#int. / featuring pete.

[forever-rogue]

Spidey Senses

AN | You never fight with Peter, sometimes things change. Luckily, you love your Spider more than anything❤️

Pairing | tasm!Peter Parker x fem!reader

Warnings | Language

Word Count | 3.5k

Masterlist | Main | Peter

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

“You’re thinking too loudly.”

You remained silent as you gently wiped away the dried blood from the gash on his shoulder. You hadn’t said much to him since he came home but that didn’t stop you from taking care of him. You always took care of him, that had never been a question. 

When you were done patching him all up, you moved to rinse out the blood from the washcloth under the hot water, watching as the water went from crimson to clear. You felt his eyes on you the entire time. 

“I don’t think you want to hear what I’m thinking, Peter,” you caught his eye in the mirror, a heavy frown on your features that caused him to hang his head with a heavy sigh. You turned to leave the bathroom, but he caught your wrist, fingers wrapping delicately onto your soft skin, “Peter. I just want to go to bed. Please.”

“Tell me,” he insisted softly as you closed your eyes and sighed heavily, “whatever it is, just let me hear it.”

“Fine,” you turned around and faced him; Peter could see that your eyes were already wet with unshed tears, “fine - you want to know what I’m thinking? I’m thinking that…you need to slow down, Peter. You keep coming home hurt and it’s only been getting worse lately. I know it’s selfish to say but do you know how hard it is to see you like that? I…you have Miles - New York has Miles. He can handle himself and he can and will ask for help if he needs it. But maybe it’s time to let him do more and you can…just slow down a little. I just want to know that you’re going to come home and that you’re going to come home alive.”

“I am Spider-Man,” his lips were drawn into a harsh line as he narrowed his eyes at you, “I can’t just slow down. And I can’t just leave Miles with everything, he’s still young, and he’s still learning. This is who I am.”

“You were young once too and there was no one around to help,” you reminded him, “and you were okay. He has you and he’s a smart kid; there are things he can handle. I’m not saying that you can’t or shouldn’t be Spider-Man, Pete. I would never say that.”

“Then why are you saying anything?” he stared at the ceiling for a moment before groaning lightly, “you don’t know what it’s like. You don’t get that I can’t just walk away from this.”

“You’re right,” you’d pulled back slightly from the harsh tone in his voice; he’d never talked to you in such a harsh tone before, “I don’t know what it's like. But I do know what it’s like to love you and I know how hard it is to watch you work yourself into the ground - it’s absolutely horrible. It’s just…we’re not getting younger, Pete. We’ve talked about getting married and starting our family - how are we going to do that when you’re gone so often and hurt?”

“You don’t…” he ran his hands over his tired face in exasperation, “I don’t think you realize what you’re asking for. I’m fine. If it’s just because you don’t want to deal with me anymore, just say it.”

“That’s not what I’m saying at all,” you angrily swiped away the tears that rolled down your cheeks, “I love you, Peter. I want a future with you, but I can’t have that if you’re not around for it! Maybe it’s still hard for you to accept that people care about you and only want the best for you. You take care of everyone else, but you have to let people take care of you too.”

“If I needed someone to take care of me, I would say something,” he hissed softly, “I’m fine, everything is fine. If you’ve got such a problem with it then maybe…maybe we shouldn’t be together then.”

Your mouth dropped open from the sheer shock of what he had just said. Something was going on with Peter, even if he wasn’t willing to admit to it. You gnawed on your cheek in order to keep from crying or making any sort of sound. You held up your hands in defeat and walked into the bedroom. Without even thinking about it, you went to the closet and grabbed out a duffle bag and started piling in some clothes, not paying attention to what was getting thrown into the bag. 

“I think I’m going to leave and give you space for a bit. We’re not going to figure anything out right now,” you whispered in a broken tone. Peter’s stomach lurched as he watched you pack; how did things escalate so quickly? He wanted to take it all back; he wished he would rewind the last half hour. 

“Don’t go,” he tried to stop you gently but you shook your head, “honey.”

“I don’t want to fight,” your voice was so gentle that he might not even have heard it if it was not for his enhanced senses. Peter sat down on the edge of the bed and watched you pack, feeling helpless and pathetic. He shouldn’t ever have talked to you that way. He was stupid. Stupid.

“Where are you going to go?”

“I don’t know,” you admitted, “I’ll see if I can stay with MJ or Harry or something. Don’t worry about it, Peter. It's fine."

He fell into silence as he watched you pack your necessities without any rhyme or reason. You really just wanted to get out of there and away from him; that killed him.

Once your bag was packed, you paused in the doorway and turned to give him one last look. The corner of your mouth pulled up into a sad little smile, but the light never reached your eyes. He gave you a small nod but neither of you said anything. 

He listened to your footsteps as you left the house and got into your car. Peter had really fucked up now.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

“You wanna tell me why your girlfriend’s been staying with MJ for the past couple of days?” Miles turned his face away and busied himself with fiddling on the sleeve of his suit. He’d noticed that Peter had been in a mood lately and then he saw you at MJ’s when he went to pick something up from her. Miles was a smart kid and it wasn’t long before he put the pieces together. He was just curious - and concerned - about Peter. He’d never seen him down like this before and he hated it, “j-just curious.”

“Miles,” he yanked the mask off his face and leaned against the door. The two of them were on a random rooftop, keeping an eye on things despite the quiet night. He turned to face the younger man and Miles could see how tired and run down he looked, “it’s…been a lot.”

“You don’t have to say anything if you don’t want to, but you can talk to me Pete,” he nudged his arm and offered him a meek smile. Peter had been there for him for so long and through so many hard times he wanted him to know that he was there for him as well, “but if you ever need someone to talk to…”

“Thanks Miles,” he reached over and gave the boy’s shoulder a squeeze, “I don’t want you to worry about me.”

“Pete,” Miles hopped onto his feet and crossed his arms over his chest, "I'm going to worry even if you say not to."

"You're a good kid," he offered his protégé a half smile.

"I'm not a kid anymore," Miles huffed in response, "and you're getting old."

He half expected a laugh to come from the older man; instead all he heard was a small huff seemingly in agreement. Peter paused for a moment before meeting Miles' eyes, "that's the problem, isn’t it?”

"Whaddaya mean?" all sorts of bad thoughts crossed his mind. What if Peter was sick? Or something bad happened? What if-

"I know I'm getting older and things are different than they used to be," he leaned his back against the wall before whispering your name, "she brought it up the other day - that I'm not getting any younger and that I should…let go a little bit. I didn't take it well and we got into an argument and I said dumb things I shouldn't have."

"She's not wrong," Miles sat down in front of Peter and shrugged, "I mean it, its the same for me too. She just wants you around more, Pete. She’s put up with your ass for so long now. Have you apologized for what happened?"

 "No," he grimaced, "I haven't. I don't know what to say. I mean, I basically told her we should break up. I didn't mean it."

"Of course you didn't," he snored in amusement, "you're disgustingly in love."

Peter smiled at that; it was true after all. You were the one he wanted to spend the rest of his life, he wanted everything with you, "I just don't know what to say. Or even if she'd want to listen. Maybe she's done with me."

"You're so stupid," Miles scoffed as Peter couldn't help the bark of laughter that escaped him, "she's not breaking up with you. She's just waiting for you to get your head out of your ass."

"Yeah?" Peter wanted to believe Miles was right, desperately so, because he couldn't imagine a life without you. That was not a life he wanted in any way.

"Parker," the younger spider stood back up and pulled the mask over his face, "get up and let's move. You're getting too pathetic for me."

"Yeah, yeah," he watched as Miles jumped off the roof, moving to follow suit. His body was more tired and stiff today; it was like everything you had lovingly pointed out was slowly coming to light. Peter sighed softly at the thought before concealing his identity again. 

He followed after Miles, a million thoughts swirling in his mind. At the end of it all, they all came back to you.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

"You've been moping around for days now," MJ wasn't wrong. You'd shown up at her apartment in the late night hours after your fight with Peter and she'd welcomed you without hesitation. Although only small details of what happened had come to light, Mary Jane Watson was a smart woman and had more or less put the pieces together, "are you either going to tell me the whole story or just continue being sad?"

"Shut up," you groaned playfully, throwing the big couch blanket over your face, "its nothing."

"I know you, and Pete, and you're both terrible liars," MJ pulled the blanket away, a knowing little look on her face. You pulled your knees up to your chest and rested your chin on top of them before letting out a sound somewhere between a groan and a sigh, “c’mon. What’s wrong?”

“Pete and I had a fight and it got a little heated,” you confessed, “he came home hurt and I was upset and it just…turned out all wrong. I told him that I hated seeing him hurt and that I thought maybe he should consider slowing down his…duties a little bit. He didn’t take it well.”

“I’m sure it was just the moment,” she always had this calming aura around her and you already felt a tiny bit better, “it’s not like Pete to argue or…be mean.”

“I know,” you could count the number of times the two of you had what you would consider an actual argument on one hand, “I think it just went a little far and I’d thought it was best to give him some distance. He…umm, and I know he didn’t mean it but he said that if I wasn’t okay with him being Spider-Man then maybe we should break up.”

“He actually said that?” her brow furrowed as you nodded meekly, “that’s not like him…but you know he didn’t mean it.”

“I know,” you sure hoped it was true anyway, “it’s just because I care about him, you know? We’ve talked about maybe starting to grow our family and I just wonder how he’s going to handle everything he normally does on top of having a baby. Plus, I hate seeing him get hurt and so exhausted all the time. I don’t want to take anything away from him, I just want him. I want him home and safe and cared for. And I hate the idea that he thinks I’d ever want him to stop being Spider-Man.”

“If he has any sense he’ll know that,” the redhead promised, “it might just take a minute for him to catch up. He is a man after all.”

At that you laughed, a full and true laugh that you hadn’t experienced in what felt like ever. You’d give Peter his space, but you hoped that at the end of the day he would come home to you, or rather, you would go home to him. 

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

You almost jumped out of your seat at the kitchen table when you heard the loud and heavy knocking at the door. Scrambling out of the chair you darted to the door and peeked into the hallway to see who was at the door. To your surprise, you found a very anxious Peter Parker standing there. Your heart skipped a few beats as you hesitated on whether or not to open the door.

“I know you’re there,” he said softly, “I can hear your heartbeat.”

"What are you doing here, Peter?" You kept the mostly shut, leaving just enough room for you to poke your head out. It had been almost a week since you'd seen him and he didn't look much better than when you'd left. Your expression softened, any residual anger melting away. You could never stay mad at him.

"I wanted to talk to you," he almost choked on his words as he allowed himself to steal a peek at you, "and I want you to come home."

Home. The house that was one May Parker's was now his - yours. Together you had taken the good old memories and made even more of your own. You loved it there, and you loved it even more with Peter. 

“I think we should talk before we make any decisions,” part of you wanted to jump into his arms and squeeze the life out of him and kiss him and everything, but you didn’t. Instead you opened the door a little wider and motioned for him to come inside; MJ was out but you figured she wouldn’t care.

“I love you,” he blurted out before he even stepped inside, his cheeks turning a subtle shade of pink. Your mouth opened in surprise but you couldn’t deny the fact that it warmed your heart. There were still bits and pieces of the boy you’d fallen in love with so many times under there. 

“I love you too, Pete,” you motioned for him to follow you as you walked into the living room, taking a seat on the couch across from him. He sat down slowly, hesitantly, trying to get a read on you. But you had your best poker face on and weren’t showing your cards in the slightest, “you know that no matter what, I’ll always love you.”

His shoulders shagged with relief at your revelation; not that he had really doubted that but sometimes reassurance was needed. He nervously played with his hands, trying to gather his words; he had so much to say but wasn’t sure if he could manage to get it all out. He opened and closed his mouth a few times, and you reached over to give his hands a small squeeze. 

“It’s okay,” you whispered, “just talk to me.”

“I’m sorry for how I acted that night,” he whispered, “I shouldn’t have talked to you like that. I didn’t mean it when I said I thought that maybe we should break up. I don’t want to break up - I want you.”

“I hope you know that I never want anything but the very best for you,” he closed his eyes and nodded gently. Of course he knew that, you’d never given any reason to doubt that, “I never wanted to upset you, Pete.”

“I know,” he swallowed, a thick lump welling up in his throat, “I’ve always known that. It’s just that…I don’t know if I can just slow down and leave Spider-Man behind.”

“Peter,” you moved closer to him, your voice so soft and gentle that it almost made him cry, “slowing down doesn’t mean you’re leaving Spider-Man behind. You’re always going to be Spider-Man, nothing is going to change that. But it’s okay to let go a little and trust that Miles will be there for the city. And maybe some else in the future, maybe a whole gang of spiders. But you’ve been doing this for a long time, Peter. You deserve to rest too, you know.”

He looked up at you, teary-eyed and you couldn’t help but wrap your arms around him, hugging onto him tightly; had the hug been reversed he would have probably crushed you but you wanted him to know how much you loved him, “I’m sorry.”

He melted into your arms, nuzzling his face into your neck, his breathing growing ragged. You rubbed his back soothingly, murmuring sweet nothings into his ear. His tears soaked into the cotton of your shirt but it didn’t matter at all to you -  all you wanted was for him to know he was loved and safe. 

After a while of holding him you pulled yourself out of his tight grasp and took his face in your hands, brushing away the drying tears on his face, “hey, it’s alright. I’ve got you. I’m not forcing you to do anything, I’m just giving you my opinion of what I’m seeing. Ultimately, it’s up to you, Pete. But you have to take care of yourself too. Will you at least try that? If not for you, I’ll be selfish and ask you to do it for me.”

“I will,” he turned his face so he could place a kiss into the palm of your hand, “I do want to marry you a-and start our family. Like we’ve always talked about.”

The way your eyes lit up was enough to indicate to him that whatever decisions he made or steps he took to make that future a reality would be worth it. You were worth it. You leaned in and kissed him tenderly, “yeah?”

“Yeah,” he promised, “I think you’re right about what you said and I think deep down I’ve known it too. It’s just so hard to admit it in a way.”

“It’s not saying goodbye,” you reminded him, “it’s just slowing down a little bit and taking moments for yourself.”

“I’ll work on it,” he decided it was a vow that he was going to keep it, “but if I’m ever an idiot, just remind me that I’m an idiot.”

“I have no problem with that,” you grinned excitedly, “my sweet Spider.”

“And I’m sorry,” he ran his hands up and down your sides, squeezing them gently, “really. For the things I said and how I acted. I shouldn’t have lashed out like that at you.”

“Apology accepted,” you took his hands in yours and held them tightly in turn, “thank you.”

“Will you come home?” he was nervous to ask but all he wanted was for you to be back home with him; it felt so strange and foreign without, “I-I understand if you don’t want right now but-”

“Of course,” you cut him off with a finger to his lips, “I want to come home. Plus, I think MJ will be glad to get rid of me moping around all the time. I missed you a lot, Pete.”

“I missed you so much,” he crushed you to his chest, causing you to laugh softly, “I can’t wait to have you back. I can’t wait to spend the rest of our lives together.”

“Me too, Pete,” you burrowed yourself into his warm body as much as you could. You were already home. Peter would always be your home, “I love you, Spidey. My Spidey."

That made him beam brighter than the sun, “I love you too, honey.”

[silvereyedowl]

What We Know About Series 14

Doctor Who series 14 is coming up next year. This is a roundup of advance information and leaks about the season and the preceding Christmas special. Sources are at the very bottom below the cut.

CAST

Ncuti Gatwa as the Fifteenth Doctor. Unlike his predecessors, this Doctor changes his outfit a lot.

Millie Gibson as Ruby Sunday. Like her actress, Ruby is a native of Manchester.

Returning characters:

Jemma Redgrave as Kate Stewart, head of UNIT.

Bonnie Langford as former companion Mel Bush.

Villains:

Jinkx Monsoon as a villain favouring piano-themed attire, described as "the Doctor's most powerful enemy yet". Not everyone survives the encounter...

Indira Varma as the Duchess. RTD: "a whole new audience will be hiding behind the settee when the Duchess unleashes her terror." Varma previously played Suzie Costello on 2 episodes of Torchwood.

Other characters:

Aneurin Barnard as Roger ap Gwilliam.

Jonathan Groff as a "mysterious key" character.

Lenny Rush as Morris, in time for the Doctor's "greatest nightmare". RTD: "But what secrets does he hold? What's secreted in the Segway?! And will his terrifying probabilities be proved true..?"

Jack Forsyth-Noble as Will.

Gemma Arrowsmith and Mary Malone will appear in the Christmas special, while Majid Mehdizadeh-Valoujerdy and Billy Brayshaw will appear in separate episodes.

Also announced to be appearing: Sophie Ablett, Anita Dobson, Michelle Greenidge, Bhav Joshi, Millie Kent, Eilidh Loan, Pete MacHale, Miles Yekinni, Hemi Yeroham. Dobson previously appeared in the audio play "Blood of the Daleks".

EPISODES

There will be a Christmas special in December 2023, followed by an eight-episode season. (The BBC posted that the season would air in spring, but then removed the information.) Russell T Davies is the showrunner.

A guest star from 2005 returned for the special.

Episode 1's title was coincidentally spoken aloud in a third-season episode of Star Trek: Picard. It includes the words roar, Glastonbury, and conquistador.

Episode 2 contains the words Liverpool, legions, and non-diegetic. Scene 10 begins "INT. CANTEEN. DAY."

RTD thinks episode 4 is one of the best things he's ever written. The line "I once went to the top of the Shard" was cut from it.

The script for episode 7 begins with the line "INT. COFFEE BAR, USA — DAY, 1947".

Episode 8 will contain the words kingdom, gold, and Tigella. Scene 73, featuring the Doctor and Ruby in the TARDIS while "enemies are being fought", was the last scene filmed for the season.

There's a 1960s episode, featuring the Doctor and Ruby in snazzy period outfits.

The episode guest-starring both Varma and Groff will be set in the Regency era. "Dress to impress, and beware the Duchess."

CREATOR RAMBLINGS

According to RTD, we will be "staggered" by the 2023 festive season surprises.

There are monsters which are "impossible to describe" without referencing Fourth and Seventh Doctor adventures.

RTD promises that there are "plans still unfurling" which have yet to be made public.

Production designer Philip Sims said he was excited about "designing a new Dalek".

Davies has hinted that the blue doors Michelle Greenidge and Anita Dobson were photographed with are significant.

Script editor Scott Handcock mentioned filming which required nine babies, as well as Ncuti and Millie.

Monsoon's first day on set "teams her with an unexpected name from the Tom Baker era".

Anita Dobson has said she's playing Ruby's neighbour, whose name is either Mrs. Flood or Blood.

RTD used a potato emoji while commenting on publicity photos from the Regency episode (Sontarans?). Davies was also very coy about the identity of Groff's character.

RTD mentioned one episode having gone through three titles with no decision having yet been made. Another episode had "sixpence" in the title for a while, until the coin was cut.

RTD teased a famous guest star appearing in a scene with a giant statue head in the finale.

While writing about the final days of filming, RTD said that "Yasmin Finney wrapped a few days ago".

OTHER

Filming began on December 7, 2022 and wrapped on July 14, 2023.

Block One was directed by Dylan Holmes Williams. Block Two was directed by Mark Tonderai. It included the Christmas special. Block Three was directed by Julie Anne Robinson. It contains "two wildly different episodes, by two different writers". Block Four was directed by Ben Chessell. Block Five was directed by Jamie Donoghue.

Posters of the Doctor and Ruby.

Fifteen will be getting a brand-new sonic screwdriver.

previous

Leaks and sources below the cut!

LEAKS

Michelle Greenidge appears to be playing Ruby Sunday's mother. Since Greenidge and Millie Gibson are different ethnicities, she is presumably an adoptive, foster, or step mother.

Campaign posters for the "Albion Party", with Roger ap Gwilliam as the "Space Saviour", were spotted on location filming.

Jinkx Monsoon is in the '60s episode.

Millie Kent is playing Valerie, and Sophie Ablett is Marti Bridges.

Mel Bush will be appearing in the season finale.

Reports from finale location filming, albeit second-hand, of someone on set saying, "This is where the Daleks come in".

According to his CV, Majid Mehdizadeh-Valoujerdy will be playing Carson in an episode directed by Julie Anne Robinson.

Davina McCall may be the returning 2005 guest star. She will apparently host a genealogy show on which Ruby appears, and will be crushed by a falling Christmas tree.

RUMOURS

UNIT may be getting its own spinoff. (SOURCE)

The DWM production journal has led some fans to theorize Steven Moffat will be returning as a writer.

SOURCES

Doctor Who filming begins with new director

Doctor Who filming in Penarth as Doctor and companion costumes revealed

Doctor Who filming at Capitol Shopping Center in Cardiff

Doctor Who filming with new monster at Swansea Bay Campus

Doctor Who filming in Newport with UNIT, Space Saviour and companion

Doctor Who filming in Swansea: new monster details

Doctor Who filming with Aneurin Barnard at Cardiff City Stadium

Doctor Who filming with Millie Gibson on a moving train from Cardiff

Doctor Who filming at Loudoun Square flats

Doctor Who Filming in Bristol With Millie Gibson, Michelle Greenidge and Anita Dobson

Doctor Who filming in Pembrokeshire with Millie Gibson

Doctor Who filming: new photos of Millie Gibson in Pembrokeshire

Photos snapped of Millie Gibson filming Doctor Who

Doctor Who filming: Ncuti Gatwa and Millie Gibson in Pembrokeshire

Doctor Who filming in Bristol with Millie Gibson and Anita Dobson

Russell T Davies talks “exciting” Doctor Who scenes as programme films in Bristol

Doctor Who filming with Ncuti Gatwa at two venues in Cardiff

Doctor Who filming: Block Three begins

Doctor Who filming: clue found for secret location filming

Ncuti Gatwa and Millie Gibson film 1960s Doctor Who scenes

Doctor Who films in Bristol with Ncuti Gatwa and Jinkx Monsoon

Doctor Who filming in Cardiff with Beatles connection

New Doctor Who photos of Jonathan Groff alongside Nucti Gatwa and Millie Gibson

Doctor Who filming at Margam Park

Doctor Who films more scenes with a Beatles connection

Doctor Who films in Cardiff theatre

Doctor Who films in Cardiff with Ncuti Gatwa and Bonnie Langford

Michelle Greenidge films Doctor Who in Cardiff

Ncuti Gatwa, Millie Gibson and Bonnie Langford film Doctor Who in Cardiff

Millie Gibson and Ncuti Gatwa film Doctor Who at Cardiff City Hall

Doctor Who films scooter stunt on Cardiff streets

Bonnie Langford and Ncuti Gatwa film Doctor Who scenes on a scooter

Ncuti Gatwa and Millie Gibson film Doctor Who in Barry

[consanguinitatum]

David Tennant's Obscure Performances: Sweetnightgoodheart and its time traveling release date(s)

Heya all you David Tennant fans! I'm back with a small thread about a 2001 short film which David starred in called Sweetnightgoodheart (hereafter called SNGH).

SNGH was 9:16 in length. It was written and directed by Dan Zeff and produced by Litmus Productions in association with Bliss.com films for BBC Films. Its original title was Sweetnight Goodheart (with the two words separated) but somewhere along the way, the words were connected.

More about the title, this time from the BFI: "This entertaining short film takes a lighthearted look at the anxiety of modern relationships. The mix up of the title - a play on the familiar WWII song 'Goodnight Sweetheart' - highlights the confusion and miscommunication that is the film's premise."

Now, although I just said it was released in 2001.....if you look at the IMDb entry above very closely, I'm sure you've noticed it says 2005.

This, my friends, is wrong. And I'm about to prove it.

According to the British Film Institute, SNGH was one of the short films which made its premiere in August of 2001 at the Edinburgh International Film Festival. It was a nominee for Short Films. It also screened at the 45th Regus London Film Festival as part of their Urbania Shorts slot in November of 2001, and was a nominee for Short Cuts & Animation.

Sooooo.....unless David and everyone involved with the project are all time travelers and they somehow filmed the short in 2005 but took it back to 2001 to show at the festivals?....well, you get the picture.

After SNGH's premiere at the two festivals, it was sold to HBO and Cinemax. It was broadcast in the USA (and yes, you read that right!) on Cinemax beginning in August of 2002. It was shown every couple of months or so until July of 2004. It was first aired on HBO beginning in March of 2003 and was broadcast intermittently until June of 2004. Judging by the broadcast listings, it appears both networks used it as short "filler" material in between their full-length movie offerings. And after those two stopped airing it, PBS in the USA then aired it as part of its Imagemakers series in September of 2005. Here are some newspaper blurbs (with the newpaper titles and dates above them) to prove these broadcasts occurred:

Further proof? On Valentine's Day of 2009, the BFI screened SNGH with its other main features. That screening's entry for the short also says it was released in 2001.

I wanted to find out why IMDb would say 2005, so I poked around a bit. Oddly, its release date information specifies "Hungary" (okaaay?), while sources elsewhere have the 2005 date noted as the date of its "world premiere". The Hungary release date might well be accurate, but I'm not sure exactly what world premiere means...besides, it's obviously an error (since we've already shown it aired in the US in 2002 through 2004). So I think we can safely cross out 2005, don't you?

But ohhhh, we're not yet done on the dates, because some sources also give a release date of 2003! This date, however, is much easier to explain. The 2003 date originates from its initial broadcast on BBC2. It aired as a part of a 50-minute program called Ways To Leave Your Lover (hereafter called WTLYL) at 11:20 pm on 25 March 2003. WTLYL featured five 10-minute short films with a common thread - the end of love. in addition to SNGH, the other four films were Stag, Dog, Unscrew, and Dumping Elaine.

So...now that we've taken care of the date mix-up, let's get into the short itself!

SNGH starred David as Pete, and Kate Ashfield - who he would also go on to star with in a 2002 audio drama called The Island and in 2005's Secret Smile - as Juliet. It also starred Diana Hardcastle as Anthea, Cliff Parisi as Colman, and Thusitha Jayasundera as Yasmin. Here is the archived BBC press release for WTLYL before it was aired.

And the plot? Well, if you haven't yet seen SNGH here's a great plot synopsis which might intrigue you enough to chase it down. It's from the 23 March 2003 edition of the Sunday Times: "Dan Zeff's cautionary tale Sweetnightgoodheart observes [how] David Tennant's attempts to ditch his girlfriend (Kate Ashfield) spiral out of control." And from the

Here are also a couple of photos!

And while we're at it, here are a number of short summaries - and one longer article from the Evening Standard which includes a photo! - which appeared in various newspapers when WTLYL aired in 2003:

During my research into the origins of SNGH, I've seen the BBC series it featured in variably titled as Ways To Leave Your Lover, and Eight Ways To Leave Your Lover. This discrepancy appears both in print and on the CVs of various actors and crew involved with the project (here's an example). While not confirmed, my belief is Eight Ways to Leave Your Lover was a working title. Five films aired on the program, but I've found an additional two which didn't (which makes me think there was a third whose title I have not been able to ascertain). I believe that at some point in the process, a decision was made to remove three of the films originally scheduled to air, and the name was changed accordingly.

in addition to SNGH, the other four films aired during WTLYL were Stag, Dog, Unscrew, and Dumping Elaine. I didn't find places to watch most of them, but you can see Dog and Dumping Elaine at the links I've provided. Here's what I know about them:

---

Stag - written by Ian Iqbal Rashid and starring Stuart Laing and Nitin Ganatra: a bridegroom wakes up on the morning of his wedding in bed with the best man.

Dog - written by Andrea Arnold and starring Joanne Hill, Freddie Cunliffe and Veronica Valentine: a fifteen year-old girl finds the will to stand up for herself when she witnesses a disturbing and violent incident.

Unscrew - written by Clara Glynn and starring Douglas Henshall and Emma Fielding: a surreal short about a guy whose girlfriend unscrews his penis and takes it with her when they begin separating their belongings after their breakup.

Dumping Elaine - written by Peter Lydon and starring Susan Lynch, Matthew Delamere and Dido Miles: waitresses play Cupid.

---

SNGH is archived at the BFI on VHS and Beta, and in two master forms (16mm/35mm). You can see it there, but I'll save you a trip: while a 4.35G digital copy was made off the master, there's no access to it. The viewing copy MP4 is only 305MB.

If you've read this far, you're probably wondering how you can see it. There are plenty of ways! If you are a registered BFI Screenonline user - and registration is free for users in UK libraries, colleges and universities - you can watch it here (and perhaps download it, though I'm given to understand it's only available for download during certain times). It's also floating around the webs in various forms and qualities on Vimeo, Dailymotion, FilmNow, etc. All of these aren't the greatest of quality, but it's the best we've got. Ah, for a better quality video file taken off the master copy!

But I'd recommend watching it at Dan Zeff's own website.

And that's it for Sweetnightgoodheart. I hope you've enjoyed reading about it as much as I have writing and researching it!

[rejectedbad]

Rejected Bad: Silver Fox

The following is a rejected script from an early season of Breaking Bad.

INT. JESSE'S LIVING ROOM - DAY

Jesse Pinkman is sitting on his worn-out couch, engrossed in a conversation with his friends Skinny Pete and Badger. The room is filled with empty pizza boxes, beer cans, and comic books strewn across the coffee table.

JESSE:  (leaning back with a smirk)  Yo, I'm telling you guys, when I hit old age, I'm gonna be a total Silver Fox, just like George Clooney. Chicks won't be able to resist this charm, even when I'm in my eighties, man.

Skinny Pete chuckles, shaking his head in disagreement.

SKINNY PETE:  (sarcastically)  Sure thing, Jesse. You'll be turning heads, but only because people will be wondering why you're still alive.

Jesse's face scrunches up in exasperation, determined to prove them wrong.

JESSE:  (mocking)  Alright, Mr. Optimism. What about you, Skinny Pete? You're tellin' me you won't make it past 35?

SKINNY PETE:  (nonchalantly)  Hey, I'm just sayin', life on the streets ain't exactly a retirement plan. Besides, it's the way things are, yo. Grim realities and all that.

Badger momentarily looks up from his comic book, featuring sexy catboys in provocative poses, and considers the conversation.

BADGER:  (laughs)  Hey, guys, have you seen Jesse's hairline lately? You might just end up as bald as our old buddy Walter White here.

Jesse's expression immediately turns from confident to offended, touching his thick head of hair protectively.

JESSE:  (defensive)  Nah, man, my hair is gonna stay luscious and amazing 'til the end. And by the way, that's not what we're talking about here.

Skinny Pete and Badger exchange a look, amused by Jesse's reaction.

SKINNY PETE:  (mocking)  Alright, Silver Fox, keep dreaming. But maybe focus on surviving the present, you know? We've got enough dangerous stuff going on without worrying about our future looks.

Jesse tries to play it cool, but deep down, he knows they have a point.

JESSE:  (defeated)  Fine, fine. I'll give it a rest. But I'm telling you guys, never underestimate the power of Jesse Pinkman. I'll prove you wrong someday.

They all share a laugh and a moment of camaraderie before returning to their usual banter, leaving the future uncertainties behind for a while.

FADE OUT.

[no-reply95]

Jealous Guys

Something I’ve been thinking about for a while now is the different ways jealousy manifested for John and Paul over the course of their friendship.

I’m going to look at John and Paul in turn and have a look at some of the key ways jealousy appeared, before, during and after the Beatles period. This will be a looooong post so if you want to go on deep dive keep reading below.

John

Jealousy was something that John acknowledged as a big part of his personality, as far as I’m aware, he only acknowledged his jealousy publicly in terms of his relationship with Yoko but I believe jealousy was a feature of all of John’s major relationships. John’s first real partnership was with Pete Shotton, his childhood best friend, and Pete has outlined how John’s jealousy and possessiveness was a feature in their friendship with them falling out when Pete first started showing interest in girls and with John acting out when Pete started to spend more time with other friends, instead of him, here Pete recounts John’s reflection on this period of their friendship:

“Years later John confessed to having felt acutely jealous throughout that interlude: “I was scared shitless I’d lost you after our fight in science class, when you starting playing with David Jones. I really thought I’d gone too far with you that time.“

Pete Shotton, John Lennon: In My Life , 1983

Pete’s recollections establish a pattern in John’s life of acting out due to a fear of abandonment and losing those who are closest to him so it’s not surprising that once John had formed a strong bond with Paul that would stir similar fears in him. 

Below I’ve categorised the groups of people that were the focus of John’s jealousy and have picked one person from each group as an example:

Family - Jim McCartney

Paul’s family was and continues to be a big part of his life. From the outset of their friendship, John was made aware of how important Jim was to Paul and vice versa. John and Paul had to skip school to hang out together because Jim wouldn’t have John in their house initially and John confessed his resentment of Jim’s influence over Paul’s life. It appears that after some time John grew tired of having to contend with Jim for the position of the most important person in Paul’s life, and this culminated in John giving Paul a pseudo ultimatum as John discussed in 1971:

“But Paul would always give in to his dad. His dad told him to get a job, he fucking dropped the group and started working on the fucking lorries, saying, "I need a steady career." We couldn't believe it… “So I told him on the phone, "Either come or you're out." So he had to make a decision between me and his dad then, and in the end he chose me”

St. Regis Hotel interview, Sept. 5, 1971

Friends - Mal Evans

Throughout the active years of the band it was typical of them to refer to each other as their best friends and, given the lives they led, I think the simple fact that no one else could understand what it was like to be a Beatle would have meant they all shared a special bond. However, they all had friendships outside of the band and this was something that could cause issues for John when it came to Paul.

According to Tune In, Mal initially became friends with Paul during the band's initial shows at the Cavern Club then, after a suggestion from George, Mal became a part of the Beatles entourage thereafter. Mal had friendships with all the Beatles, as part of their inner circle, but from his comments it appears John took umbrage with the closeness of Mal’s friendship with Paul:

“Paul would suddenly come in with this circle saying, “This is Magical Mystery Tour, will you write that bit?” And I was choked that he’d arranged it all with Mal anyway, for a kickoff, and had all this idea going”

St. Regis Hotel interview, Sept. 5, 1971

Mal also comes up when John discusses his recollections of the writing of Eleanor Rigby:

“So rather than ask me, “John, do these lyrics—” Because by that period, he didn’t want to say that – to me. Okay? So what he would say was, “Hey, you guys, finish off the lyrics,”... “ Now, I sat there with Mal Evans, a road manager who was a telephone installer, and Neil Aspinall, who was a not-completed student accountant who became our road manager. And I was insulted and hurt that he’d thrown it out in the air”...” There might be a version that they contributed, but there isn’t a line in there that they put in.“

Playboy interview, David Sheff 1980

John’s discomfort with the closeness of Paul’s relationship with Mal was something that wasn’t lost on Mal’s wife Lil:

“He was always at their beck and call. He was a nice fella to have around, so much so that it could provoke little jealousies within the band. When I met Yoko years after Mal died, she said John had told her he’d been very jealous at one point of Mal’s relationship with Paul.”

Lil Evans interview with Ray Connolly, 2005

Love interests - Linda McCartney

Throughout their friendship both John and Paul had quite a few love interests, which (to varying degrees) prompted jealousy between them.

Although John displayed jealousy of a few of Paul’s love interests this was no more apparent than with Paul’s first wife Linda McCartney, which is confirmed by both John’s words and actions regarding Linda and her partnership with Paul:

“"Then Klein informed Lennon that McCartney had secretly been increasing his stake in Northern Songs. ‘John flew into a rage,’ recalled Apple executive Peter Brown. ‘At one point I thought he was really going to hit Paul, but he managed to calm himself down.’ One unconfirmed report of this meeting had Lennon leaping towards Linda McCartney, his fists raised in her face"

Peter Doggett, You Never Give Me Your Money

"Int: When did you first meet her [Linda]? John: The first time I saw her was after that press conference to announce Apple in America. We were just going back to the airport and she was in the car with us. I didn't think she was particularly attractive, I wondered what he was bothering having her in the car for. A bit too tweedy, you know. But she sat in the car and took photographs and that was it. And the next minute she's married him."

St. Regis Hotel interview, Sept. 5, 1971

“I was reading your letter and wondering what middle aged cranky Beatle fan wrote it... "What the hell—it’s Linda! . . . Linda— if you don’t care what I say—shut up!—let Paul write—or whatever.”

"Of course, the money angle is important—to all of us—especially after all the petty shit that came from your insane family/in laws—and GOD HELP YOU OUT, PAUL—see you in two years—I reckon you’ll be out then"

Draft letter from John Lennon to Linda McCartney, circa 1971

"The presumption is a) the Beatles would get together again or are even thinking about it and b) if they got together, John and Yoko split, Paul and Linda split"

John (with Yoko) talks to John Fielding on Weekend World, 1973

"John often speculated on why Paul and Linda remained married while, at the same time, resenting their evident happiness, to the extent that he had Green do a tarot reading to ensure him that Paul and Linda were really secretly miserable and were going to divorce within a year"

According to Fred Seaman and John Green, source

Paul

Of course jealousy wasn't a one-way street in the Lennon-McCartney relationship. Unlike with John, for Paul I'm focusing more on the key people I believe his jealousy, regarding John, was directed to:

Stuart Sutcliffe

John met Stu at Art College and struck up a really close friendship with him. At the point that John met Stu, John had already become friends with Paul so Paul felt threatened when Stu entered the picture:

"When he [Stu] came into the band, around Christmas of 1959, we were a little jealous of him; it was something I didn’t deal with very well. We were always slightly jealous of John’s other friendships.

When Stuart came in, it felt as if he was taking the position away from George and me. We had to take a bit of a back seat."

Paul McCartney, Anthology 2000

"Paul was saying something about Stu’s girl – he was jealous because she was a great girl, and Stu hit him, on stage. And Stu wasn’t a violent guy at all."

John Lennon, 1967 Anthology 2000

"I looked up to Stu. I depended on him to tell me the truth. Stu would tell me if something was good and I’d believe him. We were awful to him sometimes. Especially Paul, always picking on him. I used to explain afterwards that we didn’t dislike him, really."

John Lennon, The Beatles Hunter Davies 1968

Yoko Ono

Of all the relationships I've already discussed, the relationship and jealousy displayed from Paul towards Yoko is probably the most widely discussed in Beatles historiography and general discourse. From the official start of Yoko's relationship with John in 1968 it was clear that Paul resented her presence in John's life and her proximity to the band:

"He even sent them [John and Yoko] a hate letter once, unsigned, typed. I brought it in with the morning mail. Paul put most of his fan mail in a big basket and let it sit for weeks, but John and Yoko opened every piece. When they got to the anonymous note, they looked puzzled, looking at each other with genuine pain in their eyes. ‘You and your Jap tart think you’re hot shit’, it said."

Francie Schwartz, Body Count 1972

"Cause she’s [Yoko] very much to do with it from John’s angle, that’s the thing, you know. And I – the thing is that I – there’s— Again, like, there’s always only two answers. One is to fight it, and fight her, and try and get The Beatles back to four people without Yoko, and sort of ask her to sit down at the board meetings. Or else, the other thing is to just realize that she’s there, you know. And he’s not gonna sort of – split with her, just for our sakes."

Paul McCartney, Let It Be Sessions, 1969

"I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership. It’s taken me a year to realise that they were in love. Just like Linda and me."

Paul McCartney, interview with Ray Connolly, 1970

What are the similarities and differences in the way jealousy manifested for John and Paul?

I think it's obvious but bears repeating that both John and Paul displayed jealousy towards other people who they felt would threaten their relationship so that's central to all the instances I have flagged, Jim, Mal, Linda, Stu, Yoko all posed real or imagined threats to John and Paul's partnership.

However, you'll note that I included more sources to display John's jealousy regarding Paul and that I categorised John's jealousy targets whereas I only pulled out two key individuals for Paul, this isn't to say that John was more jealous than Paul was, as jealousy isn't something you can quantify, but to highlight my opinion that Paul's jealousy regarding John was more targeted than John's jealousy regarding Paul. I think what stands out to me is that, I think generally Stu and Yoko are held up as the prime examples of Paul's jealousy of other people getting close to John, as far as we know, Paul never had significant issues with other people who formed close relationships with John like Pete Shotton, Cynthia Lennon, Magic Alex etc., why was that? I think that Paul was more threatened when he felt that John was replacing him so by bringing Stu into the band (even though he wasn't a musician) and Yoko into the studio (one instance where Paul was especially hurt was when John gave Paul's line in The Continuing Story of Bungalow Bill to Yoko to sing), Paul perhaps felt that his place as John's primary collaborator was in jeopardy and that he could lose a partnership that had become central to his self-worth as a person - that, I believe, was when his jealousy was most likely to rise to the fore. John, on the other hand, had a much wider range of targets when it came to jealousy regarding Paul, why was John jealous of Linda? Linda wasn't trying to replace John as Paul's collaborator, if anything she wanted the Lennon-McCartney partnership to be stronger. Why was John jealous of Mal? Mal wasn't a musician, Mal was a huge fan of the band and constantly worked to fulfil their requests, so why was John so threatened by his friendship with Paul? For me, John's jealousy regarding Paul was more than just a fear of directly being replaced, I believe John's jealousy was fundamentally triggered by a fear of abandonment. I think the childhood trauma John experienced, of being left by both his parents, meant that whenever any of his close friendships and relationships were threatened, or he felt that someone close to him may leave him, he would act out. John fell out with his childhood best friend Pete when he got a girlfriend, John hit Cynthia when he saw her dancing with Stu, John was rude to several of Paul's love interests and ultimately John never fully accepted Paul's relationship with Linda because, although he could see that she could offer Paul the family life he always wanted, John didn't want Linda to take Paul away and give him a family that meant that Paul would no longer be able to prioritise John in his life as he had in the past.

Ultimately, we'll never know all the ways that jealousy factored into John and Paul's relationship with each other and those around them, as I'm sure it impacted several relationships in more complex ways than I can articulate (i.e. I suspect jealousy played a part in Paul's initial resentment of Brian but they grew closer over time so maybe Paul's jealousy lessened over time or Brian became less of a threat?). I do think it's important to consider that jealousy was present on both sides and was likely a factor in the breakdown of John and Paul's relationship, the breakdown of the Beatles and was a continued factor in disrupting reconciliations between John and Paul into the 70s and 1980.

[niftybottle]

Hey @tulipsandsake, I’m your @bering-and-wells-exchange person. I saw you reblog D&D and Critical Role stuff, so I thought I’d do designs for Myka and Helena as D&D characters. Helena is a half-Drow multiclass Bard (College of Glamour)/Artificer (Battle Smith), while Myka is an old-school (2e/AD&D/Baldur’s Gate era) human dual Kensai->Mage. (I don’t have races/subclasses for everyone, but Artie is a college of lore bard, Claudia is an Artificer, Pete is a fighter, and I’m not sure what Leena is). Helena is very much a “seduce anything that moves” ~D&D Bard~, while Artie is very much not - he leans hard into the collection of lore/jack of all trades angle, and while he can play music very well he borders on anti-social. This is the source of some of the tension between them, with his distrust for her Drow parentage occupying most of the rest.

At this point I’m going interrupt to give a blanket apology if I explain something you already know - it’s hard to judge knowledge levels with a gift exchange without ruining the surprise, so I’m going to err on the side of explaining things just in case.

Helena is a bard to capture the importance of her novels, but novel-writing isn't the most practical in a fight or as a live performance, so I gave her an instrument. I chose the hurdy-gurdy, which is a (real) instrument with a very silly name. I picked it because it is very complex and mechanical, like something she might have invented or cobbled together. It’s kind of like an automatic violin or fiddle - rather than being plucked or bowed, a crank on the side is rotated, which moves a wheel across the strings. Rather than frets there are keys which hold the strings at certain points when pressed. There are also “drone” strings, which play a given note (that can be adjusted using a tuning peg) whenever the wheel is turned. You can technically “play” a drone string by holding a sting as if a guitar string as the wheel turns, but that isn’t traditional. Both drone and melody strings can be adjusted using tuning pegs, and apparently you can adjust the exact note the keys play. Some hurdy-gurdys (but not Helena's) also have additional strings not played by the wheel that can be played like a guitar. Hurdy-gurdys do not have much standardization, and the number/presence of all the different kinds of strings can vary.

Helena's bard college I went back and forth with - the college of glamour is about charming, as in the magic, which does suit her, but the college of lore would also be good. Ultimately I decided that college of lore would be better for Artie. Battle Smith, her artificer specialization, I kind of chose to make the character a little more practical to play - artillerist might have suited her character a touch more, but not too much more, and the battle smith's ability to use intelligence for (magic) weapon attacks/damage reduces the important stats to two (int and cha) rather than three (adding str or dex for weapon rolls). Helena's Steel Defender is Dickens the Mechanical Cat, and he can turn the crank for the hurdy-gurdy, letting her play it with one hand.

I don't have her backstory completely pinned down; I feel like her Drow parent escaped to the surface rather than being a functioning member of Drow society, if only to reduce the sketchiness of the alternative method of conception. Christina is definitely a valid "reason for adventuring", but Endless Wonder or fleeing the consequences of a lab accident or charm spell wearing off are also possibilities.

In terms of the illustration itself, I tried to balance bard flamboyance, artificer practicality with a touch of mad science, and Helena's canonical slightly Victorian elegance. I definitely needed the fancy bard hat, because I am of the firm belief that every bard needs a fancy hat. She's wearing a cute pair of overalls (and I now have "stylish overalls" in my google search history), but they got covered by Dickens :( . With the more muted browns inspired by the artificer half as well as her canon style, she was looking a little drab for a bard, so I added a little cape. In terms of skin/hair/eyes and being half-Drow my thoughts were kind of: leaning in to the purplish/blue/lavender skin thing some illustrations of Drow have, because between the inherent problems of the evil elves having black skin and wanting to stay fifty feet away from anything that might come close to being a race-bend I wasn't going to deal with having her skin be darker. I think it turned out OK? For some reason Helena's eye color is significant to me, so they stayed brown rather than Drow purple or something, though they wound up a bit brighter thanks to my attempts to add a little purple. Jaime Murray's hair is iconic, but more for its smoothness and luster than its color, so I was fine making it white as long as I kept the style. The hurdy-gurdy was a bit of a nightmare (twice over, since I had to ink it), which isn't surprising - I kind of cursed myself with that instrument choice, but it was so perfect ;_; . In general, and especially in comparison with Myka, Helena's illustration fought me the whole way down. If you watch the time-lapse, you can see some of the references I used, but far from all - I streamed so much hurdy-gurdy playing youtube is still confused, and the pose went through some shenanigans.

Now, to Myka. Thinking of her pre-med before pre-law before secret service vaguely remembered quote, I thought of the old Baldur's Gate fighter(kensai)->mage cheese build, and thought it might be a good way to capture that simultaneous indecision and discipline/intelligence.

Going very briefly into Baldur's Gate/2e: Kensai, in BG, is a Fighter kit. Kits, in BG and 2e both, are a little like specializations in 5e, in that they are a kind of further customization beyond the class itself. The difference is, not every character has a kit - there is a base class (fighter) and a kit is a set of trade-offs, taking away base class features in exchange for various benefits. So fighter, the base kit, is pretty similar to the fighter in other editions - good at using weapons and armor and attacking a lot. Can equip the best stuff, and use it well, but doesn't get a lot of bonuses apart from that of equipment. Kensai (in BG), on the other hand, trades the ability to wear armor (and use non-thrown ranged weapons) for scaling bonuses to to-hit and damage (abstracting some things for you), and a minor one-time bonus to natural armor, as well as the Kai ability, which temporarily maxes out damage on successful attacks, usable a few times a day, depending on class level. In short, they trade off the armor portions of the Fighter class for additional weapon bonuses.

In Baldur's Gate, if you want to build a dual fighter/wizard, kensai is a great pick for kit, since wizards can't cast in armor anyway, but they can cast spells to boost their AC, mitigating some of the disadvantage of the kit. Mage is a base class and basically what would be called a wizard in later editions. Mage kits, with the exception of wild mage (in BG), which is a whole thing I won't get into, are pretty much picking a school to specialize in - they get bonuses to spells of that school, but there is an "opposing" school which they can't use at all. I wouldn't be terribly interested in those specializations even if I could use them for Myka, but I couldn't, because of how dual-classing works.

Dual-classing in BG and 2e is one of two methods to have more than one class on a character. Which one you can do depends on your race (as does a lot of things in 2e). If you're human, you dual-class; if you're not, you multi-class. Multi-class characters are more what you'd expect from multi-classing in other editions - you have two classes, you gain levels in both. There are differences (exp is divided evenly between classes, rather than choosing what to level, class and combination restrictions), but most relevantly, you can't use any kits with multi-class characters. So, we want to dual-class, not multi-class, so that Myka can use the Kensai (BG) kit, which makes her human, which is fine.

Dual-classing, compared to multi-classing, is weird. Basically, you start off in one class, with a kit if you like, and level normally in that class/kit until you decide to switch, at which point you are done with the first class and can't level in it anymore. Then you *start over* in your new class (which cannot have a kit), as if you were a level one character in that class, without (effectively) the ability to use anything from the previous class (except hp). This continues until the number of levels in the second class exceeds that of the levels in the first class, at which point the character regains all the qualities and abilities of their first class. Dual classes can wind up quite powerful, but they require both planning and a willingness to be weaker for a time to be more powerful later (which I feel suit Myka well - she's a planner and has the patience and discipline to accept temporary weakness to be stronger later). So, given that we want to use the Kensai (BG) kit, Myka needs to start with it, and then switch to mage later, since the second class can't have a kit.

At this point I want to clarify why I keep specifying Baldur's Gate and/or D&D 2e for things. Turns out, Baldur's Gate does use D&D 2e as a base, but makes some modifications. One of the changes it makes, which I didn't know when I started this, is the Kensai kit itself. Kensai is not officially a 2e kit, and technically isn't in 2e at all. There is a (fighter-ish) class in the "Oriental Adventures" book for first edition, but it isn't quite the same, more it's own class that happens to share some tables with fighter. Since the end goal is character design, not creating a legal 2e character, I won't go too far into it, but I did create both a (cheated to level up) Baldur's Gate kensai -> mage and a (1e-ish)Kensai->(2e)Mage, using the rules from 2e for most things not directly in the Kensai class description (and ignoring the stat requirements for dual-classing since I didn't roll any 17s); screenshots of both should be in the supplemental reblog, in addition to a link to Helena's dndbeyond character sheet.

Fortunately for me and my lack of foresight, both BG Kensai and 1/2e Kensai have similar flavor: a heavily "eastern" inspired warrior with even more discipline and asceticism than standard fighters, focused on their weapons and unable to wear armor, with a restriction to either lawful (1/2e) or at least not chaotic (BG) alignments (if this sounds a little monk-ish WotC agrees - kensai is a monk specialization in 5e, being a monk that can use a not-monk weapon). Also fortunately for me, mage is wizard is mage, regardless of edition. Magic from book learning/intelligence. Not too complicated.

In terms of character narrative, in canon, I feel like coming to the Warehouse was a significant breakpoint in Myka's life and worldview. Not being a writer, this small essay notwithstanding, I'm going to sum it up as a break from tradition and from seeking the approval of her father. Where joining the Warehouse crew was for canon Myka, I want dualing from Kensai to Mage to be for DnD Myka, with reaching the point where she can use Kensai features again representing the peace with her past she eventually reaches at the warehouse in canon. What I'm picturing is: Myka is from an isolated and very traditional mountain village where the kensai tradition (and 2e mechanics) has been preserved. Myka is trained in this tradition, and has both the mental discipline and physical capabilities to excel. The people of this village are purists and don't believe in using magic, especially in conjunction with being a kensai. Somehow (at this point my having thought this through starts to fail) Myka gets ahold of some spellbooks, and with her love of books and curiosity, begins to read and reread them, until one day she casts some magic. This is against the rules, and she's kicked out of the village for "corrupting" their traditions, and now she has to make her way through the world with only her fledgling mage talent to rely on.

Talking about the illustration/design itself: given the heavily eastern vibe, I'm trying for a samurai/ronin style based on my recollections from my weeb phase. I wanted in particular with the robe/kimono to make something that would be in between the plain practicality of Myka's kensai kimono and the flashiness of wizard robes (if you watch the timelapse, you may spot the part where I accidentally took a left turn into fallout's vault boy coloration before tweaking it a bit). I also wanted to have her using magic, and I think the magic effect turned out well. Really, this illustration just came out really easy. I was just … drawing hands. If you watch the timelapse, I even saved a third hand for a while because it was so nice (but at the wrong angle). I don't know what happened. Really the only snags were the aforementioned Vault Boy Moment and coloring Myka's hair (although I did decide to leave her face as a sketch rather than try to ink it).

I think maybe I've babbled enough for now. I'll reblog this in a moment (since tumblr hates links) with character sheets, timelapses of the drawings, and a bonus doodle that came to me reading the artificer specializations.

[another-bryk-in-the-wall]

Somebody willing to write Jeremy Danvers is just what I need right now! So, this is probably silly, anyway, how about a reader wo has сynophobia and freezes, panics and almost cries every time thes see a dog, same goes for wolves (maybe some werewolf shit is happening in the town again or maybe somebody from the pack roams around). And Jeremy is fine with that until something happens and he just has to tell them his secret. Anyway, thank you for running this blog (and existing in general)!

All yourlife, you had feared dogs. After the neighbour’s dog had bitten you, leavingyou with an infected wound on your thigh for weeks, dogs were a no-go for you.Even at a zoo you visited with your family, the moment you saw the wolves intheir habitats, you started to cry and hid in the closest bathroom to calm downfrom a panic attack.

Even thesmell of dogs made you freeze up. And for some reason, Jeremy’s home alwayssmelt like dogs.

Jeremycame into your life several years ago. Your car had broken down on his property,and luckily, he was just going for a walk when he spotted you. He helped youwith your car, and when it did not start again, he offered you to sleep in hishome at night, to charge your phone and to call someone to pick you up. Themoment you walked into his home, you froze. Dog. The smell of damn dogs. Youasked Mr. Danvers if he had any dogs. “No…but I did own one at some point.Maybe his smell is still lingering around? He was a good boy.” This calmed youdown and you were able to sleep the night on the couch. Your phone was charged andyou could call your best friend to pick you up.

Beforeyou left, you asked Mr. Danvers for his number, and ever since you two were inseparably.You went on dates, slept tangled up in each other’s arms. But the smell of dogstill lingered in your nose whenever Jeremy was near.

You gotto meet his son Clay, who he fathered at the young age of 23. If someone didn’tknow better, they could think they were brothers. Clay had a beautifulgirlfriend called Elena, and frequent guests were Antonio, Pete, Nick, Logan,and their close families. You did not mind the rumours you heard in the city.The Danvers were actually a sex cult, drug dealers, or hoarding dead bodies intheir basement…truth to be told, you had never seen the basement, so you couldn’tdeny the last point. But you hoped for the best.

Twoyears into your relationship, everything changed. You walked unannounced intoStonehaven, not ready to be face to face with…a large dog? No! With a fuckingwolf!

Youfroze, staring down to the large animal in front of you. You looked down, eye contactwith a beast which could rip you apart in seconds. And judging by the way itlooked at you, it surely could kill you. But quickly, the features of the wolfbecame soft, and it walked into the living room. Several more seconds passedbefore you could move your muscles again.

“JEREMY!”

Your cryechoed through the old halls of Stonehaven, but Jeremy did not come. Minutes,minutes, where the wolf roamed through the house, and Jeremy was in danger! Butyou couldn’t move. Not even an inch.

Finally,Jeremy walked out of the living room, buttoning his shirt as he looked at you. “Hello,my dear. I wasn’t expecting you.”, he said, completely unaware of the wolf inhis house.

“Thereis a wolf in here!”, you blurted out, still staring at the last point you hadseen the large animal. Jeremy frowned, shaking his head.

“That’snot a wolf. That’s Clay.”

What.

Severalexplanations and tears later, you were sitting in the living room, Jeremy nextto you. Your boyfriend was a werewolf and he had kept it secret from you for overtwo years. On one side, you were impressed. You couldn’t even keep his birthdaypresents secret for longer than two weeks. And Jeremy kept his big secret fromyou for…over two years. On the other hand, your boyfriend was a wolf, which wastriggering your fear in ways you never could have imagined it.

Youspent the rest of the day sobbing into his chest before you fell asleep in Jeremy’sarms.

But fromthat day on, the two of you started to work against your fear. At first, Jeremychanged (of course in another room than you), and you tried to stay calm whilebeing in the same room as the wolf. With every day, the wolf came closer andcloser. Step by step, day by day. A few months in, you were finally able to touchhim with just a little bit of fear. And a year later, Jeremy was able to sleepnext to you in his wolf form, providing you with a soft fur pillow. You wereproud of yourself for getting over your fear, for being stronger than your ownmind.

Andsuddenly, the smell of dogs became a comforting smell to you.

Thank you for the request! And feel free to give me a coffee if you like what I wrote!

[luxenvulpies]

[INT] June 22

KH II Kairi [EX+] Falling Price Deal

~ July 2

Each pull until the fifth pull will decrease the jewel price: 3000 > 2500 > 2200 > 2000 > 1900. First pull is free in this banner.

Guarantees: one Trait Medal #19, one 7* tier 4, three Magic Mirrors.

High Score Challenge: Musketeer Pete

~ June 30

[Score calculations]

Features Musketeer Pete, where ranks 1 - 1000 get a Boosted one.

Bonus Medals

21%: KH II Kairi [EX+] 6*

14%: Zexion [+] 6*

10%: Prime - Key Art #17 7*, Prime - Illust Axel 7*

7%: Sephiroth 7*, Illust Sora & Pals 7*, Pooh & Piglet 7*, Sora & Donald & Goofy 7*, Illust Cloud 7*, SP Roxas 7*, and more 7* premiums

PVP Changes

Read here: http://luxenvulpies.tumblr.com/post/175120874594

Special Attack Bonus Campaign & Bonus Purchase Jewels

~ July 1

[yunusamin]

breakpoint = int(split_percent*len(data)) Xtrain = data[0:breakpoint,:-1] Xtest =

In order to remove potential biais I did not use the winrate feature (default 50% for everyone yet). But this item could be a key feature in increasing the accuracy of the model. The only problem is that I have to retrieve the winrate of the champion played before the player play the game. Which mean going live on data collection. Black folk know — we find a way around borders and barriers, white folk change the rules, make new borders, and move them damn barriers back. Dave Chappelle and nem jumped over all them middlemen and gatekeepers and got permission from the Governor of Ohio, Mike DeWine, a Yellow Springs native. Just as he shut down the NLCS with three scoreless innings, it was Urías tasked with closing out the World Series. His 2 1/3 perfect innings finished the job, bringing a World Series championship back to Los Angeles. It was at that moment president of baseball operations Andrew Friedman said he began counting down the outs. By that point, five Dodger pitchers had already entered the game. Rays starter Blake Snell had expertly carved through the Dodger lineup through five innings, striking out nine batters with only one baserunner allowed while holding a 1–0 lead. But the Dodgers’ second baserunner of the night would mark the end of the left-hander’s performance. Dodger starter Tony Gonsolin went 1 2/3 innings after allowing a solo home run to Randy Arozarena in the first inning. The pitchers behind him kept the Rays stuck there. While Snell had nine strikeouts through five innings, so did the medley of Dodger pitchers who had thrown to that point. “I gave the answer earlier that coming in when we acquired him my expectations were sky high, and somehow he managed to find some headroom above that and exceed it,” Friedman said. “I can’t say enough about the baseball player, the way he makes everyone around him better. It’s hard to imagine us sitting right here without him.”He tells a series of jokes surrounding the incident, speaking to the absurdity of being too loud in a cornfield, the possibility of them having membership on Farmers Only, a, yes, you guessed it, a Farmer Dating site, and the joke that ties this story into his ongoing theme — the joke with the premise of some of his farmer neighbors watching SNL, recognizing him and yelping, “Honey, come quick, come quick, the guy from the grocery stores on television!” To which Chappelle replies, “no, you big dummy, the guy from the television show is at the grocery store.”If we focus a bit more on loss per model we can see that the plot of training loss decreases consitently to a point of stability. The plot of test loss decreases to a point of stability and has a small gap with the training loss for Logistic regression. This seems to indicate that we are on a good fit. “It was kind of like a sigh of relief,” Betts said. “Had he stayed in that game, he may have pitched a complete game. I don’t know exactly what would’ve happened, but he was rolling. He was pitching really, really well. That’s the Cy Young Snell that came tonight. So once he came out of the game, it was just a breath of fresh air.” “We worked so hard from Spring Training to now,” Betts said. “We’ve prepared for all the situations that came, we executed when it was time to execute, when our backs were against the wall we came back, we overcame adversity. Everything is special about this group of guys. We love each other. We played for each other.”

https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi1.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi3.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi4.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi5.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi6.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi7.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi8.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi12.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi13.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi14.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi15.html https://verdeoliva.jp/en-Itoen-Ladies-2020-Asahi101.html https://verdeoliva.jp/X-Itoen-Ladies-2020-Asahi-tv.html https://verdeoliva.jp/X-Itoen-Ladies-2020-Asahi-tv01.html https://verdeoliva.jp/X-Itoen-Ladies-2020-Asahi-tv02.html https://verdeoliva.jp/X-Itoen-Ladies-2020-Asahi-tv03.html https://verdeoliva.jp/X-Itoen-Ladies-2020-Asahi-tv04.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi1.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi3.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi4.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi5.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi6.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi7.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi8.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi12.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi13.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi14.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi15.html http://www.snn.or.jp/blog/en-Itoen-Ladies-2020-Asahi101.html http://www.snn.or.jp/blog/X-Itoen-Ladies-2020-Asahi-tv.html http://www.snn.or.jp/blog/X-Itoen-Ladies-2020-Asahi-tv01.html http://www.snn.or.jp/blog/X-Itoen-Ladies-2020-Asahi-tv02.html http://www.snn.or.jp/blog/X-Itoen-Ladies-2020-Asahi-tv03.html http://www.snn.or.jp/blog/X-Itoen-Ladies-2020-Asahi-tv04.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi1.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi3.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi4.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi5.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi6.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi7.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi8.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi12.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi13.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi14.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi15.html http://atom.lk/wp-content/xyz/en-Itoen-Ladies-2020-Asahi101.html http://atom.lk/wp-content/xyz/X-Itoen-Ladies-2020-Asahi-tv.html http://atom.lk/wp-content/xyz/X-Itoen-Ladies-2020-Asahi-tv01.html http://atom.lk/wp-content/xyz/X-Itoen-Ladies-2020-Asahi-tv02.html http://atom.lk/wp-content/xyz/X-Itoen-Ladies-2020-Asahi-tv03.html http://atom.lk/wp-content/xyz/X-Itoen-Ladies-2020-Asahi-tv04.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi1.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi3.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi4.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi5.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi6.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi7.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi8.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi12.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi13.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi14.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi15.html https://www.hongren.live/jpcast/en-Itoen-Ladies-2020-Asahi101.html https://www.hongren.live/jpcast/X-Itoen-Ladies-2020-Asahi-tv.html https://www.hongren.live/jpcast/X-Itoen-Ladies-2020-Asahi-tv01.html https://www.hongren.live/jpcast/X-Itoen-Ladies-2020-Asahi-tv02.html https://www.hongren.live/jpcast/X-Itoen-Ladies-2020-Asahi-tv03.html https://www.hongren.live/jpcast/X-Itoen-Ladies-2020-Asahi-tv04.html https://medium.com/@shamim73ho/breakpoint-int-split-percent-len-data-xtrain-data-0-breakpoint-1-ytest-508719449ae7 https://tvon.live/JLPGA/

