delightfullyatomicfest

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This is clever in Anna’s last ep… Carter and Carol talking about a patient:

Just would have liked to have known what she was gonna choose

Why?

Why? Um… I dunno, just seems unsettled, unfinished

We never know what happens to people when they leave here

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something so crazy-making about unhealthy mentor-protegé relationships. we're foils, we're mirrors, we're the same person, we're a parent and a child, we're lovers, we're enemies, we'd be better off without each other, we'd kill and die for each other

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Link

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ER S3 is so interesting because near the end it’s like ‘here is why Carter belongs in the ER’ and at the end of S2 when Carter was having the interview about why he wanted to do surgery it was obvious he belonged in the ER, BUT the whole Abby Keaton storyline shows how it would actually be great for someone like Carter to be in surgery and the ep where he picks up on the surgical case which Anspagh misses is the same.

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Luka asking Carter for permission to sleep with Gillian was weird as hell.

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I’ve been listening to the Setting the Tone podcast because it’s literally the only ER podcast (although I bet more will pop up soon).

Anyway they have interviews with quite a few people, and Christine Elise (who played Harpur Tracy) mentioned that Noah Wyle and David Schwimmer came over to her house one night to play poker.

I’m obsessed with the ER / Friends early years friendships, if this had happened with the two biggest shows in tv today there would be so much information on the internet damnit

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I've found my unhinged inner peace inducing white (coat) noise compilation

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This is what I assume happens to my follow count when I start posting about a totally different fandom

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Ok I need to just splurge some of my ER thoughts somewhere:

- Love Elizabeth Corday, hate that they sucked her personality out once she got together with Greene.

- I’m an Africa episodes defender (esp Congo) and would have been pretty ok with Carter’s story ending with him riding off into the sunset in the jeep.

- Those 22 ep a year US shows can be so frustrating in terms of story, where they do those short arcs and then just drop them.

- The basketball area was such a good accidental extra location for them, good shout on that Clooney.

- When I watched ER back in the day i started at S7 and I’m pretty sure I saw some older repeats but I missed literally all of George Clooney’s time. But having watched New Amsterdam it turns out I’d already seen his whole performance. Seriously, Ryan Eggold totally steals his way of speaking.

- I’ve been trying to work out when they decided Carter’s parents would be so neglectful. Was it just an oops we’ve met his grandparents and didn’t mention the parents after the stabbing so they worked it in? Because I think when he’s with Gant he mentions living at home but idk if there’s wording I didn’t notice.

- it’s so funny how everyone’s pretty much a resident, and pretty much in charge, at the start of show, with Morgenstern being about the only attending, but by the time you get to S11 there’s about 5 attending a and they’re involved in every case. I know it’s a product of staying with the main characters throughout but it’s still weird.

- Gant was a really good storyline, wish they’d sat with the consequences for more than an episode.

- Love Chen and Carter’s relationship.

- Love Carter staying in Weaver’s basement.

- Benton taking the ER job was such a transparent way for the writers to get him in more scenes.

- Loved the scene where Benton leaves and Carter is waiting for him on the bench in the park, but I’m not sure it should have been the final scene of that ep.

- I did not enjoy that bit where Greene was a player.

- Did Carter hit every single whump fanfic trope???

- I feel awkward every time Carter shouts, I think it’s kind of his worst acting. The man can really cry though, no wonder they kept giving him angst.

- All of the Friends eps where they visit a hospital should have been full on ER crossovers

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The secret messages Lennon and McCartney hid in the Beatles’ songs

As Ian Leslie’s superb book John & Paul explains, the greatest songwriting partnership in pop history was a volatile and tortured one

★★★★★ 5/5

John Lennon and Paul McCartney in November 1963

John Lennon and Paul McCartney may have been only half of the Fab Four, but don’t expect Ian Leslie to write a “George and Ringo” book. The Beatles’ beating heart was always Lennon and McCartney. In John & Paul: A Love Story in Songs, Leslie, whose previous books have focused on applied philosophy, examines their relationship through the lens of individual tracks. We’re taken from Come Go With Me, the doo-wop number that Lennon sang at a Woolton church fete in 1957 when the pair met, to Here Today, McCartney’s 1981 tribute to his murdered friend.

