed it down, and they definitely made it extremely loud. I don't really see a reason for this song to exist.

Ray Stevens – “The Streak” -- May 18, 1974

Streaking was a fad in 1974. This is a comedy song about it. I had never heard it before this, and I hope never to again. It's deeply dumb.

Paul McCartney & Wings – “Band On The Run” -- June 8, 1974

The wee-oo-wee-oo-wee-oo thing at the beginning of the song sounds neat, but then it goes on too long. That's my feeling about this entire song: It goes on too long. It does change up substantially multiple times throughout, but it's no Bohemian Rhapsody. Bohemian Rhapsody is, imo, perfect. The pacing of "Band on the Run," otoh, is a mess. The second section needs to be a lot longer and the final section needs to be a lot shorter. Paul McCartney needed an editor for this.

Bo Donaldson And The Heywoods – “Billy, Don’t Be A Hero” -- June 15, 1974

A young woman tells her boyfriend to not "be a hero" when he goes off to war (probably the Civil War.) Because she wants him to come home alive. As anyone who knows this kind of song can predict, he decides to be a hero and dies. Cliche and weirdly bouncy for the subject matter. Still, at least songs were acknowledging that dying in war was not a great thing. Unlike the putrescent "Ballad of the Green Berets."

Gordon Lightfoot – “Sundown” -- June 29, 1974

The singer is jealously obsessed with a woman. He knows this isn't a good thing, but he doesn't seem able to -- or be trying to -- move past it. This is about something real; Gordon Lightfoot was obsessively, violently jealous over Cathy Smith, the woman who was later convicted for injecting John Belushi with the heroin that killed him. The lyrics are mean, but the music doesn't go hard at all. Except, compared to the rest of the stuff I've looked at for 1974 so far, the music does sound a lot harder -- it's minor key and there's a distinct bassline. It still feels like a mismatch.

The Hues Corporation – “Rock The Boat” -- July 6, 1974

A disco song I can dance to some. Not entirely. It's a song asking you not to "rock the boat" of your perfect love with the singer. It's incredibly schmaltzy -- schmaltzy disco. Ugh.

George McCrae – “Rock Your Baby” -- July 13, 1974

The singer is telling you, "woman," to take him in your arms and rock him. I.e. fuck him. I have perfect pitch. George McCrae is no Ella Fitzgerald. When he goes to the high note, he does not hit it right, and it's like nails on a chalkboard. I can't listen to this song all the way through.

John Denver – “Annie’s Song” -- July 27, 1974

Ugh, 1974. This is a simplistic love song to John Denver's wife. Not just simple, which is fine, but simplistic, which is not. They divorced years later, and Denver became violent during it. (Denver's the one who brought that to light and he obviously felt terrible about it.) The Stereogum guy was shocked by this. I'm not. For one, celebrity is horrible for people. For another, I can't think of any of Denver's songs that have depth or complexity. Trying to live at the surface is also horrible for people. I do like a lot of simple love songs, but John Denver's songs have always made me go "ick," even when I was a child. I feel like there's nothing in them.

Roberta Flack – “Feel Like Makin’ Love” -- August 10, 1974

The music to this song, with the calm but interesting percussion and romantic guitar, combined with Roberta Flack's whispery vocals, is lovely. It gives me asmr feels and makes me want to lie down and drift off to sleep. So, uh. Not exactly what I consider a sexy song. I do like listening to it, as it's nice and calming, but I don't think that was the intent.

Paper Lace – “The Night Chicago Died” -- August 17, 1974

And I will definitely need some relaxation after this garbage. Okay so, this travesty was by Brits who: 1) Thought there was an East Side of Chicago. That's Lake Michigan. 2) Thought it would be cute to write a song in which Al Capone tried to literally take over Chicago by killing all the cops (he bribed cops, he didn't kill them, and he was a criminal, not an insurrectionary.) 3) Sing "glory be" because they obviously think that's a super American thing to do. "In the land of the dollar bill." WHAT? This song makes me want to punt Paper Lace into the East Side of Chicago.

Paul Anka – “(You’re) Having My Baby” -- August 24, 1974

Notoriously one of the worst pop songs ever. The singer thinks "you" (that makes it worse) are having his baby solely and only because you love him. Monumental narcissism, just completely heinous, plus it's musical glop.

Eric Clapton – “I Shot The Sheriff” -- September 14, 1974

This is not Bob Marley's version. Bob Marley's version is so much better, and it's the one I've heard a lot, so when I turned this one on I was confused for a second.

Barry White – “Can’t Get Enough Of Your Love, Babe” -- September 21, 1974

Oh thank god. Barry White is one of my favorite singers, and this is one of my favorite songs. This is a sexy love song by a great artist.

Andy Kim – “Rock Me Gently” -- September 28, 1974

Andy Kim's voice sounds incredibly mid-70s. What's with men asking their lovers to rock them this year? The chorus is pretty good, and has a real beat. He's asking his lover to be gentle, and "I have never been loved like this before." That's nice. It's cheese, but it's fine.

Olivia Newton-John – “I Honestly Love You” -- October 5, 1974

A lot of the time when someone says they "honestly" something without prompting, they're lying. So this song sounds weird to me. "I love you/ I honestly love you" -- um, you sure about that? Though the singer has no reason to pretend she loves the person she's singing to, and every reason not to, since they're both with someone else. She just wants to tell you she loves you and leave it at that. Yeah, that's likely. Olivia Newton-John is a good singer, and she's especially good at acting a song. I feel she should have been on Broadway. In any case, while this is a slow soft song in an era with way too many of those, it's one of the better ones. It's not overly slow or particularly goopy.

Billy Preston – “Nothing From Nothing” -- October 19, 1974

If there's such a thing as vaudeville rock, this is it. He doesn't want to be your hero or your highness, so it sounds like he wants an equal relationship. He also says "I'm a soldier in the war on poverty," which makes it sounds like he's saying you have to have money if you want to get with him, but maybe not. He sings "you gotta bring a little something, girl, if you want to be with me," which may or may not be monetary. It's bouncy and all, but Billy Preston's done better.

Dionne Warwick & The Spinners – “Then Came You” -- October 26, 1974

A song about finally finding love. Plenty of good orchestration, a good beat, and of course Dionne Warwick's voice. I like it.

Stevie Wonder – “You Haven’t Done Nothin'” -- November 2, 1974

The "you" in this song is Richard Nixon. Stevie Wonder is one of the most love everyone, let's all come together artists in existence. But here, he was angry. "We would not care to wake up to the nightmare/ That's becoming real life/ But when misled who knows a person's mind/ Can turn as cold as ice." The Republican Party is still Nixon's party -- they love him almost as much as they do Reagan. This song is funky and good and the only reason I don't feel it more is that it's not angry enough.

Bachman-Turner Overdrive – “You Ain’t Seen Nothing Yet” -- November 9, 1974

They were goofing around in the studio, and lead singer Randy Bachman wanted to make fun of his brother's stutter. When this song became a hit, Randy was mortified. But even with nasty, juvenile intentions behind it, this song is good. It also sounds happy and not mean at all. It's a rather silly song about first experiencing sex, and it's fun.

John Lennon – “Whatever Gets You Thru The Night” -- November 16, 1974

John Lennon's voice was always kinda nasal, but it's really nasal on this song. Anyway, this song may as well be called "you do you." It's a song that in theory I should not find boring, but in practice I do. I have finally found out why: Elton John helped him with it. It sounds very Elton John-ish. Which means I don't really have anything else to say.

Billy Swan – “I Can Help” -- November 23, 1974

Some old-fashioned rockability is a nice change. The singer sees that the woman needs some help, so "let me help." "I got two strong arms/ Let me help." I immediately think of a romance between a farmhand and a widow woman. "It would sure do me good to do you good." That's a pretty concise description of love. Billy Swain's voice is kinda thin; Elvis did a cover of this, and it's a lot better. Billy Swain's version is sweet and all, but Elvis' is irresistible.

Carl Douglas – “Kung Fu Fighting” -- December 7, 1974

This isn't a song about actual kung fu; it's about kung fu movies. It's a fanboy telling you all about the cool movie he just saw, though not telling you a thing about the plot. Just the "expert timing" and stuff. Trying to analyze "Kung Fu Fighting" feels really silly. It's a rare enjoyable novelty song by an actual musician.

Harry Chapin – “Cat’s In The Cradle” -- December 21, 1974

A cover of this song by Ugly Kid Joe became a hit in 1992. And it was massively overplayed, so I hate this song. This father/son stuff bores me anyway, speaking of overplayed.

Helen Reddy – “Angie Baby” -- December 28, 1974

This song is deeply strange, which is a mark in its favor. It's a story song about a girl who has no friends and had to be taken out of school because she's "a little touched." She lives in a world of make-believe, listening to the radio all the time. A neighbor boy comes along to rape her. But as soon as he walks into her room... "Toward the radio he's bound/ Never to be found." He becomes her "secret lover," trapped in the radio. "It's so nice to be insane/ No one asks you to explain." Is Angie really "insane," or is she a sorceress whose rock n' roll powers everyone looks away from? Both? I'm not sure what I think of this song, but it is interesting, and that's always good.

BEST OF 1974 -- "Can't Get Enough of Your Love, Babe" by Barry White WORST OF 1974 -- "(You're) Having My Baby" by Paul Anka

#billboard number ones

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truthbeetoldmedia · 5 years

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The 100 6x12 "Adjustment Protocol" Review

Hello friends, it’s good to see you all again! I’m happy to be sharing my thoughts with you in this form again. Tonight I’m reviewing episode 6x12 of The 100 “Adjustment Protocol”, written by Kim Shumway and directed by Antonio Negret. I found myself underwhelmed by the season’s lead-in to the finale episode and I’m detailing why below!

The Good

1. Eliza’s Exceptional Encore

Eliza Taylor has been on it this season. She’s been given extremely meaty scenes and she keeps blowing them out of the water. Clarke has been through so much lately and I am always excited to see what Eliza brings to the material she’s been given. The last few episodes have perhaps been some of the most challenging in her career and she’s been phenomenal in each of them. This episode was particularly tough for her, having to vacillate between Clarke playing Josephine, to Clarke listening to her daughter’s crazed rants and having to hide her tears, to Clarke experiencing the grief of realizing that her mother is dead and having to camouflage it so that her Josephine cover remains intact — and her friends remain alive. I wanted to reach through the screen and hug her when she broke down, because the girl has been through it!

For several seasons it’s been easy to debate about Clarke being a “worthy” hero because her actions don’t often line up with what we’ve been trained to expect of heroes. She is always ready and willing to make the tough choices, to kill whoever needs to be killed to save her people, to reach into the darkest parts of her own soul to make sure that other people don’t have to. This season Clarke has been unwilling to compromise on the promise she made to Monty’s memory. The promise to “do better” is layered in everything that she does and everything that she says. If last season was about the development of Bellamy into a “fully realized” leader, this has been that season for Clarke and she is extraordinary.

I do find myself concerned about what Abby’s death will mean for Clarke’s determination to be different. It would be so easy to fall back into her old patterns, to lash out and turn her rage to all of the inhabitants of Sanctum (including innocents) instead of just on Russell who rightly deserves it. I’m hoping that she turns to her friends for support in this moment (and in the future) because heaven only knows that she’ll need them to get through this and I believe that perhaps that will be one of the biggest pluses of this season. With all of the crimes her friends laid at her feet this season, after watching Clarke go through so much and consciously continue to “do better”, I hope that we come through this with them realizing how much Clarke has done for everyone, often at her own expense. She’s a hero and she deserves to be treated as such.

The Bad

1. Men Ruin Everything (Especially Female Television Characters)

In a rather shocking (not!) development, Dr. Abigail Griffin has joined the ranks of deceased characters even as her body continues to walk among the living. It’s been clear to me since Season 4 that Abby and Kane didn’t have long for this world, with Kane’s Season 4 quote, ”The youth will inherit the Earth”, playing a huge part in my thought process. I expected Abby to die that season, due to the problems she was suffering post A.L.I.E., but thanks to Raven’s genius (and Kane’s unwillingness to let her walk out of the bunker) she lived to fight another season. I expected Kane to die in Season 5 after he was attacked mercilessly by the cannibal Vinson and yet he survived those wounds as well. For some, that was a relief but I personally found myself confused and after tonight’s episode (and, in all honesty, their treatment all season) that confusion continues. Instead of being treated with the gravity that main character deaths deserve, both felt unceremonious and rather rushed, but at least Kane received a hero’s death.