I hate it when I hear comedians say, “have you ever heard about…” I know I’m particular as shit. I know this. It just seems so amateurish. A studied comedian, one that works on their craft knows one of the greatest tools of a comedian is the segue — the ability to string a series of jokes together in a seamless manner where the storyline is still coherent. “I’ve been saying ‘World Series champs’ in my head over and over again, just to see if it’ll sink in,” said Clayton Kershaw. “I can’t put it into words yet. I’m just so very thankful to be a part of this group of guys and so very thankful we get to be on the team that’s bringing back a World Series to the Dodger fans after 32 years. They’ve waited a long time.” “I was pretty happy, because he was dominating us,” said manager Dave Roberts. “We just weren’t seeing him. Once Austin got that hit and they went to the pen, I think Mookie looked at me with a little smile.” I created a website (Python-Flask) to be able to run the model while you are in champ select so you can significantly increase your overall winrate and doesn’t waste 30min in game that you will most likely loose ! It was a ticketed affair. Performers made money, fans got entertained, there was social distancing, and you had instant-made tourism. Folks gotta eat, piss, shit, and sleep, right? Right. Win. Win. Wrong. Some local folks started complaining. Maybe they saw one Black person too many. Maybe they got a little scared. Who knows. What we do know is their complaints made their way to the Zoning Inspector, Richard Zopf, who claimed he was never notified about the shows, that Chappelle was using agricultural land for commercial use. Yeah. The lead was still 2–1 in the eighth inning, thanks to the work of Brusdar Graterol and Julio Urías in relief, when Betts blasted his second home run of the series 434 feet out to left-center. The hit off Pete Fairbanks displayed another elite Betts skill that made Friedman so excited to land the prized addition this offseason. Dylan Floro entered and extinguished a second-inning threat, striking out Arozarena to strand two runners. Alex Wood then retired all six batters he faced, striking out three. Pedro Báez and Victor González followed, with the latter striking out the side in the sixth inning. The Dodgers capitalized immediately, starting with Betts, who promptly delivered his eighth double of the postseason. With two runners in scoring position, a ball in the dirt got by catcher Mike Zunino to score Barnes. Corey Seager followed with a grounder to first base. Betts took off for home, beating the throw to give the Dodgers their first lead. Way back in February, on the first day of full-squad Spring Training workouts in Arizona, Mookie Betts set the season’s tone. A Dodger for barely a week, he delivered a speech to the group letting his new teammates know how business would be handled this year. He preached accountability. He challenged his teammates for more. He demanded they treat each practice rep like it was Game 7 of the World Series. No one could’ve anticipated what it would take to get there: the sport’s shutdown, the country’s shutdown, a global pandemic, a Summer Camp resumption of baseball, a Major League best 43 wins in a shortened 60-game season, two sweeps in an expanded postseason and a determined comeback in the National League Championship Series. Throughout it all, that Betts speech continued coming back up. It marked the emphatic starting point of a historic Dodger season, one that meant even more to many players because of all it took to get to late October. They were the best team in baseball, too talented, too overpowering, too deep to let this run fall short. Congratulation we just win vs Riot Matchmaking algorithm ! the model is able to predict the outcome of the game around 73%+ of the time while there is usually a 50/50 chance of wining the game. The overall accuracy of the different model is surprisingly high, we notice that Logistic Regression is not a good model for this specific work. RFC/GBC/MLPC gives about the same accuracy at about 70%+ and hit this threshold at about 2000 samples. |def train_modelRSC(model,params,Xtrain,Ytrain): randomizedsearch = RandomizedSearchCV(estimator = model, param_distributions = params, n_jobs=-1) randomizedsearch.fit(Xtrain,Ytrain) return randomizedsearch.cv_results_[“mean_test_score”], randomizedsearch.best_params_, randomizedsearch.cv_results_[“std_test_score”]

[whenislunch]

undefined

This summer I saw my favorite artist perform live on an island off of Manhattan that used to serve as a jail/mental health institution.

When Frank Ocean came out with his screen grabbed text file posted as a “photo” on Tumblr in 2012, I knew the platform was something special - the one niche he could safely post something so revealing and vulnerable and still not open himself to the direct hate-filled or homophobic comments of any other forum. I had signed up for Tumblr the year prior. I joined with the fantasy of becoming a famous food blogger (and later as a nail artist) so I could quit my publicity job and score all of the PR perks that I so readily dished out to any 'mommy' with a touch of digital pretense.

Personal space on the vast internet was never my craving. I resisted being too present, and enjoyed the ability to control how much I “put myself out there” on facebook, twitter, and later Instagram. With my original two tumblrs, like Frank, I could focus on sharing and following the things I cared the most about: in early cases, it was fan art of Bill Murray, gifs of Daft Punk, and mostly photos of food I had eaten from the everyday life of a new New Yorker discovering the cult nature of the restaurant scene (a similar practice to my behavior as a teen taking shitty photos at punk shows in St Pete, Florida to pin on my bedroom wall). Tumblr became my collection of “curated cool," and nobody cared how hard I was trying or what I put up there, except for me, and it became my favorite place on the internet. Eventually, I realized all of the writers I was admiring on The Awl were including their Tumblrs in their bios, and I was there to follow them. I saw Rebecca Black become a meme before her one-hit would become a wedding band wonder. If sitting at the open kitchen counter at an edison bulb-lit restaurant was the closest you could get to a food industry version of “backstage”, then a Tumblr dashboard filled with all of the blogging generation of the “fake news media” was the analogy. It’s human nature to want to be seen and understood. Selfies perform better than friendies on Instagram - and GPOY’s on Tumblr… well I challenge anybody on music.ly to define the acronym without that peeking at the Childish Gambino Genius page first.

And that’s the tip of the iceberg for where I stand with Tumblr now. After three years of hanging out in the same field, they invited me to meet them at the dugout. After four months of interviewing and pitching challenges and pretending like I was at a digital optimization workshop, I was offered a job. After five years, or nearly, I’m ready for another one. I had the BEST time and the BEST TEAM working at Tumblr. Sentiment is incalculable, and being the Comms professionals that we are, we can swear to the moon that the effect of press results on a brand is unquantifiable when one piece can qualitatively alter the nature of the public’s perception versus the reality of a goal. And I had the the immeasurable luxury to be surrounded by the smartest, most creative, intensely productive, and to borrow a food world phrase - hardiest colleagues in the history of the internet.

My first day at Tumblr also belonged to six others - together we endured a questionable onboarding interaction and then were sent with laptops and branded hoodies to our respective seats at our superdesks on various floors. There were dogs everywhere. I was told that I’d be introduced to the company on Friday and to submit two truths and a lie to help them get to know me. Here they are:

I have photo credits in the New York Times and New York Magazine

I appeared as a backup dancer in a rap video in high school

I watercolor paintings of crustaceans as a hobby

Leave your guess in the comments (oh wait, it’s Tumblr, you can’t). 

Friday lunches were my lifeblood for a couple of months. Every week for at least seven thereafter unloaded a new set of amazing humans to be introduced in some absurd way by Sean from recruiting. I remember @sexpigeon vs Homer’s owner in game of pictionary, Johnny and Jake quickly competing for my heart as #1 engineer dudes, and of course, the instant classic game of Mark Coatney/ Marc Cote/ Marked Coat. Tumblr ramped up fast thanks to Lee, a fundraising series and at the tireless behest of my personal champion, Lindsey Dole.

Meanwhile, more magic was brewing in the cauldron. I heard @amandalynferri talking about some game she invented called Pretty Little Lasagna box, or I heard Maddie recalling the time she had her palm read in 14th street psychic's booth seeking refuge from a snowstorm, or @lexkap who sat on the other side of the building with a dog on her lap DM’d me on hip chat to show me her own nail art blog. Then a few of us won a chance to see a sneak preview of a new arthouse film by Harmony Korine and featuring an ensemble cast of former Disney talent that had been filmed in my hometown with a y2k airbrushed aesthetic - there was something innately emotional tied to each of us with this first viewing of Spring Breakers. When we left the midtown theater alongside the ATL Twins, I realized that this company had curated a community to match the intended behavior of its user base. We all connected on a level beyond any workplace I had experienced before.

And there was the professional side to the job - the work wins came quick because I was so lucky to sit under leaders who wanted the team to succeed. Rick Webb and Katherine encouraged me to dig in, and get deep with these shiny new toys called “evangelists” - Valentine, Nate, Liba, Annie, Max, Rachel, Jen, and briefly DCH. An enviable group of brilliant minds and creative energy who have all gone on to accomplish even more for their respective industries than a marketing budget at a start up could have enabled - and I had the pleasure to help share their Tumblr stories with the world - from a puppy bowl to annual southby's to groundbreaking art auctions to thirteen fucking fashion weeks to 35+ art and music shows (brrr)?

And then Tumblr got acquired and the Jenna Wortham turned the New York Times blue, and I got to do something I’m sure will never happen again in my entire career: I threw a party where the goody bag included a free tattoo, and multiple brave souls got them (Tyler, @bryanasortino, Megan & Johnny, among others).

And then Karen (aka #takingitallin aka @beautifulliving) joined, and me and Katherine gained a new teammate at the same time that I gained a new soul sister (and because of her self-described passion for advertising I never had to write an announcement about a new ad product ever again.) I’ve never been more challenged to succeed as I have over the three years I sat next to Karen - a generous and driven woman with endless dreams of supporting others (literally, ask her about the gap in the undergarment sector), who will always find a spot to squeeze me into a photobooth. Even at her wedding.

And lucky us, because then we invited @lilders into the #teamcomms fold and wow, wow, wow was life good. It was my honor working with Lily as she grew from FIT intern into somebody we should all aspire to work for someday.

Which leads to me to the poker faced improv master of all - Katherine. Allora @alittlespace! I am so lucky she believed that this girl who came into talk about a hypothetical strategy to get Eleven Madison Park on Tumblr and then pitched her a fantasy football launch party hosted by Nick Kroll and Mark Duplass could fit in and have the privilege to join the Tumblr Communications team. KB - I’ve already written you the dopiest thank you letter and shared my orchid growing miracle secrets - but it can’t be said enough - I am so grateful to have worked for you for all of these years. You are the best boss, and we will always be the #bestteam.

Because of Tumblr (and @david), I had the pleasure of working with so many additional incomparable people on projects outside of my designated Marketing Comms position, wearing more hats than we even produced for branded activation swag:

Designing and contenting for months with the relaunch of the precious Staff blog with David, Peter, Damien, Tag, Toph, among others

Setting the inaugural year in review with Danielle, Amanda, Christine loose (and then doing it again and again and again, with the wonderful team at DKC - especially that time we added a serving Kale to America’s breakfast.

Marathoning dozens of events with amazing producers like Julia, Suzanne and Magic - and encountering the native talent that thrives on Tumblr like Humans of New York, Chloe Wise, Sam Cannon, Johnny McLaughlin, Jillian Mercado, to a point where I can honestly say “I knew them when.”

Participating in the first ever Sales Offsite aka the greatest bar mitzvah ever thrown by Lee Brown, Dan Walsh and Sarah Won and the rest of the coolest sales team ever assembled (here’s to you @katemaxx, @jeffdtaylor, Meredith, Ari, Kira, and so many more)

Reaching back into my fashion bag of tricks and launching three different clothing lines.

Creating partnerships to show off super surprises at nerd parties at Comic Con and another breaking the internet for Art Basel

Interviewing the CEO of Shake Shack for the one-time-only live episode of “5 with a side of fries" in front of the whole company.

Urgently dealing with Legal, Ads, Trust and Safety on one of the definitive news story of a generation after nine months of back channeling and reporting.

DOING IT FOR THE CULTURE: Racing with the content and analytics teams for stats on the contentious day of #thedress, and then bling rings, witches, boneghazi, superwholockians, wholesome memes, studyblr, emojis, and of course, the toe thing! Thus redefining what it means to “go viral.”

Cleaned a ball pit for the dude from the 1975 to make a splash into them and trolled a legacy music publication

And wow - it took me this long to mention Post It Forward…I am so proud of everyone who helped make Tumblr the most empathetic community on the internet: Nicole Blumenfeld, Jeff D’Onofrio, @skiphursh “Dolphin", @dougrichard, Andy Sebela, Jess Frank, Sarah Won @swon, @pauwow, the brilliant and diligent Michelle Johnson. From building the blog, commissioning the art, recruiting and onboarding the partners, writing the endless number of give/gets, planning the sponsored posts and social content, running the day to day on the blog (and bequeathing that role to Lily), then doing it again with the Mental Health Quilt and IRL with the Post It Forward Summit - I’ve found my new track as a special projects person who can take on any issue, even suicidal teens. If this is my legacy, I’ve planted seeds in the garden I might never see. And special thanks to Victoria, who allowed me to speak at Obama’s White House about why kids need a place on the internet that can help heal - so long as they can find each other.

As it turns out, adults need that, too. From tailing Frank Ocean’s Ferrari to the most woke, mentally aware community and on to, thank god, a bonafide company to match - I will forever cherish my time at Tumblr and I’ll forever been asking #whenislunch. But from every tomorrow on, it will be somewhere else. And you can find me on the internet! 

Here’s my LinkedIn, I’m looking. 

[yourdailykitsch]

Your blog is phenomenal. You are just wonderful and incredibly informative That Interview magazine article just wrecked me, what a truly beautiful and sensitive soul Taylor is. Do you happen to have the entire article? I'd love to know more as I am completely lost and new in the world of fandom. Thank you for your time and all your efforts in promoting and sharing your love of Taylor.

Thanks for the blog love! Always love sharing Taylor information with new fans. 

The Interview Magazine article is probably the most he’s ever opened up to date. Sometimes he’s super guarded in interviews and other times he really opens up. It’s interesting 

Here is the entire article, it’s long:

When I told a female friend I'd be interviewing Taylor Kitsch, the actor who broke out as the hard-nosed, brooding fullback Tim Riggins for five seasons on NBC's Texas high school football melodrama Friday Night Lights her jaw actually dropped. Kitsch's rugged looks - he's a former model and junior hockey player - and world-weary onscreen demeanor, often have this effect on women; another friend referred to him as a "classic hunk." But the 32-year-old British Columbia native possesses a surprising absence of vanity. Kitsch bought a home in Austin while filming FNL, and still lives there, ducking the Hollywood spotlight as much as possible. When I met up with him in New York, he wore a T-shirt and jeans to a luxury hotel lounge and asked if I was planning to "get some grub." He's remarkably grounded, with a ready laugh and a tendency to pepper his speech with the word fuckin'. The lack of pretense shows in his latest effort, the gritty drama Lone Survivor, which happens to be Kitsch's third collaboration with director Peter Berg (after FNL and the big-budget action pic Battleship, 2012). Based on former Navy SEAL Marcus Luttrell's nonfiction book, the film, which co-stars Mark Wahlberg, Eric Bana, Emile Hirsch, Ben Foster, and Alexander Ludwig - depicts a botched 2005 mission in Afghanistan. Kitsch playsLieutenant Michael Murphy, one of four SEALs drastically outnumbered by Taliban forces. The protracted gunfight at the center of the movie is unsparing, graphic, and hyper-realistic, but Lone Survivor surrounds it with moments of unsentimental tenderness among its band of brothers.Lest you think Kitsch is only interested in stoic roles as athletes and soldiers (he was also a Civil War veteran transported to Mars in 2012's John Carter), he's subverting his image with upcoming turns as a gay activist in a TV-movie adaptation of the 1985 Larry Kramer play The Normal Heart, and as a doctor in the Canadian comedy The Grand Seduction. And he recently wrote, directed, and produced a half-hour short about small time criminals, Pieces, which he's planning to adapt into a feature. I sat down with Kitsch to talk about the movie, his time spent sleeping on subways in New York and his car in Los Angeles, and inevitably, how he reacts to his female admirers. (To my awestruck friend, and other aspirants: he's single - but read on for how not to approach him.)TEDDY WAYNE: I didn't really know the story behind Lone Survivor. What, other than Peter Berg's involvement, drew you to it?TAYLOR KITSCH: There's not a day that goes by that you don't think about it, really. [Marcus] Luttrell's become a great friend of mine now, and I was talking to him about it. It's not even the responsibility of just the performance or just the memory of Murph being part of the SEAL community - this is a torch I have for the rest of my life. How often in this gig do we get to have that, and want it? You didn't know of the book or the story, and now you're going to think of my performance when you think of Mike Murphy, and that's an incredible responsibility.WAYNE: How much of that is solely inspired by the real figure and how much of the work is purely fictional?KITSCH: I think so much of it is that it actually happened, that these guys are still out there doing it. When you meet guys who were buds with Murph, guys that fought right next to him, you really do see how much it means to them that the film's done right. You have the opportunity to be like, "Okay, let's see what I'm fucking made of here, let's see what I'm capable of doing," and training to do it.WAYNE: So what was the training?KITSCH: There's a workout called the Murphy that he created when he was in the SEALs. It's, like, a mile run and then a hundred pull-ups, 200 push-ups, 300 sit-ups, then another mile run, with a 40 - to 50-pound weighted vest. Some guy claims to have done it in under 30 minutes. I couldn't get there. I was under 35, which is a fucking insane time. I was in the best shape of my life.WAYNE: How about the weapons training?KITSCH: We went to Albuquerque. We had guys who had fought with Luttrell to teach us the weapons systems. And that's live fire; it's not like standing there and just shooting at a target. They call it bounding, and all these other things these guys do as a team. Murph was the leader of the guys, so he's making the call, and you really do see it kind of seamlessly int he film. When he makes a call of "peel right" or "peel left" or "get on line," it's those things that the SEALs fucking love. We got the technical part of it.WAYNE: Was there any improv?KITSCH: Absolutely. Some of this funnier stuff - when I'm in the hide with Mark [Wahlberg] talking about a girl and a Coldplay concert, that was roughly scripted and we just went with it, and Mark is fucking on it. That guy has endless energy, he's quick. Pete would call cut, and the whole crew would burst out laughing. Or we would even have a bit of a camera shake because the camera guy's dying, you know?WAYNE: You were a junior hockey player in Canada before you injured your knee at age 20. Do you feel like you were on the path to professional hockey?KITSCH: Yeah, at least semi. I was hopefully going to go on a scholarship and turn pro. If I even scratched the lineup, it would've been fourth line, up and down from the minors, but, I mean, a minor career was a dream as well.WAYNE: When that injury happened, was it clearly career ending?KITSCH: In retrospect I think it was career ending. But at the time, it was that denial of, "fuck it, I'm gonna recoup it." But then I recouped it, and my first game back it blew out again.WAYNE: So what were you thinking in terms of life plans?KITSCH: Oh, it's over. I was devastated. It really is close to art simulating life in the sense of what FNL was - if you wreck your knee, that's it, everything is gone. Obviously it's not; it's a blessing in disguise, but at the time I remember my best friend came and took me off the ice and I was a wreck. My mom was in the stands and she was a mess, and then I was in the dressing room and I refused to take my gear off. I just knew the second time I did it - like, buddy, uh-oh.WAYNE: So did you do any acting by that age?KITSCH: I loved it. I always grew up winning all these public-speaking competitions in school.WAYNE: Did you move to New York soon after the injury?KITSCH: Yeah, at 21.WAYNE: I read that you were, at points, homeless and sleeping on subways - is that true?KITSCH: It's true. Only for a couple weeks. It wasn't like I was walking around with a grocery cart. I didn't have a visa; I couldn't get fucking work. I wish I could've waited tables. I was taking classes for free with my acting coach, Sheila Gray - she's been amazing, and so I finally paid her back after the first movie I did - and then I just ran out of money. I was staying at my best friend's place. He sublet a bedroom in a big family house, and I was sleeping on his floor, then I wore that out, and I leased a place up on 181st Street in Washington Heights, pretty fucking sketchy area, and I couldn't get electricity because, one, no money, and two, I had no Social Security. So from that best friend, I would take his girlfriend's blow-up mattress and use candles. And then that wore out, got kicked out of there, and I would go back to my buddy's place, and at midnight or whenever, he wanted to go to bed, I'd be like, "All right, I'm gonna go stay at" - make up somebody's place - or a gal's place or whatever, and then that ran out. [laughs] Quite literally. And then I'd sleep on the subway until 5:30, 6 in the morning, and I'd go to the gym and work out for god knows how long and have a shower and just loiter.WAYNE: And you were also a model at this point?KITSCH: Yeah, but I was completely out of work. Didn't work, really. And I was living in a spot that they give you, and by the time you get a job, you owe them so much back end that you're in debt anyway, so then I left that because that was just stupid to just keep building debt.WAYNE: What was your first big break?KITSCH: While I was homeless, I met my manager through one of the guys at the modeling agency. She's like, "Yeah, I'll take a meeting, whatever," just being nice to him. So I had a meeting, and 10 minutes in, she's like, "Okay, I'll take you on." Then my first reading - still homeless - I got but I couldn't do because I didn't have a fucking visa again. So I stayed and studied more and then I moved away to Barbados to work with my dad and dig ditches, and that was the most time I ever spent with my dad in my life on a one-time basis. I made like, 6K. Then I bought a little - it's called a Firefly or a Chevy Sprint, which is like a 12-inch wheel hatchback car that lives on fumes. It'll go forever, and so I bought that when I got to Vancouver - moved back - moved down to L.A., sublet a room for two months. That money ran out, and then I lived in my car.WAYNE: So you had two homeless stints. And both times you picked the transportation choice of the city you were in - subway in New York, car in L.A.KITSCH: Yeah, that's a good point.WAYNE: You need to be in a seaside place for a while and live a few months in your boat.KITSCH: I know! I was super-angry one day in L.A. - my car's a piece of shit, and then the front window wouldn't go down, and so I'm screaming at the handle, forcing it down, the window shatters, and it's the bigger one, 'cause it's a hatchback. So now I'm fucking homeless and I got a plastic bag with duct tape. So I stayed over at my best friend Josh Pence's place, and I'm like, "I think I'm gonna go home," and his mom overheard it, and she's like "You're not fucking driving 23 hours to Vancouver with a plastic bag," and so I went to the junkyard and got it replaced for, like, $75.WAYNE: I thought she was going to say, "No, you should stay here and fulfill your dreams," but she was just making sure you got a new window.KITSCH: [laughs] Yeah! When you're doing it, it's not like, "Oh, man, I'm really paying the price." You just did it. I'd go to Trader Joe's and get a big thing of cottage cheese and brown rice cakes, like, four bucks - that's all I'd eat. And I'm a nutritionist, so I'm like, that's probably the best bang for my buck. I've got protein, carbs..."WAYNE: You start doing the protein-price ratio. Split pea soup is good for that, too.KITSCH: Yeah, garbanzo beans-WAYNE: Tuna fish.KITSCH: Yeah, the cans, that was New York. The Sunkist cans?WAYNE: Starkist, right? But it should be Sunkist - just drinking Sunkist orange soda all day long.KITSCH: [laughs] Yeah, have diabetes at 25. So she gave me the money, I got the thing, drove from three in the morning till midnight, straight. Back at home with mom and then my first or second reading was Snakes on a Plane [2006]. Got it. And then The Covenant [2006] and then Friday Night Lights.WAYNE: In the first few episodes of FNL, Riggins seems to be a secondary character.KITSCH: He was. I was told he wasn't gonna last.WAYNE: What happened? People started responding to you?KITSCH: Yeah, I guess. Whatever it was, people clicked to me, and the studio loved him and what we were doing with him.WAYNE: Most of the humor comes from Riggins off-the-cuff moments.KITSCH: Yeah, the dry humor that Riggins has - that's mostly improv. I played hockey my whole life. I was just hanging out with a bunch of pro-hockey players who were good friends. Calling everybody six, seven, two, zero - that's Riggins. Calling that whole apology on the field, all of it was made up on that day of.WAYNE: You mentioned digging ditches with your father was the most time you ever spent one-on-one. You were raised by your mom for the most part?KITSCH: Yeah, for the most part, with my two bros. I'd see my dad every Christmas for the most part growing up, but he left when I was one-ish, and then I'd spend a couple weeks over Christmas with him. I remember going fishing with him; I remember snow-mobiling. I remember him carrying me around on the ice because he played hockey growing up, too. I remember those flashes, and I don't know if it's made up in my head - but I do remember blips, and being super pumped that he's letting me, at 6 years old, rip on the open lake in the snowmobile.WAYNE: Riggins didn't have a father around. Not to get too precious about it, but did that inform the role?KITSCH: Absolutely. I had no doubts when I was going to play it. It just felt super-organic.WAYNE: Do you see your dad more often these days?KITSCH: No, maybe once or twice a year. Not even. I haven't seen him in years. I've stayed in contact via e-mail, but I don't reach out as much as I should, I guess, but I don't have that - this may gut him, but I don't have that...where I'm like "I want to know what's going on," or "Why did you..." My brothers and I talk about it a lot but - and sometimes it's joking, you know, but...I think it's affected them more, especially one of them a bit more, just because he was older - he was 8. And my mom was with an older guy, and he was a super-sensitive man, and he connected more with me than either of my two brothers. So I think I got a lot of that sensitive part that allows me to be that kind of actor through him. My mom and he split up when I was 12, and I wanted to go live with him, and then I would still go spend weekends, neither of my brothers would, but I'd go spend a weekend with him as much as I could. And he was getting older, and I was not conscious of that either, and then my mom told me he'd died not long ago - man, and it was shitty that I couldn't have reconnected before he did, because it had been five, six, seven years from the last time I saw him. And he was just the softest soul.WAYNE: You live in Austin now. What were your thoughts when you first got there for filming FNL?KITSCH: I didn't even know where Austin was. Quite literally, I'm like, "We're going where to shoot this fucking thing?"WAYNE: You thought it was Boston? "Massachusetts Forever."KITSCH: [laughs] Yeah, totally! Which doesn't have the same kind of tone does it? And Austin was like nothing what it is now. It's, like, the fastest-growing city in the U.S. now. But I bought a place end of second-season, and that's my place now, just a little 1,000-square-foot condo.WAYNE: What's your life like there?KITSCH: I golf a lot. I'm in a men's hockey league. I've made some great friends there. I'm on my motorcycle a lot. Kyle Chandler [of Friday Night Lights] lives there, so whenever we can make time, we'll go on these long rides together. Had a great gal there. Southern belle.WAYNE: "Had," you said?KITSCH: Yeah, it's been tough lately. You never know how it's going to turn out. But I was with her for years.WAYNE: And she was from Austin herself?KITSCH: From Corpus [Christi]WAYNE: How did you meet her?KITSCH: Through my stunt double. He's like, "You gotta meet this gal; she's ridiculous active." She's a yoga instructor now, but she wasn't when we met. But just a super-sporty Southern belle, you know? Great.WAYNE: I don't want to embarrass you, but I told a female friend I was interviewing you, and she was momentarily stunned. I feel like male actors don't often discuss this, but does it ever get almost boring, or do you ever feel objectified if women respond this way? I mean, it's a good problem to have, but is there ever a point where it's like, be careful what you wish for?KITSCH: You're conscious of it. I mean, I'm never going to be like, "Oh, this attention from women sucks." It's flattering 99 percent of the time. After the premiere screening in L.A., there was a young woman, beautiful, mid - to late, twenties, and you're pretty crushed after this movie, it hits you hard, and I was talking to a guy who had served. All of a sudden this girl comes up and she's like, "Hey, I just gotta say this movie was this-and-that, but that fucking scene of you walking down the hall [in which Kitsch is shirtless]..." And then it inevitably went to, "What are you doing later tonight? Can I give you my number?" I kind of took offense to it. That's the one shitty experience out of it, but it's still flattering. Out of every thing in that fucking movie, that's what you took?WAYNE: Is dating a non-actor much more appealing to you?KITSCH: Absolutely. I mean, it's hard because you're all in or I'm all in, and I become super-myopic with work and kind of shut everything else out, and I don't know anything different because that's what's gotten me this far, so I live a pretty unbalanced life. And it's tough because the gal can't really relate in that sense. It doesn't mean she's not supportive, but that part of it wasn't relatable. She didn't understand, "Oh, okay, this guy's gonna be off the grid basically for whatever it is."WAYNE: That'd be tough no matter what.KITSCH: Yeah, it is, but if you're dealing or dating another actress or whatever who goes through that same process, then maybe they might have a bit more acknowledgment of it.WAYNE: But you seem pretty divorced from the Hollywood scene. You're not tabloid fodder that much. How do you safeguard your privacy?KITSCH: Austin helps. No Facebook. If anyone ever thinks I'm on Facebook or Twitter, it's not me, for the record - it's never me.WAYNE: But you are on MySpace right?KITSCH: [laughs] Totally.WAYNE: It sounds like you've preserved your lifestyle pre-acting, pre-fame as much as possible.KITSCH: I try. When I'm in L.A., I'm with one of my best friends, who's an actor coming up, and it's good to have that dialogue. In Austin I don't have that a lot. So that's one of the downfalls of being in Austin, if there is one, that I don't have another couple artists to bounce shit off. It's great to decompress, but it's tough because it goes from a hundred miles an hour living this fucked-up lifestyle to you're in your apartment, dead silence, and you're like, "Oh, what do I do today?" I guess I go for a coffee by myself and just read a couple scripts or something.WAYNE: You're doing a couple different movies this year - The Normal Heart, The Grand Seduction. Far different from Battleship and John Carter. These are more in an indie direction.KITSCH: I was always on that track, from The Bang Bang Club [2011], which is one of my proudest things I've ever done in my life. And that's kind of my personality, too. I'm going to keep swinging for the fences. I'm not going to play another Riggins - that's done. I can go and now try and disappear into Normal Heart. I was just talking to Ryan Murphy about it, the director, who took a fucking leap of faith with me to go and play this, another true story - that's a bigger risk than what John Carter was, because if you don't go in there and nail that role, this could be a fucking career-ender.WAYNE: Do you have any ambitions beyond acting?KITSCH: I wrote and directed a short [Pieces] that Oliver [Stone, who directed 2012's Savages] has seen, that Berg has seen, that [John Carter director Andrew] Stanton has seen, all the producers of John Carter have seen, and I just got two to four million bucks to make it into a feature. So I'm going to hopefully write it in January, February. Pete's mad for it, and Pete will tell you - man, he'll fucking rip it in half - but he's been incredibly supportive, so hopefully, I'll go shoot that in Detroit and Texas.WAYNE: Can you see yourself transitioning at some point to someone who directs, like Peter Berg did?KITSCH: Absolutely. I'd be fucking stupid not to be taking notes from a Stone or a Berg. The way I direct is open. I want to empower you as an actor, and when you're not on track, I'll tell you, but when you are, I want you to fucking just go with it. And so I cast Derek Phillips, who played my brother in Friday Night Lights - he's unrecognizable in the film. And then my best friend in L.A. [Josh Pence], whose mom gave me money for the window, he plays the other guy in the short.WAYNE: Would you ever do an over-the-top comedic role?KITSCH: I'd love to, it's just got to be the right one. When I work, I take it super-seriously, but when you get to know me, man, I'm not - I laugh as much as possible. Growing up, I was that guy at school getting kicked out of class every day to make someone laugh. Voted funniest guy in the school twice.WAYNE: Just twice? What happened the other times - you finished second?KITSCH: [laughs] Yeah, totally! Last. The jokes didn't hit that year. I was off.

[footballleague0]

Game Preview: Vikings vs. Buccaneers

Following a 26-9 road loss at Pittsburgh, the Minnesota Vikings (1-1) return home in Week 3 to face the Tampa Bay Buccaneers (1-0), who defeated the Chicago Bears 29-7 at home in Week 2. The Buccaneers will be making their 2017 road debut after having their Week 1 contest at Miami postponed due to Hurricane Irma. The Buccaneers posted a 5-3 road record last season. The Vikings own a 6-3 record at U.S. Bank Stadium since opening the venue last season.

Rookie RB Dalvin Cook has gotten off to a fast start with 191 rushing yards through two games, a rush total that is third-best in the NFL. Cook, whose 5.62 rushing average ranks fifth in the NFL, has totaled 166 rushing yards in the second halves of games in 2017, which trails only Kareem Hunt’s 174 rushing yards in second halves. WR Adam Thielen led the Vikings in receptions in both games to start the season and ranks tied for fifth with 14 receptions entering Week 3.

DE Everson Griffen corralled his 50th and 51st career sacks at Pittsburgh, moving him 5.0 sacks away from tying former DT Henry Thomas and current DE Brian Robison for ninth all-time in Vikings history. Griffen’s 3.0 sacks through the first two weeks put him in a tie for third in the NFL. The Vikings run defense has held opponents to 3.0 yards-per-rush, seventh-best in the NFL and hasn’t allowed a run longer than 11 yards.