The Lennon-McCartney songwriting powerhouse, which would produce around 180 songs, began in earnest in 1962 after the two men made the decision to sideline George Harrison. (Ironically, the latter’s Here Comes the Sun, from 1969, is today the most streamed Beatles song on Spotify.) Their partnership became a private dialogue, even as millions fell in love with the music. Few knew, for example, that Lennon’s I Don’t Want to Spoil the Party, a 1964 Beatles song, was raking over McCartney’s real-life 21st birthday celebrations a year earlier, during which Lennon had savagely beat up Cavern compère Bob Wooler for joking that the singer’s holiday with gay Beatles manager Brian Epstein had been a “honeymoon”. 

Wracked by self-doubt even as the Beatles conquered the world, Lennon developed what Leslie describes as a “charisma of vulnerability”, evident in the lyrics of Strawberry Fields Forever, a track “finely poised between dream and nightmare”. It inspired McCartney to write the single’s flipside, Penny Lane. Both lyrics swathe in surreality various Liverpool locations that were significant to their writers. Leslie imagines the songs “facing each other, deep in conversation. Radically different, but umbilically connected.”

Early Lennon-McCartney songs were written “eyeball-to-eyeball”, quite literally: Leslie notes the “intensity” of the duo’s eye-contact in Peter Jackson’s 2021 documentary The Beatles: Get Back. “When John wasn’t being looked at by Paul,” Leslie writes, “he didn’t know who he was supposed to be.” (Or, as Lennon tells McCartney in Get Back, as they work on Two of Us: “It’s like you and me are lovers.”) In the Beatles’ final public performance, on their Savile Row rooftop in January 1969, Leslie suggests that “Paul can see that John is happy, and because John is happy, Paul is euphoric.” In recent live concerts, McCartney has used the footage in a virtual “duet” with Lennon.

Leslie’s analysis, empathetic and carefully sourced, reaches its apogee with his account of the rift that emerged in India in 1968. The Beatles had gone to Rishikesh for meditation and enlightenment under the tutelage of the Maharishi Mahesh Yogi. Lennon and McCartney wrote scores of songs there, including most of the “White Album”. 

But in this spiritual and creative idyll, Lennon suffered a breakdown. He had long harboured feelings of betrayal and loss: abandoned by his parents, he was brought up by an aunt; when in his teens he got to know his mother, she was killed in a road accident. His close friend and original Beatle Stuart Sutcliffe had died; so, more recently, had Epstein. The Maharishi hadn’t brought an end to the trauma as Lennon had hoped: worse, to Lennon McCartney seemed indifferent to his pain, and left Rishikesh early without him. Back in London, in a drug-fuelled madness, Lennon announced to the rest of the Beatles that he was Jesus, and howled with pain on the song Yer Blues. 

Lennon in 1975, post-Beatles break-up, with Yoko Ono (l) at a London protest 

After the Beatles stopped touring in 1966, the two men had spent less time together. Lennon sank into depression. His musical dialogue with McCartney continued, even after the Beatles split in 1970, but it took a darker form: listen to How Do You Sleep?, a 1971 anti-McCartney diatribe that contains the line “The only thing you did was yesterday.” Yesterday, the first Beatles recording to have featured just one member of the group (McCartney), remained as much a source of bitterness for Lennon as of wonder. He asked a friend whether Imagine was “as good as Yesterday”. Conversely, in his 1973 song I Know (I Know), by which time post-split tempers had cooled, Lennon would sing: “I love you more than yesterday.” 

John & Paul is an elegantly written and original telling of the Beatles’ story, which is as enthralling and astonishing as their music. There are fresh insights for the most seasoned Fab Four fan. Decades after their split, listening to the Beatles can still yield new rewards, and Leslie is an expert listener. As he puts it, describing Hey Jude: “What started so modestly, one human addressing another, culminates in this massed glory.”

(source)

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We don’t talk enough about this day in June of 1968 where Paul, most likely stoned out of his mind, was tasked with addressing a sales conference attended by the executives from Capitol, and somehow managed to woo them all.

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Paul McCartney: If John was gay I would’ve known about it but he wasn’t because we topped and tailed it all the time and nothing ever happened. It was purely innocent.

John Lennon, known foot fetishist: