#moira and holly

[buddiebeginz]

You were my crown Now I'm in exile, seein' you out I think I've seen this film before So I'm leavin' out the side door

[nickblaine]

season 4 script summaries

previous script summaries: season 3, season 2, season 1, seasons 1/2 cont’d also, check my tht scripts tag for gifs, excerpts, and more details

good news! there are no deleted Nick/Osblaine scenes in season 4. i’ll just be summarizing the subtext that is written into the script and comparing differences to the onscreen version.

before i begin:

• everything described here is from the official scripts that are archived at the Writers Guild in Los Angeles. • the scripts i read are final drafts. there is no “writing in the margins.” everything described here is from dialogue and script direction that was used on set during filming. (you can see an example of what these scripts look like in the 4x07/4x10 links below.) • the library has strict no copies/photos rules in place which is why i can only summarize what i read. • anything in italics is a direct quote for the sake of clarity. • feel free to ask questions and i’ll answer to the best of my ability. my private notes are pretty detailed, but if i need to do more research i may save the answer for a future library visit. • please do not share this post without my permission. thank you in advance for respecting my wishes.

4x01

In prison, Nick is very aware of the Guardian in the room and can’t speak openly because of it. He speaks in code to warn Lawrence that he’s going to be executed and thank him for helping June. This establishes a pattern of Commander Blaine using Gilead code to communicate, as seen in several future scenes.

4x02

When June sees Nick at the farm, she knows immediately that he is there to arrest her.

It’s implied that Nick asking where the Handmaids are is code to June so she knows they are okay. (This is confirmed in the next episode when he does it again.)

June spends a good minute considering shooting the Eyes in a blaze of glory and making this her last stand. Nick “jerks her attention away from the decision” by saying “don’t” and telling her that he’s trying to keep her alive.

The scene ends with June saying “fuck you” before the Eyes swarm her, but this line wasn’t in the final cut.

4x03

In the van, June is “stung by [Nick’s] betrayal.”

Nick can’t speak freely to June because he assumes there are eavesdroppers. He uses code to “pass along news” to her that Mrs. Keyes is safe and the Handmaids are still free. June finds this news a relief.

Nick asks where the Handmaids are and when June doesn’t give him an answer, he actually warns her in a low voice (uncoded) that she isn’t strong enough to take what the Eyes will dish out if she doesn’t turn them in. This wasn’t in the show.

When Nick quotes the bible to her - “June hears this for what it is -- an honest wish for the woman he loves.” But Lydia “breaks the connection.”

Moving onto the Nick and Lawrence scene... I want to be clear, Nick does not expect Hannah to be used against June. This is not present in the script at all. All he asks of Lawrence is to get June to talk before the Eyes kill her, with no expectation of how it’s done. He is only thinking of keeping her alive.

Also, throughout the Nick/Lawrence scene, Lawrence thinks about Eleanor a lot. “Some women just don’t want to be saved” was a direct reference to her. Lawrence compares Nick’s love for June to his love for Eleanor, and is struck by “the simplicity of [Nick’s] wish [to keep June alive.]” But he really believes Nick needs to just let her go, like he had to let go of Eleanor. This is why he refuses to help until Nick threatens him.

Speaking of, Nick’s veiled threats are what makes Lawrence decide to take him a little more seriously.

The scene where Hannah doesn’t recognize June was written to be much shorter than what we saw onscreen. Hannah was actually supposed to be muzzled, and just the sight of her crying through the muzzle is enough to shake June into giving up the Handmaids.

The meeting on the bridge was scripted a little differently than what we see onscreen. Lizzie's directing softened the scene quite a bit.

June is muzzled, and being transferred to the Birthmobile on foot when Nick joins her side, whispering apologies as he walks with her. She ignores him until he says Hannah is safe at home. June stops and starts breaking down crying. Nick reaches out and touches her shoulder, “letting his finger trace the skin of her neck.” June reacts by embracing him. The guards try to pull them apart, but Nick just gives them a look. “He’s a Commander,” so the guards stop and let her go. Nick removes her muzzle and she cries about Hannah being scared of her. There’s a line here that I love, I have to quote in full—

“NICK: She loves you.

June tries to believe this.

NICK: I love you.

This, June believes.”

June then realizes she may never see Nick again and kisses him goodbye. Very little script direction here, it’s simply described as “just one long moment.” Then the guards lead her away.

Also, it says in the script that Alma and Brianna are hit by the train because one of the Handmaids was shot and they both reached back to help her as she was falling, causing them to miss the opening before the train hit. Janine was just dissociating and humming songs to herself the whole time, not as upset as we see her onscreen.

4x04

I just want to note here that the script confirms Janine’s current age is 23. After she changes out of her Handmaid uniform, “she looks like the 23-year-old kid she is.”

