#career episode

[navree]

my adventures with superman turning deathstroke the fucking terminator into an anime twink is the single greatest thing i've seen in the history of animation i have not been able to stop laughing

[eugeniedanglars]

the way i see it, colin has three options for handling the repercussions of kissing michael on the pitch in front of everyone:

gatekeep: by some miracle no one caught the kiss on camera so colin's sexuality is kept between him and any fans who happened to be on the pitch near him. the safest option.

girlboss: keeley gets the pr challenge of a lifetime handling the story of the first active premier league player to come out as gay. rebecca is tall and powerful and intimidating in the press room making it clear that richmond stands behind colin one thousand percent. the most realistic option.

gaslight: straight-up blatantly lying. not because he's ashamed or because he thinks he can actually convince anyone that the kiss didn't happen, but just because he refuses to let it be a big deal. acts like he has no idea what anyone is talking about if asked anything related to his sexuality. he doesn't claim to be straight, mind you, he just pretends to be extremely confused about why they're asking because he never kissed anyone in the middle of a football pitch at the end of an internationally-televised game? when presented with photo and video proof of the kiss he says that was some other richmond player named hughes who wears a number 12 jersey. you don't know him, he goes to another school. the funniest option.

[reapersynth]

Men are not a new sensation // I've done pretty well I think // But this half-pint imitation put me on the blink // I'm wild again, beguiled again // A simpering, whimpering child again // Bewitched, bothered, and bewildered am I

[favvn]

You know what else drives me crazy about The Naked Time? This exchange:

It isn't just because of Spock saying, "Jim, when I feel friendship for you, I am ashamed" or "Understand, Jim. I've spent a whole lifetime learning to hide my feelings." Although, that absolutely is part of it, the fact that Spock is locked into his regret over not telling his mother he loved her and his shame at realizing that, despite all his work to adhere to Vulcan principles, he still feels love. It's that gap between duty versus desire, between expectations versus wants, and what remains in spite of the pressure. (I realize his words parallel a love confession in any other context, between any heterosexual couple, and that fandom looks to his shame as a confirmation of internalized homophobia, but the biggest issue for Spock is that love, sorrow, shame--all powerful emotions--still exist for him. He is not a Vulcan if he feels these emotions and gives into them. He is only a half-Vulcan and half-Human, caught between worlds and the judgments and expectations of two very different societies.)

It's because Kirk changes his phrasing of "We've got to risk a full-power start!" to, "We've got to risk implosion!" Implosion, like many words, holds multiple meanings. The intended meaning is "a violent collapsing inwards," the opposite of explosion. But implosion can mean integration, a coming together towards a single center point. We've got to risk coming together. We've got to risk integration. And Spock responds, "It's never been done." They repeat these lines twice. Repetition is a device to call attention in writing. Why have Kirk say they have to risk a full-power start twice before only to change it to implosion and repeat it twice? The two phrases mean something different, but it's important enough to bear repeating. (One could argue it is sloppy writing, or perhaps a case of actors failing to remember their lines, but what are the odds it was either of those, especially with someone as thoughtful as Leonard Nimoy. Either a writer is a professional who understands the power of words, or everything is somehow coincidental, holds no actual meaning, and writers don't think carefully about word choice and meaning, especially in an era where nuance can make or break a story on the screen.)

In the 1960s, during the time of the Hays Code, of course, two men couldn't be together as a couple on TV or in film, not even in space, in a time set centuries beyond our present. But damn if the dialogue can not hint at it, dance around it in plain sight. Again, Kirk and Spock's relationship must exist in the margins, between the lines, encased in nuance and multiple meanings, because to use explicitly clear phrasing would mean it all gets cut.

Hence, this bit of dialogue. The slaps become Spock catching Kirk's hand and holding it steady--direct sustained contact, a coming together, implosion. Spock is torn between regret and shame and love, while Kirk shouts about the ship being destroyed and ending the lives of the crew, their shared duty to the ship. The dialogue is Spock's turmoil writ large--do what must be done, accept two separate halves becoming a whole (is it Spock's two halves or Kirk and Spock? I'll leave that up to you), or remain apart and give into despair. But Kirk tells him their only chance is to risk implosion, to come together, and they have to take that chance.

[puppiesareperfect]

It’s possible I’m biased as someone who’s working towards an education degree, but I genuinely think Doof’s redemption arc would’ve hit better post-series if they stuck with him being a science teacher. For one I genuinely enjoyed Doof101, it was nice to get a different setting for once. And Perry being his weird little teacher’s assistant who makes sure he doesn’t blow up the place was fun. But also like, one of Doofenshmirtz’s big character traits is being a dad. He is literally good with kids, albeit in a dorky sort of way. But a dorky personality is pretty much expected for science teachers. I could definitely see him getting a reputation as the teacher that’s “a little out there but really fun to have. also gives advice about things like college if you ask—he has some bit about going to evil school but other than that solid advice”

[arthur-lesters-right-arm]

Arthur has been everything in season 4, a detective, an exorcist, an exterminator, a surgeon, a slut. Mostly a slut but he's done it all

[aardvaark]

And that actually is one of the bits that we wound up not being able to ever do quite as much as we want - is Parker picks locks like other people knit. And if you watch carefully in the pilot, in the foreground when they’re back in the apartment, she has a giant box of locks she’s picking. That’s just kind of her hobby.