Abby’s story has grated on my nerves from the moment she first appeared in Season 5 with a drug addiction that was second only to her addictive obsession to Kane. Prior to Season 5, Abby’s story involved Kane but did not revolve around him. After that, all bets were off and Abby was only capable of caring about one person and that person was Kane. Everything she did in Season 5 and Season 6 up to and until Kane’s death served one person: Marcus Kane. Abby, a mother, a grandmother and one of only two qualified doctors for all of the people aboard the Eligius ship, became nothing more than a pawn on a romantic chessboard. She, like so many women on this show once they become romantically involved, became nothing more than a support for the man in her life. Even her death, which should be a hugely pivotal moment for this season, as Abby is the only mother of the original 100 we have any connection with, became wrapped up in the irony of what she’d done only three episode prior to save Kane.

I believe that it also says quite a bit about how this show (which features women quite heavily) understands feminism. It is tragically horrific to kill a woman only a few episodes after killing her male love interest. It sends a message, even if unintentional, that she is only worth keeping around as long as her man is there, too. Abby’s arc could have been finished well in the closing scenes of Season 4, it could even have worked in the mid-season finale of Season 5, but after giving her a drug addiction (which she had not completely conquered), showcasing the absolutely insane lengths she was willing to go to save Kane (which she was not given time to properly “learn” from), it was clear that Abby still had some growth left in her. Unfortunately, it’s a story we’ll never get to see.

In addition, the lead in to Abby’s death was painfully obvious. They needed to make 6 hosts, they only had 5 bodies. After making herself an obvious threat to Russell, Abby made herself a nightblood (“Like mother, like daughter”, says Jackson in the background for additional foreshadowing) and she’s in just the right age range to be suitable to host a 50-year-old man’s wife — unlike Ash (aka: Echo). She makes up with Raven in a rushed moment and conveniently learns that Clarke isn’t as dead as she thought she was — all in an effort to “finish” her storyline. As she dies, we’re treated to Raven and Jackson sobbing through flashbacks of her loved ones. It’s a death and not one particularly suited to a character of Abby’s standing on the show. More, fans of Paige Turco are likely going to have to prepare to watch “Abby” die once more — just as they did with Kane. It’s been a rough season for fans of Kabby. May we meet again Abby Griffin, you deserved more than you were given.

2. Forced Female Friendships are not Feminist (Say That 3 Times Fast)

This episode felt like a good reminder that most TV writers do not understand female friendships (yes, even if the writers identify as women themselves). In this episode we are treated to a moment that is still confusing me as I write this (after my second viewing of the episode): Clarke and Echo (and Gaia and Miller) are reunited and in a moment of relief, Echo hugs Clarke after realizing she’s managed to kill Josephine and that ...doesn't make sense. This season has felt like a huge attempt to retcon Clarke and Echo’s relationship into a friendship that does not exist; in fact Echo has been kinder to Clarke than people who have known Clarke for longer (albeit only by a few months) and that doesn’t work for me.

In the Season 5 two-part finale, Echo literally threatens to kill Clarke, because she is enraged that she left Bellamy to die, in the Season 4 premiere she does the same, in Season 3 she is responsible (in part) for killing many of Clarke’s “people”; and yet, the show, in a strange attempt to portray “friendship” between two women who the audience largely believe to be romantic rivals (because that’s how they are written), would have us ignore all of these previous transgressions, pretend the characters don’t need to have at least a conversation about mending their relationship and have jumped onto the bridge of friendship together. Echo and Clarke honestly don’t even know each other. It’s disingenuous and another example of the horrible ways in which a show that primarily features women treats those women.

Even worse is the fact that, after repeating Monty’s mantra all season long through many characters (but primarily Clarke), we watched Echo murder Ryker last episode in cold blood. (I have yet to come up with a reason his death makes sense. Yes he was going to wipe Echo, but Miller had him at gunpoint and he’d surrendered. It would have been easy enough to force him into the chair, tie the restraints and gag him — leaving him to be found later by the guards, or in this case Josephine.) What about Echo’s actions this season (in the small amount of screen time she’s been given) equate to “doing better”? We watched people castigate Clarke for killing people to save her people, but no one has anything to say to Echo for killing people to save….herself? It’s baffling that this show continues to have Echo act in ways that are antithetical to those of our confirmed heroes (Bellamy and Clarke) and suffer absolutely no negative pushback from anyone. At what point do we see the consequences of her actions? Especially with the messaging for this season?

3. Plot Holes Big Enough to Sink a Ship In

As per usual, The 100 once again crafts a season that is perhaps too big for its season length. This problem has been consistent since Season 4 and it’s largely because, after Season 3, the show which once prided itself on the fact that “anyone could die” has now become afraid to kill even the most useless character, if at least one fan likes them. This episode attempted to wrap up several character and plot arcs and as a result it felt overcrowded and rushed. Between bringing the Flame into the plot, the nightblood, making new primes, Emori and Murphy becoming Primes and pretending to be Kaylee and Daniel, Gabriel returning to Sanctum, Russell bombing his people and forcing them to kill each other, Priya’s kidnapping, and Abby’s death it’s just too much for one episode to handle!

If they needed all of these things to happen before the end of the season they should have begun the wrap up sooner (and or gotten rid of two characters in Season 4 and 5 respectively as mentioned earlier) and this is one of the prime reasons I support and advocate for smaller casts. Because every character with even an ounce of screen time is given the “main” treatment, all of their storylines must somehow be wrapped up in the final two episodes and it has historically not worked. In fact, this particular episode’s issues are so glaring largely because this season seriously pared down the amount of time it spent with people who weren’t Bellamy and Clarke (much like Season 2), greatly alleviating the audience’s need to care about so many different characters and it worked! Season 6, up until this episode has been one of the best seasons (my current order being 2, 1, 6, 4, 3, 5) because it felt like they were returning to the heart of the show: Bellamy and Clarke and their relationship to one another (however you might describe that). With this disjointed episode I was again reminded that there are too many characters I don’t have enough time to care about and it sapped the joy out of an otherwise excellent season for me.

But perhaps that’s my own fault. Perhaps I’m expecting too much from this show in its sixth season and of course I’ll wait to pass final judgement until the finale airs next week. I’ll be writing that review as well! I can’t wait to close out the season with you guys. See you soon!!!

April’s episode rating: 🐝🐝.5

The Season 6 finale of The 100 airs Tuesday, August 6 at 9/8c on the CW.

#The 100 #Adjustment Protocol

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sseanight · 5 years

Text

Min Yoongi Fics Recommendation

Recent update 200125

[ ❥ ] = Favorite

Kim Namjoon — Kim Seokjin — Jung Hoseok — Park Jimin — Kim Taehyung — Jeon Jungkook

You meet the mysterious Yoongi at a house party and no matter how uninterested you tell yourself that you are, you can’t say no to him. Can you end up changing his playboy ways, or will you just end up getting hurt?

Yoongi can’t remember the last time he was able to successfully bring himself to the point of orgasm, then Namjoon gives him a business card advertising ‘Healing Hands’, and that’s where he meets you; pretty and innocent looking, who gets paid to provide hand jobs for a living.

Min Yoongi is forbidden territory. And although you both know better, the two of you just can’t seem to stay apart.

♠ Punch Drunk; boxer! au, smut, angst Min Yoongi talks with his fists, and the only language he knows is one of anger and pain. He’s damaged, untouchable, a boxing underdog with something to prove. You are the sister of Yoongi’s rival - Jeon Jungkook, the number one elite boxer in your prefecture - and as Yoongi soon discovers, you are also his one and only weakness.

[ ❥ ] Playing with Fire; smut, angst, romance part 1 | part 2 | part 3 | part 4 | part 5 | part 6 | part 7 | part 8 finale After breaking up with you, you decide the only way to get back at your -now ex-boyfriend and avoid public humiliation is by making a deal with resident bad boy Min Yoongi: you’ll give him money as long as he pretends to be your new boy.

[ ❥ ] Ink; tattoo artist! au, fluff, angst He’s a tattoo artist, and you’re a student who is working towards getting into your favourite universities. Two very different people, and two parents who think Min Yoongi is nothing more than a bad influence. How will you ever make it work?

♠ Forget Me Not; idol! au, fluff, angst You and Yoongi are in a private relationship. So private, that Yoongi has to deny it. What happens when you can’t take the denying of such strong feelings any more?

♠ I’ll Protect You; angst You and Yoongi were the most unlikely of pairs, which was why you decided to keep your relationship on the down-low for now. Whilst Yoongi and you basically ignore each other during school hours, Yoongi is left in the dark about the struggles you’ve been dealing with whilst he is pretending not to know you.

♠ Too Late to Apologize; angst You were dating for three years and what you wanted most was being able to take care of him. But Yoongi was too busy with his job to realized that he was losing you.

♠ Let You Go; angst part 1 | part 2 finale Having a boyfriend who cares is every girl’s dream. But is it still every girl’s dream when he doesn’t care about you as much as he cares about his friend that he was in love with? No, not really. It was more like a nightmare.

♠ Leaving Her Behind; angst part 1 | part 2 finale He would do nothing but push you away. He would push you away everytime you were too close. He would shut you out everytime you thought that he had opened up for you. He never trusted you enough to let you know him. He didn’t let you know his problems, even if you knew that something was bothering him. Even if you had been together for years and you’ve been beside him through it all, he never saw you as someone he could tell his secrets or his problems to. It was never you, it was always someone else.

♠ Dead Leaves; angst, romance You wants to give up the relationship because you aren’t sure of it anymore so Yoongi does his best to salvage your relation.

♠ In Heaven; angst, romance Can Yoongi turn back the time?

[ ❥ ] Two Faced Lovers; angst, drama part 1 | part 2 | part 3 | part 4 finale He leaves her and she starts sleeping around to fill the void.

♠ Heartstrings; angst, drama part 1 | part 2 finale You want to be together but Yoongi thinks he’s not enough.

♠ Remains of April; angst, drama You get into an accident that causes you to forget everything from the past few years and still believe that you and Yoongi are dating but he doesn’t remind you about the break up because he thinks this is his chance to start over.

♠ Safe Haven; angst, drama You came from an abusive relationship and one day you and Yoongi are fighting badly.

[ ❥ ] Somebody Else; angst part 1 | part 2 | part 3 | part 4 | epilogue Your husband found solace in somebody else’s arms.

[ ❥ ] Heart Haunting; angst, romance You’re in love with Min Yoongi. You are sure of this. So why does your past lover still haunt your memories?

[ ❥ ] Destruction of a Muse; underground rapper!au, angst, smut part 1 | part 2 | part 3 | part 4 | part 5 finale You’re in your last year of uni doing literature and lose your motivation, and it’s not till you meet a talented musician you get your ambition back.

[ ❥ ] To be Without; angst part 1 | part 2 | part 3 | part 4 finale Funny how the world can shift in an instant. How you approached your bedroom with excitement only to walk away with a life forever changed.

♠ Self-Control; ceo!au, smut part 1 | part 2 | part 3 It’s harder than Yoongi thought when you keep confront him.

[ ❥ ] When War Runs Deep (ft. Jungkook); angst, implied smut, vampire/war!au prologue | part 1 | part 2 | part 3 | part 4 | part 5 | part 6 Min Yoongi knew that the General’s daughter, engaged to Lieutenant Jeon Jungkook, was the one human being he shouldn’t target. His single role during the war was to kill the enemy, and protect the homeland. But what’s forbidden always is the most enticing.

♠ Studio Cuddle; fluff, idol!au Tired from work, you went straight to Genius Lab in the hopes of being able to cuddle with Yoongi. You did not hesitate to press the passcode of his studio, knowing he might get pissed off for interrupting him from his work.

♠ Matched; fluff, idol!au When you tried to offer Yoongi a small present, the anticipated disinterest or rejection to your offer was downplayed by his unexpected proposition.

[ ❥ ] Workaholic; smut Yoongi needs to relax and Hoseok has many tricks up his sleeve to make him. None of them Yoongi thought included hiring a hooker to pay him a visit one stormy night. You were only trying to escape a crazed man chasing you down on a stormy night. Never was your intention to end up in an attractive man’s house. Definitely not one who thought you were a hooker.

♠ Small; angst part 1 | part 2 | part 3 finale He suddenly realized the consequences of his words. His girlfriend must have felt so insecure, so belittled. How could he make his own girlfriend feel like that? She should feel protected, safe when he’s around. Not insecure, and not belittled or small. He was supposed to build her up, like she built him up, but instead he was tearing her down.

♠ Sated (ft. BTS); heavy smut Sin. There’s nothing more.

♠ Moan Wars (ft. Jungkook); smut, a little fluff After being forced to listen to Yoongi and his girlfriend fucking loudly in the room next to his, Jungkook decides that two can play that game.

♠ Doesn’t Define You; fluff In which you fail an exam you worked so hard for and he comforts you.

♠ Hello Paradise, My Name is; greek myth!au, slight angst, smut Buried in the Earth where seasons did not exist, where all prosperous life perished, and Helios’s blinding light could not touch; you slept soundly in the arms of darkness.

♠ Mint; greek myth!au, smut You find yourself back in Hades when Spring turns to Fall, but this time you’re less than thrilled to see your husband after learning of his ex-lover, Minthe.

♠ Aidoneus, My Love; greek myth!au, smut Yoongi believes the mortal, Adonis, has stolen your heart, but he will never share his love with anyone else for as long as he is king of the underworld.

♠ I Don’t Wanna Love You; fluff, angst, smut part 1 | part 2 | part 3 finale Just because he had fallen out of love with you, didn’t mean you had with him.

♠ Gone; angst, fluff part 1 | part 2 | part 3 finale You were young & foolish, he was not.

♠ The End; angst Life is a whole plot twist.

♠ Where Does Your Heart Lie; angst part 1 | part 2 finale Where did his heart lie?

♠ Inevitable End; angst part 1 | part 2 finale Was the foundation of the relationship that weak? After all, he felt that it was a hopeless house of cards.

♠ Service; smut “I can’t believe you brought me here.”

♠ Sex Tape; smut When Yoongi came home with Namjoon holding a camera, you knew he wasn’t joking at all.

♠ Gift for You; fluff, angst Yoongi has many sides to him which is what attracted you to him in the first place. He’s been doing a good job as a boyfriend these past few years until on your birthday he doesn’t give you the usual attention you’re used to.

♠ Love or Love; angst part 1 | part 2 finale Yoongi is the love of your life. You thought he felt the same until he pushed you away before you could tell him surprising news that you were pregnant.

[ ❥ ] Like Father, Like Son; parent!au, fluff You let Yoongi take your son to the recording studio to spend time together but when they stay there past his bed time you decide to see what’s take them so long.

♠ Little Angel; angst For the first time in your life you felt hatred toward him. He was the reason why you were lying here.

♠ Unkept Promises; angst “Have you ever, even for a day, even for a moment.. loved me?”

♠ Too Little Too Late; angst “I don’t think I can do this anymore, Yoongi..”

[ ❥ ] Why Am I Not Being Praised Like Them; fluff The title says it all.

♠ Burning Paradise; ceo!au, angst, smut Loving Yoongi was chaos - unpredictable with reason, excruciating with misses and hits from the both of you. But the flames that warms you in the love he provides is your home and no matter how many times you run away, you know you’ll always choose to be with him, burning and aflame, breathing and fully alive.

♠ Fight; dad!au, fluff Yoongi gets into a really idiotic fight with his rebellious teenage daughter due to him being a slightly overprotective father.

♠ The Failed Track (ft. Jung Hoseok); smut As you moan louder the door swings open and Hoseok stands in the door.

[ ❥ ] 3:27 AM; smut, fluff Yoongi wakes up in the middle of the night to your phone ringing like crazy so he checks it and sees it’s your ex. So he answers the phone only to prove that you’re taken.

♠ Everything to Him; drama, romance Your ex wants you back and Yoongi doesn’t know about it.

♠ Milk; hybrid!au, fluff, smut part 1 When trying to deal with your hybrid’s sudden obssesion with milk, you would have never guessed that things would turn out so differently.

♠ The Bonnie to My Clyde; bonnie and clyde!au He saw the darkness in her beauty. She saw the beauty in his darkness.

♠ 3 AM; angst It’s 3 AM and you are crying – great big sobs that shake your entire body as you hold the phone close to your ear to hear his drunken voicemail again and again.

♠ Dream; angst, fluff You had picture the exciting reactions that you would get from him when you tell him that you’re pregnant. But you soon realize that you shouldn’t have get your expectations high because you would only have it crashed down in front of you.

♠ Mirage; angst, fluff “Choose. Is it me or her?”

♠ Ants; fluff, angst Get you a man who makes you feel bigger than the world itself.

♠ Money Shot; porn star!au, smut “Don’t look so put off. Min Yoongi’s indisputably one of the best in the industry. He’s extremely professional and experienced-and handsome to boot. You’ll be in the very best hands. He rarely works with newbies, so consider yourself special.”

♠ Overwork; angst, fluff You tried to help min yoongi take a break from work.

♠ Forgotten; angst, fluff You forgot your anniversary dinner, and yoongi is furious.

♠ Enigma; mafia!au, angst, romance part 1 | part 2 | part 3 | part 4 | part 5 | part 6 finale After the death of your father leaves you in a lot of a debt to Bangtan - Seoul’s most nefarious crime syndicate - you are offered a way out: marry Min Yoongi - Bangtan’s most elusive member- and produce him an heir and your father’s debt will be forgotten. Without a choice, you are soon tied to a man who you are absolutely terrified of. But you cannot ignore the part of you that is thrilled by Yoongi. And what scares you the most isn’t the blood on his hands, or the gun he always carries in his pocket. It’s the things he’s capable of doing to your heart.

[ ❥ ] 2.1 Out of 5.0; nose dive black mirror!au, angst, smut part 1 You were a 4.9 and he was a 2.1, and that fact alone should have made you realize that the two of you were never meant to be. But as the saying goes, “the heart wants what it wants”.

♠ A Mess (ft. Jeon Jungkook); smut, fluff Maybe it was a good thing you lost that bet to Yoongi. The punishment was cruel, but it lead you to a threesome with him and your crush so… yay for that.

♠ Suddenly, It Was Love (ft. Kim Namjoon); angst + sequel The saying that love is an unexpected visitor was right. you never intentioned of falling in love with the best friend of your boyfriend.

[ ❥ ] Tied Together; divorce lawyer!au, angst, fluff part 1 | part 2 finale The last thing you needed when you had a demanding daughter and job was a divorce made difficult by your husband. Luckily for you, Min Yoongi—Seoul’s top divorce lawyer—stepped in to save the day. Well, more or less.

♠ Weary Night; fluff “You know, I never thought that tonight was going to be like this.”

[ ❥ ] Heartbeat (ft. Jeon Jungkook); angst, smut part 1 | part 2 finale You fell in love with a boy who was in love with music, and you weren’t sure if he was capable of loving you the same way. This thought should’ve caused you to move away from him; but, if anything, it just drew you closer.

[ ❥ ] Before I Ever Met You; angst, smut You are no fool to the ways of life. You might be the love of Yoongi’s life now, but there is his whole past—before he met you—to account for. The number of people that traversed in and out of his life carried a significance, and you want to know who they are.

[ ❥ ] Cut Me Open; surgeon!au, fluff, angst preview | part 1 | part 2 finale This job makes great minds. Literally. Each patient that walks through the doors of the hospital into the Neurosurgery ward need to leave with the best service and help the country can offer. But a 300k salary, 1400 hospital workers, and 14-hour work day can’t make a marriage work.

#bts #suga #bts suga #yoongi #min yoongi #bts angst #bts fluff #bts smut #smut #bts x reader

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