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#sh 1.03
love-me-a-lotta-whump · 3 months
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열녀 박씨 계약 결혼뎐 - The Story of Park’s Marriage Contract - Whump List - 🇰🇷
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Whumpee: 강태하 (Kang Tae Ha) played by 배인혁 (Bae In Hyuk)
Synopsis: Park Yeon Woo's husband tragically died on the night of their wedding, but before she could mourn her husband, a man kidnaps her and throws her in a well. The moment she opened her eyes, she saw her him standing before her, now in present-day Seoul, South Korea. However, the man is not her husband, rather Kang Tae Ha. Kang Tae Ha is the successor of SH Seoul Corporation. He does not like opening himself up to others due to his heart disease and the trauma that he endured in his childhood but his ill grandfather tells him that he wishes to see his wedding before he dies. To make his grandfather's wish come true, Kang Tae Ha asks Park Yeon Woo to enter into a contract marriage with him. (MDL)
Genre/Tags: Chronic/Terminal Illness, Romance, Fantasy, Office/Workplace, Period, Scar Reveal, Constant Whump, Trauma
Watch On: Viki (Original), DramaCool, KissAsian
WARNING: POSSIBLE SPOILERS BELOW
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1.01 : (in Joseon: fell to his knees, coughing up blood, concern for him, weak, held in wife’s arms, dying, died, mourned)
1.02 : (comical: startled, passed out) ::: panicked, in a wreck
1.03 : in a wreck, in pain, groaning, wincing, stumbling ::: angry ::: stressed, upset ::: momentary chest pain ::: examined by a doctor, scar reveal ::: scar reveal ::: upset ::: concerned for someone
1.04 : traumatic memories surface, panic attack, struggling to breathe, chest pain, leaving against a wall for support, concern for him, held ::: in bed, concern for him ::: having a nightmare ::: concerned for someone, using himself as a human shield, fell, unconscious
1.05 : unconscious, woke up, concerned for someone ::: cut on his face ::: chest pain, fell to his knees
1.06 : chest pain, fell to his knees, angry, sent a rescue request to a loved one ::: collapsed, concern for him, saved, heavy breathing ::: traumatic memories surface ::: traumatic memories triggered, concerned for someone, protecting someone, having a panic attack, concern for him, heavy breathing, sweating, chest pain, scar reveal
1.07 : having a panic attack, hyperventilating, concern for him, saved ::: asleep, looked after, woke up ::: talking about his traumatic past, crying, held, comforted ::: in pain, bending over from the pain
1.08 : emotional
1.09 : emotional ::: crying, in shock
1.10 : chest pain, nearly collapsed, concern for him ::: looked after while asleep ::: emotional ::: threatened, collapsed
1.11 : emotional, trying to save someone, saved, concerned for someone, angry, crying, held ::: emotional, crying ::: emotional, crying ::: emotional, crying ::: (in Joseon: chest pain, coughing up blood, collapsed, held, heavily lidded eyes, concern for him, passed out)
1.12 : (in Joseon: chest pain, coughing up blood, collapsed, held, heavily lidded eyes, concern for him, passed out) ::: sobbing ::: (in Joseon: chest pain, concern for him ::: treated ::: weak, groaning, coughing, heavy breathing) ::: (I’m Joseon: crying, emotional, died) ::: crying
———+———
MORE WHUMP LISTS >>> {x}
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cosmic-hoebo · 2 years
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Lamont Diggs | Rap Sh!t 1.03 “Something for The Hood”
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sonderpoison · 1 year
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MIA KNIGHT & LAMONT Rap Sh!t ⭒ 1.03, “Something for The Hood”
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nancyloumm · 3 years
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Okay, now it's time for the good stuff.
When Magnus met Alec aka Raising Hell.
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kris-lulu · 6 years
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365 Days of Abbie Mills ▶ Day 81
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sharona1x2 · 3 years
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Shadowhunters Alphabet ➧ Letter S, Stele
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peach-coke · 3 years
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"PS.: We always knew it would end this way." ➤ Walker || 1.03 - Bobble Head
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lightwormsiblings · 3 years
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These Old Walls Will Never Be the Same
Read on AO3
Izzy walks away when Jace raises his voice at Alec. She’s had just about enough of it. She can tell Jace regrets it as soon as he’s done it, but he doesn’t apologize.
Alec walks away from him and Izzy sighs.
They’re both so difficult.
When Alec walks by her, Izzy reaches out and stops him by the arm.
He stiffens under her touch and Izzy is startled to find that it looks like he might be blinking back tears.
“Alec,“ she says quietly without even meaning to.
It closes whatever hole into Alec’s emotion Izzy had been able to see through. He closes off so suddenly and effectively that Izzy is almost unsure if she’d imagined the anguish that had been there not even a second ago.
“Leave it, Izzy,” he says forcefully, tugging his arm from her grip.
“No—“ she starts but Alec is already walking away.
Izzy pushes down her frustration and stares after his retreating back.
Where the hell had everything gone so wrong?