4x05

June spends this whole episode irritated at Janine and Stephen’s relationship because she feels like she failed to protect Janine, which is part of a recurring theme of June feeling like a failure throughout this season. Janine has to remind June by the end of the episode that she doesn’t need saving, and June is only trying to do so to make herself feel better.

There is no scripted response to Lawrence’s “would your heart glow” line. So Nick’s laugh was entirely unscripted lol.

The script specifically refers to Lorraine and Reese (the Marthas) as Nick’s “black market contacts.” As we know from s1, Nick has always had a connection to Gilead’s black market.

When Lorraine goes off on Nick about June, she and Reese expect a scolding from him because it’s “a suicidal way for a Martha to talk to a member of the Eyes.” But Nick just apologizes on June’s behalf, surprising them both.

In the show Nick says “I care about her” but in the script it was: “She’s all I care about. In the world.”

The Marthas are “surprised by his vulnerability, but Lorraine stays icy.” Her scripted response was actually supposed to be: “Swipe left. You’re better off without her.”

Reese hangs back and offers help to Nick because, as she says to him, “I loved someone in Gilead once, too.”

In regards to the council meeting - if I’m understanding correctly (because the scripts are kind of vague and more focused on the soapy aspects of the political standoff in this episode) - Lawrence’s goal is to get sanctions lifted, but when the council turns him down he shifts his plan to get on the council himself so he can pursue his reformation goals unopposed. This is why he agreed to bombing the ceasefire that he proposed in the first place.

Not much is said about Nick’s reaction to ordering the bombing, besides the fact that it catches him off guard and he “looks shaken by his orders to bomb June.“

4x06

When Moira confronts June trying to abandon ship and tells her that Luke never gave up on her after all those years, there was a cut part of that line where Moira said: “[Luke’s] a good guy. And he handled it pretty well when you had a baby with another man.“

4x07

Click here to read the full script that is available to the public.

4x09

When Luke suggested they ask Nick for help with Hannah, there’s not too much script direction, but there are a few interesting lines. When she says Nick would do anything for her and Holly, Luke finds that “both hurtful and hopeful.”

June is floored that Luke “is encouraging a meeting with her former lover? It’s incredibly strange. And also enticing.” It also says she had “put her relationship with Nick behind her. Locked it away. Now Luke has opened the door again.”

When she agrees to meet with Nick, Luke is described as “pleased, yet uneasy.”

As June heads off to see Nick, she and Luke are both “on edge.”

There was actually a cut moment between them and Mark before she leaves. After Mark tells her his officers will be nearby, he gives her a panic button FOB to call them if she needs help. This makes Luke freak out a little. He tells June she’s not going unless it’s safe. She doesn’t like that and insists she can take care of herself. Mark explains that while he has used this location for meetings before, he “can’t vouch for the party involved” because - in Mark’s words - “[Nick] does have a history of violence and allegiance to Gilead.” But June shuts both men down with: “He’d never hurt me or Nichole. I vouch for him. Completely.”

Once June is in the car, she exhales. “There’s no facade to put on for Luke, now that she’s alone.” She looks back at Holly and says, “Okay, we’re off. Excited to see your Dad? Yeah?“ then she smiles at Holly and says “me too.”

When she finally sees Nick, “their eyes lock. They’re both tentative. Unsure. It’s amazing to be together again, yet it doesn’t feel real.”

Nick is described as “almost overcome, so happy and relieved to see June alive and healthy.”

When they move inside, Nick tries to help June with the stroller and he’s described as “awkward” lol.

As we see in the episode, June is moved by Nick’s folder of Hannah intel. After this, “her official mission has been accomplished. She can leave. She doesn’t want to.”

The kiss has very little direction, as usual it’s all Max and Lizzie’s chemistry that makes it so good. “They can’t resist. They kiss, with longing and passion.” Then they move apart “both knowing they shouldn’t go any further.”

Nick was supposed to hold Holly “with love and wonder” per the script, but they couldn’t because of Covid protocols. It does say Holly loves her doll, though.

Their goodbye was also much different in the script. June simply buckles Holly up in the car, tells Nick she can’t thank him enough, and “tries to keep it together.” Nick tells her “keep yourself safe, and be happy.” They share a final look before she gets in the car and leaves.

On the drive home, June is just described as “[getting] emotional, but keeps moving on.”

Nick is described as “stoic, but drained by the experience” before he puts his wedding ring on.

When June returns home, Luke is “relieved” that she returned to him. June collects herself and “she has so many more steps to take, but she’s trying her best to move forward.”

4x10

Click here to read the full script that is available to the public.

[comicbooksaregood]

First X-Men

Volume: 1

Issue: 1

Children of the Atom

Writer: Neal Adams, Christos N. Gage

Penciler: Neal Adams

Inker: Neal Adams

Colourist: Matthew Wilson

Cover: Neal Adams, Matthew Wilson

Marvel

[wildlyfamousmusic]

[osbxrne]

HANDMAIDS ALWAYS WALK IN TWOS， REMEMBER? / june + janine.