-- John Rogers, episode commentary for The Wedding Job

[andyoullhearitagain]

Imagine being René Auberjonois and they let you out of makeup for one episode but then they make you be racist.

[warlenys]

first bit of this fucks but then ?? what “implication that he’ll be okay” bitch he’s gonna kill himself

[fortunaegloria]

Harrison Ford as Cullen Tindall in The Virginian – "The Modoc Kid" (5x19) [1967]

[isalabells]

- And we pulled that stupid prank on you. - Wiener schnitzel and sauerkraut. - Yeah, we thought we were so clever. Eva von Braun, right? But you– you just set it aside, and you put your head down and got to work.

FOR ALL MANKIND 1.02 He Built the Saturn V || 3.03 All In

[fumifooms]

Honestly I wonder if anyone’s ever read Chilchuck’s “I cheated on her” admission as an implicit reference to prioritizing alcohol over his marriage and feeling guilty abt it.

Ohh… "I cheated on her" as a half-truth because something ended up taking priority over their marriage, because emotionally he was elsewhere… "I cheated on her" because after having all the time in the world to think about it now that he’s alone, he realizes that that might have been how she felt, and that’s how it felt like to him too.

Love that. I def think he’s ironically someone who deflects guilt a lot, in a similar way that he compulsively goes "You’re wrong! I don’t care about you guys at all! I’m an asshole!" he flees emotions by making the problem something else that’s fake, a burden easier to bear, he’s so used to being seen for what he’s not after all. I went into it a bit in one of my fics and in a couple meta posts, but when it comes to his wife he was very much like an ostrich with his head in the sand, seeing her fall into a bad mood on the outing before she left him but dismissing it as something "sudden" that’s not worth thinking deeper about. Overdrinking is a problem for future Chil. I think he did a lot of "You want me to drink less and you’re afraid for my health? Get over it lol" and "I should be less strict with the girls and raise my voice less? My father was a strict drunk and look at me, I turned out functional and great! The girls are literally fine and love me" and "Oh? My drinking is affecting our family? No it’s not smh smh get off my back"< Drunk a significant portion of the time he spends at home since he’s off-work and somewhere he can relax. Type of guy to always dismiss any issues that might exists because he prefers ignoring them as if they’ll go away. All his problem solving energy is spent during work and the issue is with his family he already likes things as they are, they’re his comfort zone and change is scary, he doesn’t want the change, even if it’d be better. He doesn’t want to change, his unhealthy habits are guilty pleasures he wishes people didn’t try to make him feel guilty for

BUT POINT IS he struggles with guilt and like. Letting it be a feeling that he gets sometimes, so it’s all bottled up and festers and gets twisted into frustration or such like how his worry usually does. I like this take, wether it’s something he’s already thought a lot about or it’s something he’s repressed that came suddenly pouring out of him like blood out of a wound, now that he’s putting it into words with someone for maybe the first time.

It’s interesting how he didn’t refuse going up to the bicorn, I’m sure part of him wanted to see if it would like him, like the virtue test it is. Would a monster that loves despicable men be magnetized to him? Would it confirm his fears?

[oddly-casual]

Fiona and Cake spoilers seriously

(Something I noticed abt Betty and Simons relationship)

I love Betty and Simon’s relationship, I think their back story is so cute and romantic and all that lovely stuff don’t get me wrong.

But there’s this under tone of Betty constantly giving things up for Simon and we don’t really talk about it a lot???

Like, Betty let Simon have his moment with the artifact and the pubic, she also doesn’t go to her trip in favor of going on an expedition with Simon. Then when she goes to leave again she stays for Simon.

Even Fiona is like “you went with her on the bus?” And Simon just looks all confused like “what? No, why would I do that?” Like- hello???

Then after that she gave up her entire life and mind to get Simon back to the point where she literally says “I don’t know who I am without him anymore.” And that just sucks! Since the beginning Betty has been the one giving up the most, her mind, her own possible career, and it’s a story of love of course and it’s very sweet but it’s also a story of sacrifice.

Their love wasn’t a perfect solution, it was already sort of imbalanced when it started and I lowkey love how we see those cracks even before they’re together.

Again, I love their relationship and I think it’s sweet. I just think we should talk about Betty’s side more, especially when she tells a story of what most women do in relationships, sacrifice.

[july-19th-club]

giggling and kicking my feet and prancing into my armchair to watch this annoying guy do embarrassing things on my tv show with his hot friend . and also Tim is there

[maxescheibechlinichacheli]

[talesfromthecrypts]

Everybody talking about Walton Goggins this and that but nothing about how Criminal Minds tied him to a bed to exorcize him? Why not?

Google images gave me nothing so I had to take matters into my own hands and go get the episode myself.

We just don't tie men to the bed and exorcise them like we used to