#Harriet Norris

[eye-coded-rat]

(ep1) CAT1RBC5257-12052022-09012024

Reanimation (Partial) -/- Regret [Email]

"And that voice I have loved for twenty years answered: “Some of him.”"

So, we have our first "talker" read by Norris.

That moment when you want to hear your deceased loved one again, but everything about him is Wrong. The voice is his, but oh god. The Horrors.

[bethanydelleman]

The Times Women Don’t Know Their Hearts

I was thinking about my proposal analysis and it occured to me that there are two instances in Jane Austen’s novels where women don’t know how to respond to a proposal, and in both, cases, the problem is actually the influence of other women.

Emma has already been trying to turn Harriet off the Martins and on to “real gentlemen” by the time Harriet gets the proposal from Robert Martin. She ends up not knowing her own mind:

She [Harriet] was so surprized she did not know what to do. Yes, quite a proposal of marriage; and a very good letter, at least she thought so. And he wrote as if he really loved her very much—but she did not know—and so, she was come as fast as she could to ask Miss Woodhouse what she should do.—” Emma was half-ashamed of her friend for seeming so pleased and so doubtful.

Emma then clearly influences Harriet’s decision and it is implied that she also supplies her with the words of refusal. (One high point of Emma 1972 is that she actually begins to dictate Harriet’s response). So Harriet’s inability to know her own heart was Emma’s doing. It’s pretty clear by the end that if Harriet had not been led astray by Emma, she’d have accepted.

We also have Janet Ross in Mansfield Park (a friend of Mary’s):

Poor Janet has been sadly taken in, and yet there was nothing improper on her side: she did not run into the match inconsiderately; there was no want of foresight. She took three days to consider of his proposals, and during those three days asked the advice of everybody connected with her whose opinion was worth having, and especially applied to my late dear aunt, whose knowledge of the world made her judgment very generally and deservedly looked up to by all the young people of her acquaintance, and she was decidedly in favour of Mr. Fraser.

From Mary’s overall behaviour (the wish to marry for wealth and consequence), we can infer that the late Mrs. Crawford said from Mary’s words: “We were all delighted. She could not do otherwise than accept him, for he was rich, and she had nothing” What Mary doesn’t seem to grasp is that Janet must have known on some level before accepting the proposal that she wouldn’t have been happy with Mr. Fraser. Yet, she is able to be influenced and all her friends assured her it was a good idea so she went for it.

And then we have Anne Elliot, who does accept Wentworth’s first proposal, but then on the advice of Lady Russell (we know that Sir Walter didn’t have a huge hand in this), was convinced to break it off. This decision is a little trickier because in all honesty, I think Lady Russell was giving good advice. Like, maybe don’t marry a penniless sailor at 19, you might be a widowed mother in the next year... but it is ultimately a decision that Anne regrets. In hindsight, we know she would have been happier if she married him.

I also want to mention Maria Bertram, who raised by aunt Norris, has been taught to value wealth above her own happiness. We are not directly told that Mrs. Norris influenced the match, but she was instructed by Sir Thomas to conceal the engagement until he returned and then did the opposite, making it harder for Maria to call it off the marriage if that was her preference.

The only man who influences a marriage decision is Mr. Brandon Sr., who locks Eliza Brandon away until she agrees to marry his eldest son (Colonel Brandon's older brother). Jane Austen never really shows a heroine father manipulate their daughter/ward so directly, forcefully, and obviously. The closest is Sir Thomas with Fanny but even he isn't ruthless. The bigger danger for women in these novels is much more subtle influence.

I feel like the overall message here is that you need to be careful who you let influence your decisions. Or who you befriend. Anne is able to reject her father’s disapprobation, but she has more trouble with her mother figure. She forgets, perhaps, that Lady Russell is also a little too conscious of rank. Harriet and Janet both have friends who lead them down the wrong path. Fortunately Harriet gets back on track, but Janet ends up in a very unhappy marriage. 

And the worst part is, all of these influencers, Emma, Mrs. Crawford, and Lady Russell (and even Mrs. Norris), think they are doing the best thing for their friend. They cannot see their own folly.

[sapphicsukeve]

Eastenders 28/09

[themagnusprotocol-avaragerant]

Good evening listeners!

Episode 1.

This summary is going to include the theory that Elias, Jon and Martin are all voices in FR3DD1! I’m sure you all can do your research.

I’m going to start off with my general thoughts! This episode was long and I’m sorry for the rant, it’s supposed to be concise but I got distracted! Please let me know what you’d like me to focus on in future, I’d love to hear your ideas!

What are my thoughts?

- At the beginning, we seem to be listening to this episode from the recording of a PC. Maybe the very same PC that holds Jon and his friends? Who knows!

TEDDY: Teddy’s leaving party! That totally isn’t gonna bite him in the arse! I find it quite surprising as I thought institute workers couldn’t leave. Though, this is the OIAR. Not the institute. But I think we’ll be seeing our little friend quite soon!

COLIN: Colin is a little ray of sunshine, isn’t he? Can’t wait to see how he handles our little friends in the computer! He seems to be under the sort of “curse” that prevents him from leaving. Teddy seems to know it. Which begs the question, why can Teddy leave? He has been working on this program for 2 years, and has tried everything under the sun! At the end, he seems rather frenzied. He is frantically searching through drawers and talking to FR3DD1. He seems aware that Freddy can hear him, and determined to find out! I wonder how well that went for our past team, hmm?

GWEN: It seems Gwen’s anger is unfounded. Why? I haven’t a clue. Maybe we’ll find out why she hates Alice in later episodes? She also seems to want to be head of the OIAR badly. Maybe something to do with her being a Bouchard?

- “modified version of Windows NT 4.0” maybe that detail will be useful!

SAM: Sam on his paperwork ticked a box called “response 121”! I’m sure that’ll have 0 consequences later on whatsoever! Don’t you?

Our statement is read out by our good friend Norris! This I believe is Alexander, our voice actor for Martin!

The statement is an email. Here are the details!

To: Darla Winstead (dwinny@mailpod.com) 
From: Harriet Winstead (hpw332@mailpod.com)
Date: May 12, 2022
Subject: Re: Re: checking in

I won’t explain the whole statement, you’ve probably heard the episode! But i will link the transcripts for you who want to do a little digging!

A brief summary of it: a woman who is mourning the loss of a lover suddenly gets a call from a voice sounding suspiciously like the dead man himself! She goes to the cemetery only to be met with “some of him”, as the creature put it. This sends her into a panic!

And it turns out we get another statement too! This one seems to be read out by Chester, who I believe to be Jon, but it doesn’t give us a clear name! Here are the details!

Forums.lostcityurbex.com.

Board index. Spelunking. Sites.

New topic: Magnus Institute Ruins

By RedCanary on Sunday April 10, 2022. 3:31pm.

A brief summary: a spelunker called “RedCanary” goes to explore the Magnus institute ruins after some form of fire happened years ago. He seems spooked out, finding “symbols and stuff and some pretty suspicious stains on some floors.” Aswell as a sense of anxiety he didn’t have before! He ended up getting banned due to Gory images, something about eyes? Maybe it’s our good friend Jonah leaving his mark! Who knows?

Please let me know if iv missed anything at all! Feel free to mention any theories you may have. I want this to be an area where you can get those little cogs turning!

And as always…

Thankyou for listening.

[thatscarletflycatcher]

So, there's this famous quote (and source of many memes) from Northanger Abbey, where Henry Tilney says:

“and this is a very nice day, and we are taking a very nice walk, and you are two very nice young ladies. Oh! It is a very nice word indeed! It does for everything. Originally perhaps it was applied only to express neatness, propriety, delicacy, or refinement—people were nice in their dress, in their sentiments, or their choice. But now every commendation on every subject is comprised in that one word.” (chapter 14)

Indeed, Jane doesn't seem to like the word that much, at least in this novel: of the 14 times it is used, 3 happen before this exchange, 10 during it, and then one last time in chapter 29.

It appears

7 times in Pride and Prejudice (used mainly by Lydia, but also by Mrs Bennet, Mrs Gardiner and Lady Catherine);

12 in Sense and Sensibility (by sir John, Marianne, Edward, Mrs Palmer, and Mrs Jennings most of all);

17 in Emma (by Harriet, Mr Woodhouse, Emma, Miss Bates, Mrs Elton, and Mr Weston);

15 in Mansfield Park (by Mrs Grant, Mrs Norris, Mary, Tom, Mr Crawford, Maria, and Edmund);

12 in Persuasion (by Elizabeth, Wentworth, Admiral Croft, Mr Elliot, Mary

But of those, none are used by the narrator in NA; 2 in P&P; 3 in S&S; 5 in Emma; 4 in MP; and 6 in Persuasion (and I'm including all indirect speech). Very nice.

But you know what generic, vague descriptor our beloved Jane loved? fine.

NA: 33 times (18 from dialogue: used my Mrs Thorpe, Mr Allen, Mrs Allen, John Thorpe, Catherine, a miss Thorpe, Isabella, Tilney, and Mrs Morland.)

P&P: 40 times (21 in dialogue: used by Mrs Bennet, Charlotte, Lizzy, Darcy, Caroline, Mrs Gardiner, Mrs Reynolds, and Mr Bennet)

S&S: 29 times (17 in dialogue: used by Willoughby, Marianne, Edward most of all, Mrs Palmer, Anne Steele, and Mrs Jennings)

Emma: 48 times (33 in dialogue: used by Harriet, Mr Woodhouse, Mr Knightley, Emma, Miss Bates, Jane Fairfax, Mr Weston, Frank, Mrs Cole, Mrs Elton)

MP: 67 times (38 in dialogue: used by Mr Rushworth, Lady Bertram, Edmund, Mrs Norris, Fanny, Mrs Grant, Dr Grant, Mr Crawford, William, Mrs Price, Mr Price, and Mary)

Persuasion: 35 times (17 in dialogue: by Mrs Musgrove, Mrs Croft, Charles Musgrove, Sir Walter, Admiral Croft, Captain Wentworth, lady Dalrymple, Harriet Smith).

Not only is fine used much, much more than nice, but nice is most often used by silly or unrefined characters, whereas fine sees more representation of all sorts of characters, and it is used by the narrator specifically, much, much more, not only to describe weather, but to describe people, places, clothes, and so on and so forth.

So, dear Jane, I think we need to talk...

[wankerwatch]

Commons Vote

On: Passenger Railway Services Bill (Public Ownership) Bill: Committee: Amendment 14

Ayes: 111 (95.5% Con, 4.5% DUP) Noes: 362 (97.0% Lab, 2.5% Ind, 0.6% SDLP) Absent: ~177

Day's business papers: 2024-9-3

Likely Referenced Bill: Passenger Railway Services (Public Ownership) Bill

Description: A Bill to make provision for passenger railway services to be provided by public sector companies instead of by means of franchises.

Originating house: Commons Current house: Commons Bill Stage: 3rd reading

Individual Votes:

Ayes

Conservative (106 votes)

Alan Mak Alberto Costa Alex Burghart Alicia Kearns Alison Griffiths Andrew Bowie Andrew Murrison Andrew Rosindell Andrew Snowden Aphra Brandreth Ashley Fox Ben Obese-Jecty Ben Spencer Bernard Jenkin Blake Stephenson Bob Blackman Bradley Thomas Caroline Dinenage Caroline Johnson Charlie Dewhirst Chris Philp Claire Coutinho Damian Hinds Danny Kruger David Davis David Mundell David Reed David Simmonds Desmond Swayne Edward Argar Edward Leigh Gagan Mohindra Gareth Bacon Gareth Davies Gavin Williamson Geoffrey Cox George Freeman Greg Smith Gregory Stafford Harriet Cross Harriett Baldwin Helen Whately Iain Duncan Smith Jack Rankin James Cartlidge James Cleverly James Wild Jeremy Hunt Jeremy Wright Jerome Mayhew Jesse Norman Joe Robertson John Cooper John Glen John Hayes John Lamont John Whittingdale Joy Morrissey Julia Lopez Julian Lewis Karen Bradley Katie Lam Kemi Badenoch Kevin Hollinrake Kieran Mullan Kit Malthouse Laura Trott Lewis Cocking Lincoln Jopp Louie French Mark Francois Mark Garnier Mark Pritchard Martin Vickers Matt Vickers Mel Stride Mike Wood Mims Davies Neil Hudson Neil O'Brien Neil Shastri-Hurst Nick Timothy Nigel Huddleston Oliver Dowden Patrick Spencer Peter Bedford Peter Fortune Priti Patel Rebecca Harris Rebecca Paul Rebecca Smith Richard Fuller Richard Holden Robbie Moore Robert Jenrick Saqib Bhatti Sarah Bool Shivani Raja Simon Hoare Steve Barclay Stuart Anderson Stuart Andrew Suella Braverman Tom Tugendhat Victoria Atkins Wendy Morton

Democratic Unionist Party (5 votes)

Carla Lockhart Gavin Robinson Gregory Campbell Jim Shannon Sammy Wilson

Noes

Labour (351 votes)

Abena Oppong-Asare Abtisam Mohamed Adam Jogee Adam Thompson Afzal Khan Al Carns Alan Campbell Alan Gemmell Alan Strickland Alex Baker Alex Ballinger Alex Barros-Curtis Alex Davies-Jones Alex Mayer Alex McIntyre Alex Norris Alex Sobel Alice Macdonald Alison Hume Alison McGovern Alistair Strathern Allison Gardner Amanda Hack Amanda Martin Andrew Cooper Andrew Gwynne Andrew Lewin Andrew Pakes Andrew Ranger Andrew Western Andy MacNae Andy McDonald Andy Slaughter Angela Eagle Anna Dixon Anna Gelderd Anna McMorrin Anna Turley Anneliese Dodds Anneliese Midgley Antonia Bance Ashley Dalton Baggy Shanker Bambos Charalambous Barry Gardiner Bayo Alaba Beccy Cooper Becky Gittins Ben Coleman Ben Goldsborough Bill Esterson Blair McDougall Brian Leishman Callum Anderson Calvin Bailey Carolyn Harris Cat Smith Catherine Atkinson Catherine Fookes Catherine McKinnell Catherine West Charlotte Nichols Chi Onwurah Chris Bloore Chris Curtis Chris Elmore Chris Evans Chris Hinchliff Chris Kane Chris McDonald Chris Murray Chris Vince Chris Ward Chris Webb Christian Wakeford Claire Hazelgrove Claire Hughes Clive Betts Clive Efford Clive Lewis Connor Naismith Connor Rand Damien Egan Dan Aldridge Dan Carden Dan Jarvis Dan Norris Dan Tomlinson Daniel Francis Danny Beales Darren Paffey Dave Robertson David Burton-Sampson David Pinto-Duschinsky David Smith David Taylor Dawn Butler Debbie Abrahams Deirdre Costigan Derek Twigg Diana Johnson Douglas Alexander Douglas McAllister Elaine Stewart Ellie Reeves Elsie Blundell Emily Darlington Emily Thornberry Emma Foody Emma Lewell-Buck Euan Stainbank Fabian Hamilton Fleur Anderson Florence Eshalomi Frank McNally Gareth Snell Gareth Thomas Gen Kitchen Gerald Jones Gill Furniss Gill German Gordon McKee Graeme Downie Graham Stringer Grahame Morris Gregor Poynton Gurinder Singh Josan Harpreet Uppal Heidi Alexander Helen Hayes Helena Dollimore Henry Tufnell Ian Lavery Ian Murray Imogen Walker Irene Campbell Jack Abbott Jacob Collier Jade Botterill Jake Richards James Asser James Frith James Naish Janet Daby Jayne Kirkham Jeevun Sandher Jeff Smith Jen Craft Jenny Riddell-Carpenter Jess Asato Jess Phillips Jessica Morden Jessica Toale Jim Dickson Jim McMahon Jo Platt Jo Stevens Jo White Joani Reid Jodie Gosling Joe Morris Joe Powell Johanna Baxter John Grady John Healey John Slinger John Whitby Jon Pearce Jon Trickett Jonathan Brash Jonathan Davies Jonathan Hinder Josh Dean Josh Fenton-Glynn Josh MacAlister Josh Newbury Julia Buckley Julie Minns Juliet Campbell Justin Madders Karin Smyth Karl Turner Kate Osamor Kate Osborne Katie White Katrina Murray Keir Mather Kerry McCarthy Kevin Bonavia Kim Johnson Kim Leadbeater Kirith Entwistle Kirsteen Sullivan Kirsty McNeill Laura Kyrke-Smith Lauren Edwards Lauren Sullivan Laurence Turner Lee Barron Lee Pitcher Leigh Ingham Lewis Atkinson Liam Byrne Liam Conlon Lilian Greenwood Lillian Jones Linsey Farnsworth Liz Kendall Liz Twist Lizzi Collinge Lloyd Hatton Lola McEvoy Louise Haigh Louise Jones Lucy Powell Lucy Rigby Luke Akehurst Luke Charters Luke Murphy Luke Myer Margaret Mullane Marie Tidball Mark Ferguson Mark Hendrick Mark Sewards Mark Tami Markus Campbell-Savours Marsha De Cordova Martin Rhodes Mary Glindon Mary Kelly Foy Matt Bishop Matt Rodda Matt Turmaine Matt Western Matthew Patrick Matthew Pennycook Maureen Burke Meg Hillier Melanie Onn Melanie Ward Miatta Fahnbulleh Michael Payne Michael Shanks Michael Wheeler Michelle Scrogham Michelle Welsh Mike Amesbury Mike Kane Mike Reader Mike Tapp Mohammad Yasin Nadia Whittome Natalie Fleet Natasha Irons Naushabah Khan Navendu Mishra Neil Coyle Neil Duncan-Jordan Nesil Caliskan Nia Griffith Nicholas Dakin Nick Smith Nick Thomas-Symonds Noah Law Oliver Ryan Olivia Bailey Olivia Blake Pam Cox Pamela Nash Pat McFadden Patricia Ferguson Patrick Hurley Paul Davies Paul Foster Paul Waugh Paula Barker Paulette Hamilton Perran Moon Peter Dowd Peter Kyle Peter Lamb Peter Swallow Phil Brickell Polly Billington Preet Kaur Gill Rachael Maskell Rachel Blake Rachel Hopkins Rachel Taylor Richard Baker Richard Quigley Rosie Duffield

Rupa Huq Ruth Cadbury Ruth Jones Sadik Al-Hassan Sally Jameson Sam Carling Sam Rushworth Samantha Dixon Samantha Niblett Sarah Champion Sarah Coombes Sarah Edwards Sarah Hall Sarah Jones Sarah Owen Sarah Sackman Satvir Kaur Scott Arthur Sean Woodcock Seema Malhotra Sharon Hodgson Shaun Davies Simon Lightwood Simon Opher Siobhain McDonagh Sojan Joseph Sonia Kumar Stella Creasy Stephanie Peacock Stephen Kinnock Stephen Timms Steve Race Steve Witherden Steve Yemm Sureena Brackenridge Tahir Ali Taiwo Owatemi Tanmanjeet Singh Dhesi Tim Roca Toby Perkins Tom Collins Tom Hayes Tom Rutland Tonia Antoniazzi Tony Vaughan Torcuil Crichton Torsten Bell Tracy Gilbert Tristan Osborne Uma Kumaran Valerie Vaz Vicky Foxcroft Warinder Juss Wes Streeting Will Stone Yasmin Qureshi Yuan Yang Zubir Ahmed

Independent (9 votes)

Apsana Begum Ayoub Khan Imran Hussain Jeremy Corbyn John McDonnell Rebecca Long Bailey Richard Burgon Shockat Adam Zarah Sultana

Social Democratic & Labour Party (2 votes)

Claire Hanna Colum Eastwood

[duppyfrsh]

Journal 001: First Shift

CAT1RBC5257-12052022-09012024 Reanimation (partial) -/- Regret

Email - read by "Norris" (possibly Martin)

Incident Characters:

○ Harriet Winstead (victim)

○ Darla Winstead (recipient of email)

○ Arthur Winstead (deceased husband of Harriet)

○ "Consultant"

Elements of Incident:

• Inability to accept death

• Graveyard at night

• Body appearing "wrong"

• Dead rising from grave

• Possible involvement of scammer

Conclusion: THE END

Notes:

Date of Incident Report

Date of Incident Submition

Incident = Statement

OIAR = Office of Incident Assessment and Response

[invisibleicewands]

The National Theatre has announced 12 new productions heading for its stages over the next 12 months – as well as news of an artistic leadership change.

Michael Sheen (Staged) will return to the National Theatre for Nye, a new play by Tim Price based on the life of Aneurin ‘Nye’ Bevan – the architect of the NHS. Directed by Rufus Norris, it runs from February 2024 in the Olivier.

[wildshadowtamer]

Live Reactions to Episode 3

-colin talks like he knows the computer is alive and senient -i love the banter -i love colin -yeah this is what error fixing is like -oh my god he climbed under the table -norris!! no augustus yet, then -buried case??? -lonely? -THE STAR CROSSED COUPLE???? -man what did you do?? -ruins of a 'bombed out church', dark church??? -can buried avatars become plant beings??? -ah, the ol endless entity area -i dont think thats maddie -ah. corruption, i was wondering when they'd show up -i know tmagp probably wont follow the same categories but its all i have to work with rn -its giving eye too -oooo ohohoho -Oh This Isnt Any Of The Entities We Know Is It -alice for the love of god be less calm about this -force fed your own keyboard? careful -"and i'll die down here" CAREFUL ALICE -oh, just the one statement, fair enough

Possible Characters Of Note:

-dr samuel webber (presumed avatar/dead now) -harriet manning (therapist) -gerald andrews (probably also dead) -maddie webber (dead) -caroline jennings (officer) -uncle t (webber, presumably)

[ashironie]

Mag protocol ep 2 spoilers

AHHAHAHAHAHAH FUCKING MARTIN FUCKING JON I WONDER WHO THE THIRD VOICE IS IS IT MELANIE SHES I THINK THE ONLY OTHER PERSON WHO HAS READ OUT A STATEMENT ALSO THE FACT THEY NAMED THEM NORRIS AND CHESTER IS SENDING ME

THEN OH MY FUCK THEN ALICE THE GODDESS THE QUEEN I LOVE HER SO MUCH

GWEN IS GIVING S1JON MIXED WITH POST-JOB MELANIE MIXED WITH TIM’S SASHA AND I LOVE MELANIE SO SO SO MUCH (that who I see her most as)

Sam’s pretty chill ig, second favorite character, after Gwen

FUCK LENA IF GWEN HATES LENA I HATE LENA

Wait wait I interpreted Augustus as a fem name (the “he and Chester” comment must fucked with me a bit) but the more I realize the more that sounds like a male name…

ELIAS DUCHARD????

Also I had to read along with the transcript bc I couldn’t discern anyone’s voices.

Anyway

TEDDY LOVE EM SM HES SO EARLY TIM/SASHA CODED

COLIN IS SO POST JON STALKING TIM CODED I KINDA LOVE HIM KINDA HATE HIM. WHEN HE ACTS MORE LIKE TIM I HATE HIM BUT YK MAYBE THATS A MORE CONTROVERSIAL OPINION

I went fucking CRAZY for the “NORRIS’S STILTED TEXT-TO-SPEECH RHYTHM IS MORPHING INTO SOMETHING MORE HUMAN” like AHHHHH THATS MY MARTIN

Then “NORRIS NOW SOUNDS COMPLETELY LIKE A PERSON NARRATING A STORY, NOT COMPUTER-LIKE AT ALL”

Tbh I didn’t read that or the “HIS VOICE RESEMBLES THAT OF MARTIN BLACKWOOD FROM THE MAGNUS ARCHIVES” bc I decided to just soak in the statement.

ALSO HIS STATEMENT FEELS LIKE MARTIN SO SO MUCH. The yearning in there the not being able to handle whether her love is dead. (I read Harriet and Arthur’s relationship as romantic but I don’t think it says anything like that specifically) (She says “And that voice I have loved for twenty years answered:” so probably safe to say yes)

Then Jon’s statement is about the Magnus institute, about someone feeling watched with eyes all over them, about The Eye. This made Sam want to look into the Magnus institute more, making him more like S1 Jon, especially with the “blast from the past” comment.

Martin’s statement is more poetic, less focused on a single entity (The Lonely mixed with The Stranger? Lonely is obviously up Martins alley but The Stranger took two of his friends and seems like a bit of how he saw Jon, someone he knew but didn’t really, someone who was different, for better, or in this case, worse)

Jon’s case is pretty obvious. The Eye. You might be able to say other entities if you REALLY reach but no one can deny that’s an Eye statement. He also is saying it probably for Sam, knows he’s the type to go snooping for that stuff. I mean two voiced statements (what I’m assuming are true statements) on Sam’s first day? That can’t be a coincidence.

Also a long time ago I came up with an idea for an AU where in Somewhere Else Martin turns into an orange cat and Jon turns into a haunted tape recorder, and they go back in time to S1 (since I’m nothing if not basic). This is REALLY reminding me of that, except they are both haunted tape recorders. Tbh might (probably will) post about the AU since im probably not gonna make it but it is a really cool idea (to me at least)

[lia-the-normal-human]

Database Additions for MAGP 01: First Shift

Released 18 Jan 2024 Episode written by Jonathan Sims Co-written by Alexander J Newall

Episode summary from the The Magnus Database

SPOILERS BELOW CUT

CASES

CAT1RBC5257-12052022-09012024 Reanimation (partial) -/- regret [email] Read by Norris

Parties mentioned: Arthur Consultant Darla Winstead Harriet Winstead

Locations mentioned: Grantham Cemetery

Misc objects mentioned: None

CAT23RAB2155-10042022-09012024 Transformation (eyes) -/- Trespass [chat log] Read by Chester

Parties mentioned: ArcherK BadGrav31 Devan FlowersUnderground Magnus Institute RedCanary

Locations mentioned: Magnus Institute

Misc objects mentioned: Unidentified symbols Wooden box

Other Parties Introduced

Alice Dyer Augustus Chester Colin Becher Gwendolyn Bouchard Lena Kelley Norris Office of Incident Assessment and Response Response Department Samama Khalid Teddy Vaughn

Other Locations Introduced

OIAR Main Office The Steward

Other Misc Objects Introduced

FR3-d1 Response 121

Connections/Item Relationships Found (New)

Employees of the OIAR Episode 1 Case 1 Episode 1 Case 2 FR3-d1 voices Pub that OIAR employees have been to Former OIAR department Sam knows the Magnus Institute Sam and Alice's past relationship

Voiced Characters

Alice Dyer Teddy Vaughn Colin Becher Lena Kelley Gwendolyn Bouchard Samama Khalid Norris Chester

Database

The Magnus Database has been updated for this episode.

[penig]

“Ah, Harriet, here comes a very sudden trial of our stability in good thoughts.Well” (smiling), “I hope it may be allowed that if compassion has produced exertion and relief to the sufferers, it has done all that is truly important.  if we feel for the wretched enough to do all we can for them, the rest is empty sympathy, only distressing to ourselves.”

The degree to which Emma has a point vs. the degree to which she is patting herself on the back is hard to gauge, particularly to those of us for whom her social situation is foreign and a matter for history. We simply don’t have enough information; and even her contemporaries lacked hard data on some important points, though they were much better able to contextualize what they got.

What do we know? Emma needed no more prompting than hearing that a poor family had illness in it to go and see what she could do for them, and a little later a child will go by (giving Emma a chance to give Harriet and Mr. Elton some alone time) on its way to fetch some broth that Emma promised her cook would provide. She refers to “the wretched,” which seems ruder now than it was considered then - by people of the class who would most likely read this book; what the people it refers to would have thought isn’t, to my knowledge, recorded. That’s it. That’s all our solid information.

At least, it seems, she was neither attempting to scold the poor of the parish into prosperity like Lady Catherine de Burgh nor bossing them around as we can be sure Mrs. Norris would have. Two low gates to get over, but necessary ones. We don’t know whether, or what, she brought with her or left behind or did while she was there, or how much good those things or the broth can be expected to do. Are the people she’s visiting her father’s tenants? Does he employ any of them? What power, direct or indirect, does she have over wages, rents, and maintenance of buildings? (This is Emma, her father’s darling, and her father’s word is presumably law to his estate manager; she has some.) How much and in what ways does she exercise whatever powers she has? We don’t know, and are not in anything like as good a position to guess as her contemporaries were.

Everything else is interpretation, speculation, and headcanon. Yes, even the notion - reasonable as it may be - that her promptness and her choice of family to visit were influenced by their proximity to the Parsonage. We are not in position to judge Emma here.

We will, though.

[bethanydelleman]

Writing Villains (Advice from Jane Austen)

One of the reasons that I find Jane Austen's novels so wonderful is that they have amazingly realistic villains, some that are fully fleshed out characters. Austen's biggest strength is that she gives her villains clear, logical motives. In fact, for many of her villainous characters you can turn the entire story around and see a rational story from the other side.

For example, Lucy Steele. She doesn't attack Elinor out of mindless evil, but because Edward Ferrars is her golden ticket to wealth and she knows that Edward loves Elinor. Lucy might twist the knife a little on Elinor out of sadism, but generally she attacks Elinor in an attempt to secure Edward. When it comes to other characters, Lucy is overly sweet if she wants something from them, otherwise she acts normally. As an example, she leaves Marianne alone because Marianne is not competing for Edward and also can't do anything for Lucy. Anne, Lucy's sister, likes her. Lucy has friends and family she stays with, she's a fairly well-rounded person.

You can put yourself in Lucy's shoes, you can turn the entire narrative on it's head and play it out from her perspective and it would make complete sense. You could even make Lucy sympathetic! She probably sees herself as a hardworking underdog, trying to wrest her one chance at prosperity away from the conniving Elinor Dashwood. I'm sure she thinks the pain she causes Elinor is justified.

If you can't do that with your villains, then there is a good chance they are just evil for evil's sake. I picked Lucy Steele on purpose because I hate when the entire motivation for a antagonist female character is "bitches be crazy". Bitches may be mean, but almost always for a good reason.

Even Mrs. Norris, who is probably the most cruel of Austen's female villains, can be perspective switched. Her life is about being useful to the Bertram family so she can feel important because her married status/wealth is lower than she wished. As she must always be deferential towards the Bertrams, she takes out her negative emotions on those below her, the servants and Fanny, while also showing off how good she is at "managing" those people. (And yes, she is your childhood bully)

We often hear her perspective and she clearly sees herself as a useful part of the family and a defender of Sir Thomas's wealth. She thinks she's a good person! Which is also an important point: most people doing wrong do not believe that they are doing wrong. That is what really makes a villain scary. Mrs. Norris thinks she's helping Fanny in a very twisted way by teaching Fanny her station in life. If you asked her, she'd give you a self-justified answer and she'd probably actually believe it.

Another way to do a good villain is to just make a person very selfish. Henry Crawford doesn't sit around all day laughing about how much pain he causes women, he doesn't think about it. He only thinks about the fun of flirting for himself, not the harm to others. The glimpses we get into his perspective are not cruel at all. It's the same with Willougby, he thinks only of his own pleasure and tries very hard to ignore that he has crushed Marianne and destroyed Eliza Williams. When he is forced to accept that people were hurt, he blames everyone but himself.

Wickham thinks that he's a victim, Caroline Bingley is ambitious and doesn't care who she steps on to get to the top, Mr. Elton is insulted that Emma could even dream he's a match with Harriet but he can't touch Emma so he punches down at Harriet. They all make sense, they all probably believe that their actions are justified.

Also, imagine taking the heroine/hero right out of the story, would the villain still act the same way? If Anne didn't exist, Mr. Elliot would still try to bring himself into the Elliot family because he was afraid of losing the title. If Elizabeth didn't exist, Wickham would have had another favourite in Meryton. If Fanny didn't exist, Mrs. Norris would have found some other puppy to kick. The villains don't just appear for the plot of the main characters, they have their own reasons for moving around and messing shit up.

Lastly, explaining but not excusing (though unfortunately some people will excuse anyway but that's not your fault). Mary Crawford is mercenary and doesn't seem to believe that love is even a real thing. It's pointed out several times in the novel that her defects have to do with being raised in an immoral environment and a broken home. She was taught by her aunt to marry for wealth and disregard love. Austen doesn't excuse Mary, she doesn't give her a happy ending, but she does explain how she came to be. She's not just greedy, she has been taught that wealth is the best recipe for happiness. As an adult now, it is her responsibility to question that maxim or remain a villain.

Austen wrote amazing morally grey characters and "villains" (a term I used a little liberally here, some of them probably only count as antagonists, not full blown villains). I love how real and human she made her characters, it's something I aspire to myself!

Linking my Caroline rant because it's related, people remove her motives so often and flatten her into a "bitches be crazy".

[novumtimes]

EastEnders confirms Lindas fate as silence falls upon the Queen Vic | Soaps

Linda’s life is on the line as she’s raced to hospital (Picture: BBC / Jack Barnes / Kieron McCarron) Linda Carter’s (Kellie Bright) life hangs in the balance in EastEnders after she was found by son Johnny (Charlie Suff) struggling to breathe following a booze binge. The landlady of the Queen Vic has been seeking solace in alcohol in the wake of Christmas Day last year when she killed Keanu Taylor (Danny Walters). Keanu, as fans know, was attempting to murder Sharon Watts (Letitia Dean) at the time of the incident, hence Linda’s knee-jerk reaction as she picked up a meat thermometer and stabbed the mechanic in a bid to save her best mate’s life. With help from five fellow women – Sharon included – Linda covered up the crime but her actions have continued to haunt her, with son Johnny desperate to ensure that she keeps quiet and stays out of prison. The matriarch has repeatedly reached for the bottle to drown out the trauma of what she did and, despite having framed rapist Dean Wicks (Matt Di Angelo) for the crime, her nightmare continues, with Dean pressurising Bernie Taylor (Clair Norris) into tormenting her. To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video Tensions have been fraught this week, with Johnny determined to keep his mum quiet after she contemplated making a deal with Dean. Things reached boiling point on Tuesday (August 13) and huge showdown ensued, with Johnny going too far as he wished his mum dead. Feeling utterly devastated by her beloved ‘sausage’s words, Linda took the bottle once more, with devastating scenes following. Elaine watches in horror as the paramedics race to her daughter’s bedside (Picture: BBC / Jack Barnes / Kieron McCarron Johnny, racked with guilt over what he said, returned to the Queen Vic to apologise to his mum but ultimately found her choking on her own vomit. Gina Knight (Francesca Henry) rushed in, telephoning for an ambulance, but will Linda be okay? More Trending Read More Stories That is the question, and the first look images in this article preview what happens next, as paramedics race to the Square and into the Vic, taking Linda to the hospital. Elaine Peacock (Harriet Thorpe) watches on with horror, fearing the worst, as silence befalls the Queen Vic. Will Linda receive medical attention in time? Will she pull through? After everything she’s been through, is their light at the end of the tunnel? EastEnders airs these scenes on Wednesday August 14 at 7:30pm on BBC One or stream first from 6am on BBC iPlayer. If you’ve got a soap or TV story, video or pictures get in touch by emailing us soaps@metro.co.uk – we’d love to hear from you. Join the community by leaving a comment below and stay updated on all things soaps on our homepage. MORE : EastEnders’ Bernie Taylor sees the light over Dean Wicks – but it’s too little too late MORE : EastEnders’ Bernie goes too far in tormenting Linda – with consequences confirmed MORE : Emmerdale’s Tom King strikes as Coronation Street ‘seals’ Joel’s fate in 25 new soap spoilers The Soaps Newsletter Sign up for daily Soaps updates and our weekly Editor’s special for juicy exclusives and interviews. Privacy Policy This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Source link via The Novum Times

[nbmsports]

‘Once Upon a Time in Uganda’ Review: When Ragtag Met Rambo

Wakaliwood is more than a production house; it’s a spirit of ragtag moviemaking born from the pure desire to create. Founded in 2005 by the writer-director Isaac Nabwana and based in Wakaliga, a slum in Kampala, Uganda, the studio produces low-budget, hyperviolent action films inspired by “Rambo” and Chuck Norris but starring African actors.The director Cathryne Czubek’s documentary “Once Upon a Time in Uganda” is as playful as Nabwana’s audacious movies, explaining how the unlikely partnership between the Ugandan filmmaker and the American producer Alan “Ssali” Hofmanis has reshaped African cinema.The documentary is initially told from Hofmanis’s perspective. He explains how a trailer for Nabwana’s “Who Killed Captain Alex?” on YouTube inspired him to travel to Uganda, where he witnessed a pure film culture so unlike the cynical movie business that had burned him out in America that he decided to permanently move to the African country to become a multi-hyphenate creative partner on Nabwana’s Wakaliwood movies.Czubek poses the relationship between Nabwana and Hofmanis as an artistic roller coaster: They’re either gleefully collaborating on script ideas for a cannibal movie or having a falling out over the direction of the studio. Czubek’s strategy means Nabwana’s wife, Harriet, the head of the studio, doesn’t get much attention, and it leaves unexamined Hofmanis’s desire to share his “discovery” of Wakaliwood, through his white gaze, with the world.The film is strongest when capturing Nabwana’s resourcefulness, the exuberance of the local volunteers who serve as his actors and crew, and the joy his films bring to a Ugandan audience hungry for movies. “Once Upon a Time in Uganda” reminds you how the art of moviemaking can make dreams real.Once Upon a Time in Uganda Not Rated. Running time: 1 hour 34 minutes. In theaters. Source link Read the full article