BROADCAST COVERAGE

NATIONAL TELEVISION: FOX (Ch. 9 in Twin Cities)

Play-by-Play: Thom Brennaman Analyst: Chris Spielman

Sideline: Peter Schrager

LOCAL RADIO: KFAN-FM 100.3/KTLK-AM 1130

Play-by-Play: Paul Allen Analyst: Pete Bercich

Sideline Reporter: Greg Coleman & Ben Leber

Pre-Game Show: Mike Mussman – 10 a.m. (CT)

KFAN and KTLK serve as the flagship stations for the 72-station, five-state Vikings Radio Network.

NORSEMAN NOTABLES

WR Adam Thielen has five receptions over 20 yards through two weeks, the most in the NFL. His

157 receiving yards in Week 1 ranks second in franchise history behind Ahmad Rashad’s

160 receiving yards in Week 1 of 1980.

• RB Dalvin Cook, who ran for 127 yards in Week 1, had the second-most yards among any player in their Vikings debut behind RB Herschel Walker’s 148-yard effort vs. Green Bay (10/15/89).

• In Week 1 vs. New Orleans, TE Kyle Rudolph caught his 30th career touchdown, extending his franchise record for career touchdown receptions by a tight end.

• The Vikings offense has converted 14 third downs through two weeks, tied for third in the NFL.

• The Vikings defense has held opponents to only two touchdowns in nine red zone trips this season.

• Viking DE Everson Griffen has nine career 2 sack games and seven since becoming a full-time

starter in 2014, tied for the fourth-most games in the NFL in that span.

• Thielen is tied with Buccaneers WR DeSean Jackson for the NFL lead in 100-yard receiving

games since Week 14 of last season with three over the century mark. 

• FB C.J. Ham scored his first career touchdown on his first career carry at Pittsburgh on a 1-yard run.

• Vikings WR Laquon Treadwell had his first career multi-catch game grabbing three passes for

33 yards at Pittsburgh.

• Vikings CB Marcus Sherels (1,822) set the franchise record for career punt return yards at

Pittsburgh, passing WR Leo Lewis (1,812) as the all-time leader.

VIKINGS-BUCCANEERS CONNECTIONS

• Buccaneers CB Josh Robinson played for the Vikings from 2012-15.

• Vikings assistant offensive line coach Andrew Janocko served as the Buccaneers offensive assistant from 2012-13.

• Buccaneers offensive assistant Skyler Fulton spent the 2005 offseason and a portion of training camp with the Vikings as a WR.

• Vikings defensive backs coach Jerry Gray played DB for the Buccaneers in 1993.

• Buccaneers defensive line coach Jay Hayes was the Vikings Special Teams Coach in 2002.

• Vikings K Kai Forbath spent the 2012 offseason and training camp with the Buccaneers before being released during final cuts.

• Buccaneers tight ends coach Ben Steele played TE and spent time with the Vikings during the 2003 and ’04 seasons.

• Vikings T Mike Remmers spent time on the Buccaneers practice squad in 2012 and 2013.

HOMETOWN/LOCAL CONNECTIONS

• Vikings WR Rodney Adams and Buccaneers WR Bernard Reedy attended Lakewood High School in St. Petersburg, Florida. The two were also teammates at Toledo in 2013 before Adams transferred back to the Tampa Area to attend USF where he played from 2014-16.

• Buccaneers assistant offensive line coach Butch Barry previously coached the offensive line at Southwest Minnesota State from 2004-05.

• Buccaneers Director or Football Technology Spencer Dille received both his Bachelors of Computer Engineering and Masters of Computer Science degrees from the University of Minnesota.

COLLEGE CONNECTIONS

• Sunday’s game features five former Florida State Seminoles – Vikings RB Dalvin Cook (2014-16), Buccaneers CB Javien Elliot (2014-15), CB Xavier Rhodes (2009-12), Buccaneers LS Garrison Sanborn (2004-07) and QB Jameis Winston (2012-14).

• Buccaneers CB Robert McClain was teammates at Connecticut with Vikings DT Shamar Stephen in 2009.

• Vikings G Nick Easton and Buccaneers TE Cameron Brate were teammates at Harvard from 2010-13.

• Buccaneers LBs Kwon Alexander and Kendell Beckwith were teammates with Vikings DEs Tashawn Bower and Danielle Hunter at LSU.

• Vikings CB Trae Waynes was teammates with Buccaneers DE William Gholston at Michigan State from 2011-12.

• Buccaneers LB Lavonte David and Vikings G Jeremiah Sirles played together from 2010-11 at Nebraska.

• Vikings QB Sam Bradford and DT Gerald McCoy played together at Oklahoma from 2007-09 including a trip to the BCS National Championship game in 2008. Bradford and McCoy were the 1st and 3rd picks in the 2010 NFL Draft, respectively.

• Vikings T Mike Remmers played at Oregon State with Buccaneers RB Jacquizz Rodgers from 2008-10.

• Buccaneers G Kevin Pamphile and DE Ryan Russell played for Vikings wide receivers coach Darrell Hazell while he served as the head coach for Purdue.

• Buccaneers OL Caleb Benenoch (2013-15) and Vikings LBs Anthony Barr (2010-13) and Eric Kendricks (2010-14) were all teammates at UCLA.

• Vikings RB Latavius Murray and Buccaneers CB Josh Robinson played together at Central Florida from 2009-11.

BIG DAYS

As a member of the Rams, QB Sam Bradford threw his career-long pass, an 80-yard touchdown to TE Lance Kendricks at Tampa Bay (12/23/12). Bradford finished with 196 passing yards, two touchdowns and one interception (81.7 rating).

• Vikings CB Terence Newman, as a Bengal, recorded five tackles, one interception and two passes defended at Tampa Bay (11/30/14).

• Vikings DE Brian Robison set a career high with three passes defended against vs. Tampa Bay (10/25/12). In the most recent matchup, Robison recorded a sack at Tampa Bay (10/26/14).

• Vikings DE Everson Griffen had seven tackles, 1.0 sack, one tackle for loss and eight QB hurries at Tampa Bay (10/26/14).

• Vikings LB Anthony Barr totaled nine tackles, 1.0 sack, three QB hurries, one pass defended, one forced fumble and notched the first game-winning touchdown on a fumble return in OT in Vikings history at Tampa Bay (10/26/14), forcing, recovering and returning the fumble 27 yards for the score on the first play from scrimmage in the OT period.

Anthony Barr: 1 game, 9 tackles, 1.0 sack, 1 PD 1 FF, 1 FR (returned 27 yards for the game-winning TD in OT)

Sam Bradford: 2 games, 322 passing yards, 4 TDs, 1 INT, 80t long, 85.6 rating

Everson Griffen: 3 games, 9 tackles, 2.0 sacks, 2 TFL, 9 QB hurries

Jerick McKinnon: 1 game, 16 rushes, 83 yards (5.2 avg.)

Terence Newman: 5 games, 23 tackles, 2 TFL, 1 INT, 4 PD

Brian Robison: 3 games, 7 tackles, 1.0 sack, QB hurries, 3 PD

SERIES INFO

Record vs. Buccaneers: Vikings 32-22

Last regular season game: Vikings 19, Buccaneers 13 (OT) (2014)

Vikings largest winning margin: 32; Vikings 45, Buccaneers 13 (1986)

Buccaneers largest winning margin: 28; Buccaneers 41, Vikings 13 (2000)

Current series streaK: Vikings 1

Vikings longest win streak: 5, (3 Times, most recent: 1991-93)

Buccaneers longest win streak: 6, (2001-2012)

Most Points, Vikings: 49; Vikings 49, Buccaneers 20 (1988)

Most Points, Buccaneers: 41; (Twice: 2000 & 2001)

Most Points, both teams: 69; Vikings 49, Buccaneers 20 (1988)

Fewest Points, Vikings: 9; Vikings 9, Buccaneers 3 (1977)

Fewest Points, Buccaneers: 0; Vikings 15, Buccaneers 0 (1993)

Fewest Points, both teams: 12; Vikings 9, Buccaneers 3 (1977)

SERIES NOTES

• The Vikings and Buccaneers, who played in the same division from 1997-2001, have played 54 times overall with Minnesota holding a 32-22-0 series record. The franchises have never met in the postseason.

• Tony Dungy left the Vikings as their Defensive Coordinator in 1996 to become the Head Coach for the Bucs and start the most successful era in franchise history.

• The Buccaneers and Vikings played the first regular-season game at the Metrodome, a 17-10 Vikings victory on 9/12/1982.

• The Vikings and Buccaneers have played four overtime games in their series history and have split results 2-2.

The post Game Preview: Vikings vs. Buccaneers appeared first on Daily Star Sports.

from http://ift.tt/2fiwKX3 from http://ift.tt/2xfzPf1

[rejectedbad]

Rejected Bad: Q

The following is a rejected script from an early season of Breaking Bad.

INT. JESSE'S LIVING ROOM - NIGHT

Jesse, Skinny Pete, and Badger are sitting on the couch, engrossed in an episode of Star Trek. Meth Head, Jesse's Samoyed, rests on the floor nearby.

ON TV SCREEN:  STAR TREK: THE NEXT GENERATION plays, featuring the character Q.

INT. JESSE'S LIVING ROOM - CONTINUOUS

BADGER:  (disbelief)  Aw, man! Look at that dude! If I had powers like Q, I'd be on top of the world!

SKINNY PETE:  (smirking)  No doubt, man. I'd totally make myself invisible and do some real sneaky stuff.

JESSE:  (laughing)  Well, I'd use it to outsmart the DEA, you know? Stay one step ahead. They'd never catch me again.

They all laugh, enjoying the fantasy.

Meth Head lifts his head, seemingly intrigued by their discussion.

METH HEAD (V.O.)  (whispering)  If only I could talk, I'd show them all what I could do.

The three men continue discussing their ideas.

BADGER:  (giggling)  How about invading Canada? I mean, seriously, who would see that coming?  After we hit up Taco Bell, of course.

Everyone bursts out laughing, including Meth Head, who cocks his head, seeming to agree.

METH HEAD (V.O.)  (snarling)  Yeah! Invade Canada! I'd show them who's boss!

As the laughter subsides, the room falls silent. Meth Head gazes at the screen, deep in thought.

METH HEAD (V.O.)  (determined)  If I could talk, I'd invade Canada and conquer new territories. Ruling the Great White North, baby!

The camera pans slowly towards Meth Head, revealing his mischievous expression.

INT. JESSE'S LIVING ROOM - LATER

The Star Trek episode ends, and the screen fades to black. Jesse, Skinny Pete, and Badger lean back, satisfied with their entertaining evening.

JESSE:  (grinning)  Man, it's always good to take a break and watch some Star Trek. Let's call it a night.

Jesse, Skinny Pete, and Badger start to stand up and gather their things. Meth Head looks at them eagerly, seemingly begging for attention.

Meth Head walks towards the door, his tail wagging. As they exit the room, the camera lingers on Meth Head's face.

METH HEAD (V.O.):  (smiling)  Who knows? Maybe one day, I'll get those powers. Then Canada won't know what hit 'em!

The door closes behind them, leaving Meth Head alone in the room.

FADE OUT.

[giantsfootball0]

Game Preview: Vikings vs. Buccaneers

Following a 26-9 road loss at Pittsburgh, the Minnesota Vikings (1-1) return home in Week 3 to face the Tampa Bay Buccaneers (1-0), who defeated the Chicago Bears 29-7 at home in Week 2. The Buccaneers will be making their 2017 road debut after having their Week 1 contest at Miami postponed due to Hurricane Irma. The Buccaneers posted a 5-3 road record last season. The Vikings own a 6-3 record at U.S. Bank Stadium since opening the venue last season.

Rookie RB Dalvin Cook has gotten off to a fast start with 191 rushing yards through two games, a rush total that is third-best in the NFL. Cook, whose 5.62 rushing average ranks fifth in the NFL, has totaled 166 rushing yards in the second halves of games in 2017, which trails only Kareem Hunt’s 174 rushing yards in second halves. WR Adam Thielen led the Vikings in receptions in both games to start the season and ranks tied for fifth with 14 receptions entering Week 3.

DE Everson Griffen corralled his 50th and 51st career sacks at Pittsburgh, moving him 5.0 sacks away from tying former DT Henry Thomas and current DE Brian Robison for ninth all-time in Vikings history. Griffen’s 3.0 sacks through the first two weeks put him in a tie for third in the NFL. The Vikings run defense has held opponents to 3.0 yards-per-rush, seventh-best in the NFL and hasn’t allowed a run longer than 11 yards.

BROADCAST COVERAGE

NATIONAL TELEVISION: FOX (Ch. 9 in Twin Cities)

Play-by-Play: Thom Brennaman Analyst: Chris Spielman

Sideline: Peter Schrager

LOCAL RADIO: KFAN-FM 100.3/KTLK-AM 1130

Play-by-Play: Paul Allen Analyst: Pete Bercich

Sideline Reporter: Greg Coleman & Ben Leber

Pre-Game Show: Mike Mussman – 10 a.m. (CT)

KFAN and KTLK serve as the flagship stations for the 72-station, five-state Vikings Radio Network.

NORSEMAN NOTABLES

WR Adam Thielen has five receptions over 20 yards through two weeks, the most in the NFL. His

157 receiving yards in Week 1 ranks second in franchise history behind Ahmad Rashad’s

160 receiving yards in Week 1 of 1980.

• RB Dalvin Cook, who ran for 127 yards in Week 1, had the second-most yards among any player in their Vikings debut behind RB Herschel Walker’s 148-yard effort vs. Green Bay (10/15/89).

• In Week 1 vs. New Orleans, TE Kyle Rudolph caught his 30th career touchdown, extending his franchise record for career touchdown receptions by a tight end.

• The Vikings offense has converted 14 third downs through two weeks, tied for third in the NFL.

• The Vikings defense has held opponents to only two touchdowns in nine red zone trips this season.

• Viking DE Everson Griffen has nine career 2 sack games and seven since becoming a full-time

starter in 2014, tied for the fourth-most games in the NFL in that span.

• Thielen is tied with Buccaneers WR DeSean Jackson for the NFL lead in 100-yard receiving

games since Week 14 of last season with three over the century mark. 

• FB C.J. Ham scored his first career touchdown on his first career carry at Pittsburgh on a 1-yard run.

• Vikings WR Laquon Treadwell had his first career multi-catch game grabbing three passes for

33 yards at Pittsburgh.

• Vikings CB Marcus Sherels (1,822) set the franchise record for career punt return yards at

Pittsburgh, passing WR Leo Lewis (1,812) as the all-time leader.

VIKINGS-BUCCANEERS CONNECTIONS

• Buccaneers CB Josh Robinson played for the Vikings from 2012-15.

• Vikings assistant offensive line coach Andrew Janocko served as the Buccaneers offensive assistant from 2012-13.

• Buccaneers offensive assistant Skyler Fulton spent the 2005 offseason and a portion of training camp with the Vikings as a WR.

• Vikings defensive backs coach Jerry Gray played DB for the Buccaneers in 1993.

• Buccaneers defensive line coach Jay Hayes was the Vikings Special Teams Coach in 2002.

• Vikings K Kai Forbath spent the 2012 offseason and training camp with the Buccaneers before being released during final cuts.

• Buccaneers tight ends coach Ben Steele played TE and spent time with the Vikings during the 2003 and ’04 seasons.

• Vikings T Mike Remmers spent time on the Buccaneers practice squad in 2012 and 2013.

HOMETOWN/LOCAL CONNECTIONS

• Vikings WR Rodney Adams and Buccaneers WR Bernard Reedy attended Lakewood High School in St. Petersburg, Florida. The two were also teammates at Toledo in 2013 before Adams transferred back to the Tampa Area to attend USF where he played from 2014-16.

• Buccaneers assistant offensive line coach Butch Barry previously coached the offensive line at Southwest Minnesota State from 2004-05.

• Buccaneers Director or Football Technology Spencer Dille received both his Bachelors of Computer Engineering and Masters of Computer Science degrees from the University of Minnesota.

COLLEGE CONNECTIONS

• Sunday’s game features five former Florida State Seminoles – Vikings RB Dalvin Cook (2014-16), Buccaneers CB Javien Elliot (2014-15), CB Xavier Rhodes (2009-12), Buccaneers LS Garrison Sanborn (2004-07) and QB Jameis Winston (2012-14).

• Buccaneers CB Robert McClain was teammates at Connecticut with Vikings DT Shamar Stephen in 2009.

• Vikings G Nick Easton and Buccaneers TE Cameron Brate were teammates at Harvard from 2010-13.

• Buccaneers LBs Kwon Alexander and Kendell Beckwith were teammates with Vikings DEs Tashawn Bower and Danielle Hunter at LSU.

• Vikings CB Trae Waynes was teammates with Buccaneers DE William Gholston at Michigan State from 2011-12.

• Buccaneers LB Lavonte David and Vikings G Jeremiah Sirles played together from 2010-11 at Nebraska.

• Vikings QB Sam Bradford and DT Gerald McCoy played together at Oklahoma from 2007-09 including a trip to the BCS National Championship game in 2008. Bradford and McCoy were the 1st and 3rd picks in the 2010 NFL Draft, respectively.

• Vikings T Mike Remmers played at Oregon State with Buccaneers RB Jacquizz Rodgers from 2008-10.

• Buccaneers G Kevin Pamphile and DE Ryan Russell played for Vikings wide receivers coach Darrell Hazell while he served as the head coach for Purdue.

• Buccaneers OL Caleb Benenoch (2013-15) and Vikings LBs Anthony Barr (2010-13) and Eric Kendricks (2010-14) were all teammates at UCLA.

• Vikings RB Latavius Murray and Buccaneers CB Josh Robinson played together at Central Florida from 2009-11.

BIG DAYS

As a member of the Rams, QB Sam Bradford threw his career-long pass, an 80-yard touchdown to TE Lance Kendricks at Tampa Bay (12/23/12). Bradford finished with 196 passing yards, two touchdowns and one interception (81.7 rating).

• Vikings CB Terence Newman, as a Bengal, recorded five tackles, one interception and two passes defended at Tampa Bay (11/30/14).

• Vikings DE Brian Robison set a career high with three passes defended against vs. Tampa Bay (10/25/12). In the most recent matchup, Robison recorded a sack at Tampa Bay (10/26/14).

• Vikings DE Everson Griffen had seven tackles, 1.0 sack, one tackle for loss and eight QB hurries at Tampa Bay (10/26/14).

• Vikings LB Anthony Barr totaled nine tackles, 1.0 sack, three QB hurries, one pass defended, one forced fumble and notched the first game-winning touchdown on a fumble return in OT in Vikings history at Tampa Bay (10/26/14), forcing, recovering and returning the fumble 27 yards for the score on the first play from scrimmage in the OT period.

Anthony Barr: 1 game, 9 tackles, 1.0 sack, 1 PD 1 FF, 1 FR (returned 27 yards for the game-winning TD in OT)

Sam Bradford: 2 games, 322 passing yards, 4 TDs, 1 INT, 80t long, 85.6 rating

Everson Griffen: 3 games, 9 tackles, 2.0 sacks, 2 TFL, 9 QB hurries

Jerick McKinnon: 1 game, 16 rushes, 83 yards (5.2 avg.)

Terence Newman: 5 games, 23 tackles, 2 TFL, 1 INT, 4 PD

Brian Robison: 3 games, 7 tackles, 1.0 sack, QB hurries, 3 PD

SERIES INFO

Record vs. Buccaneers: Vikings 32-22

Last regular season game: Vikings 19, Buccaneers 13 (OT) (2014)

Vikings largest winning margin: 32; Vikings 45, Buccaneers 13 (1986)

Buccaneers largest winning margin: 28; Buccaneers 41, Vikings 13 (2000)

Current series streaK: Vikings 1

Vikings longest win streak: 5, (3 Times, most recent: 1991-93)

Buccaneers longest win streak: 6, (2001-2012)

Most Points, Vikings: 49; Vikings 49, Buccaneers 20 (1988)

Most Points, Buccaneers: 41; (Twice: 2000 & 2001)

Most Points, both teams: 69; Vikings 49, Buccaneers 20 (1988)

Fewest Points, Vikings: 9; Vikings 9, Buccaneers 3 (1977)

Fewest Points, Buccaneers: 0; Vikings 15, Buccaneers 0 (1993)

Fewest Points, both teams: 12; Vikings 9, Buccaneers 3 (1977)

SERIES NOTES

• The Vikings and Buccaneers, who played in the same division from 1997-2001, have played 54 times overall with Minnesota holding a 32-22-0 series record. The franchises have never met in the postseason.

• Tony Dungy left the Vikings as their Defensive Coordinator in 1996 to become the Head Coach for the Bucs and start the most successful era in franchise history.

• The Buccaneers and Vikings played the first regular-season game at the Metrodome, a 17-10 Vikings victory on 9/12/1982.

• The Vikings and Buccaneers have played four overtime games in their series history and have split results 2-2.

The post Game Preview: Vikings vs. Buccaneers appeared first on Daily Star Sports.

from https://dailystarsports.com/2017/09/19/game-preview-vikings-vs-buccaneers/ from https://dailystarsports.tumblr.com/post/165530823711

[tinymixtapes]

Feature: Avant-Garde Escape Strategies

[A Bewick’s wren perches motionlessly on a thin branch.] In 2017, Twin Peaks is an invigorated brand. It has awoken as if to a new life, walks and breathes more freely. It is viewed on laptops, tablets, phones, and smart televisions connected to Netflix, and it will soon be viewed on SHOWTIME. But how will Twin Peaks be viewed in the year 2117? On what devices? Will it be viewed at all, or will its exact content be experienced in some truncated, more immediate form, facilitated by body-altering technologies yet to be discovered? Who are the people who download Twin Peaks to their brains in the future? Where do they live? These are the kinds of questions SHOWTIME will have to answer in order to ensure the continued relevance of the reawakened, newly optimistic, and hungry Twin Peaks brand. Maybe those viewer-subjects live in a huddled condition, in what philosopher Peter Sloterdijk calls “ecological stress communes,” pressed inland and away from cultural centers now remembered and revered like ancestors, jostled about by resource scarcity, plagued by ridiculous fantasies of aliens and sea people punctuated by actual disaster, war, and collapse. Or maybe these troubles loom on their horizon. In the face of these real nightmares, do they dream of ending up in a place like Twin Peaks, of grappling with its fake demons? Maybe future Twin Peaks viewers see in it a refreshingly provincial vision of encompassing crisis. A town where a yellow light still means “slow down” resonates abstractly with them. They are absorbed by the dark forces stirred out of the brown-gray American forest, by the murder of the cocaine-addicted homecoming queen and secret prostitute. Maybe, naive to the reality of their own circumstances, they feel like Dale Cooper chasing after those elusive and idealized spirits. The X-Files at least has something like a vision of the future, where Twin Peaks only has a vision of the past, and a pretty abstruse one at that. The forces that will carry The X-Files and Twin Peaks together into the cruel future are similar, but not the same. The X-Files, in its simulation of a crackpot investigation motivated less by superstition than clandestine knowledge and bizarre technology, at least has something like a vision of the future, where Twin Peaks only has a vision of the past, and a pretty abstruse one at that. If, disingenuously, The X-Files sought to domesticate the demons split open by modern techniques of investigation, Twin Peaks was overcome by its monsters, disenchanted and reduced to an incomprehensible aesthetic litany. Where The X-Files resolved about a mystery per episode, Twin Peaks lacked satisfying answers. And while we don’t know how Twin Peaks will be viewed in the future, SHOWTIME is wise to bet on disenchantment, on unanswered questioning and the melting of things into dark, muddy pictures. --- [Three white plumes ascend from the smokestacks ahead.] You wake up from an unclear dream in the late afternoon. The year is 2011 or 2012. Your room is dark and warm. Your laptop is next to you, partly covered by sheets. Disoriented, you rub gunk out of your eyes. You were up late browsing Tumblr again. Your laptop screen opens upon your unrefreshed dashboard, where you had fallen asleep to a looping GIF of Laura Palmer’s freeze-framed VHS smile from “Pilot (Northwest Passage).” You “like” the post. Co-created by David Lynch, a pioneer of American avant-garde cinema known for such films as Eraserhead and Mulholland Drive, the show mixes Lynch’s unique brand of surrealism with a dated form of the primetime drama in a way that you’ve enjoyed since you were introduced to the show by friends on the internet. One of the many reasons you love Twin Peaks is that its characters feel like people you know in real life, even though everything else in the show feels very unfamiliar. Twin Peaks makes you nostalgic for a time you don’t remember and a place that doesn’t exist. Animation: Korey Daunhauer Twin Peaks makes you nostalgic for a time you don’t remember and a place that doesn’t exist. Before you knew who David Lynch was, you had seen Laura Palmer wrapped in plastic, an icon of ossified innocence. It would take Lynch and Mark Frost a while to notice, or to do anything about, the fact that Twin Peaks had taken about 20 years to strike the nerve it was always supposed to hit, the one in you. Maybe they were too cynical, too forward-thinking. They thought your parents would be like this. Or, more likely, the conversation they staged between the avant-garde and its supposed opposite traumatically fell through, revealing, eventually, the uncanny mixture obscured by those labels, which they never knew how to control. It took a while to work itself out. By eventually thickening the show with supernatural diversions and visually peculiar dream sequences, ultimately leaving many of its mysteries unsolved, Lynch and Frost created the perpetual conditions for a scrupulous, even paranoid viewing of Twin Peaks. The question is how the show’s visual language, founded upon a mostly-arbitrary complexity inherited equally from Lynch’s experimentalism and from the genre within which it is put to work, means anything at all after the fact of its disenchantment — aestheticized, separated from the ostensible movement toward resolution. Or, as Anamanaguchi’s Peter Berkman put it in a reply to a comment on one of his Facebook status updates, “the question is how that grammar has changed now that we can pause and dissect individual frames in and out of context.” You close your eyes, take a deep breath, and keep scrolling Tumblr. --- [Sparks fly from the grinding wheel as you move in for a closer look.] INT. GREAT NORTHERN HOTEL DINING AREA - MORNING Sunlight pours into the room from the right. DALE COOPER sips coffee, his tape recorder placed neatly in front of him on the table. COOPER Diane, the time is 8:05 A.M., I’m at the Great Northern Hotel. I’ve just awoke from a terrible and convoluted dream. I’m not sure how much of it was significant to the inquiry into Laura Palmer’s death and how much of it was fabricated by BOB for the purpose of diverting it; to be honest, I’m not even sure if BOB or the Black Lodge are real anymore. I don’t know if I care or if the outcome of the investigation is important to me. I feel terrible. I lied awake in bed for a few hours. I feel like I’m living in someone else’s bizarre fantasy. (He pauses.) I mean, I guess her dad did it? I live at this hotel now. BOBBY BRIGGS enters from the GREAT NORTHERN HOTEL LOBBY holding a football. BOBBY Hey, Coop! Catch! BOBBY throws COOPER the football. COOPER fails to catch the football and it hits his tape recorder, sending it flying into the mug of coffee. COOPER B-Bobby! I — AUDREY HORNE enters from the GREAT NORTHERN HOTEL LOBBY smoking a cigarette, holding an iPhone. AUDREY (puffing cigarette) “When the masses think, the intellectual dies.” –Antonio Negri --- [A massive log looms atop a dolly.] Was Twin Peaks an attempt to make the masses think, to think with the masses and to kill the intellectual, or to think of the masses? To create an intellectual picture of their supposed fears and superstitions, their vices and neuroses? First, there’s Cooper and his obsession with an idea of homespun authenticity, one of the show’s biggest memes. There’s also Harry S. Truman, the sheriff, well-intentioned and pragmatic; Bobby Briggs, the football star, surly and unpredictable; the show’s various tokens of the bumbling serendipity of small-town America (Andy the cop, Pete the loyal husband); and the town’s enigmas and obsessives (James the boyishly gilded biker, Leland Palmer, Lawrence the shrink, and Harold the shut-in). Then, there’s a group of female characters, beginning with Laura and growing to include Shelly Johnson, Donna Hayward, Audrey Horne, Norma Jennings, Josie Packard, Lucy Moran, and Catherine Martell, who are depicted at best as seriously or repeatedly traumatized and, at worst, as stupid or possessed by some unknown whim, complicit in their own undoing. Where the town of Twin Peaks is bottomless in its dark mythology, it is flat in other ways. The image of community in Twin Peaks is convincing, actually, because it is not realistic. It is a vision of the countryside native to the city and is nonetheless awkward in representing both. FBI agents and industrialists, the show’s main representatives of the latter, view the fixed category of “provincial values” with lust or disdain. The working assumption is that the city is a place that mystery and magic have abandoned in favor of particular backwaters. That urban coexistence is antithetical to wonder. Moby’s “Go,” the popular rave-inspired electronica single based on a sample of Angelo Badalamenti’s theme music for Twin Peaks, is both clearer about who it is talking to and more successful in its attempt to practice an inclusive form of mastery over its created public than the show itself. As I drive east on Phoenix’s Loop 202 away from the setting sun, “Go (Woodtick Mix)” fades into “Go (Soundtrack Mix),” a line of a hundred cars curving delicately to the returning, quantized “yeahs.” --- [A waterfall crashes.] Everybody needs an escape from the avant-garde. To think all of the time is difficult, and it seems better that one find some place of negotiation, where many people think more and few people think less. As an escape strategy, Twin Peaks faltered in its weirdness, its stubborn maintenance of a position among the few. It was, moreover, unrealistic in its concept of the many. Gesturing toward the avant-garde, it failed there most spectacularly; no matter the depth of the perennial ebb and flow of interest in Lynch’s work, it will always make complete sense to me that Fire Walk With Me was booed at Cannes. If Lynch’s murderous backwater is perfectly fitted to the fetishes and anxieties of today’s teenagers, it is only because they have many of the same fetishes and anxieties as their parents, who watched with baited breath until the questions and clues lost their impact. Lynch’s vision of provincial intrigue said more about the values and aesthetics of America’s cities than its towns, and it appeals to we who carry with us everywhere a version of what Lynch saw in the city. If Lynch’s murderous backwater is perfectly fitted to the fetishes and anxieties of today’s teenagers, it is only because they have many of the same fetishes and anxieties as their parents, who watched with baited breath until the questions and clues lost their impact. Today, Twin Peaks exists against the backdrop of a nostalgia cult. Millennials, lacking spiritual unity and drawn to promises of darkness, are fascinated. Resuscitated by the esoteric magic of the brandscape, will Twin Peaks really walk and breathe more freely, as if awoken to a new life, and find something like that original sense of purpose? Or will it lose its way again in the smoke and mirrors of a shoddily constructed model of the public? --- On this auspicious morning for Twin Peaks, you languish in your room, thinking of the past. Of dead memes, content dampened and wrapped in plastic. Sometimes you wish you could immaterialize, becoming the unfeeling aggregate of your social footprint. You dream of disappearing into a fog of blogwave, street style, spicy memes, or Twin Peaks. Other times, you feel surprisingly up to the task of remaining an aggregate of relations. Your mental image of your environment sometimes appears in the form of a monster you are working to vanquish. With an intoxicated discomfort like nausea, you realize that Laura never lived in a world, had a future. That the real mysteries were yours. --- [You approach a wooden sign on the right side of the road.] http://j.mp/2pXgudV

[luxenvulpies]

[INT] December 28

Proud Mode Update

Quests up to 475 are available.

Avatar Boards: Meow Wow and Flowbermeow

~ Jan 8, 2018

Cost: 7770 Jewels

Content: Poison+ II, Paralysis+ II, Sleep+ II, Second Chance III, ATK B V & AP+ & Lux+, ATK B V Max & GA 2, Magic Mirror x4, Fantasia Mickey B x2, Power/Speed/Magic Gem x2, avatar part x2

Avatar Perk: Balloon Meow Wow - Skill +6

High Score Challenge: Illustrated Halloween Donald

~ Jan 3, 2018

Here’s how the scores are calculated.

Features Illust Halloween Donald, where ranks 1 - 1000 get a Boosted one.

Bonus Medals: Illust Xion [EX] (21%), KH II Cloud [EX] (14%), HD KH II Leon (10%), HD Pete (10%), Hercules B (10%), Illust Atlantica Sora (10%), HD King Mickey [EX] (7%), Key Art #13 (7%)

Debut Deal 2

~ Jan 1, 2018

Guarantees: at least one of the listed medals (Hercules B, HD KH II Leon, HD Pete, Illust Atlantica Sora, KH II Cloud [EX]) with 1-3 SA levels, 5*+