Izzy can’t quite figure out what it is that has caused the gaping rift that is forming between Alec and Jace. It seems like Clary is the catalyst. The way Jace looks at her. The way Alec looks at Jace looking at Clary.
Sometimes Izzy’s heart breaks for her big brother.
But Izzy isn’t sure this is just jealousy. Alec has been harboring his crush on Jace since they were preteens. He’s seen Jace with lots of other girls before Clary. And Jace and Alec have fought plenty of time before too. It’s never broken them like this.
Jace has never yelled at Alec like that before.
Izzy hates it. She hates seeing the two people she loves most in the world fight each other. She hates feeling like she needs to pick a side. They’re supposed to be a team, the three of them, and right now they’re acting like anything but one.
Alec pauses at the edge of the roof for a half second. As if he’s waiting for someone to stop him. Izzy has already tried, so he isn’t waiting for her. They both know Jace is too stubborn to apologize.
Alec waits for something he knows isn’t going to come.
Izzy watches him activate a rune and then jump off the roof. She sighs again and then turns back to look at Jace, who stands with his arms crossed, purposely not looking in the direction that Alec had walked away. Izzy wishes she knew what was going through his head.
Izzy stands between Jace and the increasing distance between him and Alec. She feels like there’s something awfully symbolic about it. Of what she isn’t sure. All she knows is that the three of them; whatever the hell it is that keeps them bound together, it’s falling to pieces around them.
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thejackalhasarrived · 3 years
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Sharon kicking ass 😍😍😍 THE FALCON AND THE WINTER SOLDIER, 1.03
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sharkselfies · 3 years
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The Minds Behind The Terror Podcast Transcript - Episode 2
Here is a transcript for episode 2 of The Minds Behind The Terror! In this episode, showrunners Dave Kajganich and Soo Hugh are joined by author Dan Simmons and actor Adam Nagaitis, who plays Cornelius Hickey. They cover episodes 4-6  of the show, getting into Hickey’s psychology and Adam’s incredible acting, Dan’s feelings about never revealing the monster too soon, Adam getting locked in a conference room with the Tuunbaq prop for twenty minutes, and the spectacle that is Carnivale.
The Minds Behind The Terror Podcast - Episode 2
[The Terror opening theme music plays]
Soo Hugh: Welcome to The Minds Behind The Terror Podcast. I’m Soo Hugh, executive producer and showrunner of this labor of love, here with my partner in crime Dave Kajganich, executive producer and showrunner.
Dave Kajganich: Hello. 
SH: Today we welcome The Terror author Dan Simmons, and actor Adam Nagaitis who plays Cornelius Hickey in the TV series. Dan is calling in from Colorado, and Adam you’re here from London.
Adam Nagaitis: I am! Hi! 
DK: Adam and Dan, I don’t know that you have been introduced to one another, so welcome both we’re happy to have you! 
AN: Thank you! It’s lovely to be here. 
Dan Simmons: Thank you. I have to start with just a fanboy meltdown here, I don’t do this, I don’t praise actors that much even when I’ve met them, but I need to use a word that as a novelist and as a mature, American human being I don’t use because the younger generations have appropriated it, it’s the only adjective that they use in their whole vocabulary, but Adam, your performance as Cornelius Hickey was brilliant. It was awesome. 
AN: Thank you so much, Dan, and obviously the feeling is beyond mutual. There is no Cornelius Hickey without you, so, um, really overwhelming to hear someone like you say that, so thank you so much.
SH: This is so touching.
DS: And I’ll confess something else to Adam, the first time I watched it, I thought your character was a good guy because he jumped down in that grave to put the lid back on.
[laughter] 
DS: It was on my second viewing I thought, “Wait, he stole the boy’s ring! Bastard!” 
SH: So this is the second podcast of this series, if you haven’t heard the first one, episode 1, we recommend highly that you go back and listen to those, that first episode will cover episodes 1.01-1.03. Today we’ll talk about episodes 1.04-1.06, and if you have not seen those episodes please, please don’t break our hearts and listen to this podcast! Watch the show first! We’ll have many spoilers that we’ll be discussing. 
SH: So now since you guys have finally met one another, Dan and Hickey--Dan and Adam.
[laughter]
SH: Should we talk about, Dan, just how you first originally structured Hickey in the novel, and we know that you loved Hickey, but your experience watching the show in terms of seeing the changes that we have made and what we’ve kept from the book, how that affected you. 
DS: Mostly the changes that you guys and Adam did for the character of Hickey I think, uh, I don’t wanna praise too much, but they’re marvelous. They showed me a succession of, um, not villains but a complex, sometimes wicked character in a way that I don’t think I got to in the book. My character was like--a bit too much like Iago in Othello, you know, he tended to be motiveless malevolence, or malignancy, which is the way you describe Iago. And there are many Iagos in the world, but the way that Adam created Hickey out of the soft clay of my introduction was marvelous to me. I could just see all the wheels turning in Hickey’s head, all the ways he’s looking for an edge, so I took it to maybe point C or D, you guys took it through Y. 
DK: The last thing that we’ve seen Hickey do is that he has gone through the lower decks of Terror and has shat on a bed...
[laughter]
DK: ...and has found a resignation letter from Crozier that no one is meant to see, because Crozier is now in command of the expedition. We have laid out a different kind of ascension, if you will, or architecture for Hickey’s arc in the show from the book, and I wonder, Adam, if you could speak a little bit to having read, I think, part of the novel and been told to stop reading by me and Soo because we didn’t want you to be confused. How did you receive these episodes, and how did you plan to sort of make the--cover the distance between those two points in Hickey’s arc, which it’s a lot of distance to cover.
AN: There are pieces of the novel that stayed with me and unfortunately I could not get out of my head as much as I would try, ‘cause they were very potent aspects of Hickey, were always useful, but it’s as you said, Dan, it was just that the switch, I’m just backtracking ‘cause there’ll be a reason, but the switch from, the clarification for me, or the justification of his motivations was all really I had to find. A new soul, a new motor. And that motor sort of begins--perhaps changes gear, in episode 4, when Hickey is--I don’t wanna say betrayed? But you know, for the first time he’s proactive about a decision he makes when he goes and grabs Lady Silence.
[show audio]
Crozier: There’ll be no violence towards this woman without charges brought and well proved. Who is responsible for this?
Hickey: I am, sir. 
AN: He’s pushing the boundaries of what his courage is allowing him to do at that point, and he knows that this is dangerous. But it’s also completely necessary and he can’t help himself. And I think he’s fairly sure of a reward. But what ends up happening, he considers himself constantly self-aware, like an incredibly high introspective IQ, that if he’s achieved anything in his life, it’s that he is completely honest with himself at all times. He has these conversations in the mirror all day, every day, just to make sure that he’s sharp, that nobody will call him out on any sort of fracture that they can see within him. He sees his weaknesses, he accepts--that’s a soulful narcissist, I suppose, as a way of describing him, but one thing that has escaped him he realizes is that his desperate need to be accepted, to be loved, to be seen, and be patted, and to be, um, to have that authority figure, whatever you wanna call it, allowing you the rite of passage.
[show audio]
Hickey: Captain Crozier, there’s something I wanna say, but I hardly dare speak the words.
Fitzjames: Oh, speak the words, Mr. Hickey. 
Hickey: Well, of all I know in this world--and of this world… I tell you. That… I do not believe it is an animal we battle.
AN: And he realizes when he gets lashed, this day of sort of revelation, where he understands every time he gets hit, you know, he--I took a lot of the lashing I took through the way that Hickey’s described in the book, that his life has been this low level horror story, and pain is something that is incredibly interesting to him. It’s not something to be avoided, it’s something to be embraced. 
[show audio]
[sound of the lashing, Hickey gasping in pain]
SH: Adam, if we had to break down the whipping scene, ‘cause I mean your performance in that moment, I mean, it’s so extraordinary, the amount of what you were able to pull out physically as well as just emotionally in your face in that scene. Will you walk us through, what did you internally--‘cause in all you were saying about Hickey being with one foot planted in practice but also at the same time being the self-aware philosopher, but in that moment of the lashing, some different, higher kind of understanding must have been in place, ‘cause pain is at work there. Was your process different in that scene? 
AN: You must forgive me as well for goin’ on, ‘cause when I talk about Hickey I get lost 
[Crosstalk, Soo reassuringly saying “No!”]
AN: and I go forever, but I remember it sort of breaking it down, preparing it was breaking it down into how you are perceived when you enter that realm of torture or judgement or whatever it is, and he always is gonna make sure that he didn’t lose the experience in stupid, human things like shame, or, you know, consideration of embarrassment, he never walks in--it’s almost as if there’s never anybody else in the room, he doesn’t care to cloud it. And that was the very first point, was to get in and go, “What does it mean to be punished as a boy?” I was thinking, “You know, that’s it, what does that mean? I wonder what they’re gonna do to me?” When he realizes that and these people around him, that--I don’t know, it’s kind of--I suppose it was such a strange collaboration of sensations, because at the one point, you know, I’m in this, as an actor I’m naked in this scene with all these people, and being punished as a boy should have taken Hickey down, you know, the shame should have overwhelmed him, and it should have been this sort of embarrassing situation, and instead it became empowering. He wasn’t afraid of crying and screaming, and again, it’s not--if it’s practical, and it helps, it’s no big deal. It’s just pain. And everybody else would be in pain, and it doesn’t matter. Even if, you know, if people perceive him as weak, he’ll find a way to get ‘em. It doesn’t matter. 
[show audio]
Crozier: Again.
[whip cracking, ship creaking, muffled groan from Hickey] 
SH: And something we haven’t talked about much yet in these podcasts is this theme of hubris and the hierarchy and the patriarchy, and Dan you explore it fully in your book. In terms of figuring out, you know, where our characters come from, and their foundations and backbones, they come from a very distinct historical period that really thought that their empire was the crowning achievement of human civilization, right? And that the royal navy is this prime embodiment of that conquest. They were gonna go out into the world, find that sea route to China, and the world will be theirs. In both the book and our show, that kind of thinking is what drives them into the heart of peril, right? And what was always interesting about the Hickey character, in some ways, was he questioned--in some ways he’s very--too modern for his times, in some way, in that he questioned that hierarchy, that patriarchy. 
And that’s something that I think Dave and I can both sympathize with as well. The character was so interesting to write for because Hickey was in some ways an easy embodiment of our voice today. And then when you--when we watch your performance, what was great about your performance was it was never slippery, ‘cause it’s really easy to play Hickey as slippery. I always felt that your performance was always located in something very very direct. People can play characters like Hickey where you don’t--they never wanna commit to anything because he’s supposed to be nebulous, or too ambiguous. That was never the situation. When you had that smile on your face, when Irving is saying, you know, “climbing exercises!” we know you’re not playing Irving, which is great, and I think that’s such a success of your portrayal of Hickey, is it never feels slippery. 
DK: Well an awful lot of people came in to audition for this part, and what we found was a lot of people, most people--in fact, everyone but you, Adam--played Hickey as a kind of pre-built villain, and when we saw your first tape come in and you were open-handed, and you were smiling your way through the same monologue that everyone else had put fangs on, we knew that you were our Hickey, because that kind of charisma, and that kind of confidence, and that kind of hubris, in a way, is what were going to be the magic ingredients, I think, it’s what we sort of loved about the opportunity for the show to take the Hickey from Dan’s book and sort of turn it in a different unexpected way so that readers who hadn’t read the book wouldn’t know right off the bat whether they were meant to sympathize with Hickey or be wary of him or both, and I think that’s a great achievement of the performance is you sort of feel you’re on both rails the whole time, and I think that’s kind of an amazing achievement.
AN: That’s how you wrote it! I mean that was exactly--I think that you saw what you wrote, the real strength of that character was in his understanding of himself and his understanding of the hierarchy and how this world functions, you know? He’s studied it, gave him an intelligence, that’s the way I saw it when I read it.
DS: But it’s pretty amazing to think that by this point in the show, you have stolen a dead boy’s ring, you have shit on your ex-boyfriend’s bed, you have murdered our favorite doctor--
[laughter]
I mean there’s a lot, you’ve done a lot of things to turn the audience against you, but I don’t think that’s how an audience will feel! 
AN: All completely justified.
[laughter]
SH: You’re acquitted. 
[laughter]
SH: Can I steer the conversation just slightly in a different direction, ‘cause Dan, you made our lives very difficult in one way, so you have these two incredible set pieces in your book
[Crosstalk, Dave saying “yes.”]
SH: and they happen to fall chronologically so close to each other that production wise we had to film them one episode apart.
[Dave laughing, and he laughs a few more times in the background throughout the following]
SH: So in 1.05 we have the huge Blanky mast Tuunbaq fight sequence, and then in 1.06 we have Carnivale. They are along with something that comes at the end of our show, they are--those two scenes--those two sequences are, you know, some of our biggest biggest, just, action set pieces. They’re just extraordinary spectacles. But Dave and I, you know, we grew many grey hairs in this process because they’re so fantastic in the book, they’re fan favorites in the book, we knew that we had to--we knew we were gonna be pillaged based on whether or not we succeeded in those scenes. So seeing the mast sequence and seeing Carnivale, what did you think? DS: I know the difficulty in putting two set pieces like that close to each other, I mean, the chase with Blanky was pretty dynamic, and even more so from the book to your show, it was very dynamic.
[show audio]
[Tuunbaq fight scene! tense music, Blanky yelling, Tuunbaq roaring]
Hodgson: Fire!
[cannon fires, the shot hits the Tuunbaq and it growls, Blanky falls and screams, the mast creaks]
DS: And I love the character of Blanky, all the way through to, you know, his ending. He’s wonderful. 
SH: Speaking of the mast sequence, what we were discussing prior, this is the first time we actually get to see the Tuunbaq. We’re curious how both of you--you know, ‘cause Dave and I, we’ve been very careful about how we utilize and deploy the Tuunbaq in our show, and making sure also that narratively in the story-wise it didn’t feel like, “Oh, we need to ramp up this episode, we’ll throw the Tuunbaq in,” that we were very more deliberate about when we put the Tuunbaq in our show, and making sure that it didn’t, like Dave was saying, didn’t fit the monster of the week. But I mean Adam, you have a very particular relationship with the Tuunbaq that starts to become revealed in episode 4, could you just walk through how you were thinking about it? 
AN: The way that I started to think about the Tuunbaq was as a character, that was the best way for me to think about it, as another, you know, another member of the narrative in general, and it’s a person--it, of all the people, there are only, including the Tuunbaq, there are two that I respect: Crozier, who I see as something of maybe a soul mate, would be a way of describing it; and the Tuunbaq, who I see as a person who is, he or she is, true to themselves and unafraid, and undeterred, and pure in their resolve, you know, and their execution, and so it’s almost admiration and mutual respect, and that when that Tuunbaq looks at me, and I look back, that I see myself. And I see what I might become, you know, and I have--and Hickey sees himself as having elements that the Tuunbaq doesn’t have, you know, the idea of, Hickey so rarely sees people that he acknowledges, that, in his mind, deserve or warrant his acknowledgement, and when he first meets eyes with the Tuunbaq, that’s what he goes through.
