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hoboal87 · 5 years ago

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Carry On

Pairing : Sam x Reader, Platonic!Dean x Reader

Summary : One year after defeating Chuck, Sam and Dean are still hunting, but you’ve quit the life. When the boys take a vacation that quickly turns into a hunt, none of you expect it to change your lives forever.

Characters : Y/N, Sam Winchester, Dean Winchester, mentions of Bobby, Jody, Donna and the Girls

Word Count : 3.1k (I tried to keep it below 3k, but...😕)

Warnings : SPOILERS FOR 15X20, Angst, Feels, Fluff (it gets a little gross at the end), A Sprinkling of Pre-Smut, Pregnancy

A/N : This will keep the canon of the finale, and takes place during and after 15x20, but with an added reader insert. This was written as a sequel to “The Tie” but can be read as a stand-alone.

A/N 2 : This is my entry for @negans-lucille-tblr “6k Roll the Dice Challenge.” My prompt is “I didn’t have it in myself to go with grace,” which is bolded.

No Beta, all mistakes are my own.

Check out my Masterlist here

You pull another book down from the library wall; everything has been relatively quiet since Jack took over Heaven, Rowena has put a leash on the demons, the only monsters you and the boys had to worry about were run-of-the-mill, so to speak. Adjusting to this new life is easier than you thought it would be, using the last year to learn that without the necessity to hunt, you and Sam were finally free to live your own lives. After Chuck was rendered powerless, you decided to give up hunting for good. Sam won't, you know that, Sam and Dean had been hunting their whole lives, but you were thrust into the life.

You make your way back towards your shared room with Sam, twirling the small diamond ring on your finger, passing Dean’s along the way. You peer inside, glad to see that the once mass trove of empty beer and whiskey bottles were gone. Sure, there’s still a few bottles strewn throughout the room, but nothing like it was before. In the months following Cas’ death, Dean had been a shell of himself, drinking himself into an early grave. He never told you or Sam exactly how Cas summoned the empty, or why it took him along with Billie. Dean always kept himself bottled up, until he would explode, letting his grief out by way of yelling and screaming. Cas’ trench was usually hanging in the corner, but it wasn’t there now, Dean must’ve taken it with him. Dean was still in pain, that much was clear.

Sam and Dean are off at some pie fest, and you opted to stay behind. You waved the boys off, asking Dean to eat a pie just for you. Sam and Dean needed this; brother time. It was something that rarely happened since you joined them over five years ago, even before you were with Sam, you, Cas or Jack were always tagging along. You saw it as the perfect opportunity to take some time for yourself as well, figuring out where you and Sam would go from here. Sam talked about going back to school, finishing his degree and applying to Law School again, he even had you buy him books on LSAT prep. You talked at length about taking the next steps in your relationship, you couldn’t ever get legally married, but you starting planning a ceremony anyway. Before Chuck was gone, you were content to just be, never needing more, afraid that it would be ripped out from under you the minute you let your guard down.

As you settle into your and Sam’s bed, book in hand, you feel as the weight that’s been sitting on your chest has finally lifted, you can breathe. It's been years since you've been able to truly relax, and as much fun as a pie fest sounded, you wanted to stay at the bunker, taking comfort in your and Sam's shared room. They’d only been gone a few days, but you already missed Sam terribly, pathetic, you know. Never in your life would you have imagined wanting and needing someone like you did Sam. The next morning you wake up to a text from Sam. The brothers mini-vacation quickly turned into a vampire hunt, a nest John had hunted years ago. The boys could handle it, you know that much, it's a milk run compared to everything they've fought over the years. Be Safe, Love You. You responded and went on with your day.

Sam always keeps you in the loop when he and Dean go on a hunt without you, providing you with a source of comfort knowing that they’ve killed the bad guy or solved the mystery. But now, they’ve been silent for too long, a nest of Vamps shouldn’t take more than a few days, and you start to worry. You’re heading towards the garage, determined to track down Sam and Dean, and lay it on thick about how worried you were when they went silent. You’re about to open the door to the garage when it swings open and Sam’s long body fills the frame. It startles you at first, even causing Miracle to bark in surprise. You throw your arms around Sam, all anger gone now that he’s back home with you.

“Don’t ever do that again!” You scold Sam. “You know how much I hate it when you and Dean stop responding.” You want to be mad, but you’re so focused on the fact that Sam’s back home with you again, that nothing else seems to matter. “If you’re gonna keep hunting you have to keep me in the loop,” you mumble.

Sam’s body stiffens against your touch. It takes him a minute, but he reciprocates your hug, pulling you tight against him. You stand there, waiting for some smart remark from Dean, normally barking at the two of you to get a room, but there’s nothing but the echo of the Impala’s engine filling the air. You try to pull away from Sam, but his grip around you only tightens, this hunt must have been more difficult than he or Dean anticipated. Head pressed against Sam’s chest, you can hear his heart thumping loudly and rapidly. Dean would never let you and Sam hold on to each other as long as you have.

“Sammy?” You whisper, trying to pull away again. Sam’s grip finally loosens, but his hands don’t leave you as you take a small step back. Your eyes travel upwards, finally landing on Sam’s face, his eyes are bloodshot and puffy, almost as if he has been crying. “Sam? What’s wrong?”

Sam shakes his head as tears fill his eyes.

“Where’s Dean?” You ask as you watch Sam slowly break down. His head nods towards the Impala, and you pull away completely from Sam’s embrace.

You run towards the Impala as fast as your legs can carry you, a swing open the back door, hoping to see Dean’s shining emerald eyes. Tears blur your vision faster than you can comprehend what you’re seeing. Dean’s lifeless body lays in the back seat, all color drained from him. You scan him desperately, waiting for some kind of sign that this is all a cruel prank, that he and Sam were trying to get one over you for not coming with them on this hunt.

But, there’s nothing.

You scream out, falling to your knees, Dean was just as much your brother as he was Sam’s, he was your best friend, and now, he’s gone. Your cries fill the otherwise silent garage, he can’t be dead, not like this, not on some vampire hunt, something he’s done a hundred times before. Not when you know that he was looking to settle down, find some normalcy, or at least normal for him. He deserved to live, he didn’t deserve to die at the hands of a monster.

Dean wasn’t going to be there when you and Sam got married, when you told Sam about the baby you were carrying. God, how were you going to tell him that? Dean was going to help you surprise Sam, as soon as they came home, he was going to start dropping hints, see how long it took Sam to figure it out. But now, you stared at his body, tearing streaming down your face, you couldn’t stop crying if you wanted to. Sam’s strong arms wrap around you, holding you close to him, and you both sit on the floor, unable to do anything but mourn the loss of the elder Winchester.

Through your sobs, you can hear Sam trying to offer you some comfort, assuring you that he went down saving the victims. You could barely process anything he was saying, and if this is how you felt, you can’t even begin to imagine how he feels. Dean was the only real family that Sam had left, there had to be a way to get him back.

“No, baby,” Sam murmurs in your ear through his tears, “I promised him. No bringing him back.” You didn’t realize you had said it out loud. “He wants us to keep going, he wants us to live.”

Three days later you’re surrounded by all the family you’d gained through the boys. Jody, Donna, Claire, Bobby and Charlie plus too many people to keep track of. You and Sam had already given Dean his proper send-off, dividing his ashes between the graveyard where Mary and John were buried and keeping the rest for yourselves. Jody told the story of the first time she’d met the brothers over ten years ago and how she’d come to think of the boys as surrogate sons. Claire talked about the time she and Dean went mini-golfing and how offended he was when she didn’t understand his Caddyshack references. The bunker was full laughter, it was Dean told you he wanted all those years ago.

You and Sam couldn’t stay in the Bunker after that. You’d left it open to all hunters, you’d still come back occasionally, but it was no longer home. You and Sam packed up most of your and Dean’s things, fitting as much as you could into the Impala, knowing that the two rooms would always be off limits to future hunters. Sam nearly slides into the passenger seat when you leave, and you can see it hitting him all over again. Dean’s gone.

You drive around the country for a few weeks, unsure of where to make your new home. Neither of you ever had a real home before moving into the Bunker, and you were the only family you had left now. You settle in Sioux Falls, Jody and the girls were there, Donna was close enough, and if need be, you could be back in Lebanon in a matter of 5 hours.

You find a small house close to where Bobby’s used to be, it is still a salvage yard, but Bobby’s house is long gone. As the weeks pass you don’t know how much longer you can keep your pregnancy hidden from Sam. Every time you try to tell him, it feels wrong; you are both still grieving the loss of Dean, and Sam has fallen into a deep depression. You have Jody take you to your doctor appointments, and she scolds you for not telling Sam, but when she drops you at your new home, and sees the current state of Sam, she backs off.

At your next appointment, she laughs and cries with you when you learn that you were carrying a boy, Dean. When you first told Dean that you were pregnant, he immediately insisted that the newest Winchester should be named after him, “boy or girl!” He insisted, “I’m named after a Deanna.”

“I think the world only needs one Dean Winchester,” you retorted playfully. Now, it seems the perfect way to carry on Dean’s legacy.

When you leave the doctors, you finally realize how obvious it is that you’re pregnant, your stomach rounding out perfectly under your shirt. You’re almost insulted that Sam hasn’t noticed your ever-growing stomach and the extra pounds you’ve put on over the last month, but he hasn't been himself since Dean died. You hadn’t been intimate with him since you settled into your new house, and he spends most of his day sleeping or in a fugue-like state.

Jody insists on taking you shopping for baby supplies, and by the end you’ve got a shopping cart onesies, blankets, something called a diaper genie, and many other things you didn’t even know you needed. As you walk through the store an iron-on name display catches your eye, and you make your way towards it. The names are written in large cursive lettering, and you hope that you can find the right one. You nearly squeal when you do, and find a plain onesie to attach it to.

You’re glad that the baby store carries labeless bags, especially when Sam is up and about when you get home. He looks good today, he’s slightly sweaty, and you know that he left the house and went for a run. He greets you with a quick kiss, a sheen of sweat covering his face, and makes for your room. He eyes the bags in your hands, but doesn’t say anything, and a few minutes later you can hear the shower running. Thank God, you sigh and take the bags into an empty room, Miracle following closely behind you. You set the bags down in what will be baby Dean’s nursery, Jody’s right, you think, we’ve got a lot of catching up to do.

You find the onesie and the iron-on decal, you place it in the center and carefully attach the decal. After letting it cool you tuck it into a small gift bag. You hear the shower turn off, and make your way back into your bedroom, placing the bag on your bedside table, waiting for Sam to exit the bathroom. You can’t help but stare at him appreciatively when he opens the door, a towel wrapped around his waist. You’re suddenly very aware of how long it's been since you’d been with him. Sam catches you eyeing him, and smirks, sending a jolt straight down to your core. You missed this, not just the sex, but how he takes charge with you, his domineering presence making you melt. He leans over you, and places a tender yet eager kiss on your lips.

You reach for the towel, letting it slide onto the floor as Sam deepens the kiss, and start to work him over in your hands. Sam groans at your touch, and starts to pull at your shirt, pulling his face away just long enough to rid you of it. Sam’s lips are back on yours just as quickly as they were gone. His hands palm at your breasts, and you moan into his hands reach into the overflowing cups, you really loved your pregnancy boobs, but your bras were doing very little to keep them in place. Sam’s hands travel to your back, and undos your bra, letting your breasts fall free. Sam finally opens his eyes when his hands land on your protruding stomach and takes a few steps back.

He quickly pulls on a pair of sweatpants as you pull your shirt back over your head, trying you best not to cry as he starts pacing the floor of your bedroom. You wait for him to say something, anything; you weren’t trying when you realized you were pregnant. You’d just gone off your birth control, and everyone told you it would take at least a few months for your body to get back to its natural cycle. You both knew it was possible but figured you’d have at least 6 months before really actively trying for a baby.

Sam’s face is almost unreadable; you can’t tell if he’s happy or mad, if he’ll tell you it’s too soon, that he’s not ready. He opens and closes his mouth multiple times, as if he can’t figure out what to say. If Dean were here, he’d probably knock him upside his head, telling him this exactly what he’s always wanted.

“How– why–” Sam stammers as you move to the edge of the bed. “Are you– You’re pregnant.” He says it almost as if it’s a question and you nod your head. “How long?” There’s almost an accusation in his voice, you’re sure it’s not intentional, but it doesn’t make you feel any better.

“18 weeks,” you murmur, trying to hold back your tears. “I wanted to tell you sooner, but it’s– it never seemed to be the right time. When you and Dean–” Sam winces at the mention of Dean’s name, you hadn’t said it out loud in almost a month, not since you left the Bunker. “I found out right before you left, I was going to tell you when you got back. But… after… I was afraid that you’d say it wasn’t the right time. That it was too soon.”

“It is too soon,” Sam mutters under his breath, you’re sure it’s not meant to be malicious, but it doesn’t make it hurt any less. “You said it would take at least 6 months.”

“It’s different for everyone,” you offer, as Sam runs his hands through his hair, still pacing in front of you. “Please, Sam, can you sit down? You’re freaking me out.” Sam moves to the edge of the bed, and sits down next to you.

“I don’t know if I can do this,” Sam whispers, eyeing your belly. “I don’t know how– I don’t know how to be a dad.”

“Yes, you do,” you grab his hand, and place it on your belly. “Dean taught you everything you would ever need to know.”

Sam smiles sadly, “I ever tell you about the night I left for Stanford?” You shake your head. “Dad and me, we got into this huge fight. So of course, Dean steps in– gets between us, attempts to calm us, but we were both just– just too fucking stubborn to listen.” He removes his hand, focusing down on them as he fidgets. “When dad said don’t come back, I called his bluff, and I was– I was so pissed at Dean, I thought he was taking Dad’s side, that I didn’t even say bye to him. I didn’t have it myself to go with grace. I walked away from him, the only family that I had, and I regretted it for years. I- I feel like he should be the one here, that- that we’re moving on too quickly.”

“Dean, he– he wouldn’t want you, us, to live like this, we owe it to him to keep fighting, to live our lives. I know how much you miss him,” a tear slips from Sam’s eye. “I miss him too, but you know what keeps me going everyday?” Sam shakes his head, and you take his hand in yours again, and place it back on the swell of your belly just as little Dean decides to kick for the first time. The smile on Sam’s face is instant, you can’t stop the happy tears from falling as Sam shifts in front of you, and lays his head on your swollen stomach. “Our son.”

Sam cries, truly cries for the first time since the day he brought home Dean’s body. You hold him against you, he’s been so pent up for the last 3 months, bottling up his emotions, he needs this, you both do. You’d been so focused on the baby growing inside of you never realized that you hadn’t realized that Sam had never come to terms with Dean’s death.

“It’s a boy?” Sam asks as his cries cease. “We’re having a son?”

“We’re having a son,” you nod, and hand Sam the gift bag still sitting on your bedside table.

Sam opens the bag, and you smile as he pulls out the green onesie, his eyes lighting up as he reads the lettering.

“You’re sure?” He questions.

“The world lost one Dean Winchester, let’s give it another.”

Please give let me know what you think! Reblog or send an ask

Forever Tags:

@that-one-gay-girl

@akshi8278

#bees6krollthedicechallenge #sam x reader #sam winchester x reader #supernatural spoilers #supernatural fic #spn family #pregnant reader #supernatural #daddy!Sam

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phroyd · 4 years ago

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One of our Great Comedians leaves us this day! Rest In Peace, Jackie! - Phroyd

Jackie Mason, whose staccato, arm-waving delivery and thick Yiddish accent kept the borscht belt style of comedy alive long after the Catskills resorts had shut their doors, and whose career reached new heights in the 1980s with a series of one-man shows on Broadway, died on Saturday in Manhattan. He was 93.His death, at Mount Sinai Hospital, was confirmed by the lawyer Raoul Felder, a longtime friend.Mr. Mason regarded the world around him as a nonstop assault on common sense and an affront to his sense of dignity. Gesturing frantically, his forefinger jabbing the air, he would invite the audience to share his sense of disbelief and inhabit his very thin skin, if only for an hour.“I used to be so self-conscious,” he once said, “that when I attended a football game, every time the players went into a huddle, I thought they were talking about me.” Recalling his early struggles as a comic, he said, “I had to sell furniture to make a living — my own.”The idea of music in elevators sent him into a tirade: “I live on the first floor; how much music can I hear by the time I get there? The guy on the 28th floor, let him pay for it.”

The humor was punchy, down-to-earth and emphatically Jewish: His last one-man show in New York, in 2008, was titled “The Ultimate Jew.” A former rabbi from a long line of rabbis, Mr. Mason made comic capital as a Jew feeling his way — sometimes nervously, sometimes pugnaciously — through a perplexing gentile world.“Every time I see a contradiction or hypocrisy in somebody’s behavior,” he once told The Wall Street Journal, “I think of the Talmud and build the joke from there.” Describing his comic style to The New York Times in 1988, he said, “My humor — it’s a man in a conversation, pointing things out to you.”“He’s not better than you, he’s just another guy,” he added. “I see life with love — I’m your brother up there — but if I see you make a fool out of yourself, I owe it to you to point that out to you.”He was born Yacov Moshe Maza in Sheboygan, Wis., on June 9, 1928, to immigrants from Belarus. (Some sources give the year as 1931.) When he was 5, his father, Eli, an Orthodox rabbi, and his mother, Bella (Gitlin) Maza, moved the family to the Lower East Side of Manhattan, where Yacov discovered that his path in life had already been determined. Not only his father, but his grandfather, great-grandfather and great-great-grandfathers had all been rabbis. His three older brothers became rabbis, and his two younger sisters married rabbis. “It was unheard-of to think of anything else,” Mr. Mason said. “But I knew, from the time I’m 12, I had to plot to get out of this, because this is not my calling.”

After earning a degree from City College, he completed his rabbinical studies at Yeshiva University and was ordained. In a state of mounting misery, he tended to congregations in Weldon, N.C., and Latrobe, Pa., unhappy in his profession but unwilling to disappoint his father.Hedging his bets, he had begun working summers in the Catskills, where he wrote comic monologues and appeared onstage at every opportunity. This, he decided, was his true calling, and after his father’s death in 1959 he felt free to pursue it in earnest, with a new name.He struggled at first, playing the Catskills and, with little success, obscure clubs in New York and Miami. Plagued by guilt, he underwent psychoanalysis, which did not solve his problems but did provide him with good comic material.Nevertheless, he found it hard to break into the nightclub circuit in New York — in part, he claimed, because his act made Jewish audiences uncomfortable. “My accent reminds them of a background they’re trying to forget,” he said.

While performing at a Los Angeles nightclub in 1960, he caught the attention of his fellow comedian Jan Murray, who recommended him to the television personality Steve Allen. Two appearances in two weeks on “The Steve Allen Show” led to bookings at the Copacabana and the Blue Angel in New York.Mr. Mason’s career was off and running. He became a regular on the top television variety shows, recorded two albums for the Verve label — “I Am the Greatest Comedian in the World Only Nobody Knows It Yet” and “I Want to Leave You With the Words of a Great Comedian” — and wrote a book, “My Son the Candidate.”

After dozens of appearances on “The Ed Sullivan Show,” Mr. Mason encountered disaster on Oct. 18, 1964. A speech by President Lyndon B. Johnson pre-empted the program, which resumed as Mr. Mason was halfway through his act. Onstage but out of camera range, Sullivan indicated with two fingers, then one, how many minutes Mr. Mason had left, distracting the audience. Mr. Mason, annoyed, responded by holding up his own fingers to the audience, saying, “Here’s a finger for you, and a finger for you, and a finger for you.”Sullivan, convinced that one of those fingers was an obscene gesture, canceled Mr. Mason’s six-show contract and refused to pay him for the performance. Mr. Mason sued, and won.The two later reconciled, but the damage was done. Club owners and booking agents now regarded him, he said, as “crude and unpredictable.”

“People started to think I was some kind of sick maniac,” Mr. Mason told Look. “It took 20 years to overcome what happened in that one minute.”His career went into a slump, punctuated by bizarre instances of bad luck. In Las Vegas in 1966, after he made a few ill-considered remarks about Frank Sinatra’s recent marriage to the much younger Mia Farrow (“Frank soaks his dentures and Mia brushes her braces,” one joke went), an unidentified gunman fired a .22 pistol into his hotel room.A play he starred in and wrote (with Mike Mortman), “A Teaspoon Every Four Hours,” went through a record-breaking 97 preview performances on Broadway before opening on June 14, 1969, to terrible reviews. It closed after one night, taking with it his $100,000 investment.He also invested in “The Stoolie” (1972), a film in which he played a con man and improbable Romeo. It also failed, taking even more of his money. Roles in sitcoms and films eluded him, although he did make the most of small parts in Mel Brooks’s “History of the World: Part I” (1981) — he was “Jew No. 1” in the Spanish Inquisition sequence — and “The Jerk” (1979), in which he played the gas-station owner who employs Steve Martin.Rebuffed, Mr. Mason set about rebuilding his career with guest appearances on television. His new manager, Jyll Rosenfeld, convinced that the old borscht belt comics were ripe for a comeback, encouraged him to bring his act to the theater as a one-man show.

After attracting celebrity audiences in Los Angeles, that show, “The World According to Me!,” opened on Broadway in December 1986 and ran for two years. It earned Mr. Mason a special Tony Award in 1987, as well as an Emmy for writing after HBO aired an abridged version in 1988.

“I didn’t think it would work,” Mr. Mason said. “But people, when they come into a theater, see you in a whole new light. It’s like taking a picture from a kitchen and hanging it in a museum.”In 1991 Mr. Mason married Ms. Rosenfeld, who survives him. He is also survived by a daughter, the comedian Sheba Mason, from a relationship with Ginger Reiter in the 1970s and ’80s.“The World According to Me!” generated a series of sequels — “Politically Incorrect,” “Love Thy Neighbor,” “Prune Danish” and others — which carried Mr. Mason through the 1990s and into the new millennium.He published an autobiography, “Jackie, Oy!” (written with Ken Gross), in 1988. He also found a new sideline as an opinionated political commentator on talk radio. In the 2016 presidential campaign, he was one of the few well-known entertainers to support Donald J. Trump.Mr. Mason’s forays into political commentary caused him trouble. He was reported to have used a Yiddish word considered to be a racial slur in talking about David N. Dinkins, the Black mayoral candidate, at a Plaza Hotel luncheon in 1989. Mr. Mason was a campaigner for Mr. Dinkins’s opponent, Rudolph W. Giuliani. Mr. Giuliani said the incident had been blown out of proportion but nevertheless dismissed Mr. Mason from the campaign. Mr. Mason at first refused to apologize but did so later.

He drew attention for using the same word regarding President Barack Obama during a performance in 2009.Appearances on the cartoon series “The Simpsons,” as the voice of Rabbi Hyman Krustofski, the father of Krusty the Clown, confirmed his newfound status, and earned him a second Emmy. Not even the 1988 bomb “Caddyshack II,” in which he was a last-minute replacement for Rodney Dangerfield, or the ill-fated “Chicken Soup,” a 1989 sitcom co-starring Lynn Redgrave that died quickly, could slow his improbable transformation from borscht belt relic into hot property.“I’ve been doing this for a hundred thousand years, but it’s like I was born last Thursday,” Mr. Mason once said of his career turnaround. “They see me as today’s comedian. Thank God I stunk for such a long time and was invisible, so I could be discovered.”

Michael Levenson contributed reporting.

Phroyd

#rip #jackie mason

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incorrectlooneytunesquotes · 1 year ago

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License to kill gophers by the government of the United Nations. Man, free to kill gophers at will. To kill, you must know your enemy, and in this case mah enemy is varmints, and a varmint will never quit - ever. They're like the Viet Cong - Varmint Cong. So you have to fall back on superior intelligence and superior firepower, and that's all she wrote.

Yosemite Sam to Mac and Tosh

#yosemite sam #goofy gophers #source: caddyshack

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archive-archives · 4 years ago

Photo

Coming in April!

NEW 2020 1080p HD masters JOSIE AND THE PUSSYCATS IN OUTER SPACE

Run Time 352:00

Subtitles English SDH

Audio Specs DTS HD-Master Audio 2.0 - English, MONO - English

Aspect Ratio 1.33:1 4x3 FULL FRAME

Product Color COLOR

Disc Configuration 2 BD 50

Rock stars Josie and the Pussycats are out of this world...literally! When the bumbling Alexandra accidentally launches Josie and the gang into outer space, they travel through the galaxy searching for a path back to Earth. Along the way, they meet cat people, robot monsters, evil dictators, space pirates and plenty of strange creatures, including their new companion Bleep, voiced by Hanna-Barbera legend Don Messick. Fortunately, everyone’s a fan of Josie and the Pussycats, including aliens! Rocket through the universe with your favorite superstars as they save the day, sing some songs and have a hip-happenin’ good time in a 2-disc, 16-episode Josie and the Pussycats in Outer Space complete series collection that hits all the right notes!

NEW 2021 1080p HD Master Sourced from 4K scan of preservation film elements!

GREEN DOLPHIN STREET

Run Time 141:00

Subtitles English SDH

Audio Specs: DTS HD-Master Audio 2.0 - English, MONO - English

Aspect Ratio: 1.37:1 4x3 FULL FRAME

Product Color BLACK & WHITE

Disc Configuration BD 50

Special Features: Lux Radio Theater Broadcast; Theatrical Trailer (HD)

The Academy Award® winner about star-crossed love that spans the years – and the globe. After her triumph as the lunchroom temptress in the crime classic The Postman Always Rings Twice, Lana Turner expanded her range with Green Dolphin Street. Set in 19th century Europe and New Zealand, this sweeping romance tells the story of two beautiful sisters, one headstrong (Turner) and one gentle (Donna Reed), and of the man (Richard Hart) who marries one even though he loves the other. The film’s riptides of emotion are matched by breathtaking physical tumult: a fierce Maori uprising plus a catastrophic earthquake and tidal wave that earned the film a 1947 Oscar® for special effects. With its dramatic story and spectacular visuals, Green Dolphin Street drew huge audiences for epic moviemaking, being one of the top-ten box office hits of the year.

NEW 2021 1080p HD Master Sourced from 4K scan of Nitrate preservation elements!

BROADWAY MELODY OF 1940

Run Time 102:00

Subtitles English SDH

Audio Specs: DTS HD-Master Audio 2.0 - English, MONO - English

Aspect Ratio: 1.37:1 4x3 FULL FRAME

Product Color BLACK & WHITE

Disc Configuration BD 50

Special Features: Making-of Featurette: "Begin the Beguine" (hosted by Ann Miller); "Our Gang Comedies: The Big Premiere"; MGM Cartoon: "The Milky Way" ; Original Theatrical Trailer (HD)

The job – a career breakthrough – is supposed to go to hoofer Johnny Brett, but a mix-up in names gives it to his partner. Another example of Broadway hopes dashed? Not when Johnny is played by Fred Astaire. Sparkling Cole Porter songs, clever comedy and dance legends Astaire and Eleanor Powell make the final Broadway Melody (co-starring George Murphy) a film to remember. Powell’s nautical “All Ashore" routine (a/k/a I Am the Captain”), Astaire’s blissful “I’ve Got My Eyes on You” and Fred & Eleanor's elaborate routine to Cole Porter's classic "I Concentrate On You" are more than enough to please any fan. But they’re just a warm-up for the leads to tap one finale number into immortality: “Begin the Beguine,” introduced by Frank Sinatra in That’s Entertainment! with, “You can wait around and hope, but you’ll never see the likes of this again.”

NEW 2021 1080p HD Master Sourced from a new 4K restoration of the last-known surviving nitrate Technicolor print!

DOCTOR X (1932)

Run Time 76:00

Subtitles English SDH

Audio Specs: DTS HD-Master Audio 2.0 - English, MONO - English

Aspect Ratio: 1.37:1 4x3 FULL FRAME

Product Color COLOR; BLACK & WHITE

Disc Configuration BD 50

Special Features: Alternate B&W version of feature; DOCTOR X (HD): UCLA Before & After Restoration featurette (HD); New documentary: "Monsters and Mayhem: The Horror Films of Michael Curtiz (HD); New feature commentary by author/film historian Alan K. Rode; Archival feature commentary by Scott MacQueen, head of preservation, UCLA Film and Television Archive. Original B&W Theatrical Trailer (HD)

Is there a (mad) doctor in the house? “Yes!” shrieks Doctor X, filmed in rare two-strip Technicolor®. An eminent scientist aims to solve a murder spree by re-creating the crimes in a lab filled with all the dials, gizmos, bubbling beakers and crackling electrostatic charges essential to the genre. Lionel Atwill is Doctor Xavier, pre-King Kong scream queen Fay Wray is a distressed damsel and Lee Tracy snaps newshound patter, all under the direction of renowned Michael Curtiz. The new two-color Technicolor master was restored by UCLA Film and Television Archive and The Film Foundation in association with Warner Bros. Entertainment. Funding provided by the Hobson/Lucas Foundation. Also includes the separately filmed B&W version (which has been restored and restored from its original nitrate camera negative) originally intended for small U.S. markets and International distribution, and which has been out of distribution for over 30 years.

NEW 2021 1080p HD Master Sourced from 4K scan of original nitrate Technicolor negatives!

ANNIE GET YOUR GUN (1950)

Run Time 107:00

Subtitles English SDH

Sound Quality DTS HD-Master Audio 2.0 - English

Aspect Ratio 1.37:1 4x3 FULL FRAME

Product Color COLOR

Disc Configuration BD 50

Special Features: Susan Lucci retrospective & intro piece (from 2000 DVD release); Outtakes: Let’s Go West Again-Betty Hutton, Doin’ What Comes Natur’lly-Judy Garland, I’m an Indian, Too-Judy Garland, Colonel Buffalo Bill with Howard Keel and Frank Morgan; Stereo audio pre-recording session tracks including There’s No Business Like Show Business featuring Judy Garland; Theatrical Re-issue Trailer (HD)

Betty Hutton (as Annie Oakley) and Howard Keel (as Frank Butler) star in this sharpshootin’ funfest based on the 1,147-performance Broadway smash boasting Irving Berlin’s beloved score, including “Doin’ What Comes Natur’lly,” “I Got the Sun in the Morning” and the anthemic “There’s No Business Like Show Business.” As produced by Arthur Freed, directed by George Sidney, and seen and heard in this new remastered HD presentation, this lavish, spirited production showcases songs and performances with bull’s-eye precision, earning an Oscar®* for adaptation scoring. The story is a brawling boy-meets-girl-meets-buckshot rivalry. But love finally triumphs when Annie proves that, yes, you can get a man with a gun!

NEW 2021 1080p HD Master! QUICK CHANGE (1990)

Run Time 88:00

Subtitles English SDH

Sound Quality DTS HD-Master Audio 2.0 - English

Aspect Ratio 1.85:1, 16 X 9 WIDESCREEN

Product Color COLOR

Disc Configuration BD 25

Special Feature: Theatrical Trailer

The star of Caddyshack, Ghostbusters and Groundhog Day headlines and codirects this uproarious Big Apple heist-and-pursuit caper. Bill Murray plays Grimm, a frazzled urbanite who disguises himself as a clown – and sets out to rob a bank. Geena Davis and Randy Quaid play accomplices in Grimm’s daring scheme and Jason Robards is the blustery cop caught up in Grimm’s “Clown Day Afternoon.” Swiping a million bucks is a snap compared to getting out of town. Grimm and cohorts commandeer a car, a cab, a bus, a baggage tram and a plane (and encounter future stars Stanley Tucci and Tony Shalhoub in hilarious supporting roles) to make what becomes a less-than-merry escape. But for comedy lovers, Quick Change is a ticket to ride!

NEW 2021 1080p HD Master Sourced from 4K scan of best surviving nitrate preservation elements! EACH DAWN I DIE (1939)

Run Time 92:00

Subtitles English SDH

Audio Specs: DTS HD-Master Audio 2.0 - English, MONO - English

Aspect Ratio: 1.37:1 4x3 FULL FRAME

Product Color BLACK & WHITE

Disc Configuration BD 50

Special Features: Warner Night at the Movies including 1939 Short Subjects Gallery: Vintage Newsreel, WB Technicolor Short: "A Day at Santa Anita", WB Cartoon: "Detouring America"; Restrospective featurette: "Stool Pigeons and Pine Overcoats: The Language of Gangster Films" ; Feature Commentary by Film Historian Haden Guest; Breakdowns of 1939: Studio Blooper Reel; WB Cartoon: "Each Dawn I Crow"; Radio show w/George Raft & Franchot Tone; Trailer for "Wings of the Navy" and Original Theatrical Trailer for Each Dawn I Die (HD)

Framed for manslaughter after he breaks a story about city corruption, reporter Frank Ross is sure he’ll prove his innocence and walk out of prison a free man. But that’s not how the system works at Rocky Point Penitentiary. There, cellblock guards are vicious, the jute-mill labor is endless, and the powers Ross fought on the outside conspire to keep him in. Frank’s hope is turned to hopelessness. And he’s starting to crack. Two of the screen’s famed tough guys star in this prison movie that casts a reform-minded eye on the brutalizing effects of life in the slammer. James Cagney “hits a white-hot peak as [Ross,] the embittered, stir-crazy fall guy” (Leonard Maltin’s Movie Guide). And George Raft (Cagney’s friend since their vaudeville days) portrays racketeer Hood Stacey, who may hold the key to springing Ross.

NEW 2021 1080p HD Master Sourced from 4K scan of best surviving preservation elements!

ANOTHER THIN MAN (1939)

Run Time 102:00

Subtitles English SDH

Audio Specs: DTS HD-Master Audio 2.0 - English, MONO - English

Aspect Ratio: 1.37:1 4x3 FULL FRAME

Product Color BLACK & WHITE

Disc Configuration BD 50

Special Features: M-G-M Musical Short: Love on Tap; Classic M-G-M Cartoon: The Bookworm

Dum-Dum, Wacky, Creeps, Fingers: They’re just a few of the hoodlums in the world of amateur sleuths and professional bon vivants Nick and Nora Charles. And now there’s a new hood: parenthood. A birthday – make that boithday – party that some of da boys hold for infant Nick Jr. is part of the fun in this third film in the witty series. The case begins when the Charles family arrives for a weekend with a Long Island industrialist who fears someone wants to kill him. Sure enough, his fears come true. Nick (William Powell) is among the suspects. Asta scrams with what may be the murder weapon. And Nora (Myrna Loy) has her own ideas about the case and sneaks off to a nightclub to ferret out a clue. “Madam, how long have you been leading this double life?” Nick asks. “Just since we’ve been married,” she replies.

#wac

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admiralty-xfd · 6 years ago

Text

an awkward phone call

Scully awoke to the phone ringing. Maybe it was Mulder’s phone? She wasn’t sure, it was early and their rings sounded the same. She could barely lift her eyelids open she was so tired.

She remembered she was at his apartment again. They’d just returned from Missouri and she realized she actually hadn’t been home in days. This new relationship she and Mulder had found themselves in had been going on for about a month, and although they still hadn’t discussed exactly what they were now, they’d managed to fall into a somewhat comfortable routine.

She lifted her head up and peeked over his bare shoulder blades, and on the other side as if miles away was the loud ringing culprit. She didn’t know what time it was, but it was way too early on a Sunday to be answering to anyone, she knew that much. She closed her eyes and let it ring.

Then she heard him shift in the bed. “...M-Mulder.”

His voice was low, gravelly, sleepy. She wasn’t entirely convinced he was even fully awake. A few seconds passed.

“No, it’s… Oh. Um.” He sounded awake now.

She wasn’t curious yet, she was just tired. She wished he wouldn’t answer his work phone on a weekend but the possibility of some new case was always his primary concern. She couldn’t be mad. She’d known this as long as she’d known him. She knew this when she started sleeping with him.

“Yeah, um… hang on a second.”

He flipped over in the bed and he was wearing his panic face. Sorry, he mouthed, and grimaced. He handed over her phone.

Her phone. Shit.

She took it gingerly, like a loaded weapon, knowing exactly who it must be, all that entailed, and everything else she needed to know from his face alone, as usual. She braced herself.

“...Hello?”

“Dana?”

Fuck.

“Hi, Mom.” She sat up in bed, holding the sheet to her chest.

“Was that... Fox who answered your phone?”

Everything had happened so fast, she knew the jig was up. It had to be. Their sleepy voices, her being right next to him. None of those details even mattered because her mother wasn’t an idiot.

“Yeah, he… yeah, it was.” She didn’t offer any explanation. It was way too early to come up with something clever. She hadn’t even had coffee yet.

Her fingers moved to her forehead and she pinched it in embarrassment as Mulder’s face quickly changed from apology to joviality. He gave her the stupidest grin and started chuckling. She knew he was loving every second of this. She covered his mouth with her hand and gave him a death glare.

“I tried you at home, are you not… there?”

“No,” she sighed. “I’m not.” Again, she couldn’t think of anything else to say. Her mom now probably knew she was fucking Mulder and they would all just have to deal with that.

“Okay. Well, I left a message last night on your answering machine. I suppose you haven’t been home.”

“I’ve been out of town, on a case. We- I just got back.”

“Well, I was calling to see if you wanted to join me at church this morning.”

“I think I’m gonna pass on church today, Mom. We, uh… we had a bit of a late night. Work… stuff.” Couldn’t hurt to try.

“Right. Work. Dana, you work too hard. It is the weekend, after all.”

Scully looked at Mulder. He had taken the hand she’d been using to cover his mouth and started kissing it, all while giving her a look she hadn’t seen in about eight hours. A look that had made them turn off Caddyshack. A look that was making her want to get off the phone, right now. She tried to shush him.

“I know, you’re right. I’ll keep that in mind.”

“Dana?”

“Yeah, Mom?”

“I hope the work stuff was… good.”

Scully’s jaw dropped. She looked over towards Mulder but he was now laying behind her, trailing kisses up and down her back. It was the closest her mother had ever come to acknowledging she had any kind of sex life whatsoever.

She wasn’t really sure why she didn’t want her mom to know about this new aspect of their relationship. Mostly it was because she wasn’t sure yet what she and Mulder were to each other, and wasn’t ready to try to explain it to her mother.

Maybe she’d spent so many years denying it that admitting she’d been wrong this entire time was embarrassing.

In any event, it seemed like her mother was communicating to her that she was perfectly aware of this development.

“Yes, Mom. The work stuff was fantastic.”

“Well, that’s good to hear. You enjoy your Sunday. Call me later.”

“Okay, I will.”

“Say hello to Fox for me.”

“Um. Yeah. Bye, Mom.”

She hung up, dropped the phone to the floor and Mulder moved aside as she flopped back down onto the pillow, sighing loudly. He continued his journey up her arm and over her shoulder and collarbone.

“Sorry, I thought it was my phone,” he said between kisses.

Scully covered her face with her hand. “Oh my God… how am I going to explain this?”

Mulder stopped and looked up at her. “Who cares, Scully? You’re a grown woman. It’s not like you can’t come and go as you please. ‘Come’ being the operative word,” he smirked, as his head disappeared underneath the sheet.

“It’s not that, it’s- oh God, Mulder, right now? - It’s that it’s you. I don’t know ho- ooooow- to explain that.”

“But your mom likes me,” his voice came from under the covers.

“Please don’t do that -ah- while we’re talking about my mom.”

“Then stop talking about it.” He went back to work.

Her mother did like Mulder, actually. She liked him a lot. Scully knew Mulder could be charming when he wanted to be; hell, he’d roped her in a long time ago. But after all the hardship they’d gone through? The direct effect it had upon her family? Not to mention how embarrassing what just happened was. She wasn’t ready to talk to her mother about any of this.

Just then all she could focus on was his mouth moving on her so she took a page from Mulder’s book, stopped thinking and started feeling.

Source: This Woman’s Work

#txf #msr #fanfic #mama scully #she loves mulder #we all know it #this woman's work #inspired by an ask

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rivjudephoenix · 6 years ago

Photo

Observing the darkness in his work, it’s tempting to look for its source in his personal history. It wasn’t long ago that he was still being referred to as “the second most famous Phoenix,” his name associated most closely with the death of his cult-legend brother, River, in 1993, which Joaquin witnessed, along with sister Rain, in front of the Viper Room on Sunset Boulevard, then co-owned by Johnny Depp. The public memory of his brother has faded enough that Joaquin is now the most familiar Phoenix, but the tragedy is never far for Joaquin himself.

[...] In part that’s because reporters never stop asking him about it. But he was also deeply influenced by his brother, and by his death, even if he remains reluctant to draw a straight line between his unusual background and his private tragedy and his talent for inhabiting the morose, damaged, violent, and otherwise anxiety-riddled characters he takes on—roles he seems vividly made for. “I try not to fucking think about that,” he says, with that half-comic ambiguity. “Why am I doing this fucking interview? You’re going to ruin my acting.”

Last July, Warner Bros. previewed Joker to a select group of journalists at a screening room in a West Hollywood hotel. After watching Phoenix as the maniacal creep Arthur Fleck, I went outside to discover my rental car had been towed—the rookie move of a non-Angeleno. It was 8:30 at night, just in time for a prescheduled phone call from Joaquin Phoenix. “Where are you?” he asked, offering to come to my aid. There was an uncomfortable moment as I told him the location. In an uncanny and unfortunate coincidence, it was directly behind the Viper Room. Phoenix paused, then said: “I know that’s on Sunset, but what’s the cross street?” [...]

In 1991, River famously told Details magazine that he lost his virginity at age four, which seemed to cement a narrative about what happened inside the cult. “You really believe that?” says Phoenix. “It was a complete and total joke. It was just fucking with the press. It was literally a joke, because he was so tired of being asked ridiculous questions by the press. My parents were never negligent,” he says. [rivjudephoenix: It wasn’t a joke, friends have confirmed it]

As River’s fame grew with Running on Empty, about a family of ’60s radicals on the run, and an Indiana Jones movie, playing a young Indy, Joaquin wasn’t getting any appealing offers and took a break to hang out on a beach with his dad in Mexico, learning Spanish and riding motorcycles. After he returned to the States, his brother was shooting the indie classic My Own Private Idaho with director Gus Van Sant. River began tutoring his younger brother about cinema. “My brother came home and he was like, ‘We need to watch this movie called Raging Bull.’ And I’m like, ‘What?’ Prior to that, I watched Caddyshack and Spaceballs. And Woody Allen comedies.”

[...] Not long after, he recalls his brother making a strange prediction. “He suggested I change my name [back to Joaquin] and then, I don’t know, six months later, whatever it was, we were in Florida, we were in the kitchen, and he said, ‘You’re going to be an actor and you’re going to be more well known than I am.’ Me and my mom looked at each other like, ‘What the fuck is he talking about?’ “I don’t know why he said that or what he knew of me at the time. I hadn’t been acting at all. But he also said it with a certain weight, with a knowing that seemed so absurd to me at the time, but of course now, in hindsight, you’re like, ‘How the fuck did he know?’

Phoenix says that he and his siblings were not frequent denizens of clubs like the Viper Room. His brother had gone there in 1993, and reportedly stayed in hopes of playing music. “I don’t think it was typical. To be honest, I don’t think it was really—I don’t think it’s what he would have wanted to have done with his night. He’d, just before that, spent time just playing me new songs that he’d written.” [...]

The family grieved in private for months. The first time any of the Phoenixes emerged from the Costa Rica compound was when Joaquin and his mother flew to New York so Joaquin could try out for a part in Gus Van Sant’s latest film, To Die For, starring Nicole Kidman. (The casting assistant on the film, Meredith Tucker, still says his audition was the best she has ever seen.) When he arrived in New York, Phoenix hadn’t acted in three or four years. “As soon as I saw him, I started crying,” Van Sant says. “I didn’t realize that would happen but it was pretty sad.”

[...] His role as [Johnny] Cash defined him as an actor with an uncanny power to subsume himself in a role. “I think I had this realization that the experiences I was having as an actor were deepening, becoming more profound to me,” he says of that role. “There is this revelatory feeling, and it feels like every step you’re dancing closer and closer to the thing.” Phoenix emphasizes that “the thing” is not his brother’s death, not some Rosebud, as in the childhood sled that unlocks the psychic secrets of Charles Foster Kane in Citizen Kane. “It’s one, it’s one of the Rosebuds,” he says, “but it’s not a Rosebud in the way that people think. At all.”

But the topic of River remains sensitive. Not even Phillips, who became good friends with Phoenix over the course of making Joker, ever felt comfortable enough to bring it up. At one point, after I ask a question about the Viper Room incident, Phoenix says, “You’re such a great, decent human being. That sounds like I’m being sarcastic. I am.”

This year, on the anniversary of River’s death, Rain (to whom Joaquin affectionately refers as a “fucking hippie”) will release an album called River, inspired by his memory and legacy. Before recording the album, which includes a duet with Michael Stipe, she sought the blessing of the family, including Joaquin, whom Heart calls the “patriarch” of the family, to address their private tragedy in public. He understood her need to communicate her experience. “She was right there, also, and so I think there was a lot that was put on me,” he says. “Then I was like, don’t fucking put that on me. Just fucking—I’ll let you know if there’s anything on me that we’re talking about.”

At the sushi joint, the magazine writer makes an uncomfortable error, inquiring about Phoenix’s dad: Where’s he living nowadays? “He lives in heaven,” Phoenix says flatly. Wait, where’s that? Costa Rica? “No one’s ever been there,” he says. He’s alive, right? “Oh is he? Oh cool, great,” he says sarcastically. “Let’s talk to him.” In fact, Phoenix adds, his father died four years ago of cancer, a development that didn’t make the news. “Suddenly, there’s a lot of holes in your research,” he says.

“I was going to say I wouldn’t joke about that, but I actually would joke about something like that. But I’m not joking.” But he considers the entertainment value of maintaining the ruse. “That would be so fucked up!” he laughs. “I could also just keep it up—‘I’m just fucking with you!’” Later, in the parking lot waiting for the valet to swing the Lexus around, he gives it another go: “I was just kidding before. He’s still alive.” I wait a beat. “Really?” “No, he’s dead. Sorry.” (In fact, he did die.)

— Vanity Fair, October 2019

#river phoenix #joaquin phoenix

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