[show audio]
[wind whirling, footsteps, Tuunbaq growling]
DK: Dan I was always curious to ask you about the Tuunbaq in terms of your creation of that creature. I mean in our research we found elements of different sort of spirits from Inuit mythology that seem like the Tuunbaq is kind of an amalgam of, can you walk us through sort of how you hit on that idea and what parts of it are from Inuit mythology that you can remember and what parts of it are your own invention, or just how that creature came to be, it’s such an interesting, fascinating creation?
DS: That’s a good question, I’ll answer it, but first I wanted to add an unharmonious, non-praising comment, which is when I was watching the series on my little computer screen and I got to the Tuunbaq chasing Blanky up the rigging and so forth, I paused the show, walked out in my front yard, aimed west, and shouted, “Don’t show the fuckin’ Tuunbaq!”
[laughter]
DS: “Not yet!” I’m sure you heard that. 
SH: Did you think we showed it too much in that sequence? 
DS: I did when I saw the sequence. When I’d seen the show front to back, one and a half times now, I think it’s fine. Dave, you remember, when we first talked about things, that was--I was stressing that left, right, and center, which is--I was basing it on a favorite movie of mine, which nobody else has as a favorite movie, but it’s the 1951 version of The Thing. Howard Hawks directed it even though he gave the credit to his DP, but he directed it, and it got so every time a door opened, every head, every person turned to look. And the monster turned out to be James Arness in a silly suit. But the tension was tremendous, and I think you guys build up very nicely, you know, everybody’s ready, looking over his shoulder, there’s that scene where somebody does, and the wiser man says “It’s only the ice, Georgie, it’s only the ice,” but of course it’s not.
[show audio]
[Neptune the dog barking]
Strong: He’s been goin’ on like that since the wind died. 
Hartnell: Take your wigs off. 
[rustling, wind whistling, Neptune continues barking]
Hartnell: Don’t you hear that?
DK: It was a fine line to walk, because on the one hand, you know, I don’t know if anyone would have made the show if it didn’t have, you know, quote unquote “a monster” in it. So we were trying to be very intelligent on how we deployed the Tuunbaq in the show, and wanted to make sure that when we did it didn’t feel like it was meant to spice something up, that it felt sort of earned, in some way, and you were confident that the less we showed of the Tuunbaq the better. But that isn’t--it’s not the easiest sell if you don’t happen to agree with this point of view, and you know, luckily we were sort of able to have our cake and eat it too, in a way, but still, even when episodes one, two, and three aired, we were reading reviews and people’s comments online saying, “Is there a creature in this show or isn’t there?”
DS: Or what, yeah. 
DK: Some people really want that settled, and so we tried to do it both ways, we tried to show just enough to make sure that it felt like we weren’t being coy about it, but not so much that we exhausted what’s interesting about it.
SH: And also the fear--there is a danger, if you put it off, ‘cause, Dan, Dave and I agree with you that you wanna hold off the reveal of the monster as long as possible because it’s just gonna be more satisfying that way, but there’s a tipping point to that as well, of course, you know, right? ‘Cause if you delay it too long then the expectations are almost too great. And when you delay the monster for so long the level of perfection that the audience is gonna expect is never--we were never gonna please them. So at some point, by finding that right balance point of “we show them enough that they know we’re not playing coy with them.” 
DK: We also had a storytelling reason, a really good one, to make sure we did show it up front in the first third of the season, which is, you know, by the time you reach episode six you realize there’s something wrong with the Tuunbaq, that it is getting sick, or it is going off somehow, I mean, when Lady Silence finally decides that she’s going to offer her tongue to it in hopes that it will accept her as a Shaman and that she can contain this sort of mythological disaster that’s happening, and it rejects her, and it shows up to that scene looking a little woozy, and you know, there’s obviously a cause to be concerned about it.
[show audio]
[eerie music, Tuunbaq growling and snuffling]
DK: That wouldn’t have landed if we hadn’t seen, in some form, the Tuunbaq in all of its majestic glory. You know, we think of the Tuunbaq as quite presidential, in terms of its comportment, you know, that it is a pure expression of this mythology, it is the keeper of equilibrium, it is neither a hero nor a villain. But by the time we get to episode six, we should be feeling a little bit panicked about what this creature is becoming. It seems to be falling apart in front of us in the same way that the men are.
SH: Our Tuunbaq exists. We don’t play that game of “it’s a figment of our characters’ imagination.” That is one route we could have gone, we did not wanna do that. 
DK: Adam, I don’t know if you remember, when we finally got the scale model head of the Tuunbaq to Hungary, and we had it in a conference room, I think, and I grabbed you from set and I didn’t tell you where you were going, and I took you to a door and I pushed you through it and closed it behind you, and in that room was the Tuunbaq, and you were the first person in the cast to see it. Do you remember what that experience was like? 
[laughter]
AN: That was terrifying! 
[laughter]
AN: I do remember, I remember that day very very well. It was just a head on a stick, wasn’t it? 
DK: A big head, but yeah.
SH: Enormous. 
DK: It was just the head--
AN: A great big head on a stick! And I knew the importance of it, so I sort of closed my eyes and opened them. I remember thinking, it was the eyes, the human eyes, that convinced me that it was a unique, thinking machine. It was a unique creature that had--that was worthy of respect, that was kind of the thing that I remember thinking about it. And of course it was terrifying. But yeah, I remember the teeth, the human teeth. It was so brilliant, it was so brilliantly conceived. I remember it was head height, and I just stood in front of it for a while.
DK: I remember it was twenty minutes before I opened the door!
AN: You opened it for a long time! I was like, uh, is it gonna move? It was great. It was really scary.
DK: So Dan, walk us through where it came from. I mean, this is a creation from, almost from scratch, I think, from you. 
DS: Well first I built the Tuunbaq out of what I think is a good monster and would be a good monster in the Arctic. And after constructing it, I went just tearing through Inuit mythology and stories and oral tales for quite a while before I found the right creature. He was called Tuunbaq in the mythology, but it could’ve been Sedna, Sedna was a great sea monster. They have so many wonderful beings. But you guys summed it up in dialogue…
[show audio]
[man speaking Inuktitut, another man translating] 
Translator: From the Shamans… the thing that eats on two legs and four… a thing made of muscles… and spells. 
James Clark Ross: I don’t understand. Is he describing a man? 
Translator: Sorry, Sir James. I don’t know what the hell he’s describing. 
DS: That was the best summary of the Tuunbaq that I’ve heard. I’m gonna steal it from you if I ever do readings on this book again.
DK: Oh good.
[show audio]
[men cheering]
Fitzjames: There it is. We’ve not heard that sound in far too long.
DS: I especially enjoyed Carnivale. I like it that you didn’t follow my lead and turn the Carnivale on the ice into the scene from The Masque of the Red Death. I had a sailor who’d actually read that story in Boston in my novel, so he’s the one who set up the Carnivale with all the rooms from the Edgar Allan Poe story, and yours, the idea of celebrating, going home essentially, when the sun rose, that made a lot more sense to me. 
DK: Well do you know the reason we went in that direction, I think in the writer’s room when we were discovering all the different sort of signs and symptoms of things like scurvy, nostalgia was considered a primary symptom of scurvy, and one way you could diagnose it. And we thought, well, if these men were going to throw a party and all bets were off in terms of what the theme of that party would be, we wanted to embrace the likelihood that a lot of those men who were in early stages of scurvy at that point might have leaned too heavily on nostalgia. And that gave us a kind of a surprising new sort of code to sort of explore in Carnivale. 
[show audio]
Fitzjames: Come on, boys! 
[cheering]
Fitzjames: Now, let’s get our hair good and powdered before that damn sun finds us again.
[more cheering]
DK: The idea that Dr. Stanley, who has a child back in England, and, you know, has a clear sense of what the kind of illness that’s on the table being discussed could do to the men, and he hears the news of the beginning of episode six that they’re probably running out of food and, you know, the episode, that episode six is called “A Mercy” for a reason, that really Stanley thinks he’s doing a great favor to all of the men by killing them. And it just was--I’m curious, when you watched that reveal in particular, that the Carnivale disaster was not going to come from the Tuunbaq but was going to come from somebody who was a kind of Cassandra in a way, like understood what was coming, in a way that lot of the men didn’t understand, whether that rang true emotionally to you in terms of how you would position these characters at that point in the novel.
DS: In the novel, you don’t have to compress time like that. The things can almost coexist and still work. So I had a little more freedom to do the Carnivale. But when you showed the malignant motives of the various people behind it, the doctor and so forth, the burgeoning insanity made sense.
[show audio]
[distorted music, liquid pouring, yelling]
Crozier: Hold him, hold him!! 
[flames crackling, more yelling]
DK: Hickey’s arc between episode four and episode six, you sense someone who’s coming into a power, but doesn’t exactly know yet how he wants to use it, and is scanning other people and other relationships to try to find out where will the advantage come from. And I think what’s great about the final shot we have of Hickey in six, that is Hickey just before someone tells him, probably, that they’re going to be walking out.
AN: By the time we reach episode six, he’s well on the way to formulating in the material world, in our physical world, to formulating his sort of group. What’s going on inside him, what’s going on in his--maybe even subconsciously, or even very very very quietly consciously, is a furthering of his understanding that this universe is for him. These happenings are for him. They have his name all over them, his real--and since the beginning of his life he’s been checking the dials, trying to tune into the right radio station where there’s a clear voice of the numinous, or the supernatural, or the universe, or God, or whatever you wanna call it. He’s hoping for the clear voice that says his name. 
DS: I have a question for Dave and Soo, which you looked at the muster of the crew as I did, you know, I had to decide who was what in a fictional term, you have about 127 interesting stories if you want to pursue them, but were you aware early on that there was gonna be one messiah developing in the story? 
SH: I don’t know if we looked at it in terms of a messiah figure.
DS: Ah, but Hickey does. 
DK: In these episodes, I think he doesn’t quite yet know what he’s going to become, except he knows he doesn’t have to be subservient anymore to other people’s versions of what he could become. I think he’s not quite sure where he is. He knows he’s just moved from one ladder to another ladder, he’s no longer on sort of the hierarchical ladder of the ships, he’s on a bigger ladder and he’s climbing, and he doesn’t quite yet know what heights that will reach, but it’s fascinating to see Hickey unleashed in these episodes, but not yet know what he’s going to put his power toward. 
[audio from the show]
[the music from the end of episode six during the brief moment of sunrise plays]
SH: 1.04-1.06 takes place from the last sunrise of the year, and then the end of 1.06 is the sunrise of the year, so in terms of just that lovely visual metaphor, it’s also our dark nights, where we have polar nights. Did you guys, watching the episodes, did you guys feel that darkness? You know, Dave and I were so curious whether or not people understood what it feels like to live in perpetual darkness for months, and whether or not our audience was gonna get that. How did that come through for you? DS: The darkness, it was a hard thing, I think, to do in a series like this, it’s pressures, like the men in the ship not only have the pressure of the ice groaning and moaning and growling and pushing at the ship, they have the pressure of the months of darkness. And I think you did it well, I don’t know if it was a reviewer or a friend who said the show is all about--in the ship it’s all about claustrophobia, outside the ship it’s all agoraphobia, fear of open spaces. 
SH: Oh that’s wonderful! 
DK: Absolutely. We talked a lot about that in the writers’ room, about how there was--we didn’t know which was worse, you know, and characters would have different opinions about that. Is it better to be sort of sealed up in almost a coffin-like environment, or is it better to be exposed with no way to protect yourself? I don’t know what I would choose. 
[The Terror opening theme music plays]
SH: So that is episodes 1.04-1.06, Dave and I are here with Dan and Adam, and it’s been such a pleasure you guys, thank you for joining us, and next time we’ll be covering episodes 1.07 and 1.08. Dan and Adam, both of you will be back as well. 
DK: Wonderful. 
DS: Great. 
SH: Thank you! 
[preview snippet from the next episode plays]
AN: In complete honesty, it never occurred to me that any of those things were cruel or despicable!
[laughter]
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likelovelikesuicide · 7 years
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Shadowhunters rewatch - Labor Day weekend
So I am alone for labor day weekend and I planned on rewatching Shadowhunters s1 and s2, because I need to watch s2 as a whole and s1 is so good and I miss the epic hair... Anyway, I thought I'd share some thoughts cause I miss fandom convos on hiatus so... At this time I am 3 episodes in and I took a break for life shit, so let’s start here…
Episodes 1.01 - 1.03
The first sequence of Alec, Izzy and Jace made me fucking excited. The first shot is of Alec being all Shadowy and huntering and I’m already fucking emotional LET'S DO THIS
Izzy serves looks from the start #leg for days #platinium - Also, Jace was always Extra as fuck. I respect that…
Izzy, Alec and Jace are hunting a demon whose draining mundane’s while Cop!Luke is also tracking the murderer - both groups are quick to realize Valentine is behind it
The dynamic at the beginning of Dot, Jocelyn and Luke in relation to Clary and Simon is truly well done. The older generation is dreading this… They know what’s coming… on rewatch this is truly engaging. Within the first episode Clary goes from clueless 18 year old ready to start college, to a girl whose world falls apart and she’s quick to realize that the pieces to put her life back together are shaped different than her old world. I love my little stabs a lot firecracker... 
But then there’s Simon, whose totally fucked from the start. He’s clearly head-over-heels for Clary and she’s… not. But damn he gets screwed over so hard and it happens so fast. He’s just trying to help his best friend (the girl he loves) and he get kidnapped by vampires. And we all know where that leads him. I miss human!Simon. I hope he gets a break in s3 but like, the Seelie Queen so… fuck, anyway….
I think I’m reading too much into the whole shape-shifter aspect of the werewolf thing but I feel like Luke especially is written as unpredictable. You aren’t supposed to know if you can trust him unless you KNOW him and then you know he’ll fucking kill for you. I love Luke and his whole thing. Also he is sex on a stick. 
speaking of which, Magnus Bane is name dropped about 50 times in the first 3 episodes… His first appearance that’s not someone’s memory is him owning the shit out of a couple of circle members who dared enter his club. Then he bumps into Clary and he calls dot to warn her that she and Jocelyn are in danger…. In episode 2 he refuses to help Dot find Clary but offers her protection along with the rest of his people… Luke kills a circle member who is looking for Magnus... 
Dot refuses Magnus’ protection - she needs to find Clary - Her and Luke do not trust each other - Dot is kidnapped by Valentine and he begins experimenting on her
Alec and Izzy help Clary and Jace rescue Simon from the Vampires - both sides have broken the accords - none of this was approved by the Clave… Alec is pissed, he is supposed to follow the rules… Izzy is having fun… Jace is focused on Clary, Simon is focused on Clary… Clary is not really sure what the fuck is going on, she’s just trying to save everyone
Why doesn’t Alec or Izzy or Jace question the necklace that gives Clary visions? What’s up with that? … anyway, let’s move on… 
This post covers episode 
- 1.01 (The Mortal Cup) - 1.02 (The Decent into Hell isn’t Easy) -1.03 (Dead Man’s Party)
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lightgamble · 7 years
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REVOLUTION  | 1.03
There’s a part of you that still gives a crap.
You’re wrong.
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follow4followokr · 3 years
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Why You Need A Good Energy Markets Technical Forecaster?
Forty percent of Latinos, 29% of Blacks, 22% of CHL and 16% of "other Asians" reside in neighborhoods with the greatest barriers to health care, characterized by high proportions of non-U.S. Research in Motion broke up through It's high of the day at $61.25 Tuesday morning. Day Trading: In this kind of trading the trader does not hold a position over night, he sells the shares on the same day he purchased them. Netlist Inc. (NLST) - NLST continues to offer nice trading opportunities but the the boutique was testing $5.00-$5.10 support Tuesday afternoon. Short term support is located at $6 as well as $5.10. I will be adding more stock to my long term portfolio when the stock closed back over the 200 day moving average located at $65.93. I will be adding more RIMM to my long term portfolio when the stock closes back above this level. It's so much more fun!
Some of the improved features being offered with the cool tickers are: dynamic interactive speed and direction control, auto starting features as soon as Windows starts, sound alerts at the time of hitting of the lowest and highest prices, simple, unobtrusive and intuitive application features, smooth scrolling, support of more fonts, visual alerts and pop-ups. Resistance is located at $62.35 and Support is at $61.25 & $60.65. The next major resistance level is located at $7.50. The next major resistance level to watch out for is located at $113. Support is located between $4.60-$4.70 while resistance is at $5.39 & $6.09. Resistance on ABK is located at $1.03 as well as $1.13. Research shows that the better educated people have cut back, but younger people, who are perhaps not so well educated, are still puffing away. Well which formula do you use? A close above the 50 day would be bullish, a close below the 10 day would be bearish. This area is very important and if the stock can close over the 50 day, I would expect further upside.
Advanced Micro Devices Inc. (AMD) - AMD stock soared after Intel Corp (INTC) agreed to settle their dispute. Netlist Inc. (NLST) - NLST soared Wednesday on no news. DryShips, Inc. (DRYS) - DRYS was up with a number of the bulk shipping stocks on Wednesday. Below is a list of stocks that are worth watching for November 18, 2009. Also, check out some of the Biggest stock Gainers of the Day. Below is a list of stocks that are worth watching for November 12, 2009. Also, check out some of the Biggest stock Gainers of the Day. Below is a list of stocks that are worth watching for November 17, 2009. Also, check out some of the Biggest stock Gainers of the Day. Daily Finan. Bull 3X Shs(ETF)(FAS) - After closing slightly above the 50 day moving average on Wednesday, the weak stock market caused FAS to tank below the 10 day moving average on Thursday. Daily Finan. Bull 3X Shs(ETF)(FAS) - FAS violated Wednesday's support of $77.81 but appears to be holding steady. LVS appears to be holding the 50 day moving average nicely.
Thursday and will be closed through the Boxing Day holiday on Dec. 26. Boxing Day is observed in the U.K. If NLST can trade back up above $6, the day traders will be rushing back in. In this scenario, you have the right to buy or sell a trade. 4 Investment Ideas to Start Your Own Forex Trade! In the list of ideas that we have for you today, the digital products such as music, courses, and templates prove to be the ideal choice. Don't fall for it and have some patience, after all, patience counts. We look for the IoT business to have opportunities in the Edge computing, wireless connectivity and USB-C categories. The management of the business must not forget that the stocks that the company holds are the prospective cost or the profit that the company is going to make in the near future. This time around, the market’s weakness in the run-up to the vote “is being driven by the renewed surge in COVID-19 and what it portends for future GDP/EPS growth,” Stovall said, referring to gross domestic product and earnings per share.
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nancyloumm · 3 years
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Oh yeah this is the one with the flying motorcycle. 🙄
This episode is on the bottom of my favorites list. Way on the bottom.
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extraordinaryxmen · 5 years
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black mirror - one gifset per episode: 
 1.03. The Entire History of You — You know when you suspect something, it’s always better when it turns out to be true. It’s like I’ve had a bad tooth for years and I’m just finally getting my tongue in there and I’m digging out all the rotten sh-t.
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kris-lulu · 7 years
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365 Days of Abbie Mills ▶ Day 67
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