I THINK IN THIS PLACE， YOU GRAB LOVE WHEREVER YOU CAN FIND IT. / june + nick.

WELL，I LIKE IT. I LIKE HIS GARBAGE. / june + luke.

IN ANOTHER LIFE，MAYBE WE COULD'VE BEEN COLLEAGUES. IN THIS ONE，WE'RE HERETICS. / june + serena.

YOU DON’T KNOW WHAT YOU’RE CAPABLE OF UNTIL YOU HAVE TO DO IT. / self

I SHOULD’VE LET YOU BURN WHEN I HAD THE CHANCE. / serena.

I WENT BACK TO NICK. TIME AFTER TIME， ON MY OWN. / nick.

NIGHT BY NIGHT HE RECEDES，I BECOME MORE FAITHLESS. / luke.

SHE COMES SO CLEARLY TO ME IN THE BATH. / hannah.

I WILL NOT LET YOU GROW UP IN THIS PLACE. / holly.

KEEP YOUR FUCKING SHIT TOGETHER. / moira.

RED LEADER STANDING BY! / janine.

YOU FAILED THEM. YOU FAILED YOUR PRECIOUS GIRLS! / lydia.

YOU HELPED CREATE THIS WORLD，HOW LONG DID YOU THINK BEFORE IT CAME FOR YOU? / joseph.

YOU HAVE NO IDEA WHAT IT IS TO HAVE A CHILD OF YOUR OWN FLESH & BLOOD & YOU NEVER WILL. / fred.

MAYBE THIS IS AS FREE AS WE'RE GONNA GET. / alma.

PIOUS LITTLE SHIT. / emily.

I WANT MY BABY TO KNOW KINDNESS. / rita.

MAKE ME PROUD. / esther.

I'M SORRY I WAS SUCH A SHIT TO YOU. I GOT LOST， I THINK. / natalie.

WEAR THE DRESS，PULL THE STRINGS. / musings.

A RAT IN A MAZE IS FREE TO GO ANYWHERE，LONG AS IT STAYS INSIDE THE MAZE. / about.

THEY SHOULD HAVE NEVER GIVEN US UNIFORMS IF THEY DIDN’T WANT US TO BE AN ARMY. / gilead.

THE WHITE TUNNELS OF CLOTH THAT ENCLOSE US. / wardrobe.

SEASON ONE. / v1.

SEASON TWO. / v2.

SEASON THREE. /v3.

WE THOUGHT WE HAD SUCH PROBLEMS. HOW WERE WE TO KNOW WE WERE HAPPY? / pre gilead.

[uwmspeccoll]

Indigenous People's Day

DR. HENRIETTA MANN Cheyenne

On this Indigenous People’s Day, we are featuring Matika Wilbur’s recent publication Project 562: Changing the Way We See Native America, published by Ten Speed Press in 2023. Wilbur (b. 1984) is a visual storyteller and member of the Swinomish and Tulalip peoples of coastal Washington. She holds a degree from the Brooks Institute of Photography alongside a teaching certificate that has shaped her style of educating through narrative portraits.  

Project 562: Changing the Way We See Native America, a book born from a documentary project of the same name, resolves to share contemporary Native issues and culture. In 2012 Wilbur set out from Seattle to visit and photograph all 562 plus Native American sovereign territories in the United States.

Wilbur’s engagement with the communities she visited resulted in the creation of hundreds of dynamic portraits and documentation of conversations about “tribal sovereignty, self-determination, wellness, recovery from historical trauma, decolonization of the mind, and revitalization of culture.” She refers to her portraiture approach as “an indigenous photography method” that includes several hours and sometimes days of interaction with the participants, an exchange of energy and gifts, and asking sitters to choose their portrait location. The outcome is a stunning collection of Native narratives and portraits.  

GREG BISKAKONE JOHNSON Lac Du Flambeau Band of Lake Superior Chippewa Indians

HOLLY MITITQUQ NORDLUM  Iñupiaq

J. MIKO THOMAS Chickasaw Nation

MOIRA REDCORN Osage, Caddo

HELENA and PRESTON ARROW-WEED Taos Pueblo/Kwaatsaan, Kamia

STEPHEN YELLOWTAIL Apsáalooke (Crow Nation)

LEI'OHU and LA'AKEA CHUN Kānaka Maoli

ORLANDO BEGAY Diné

KALE NISSEN Colville Tribes

GRACE ROMERO PACHECO Santa Ynez Band of Chumash Indians

ISABELLA and ALYSSA KLAIN Diné

NANCY WILBUR Swinomish

DR. JEREMIAH "JERRY" WOLFE Eastern Band of Cherokee Indians

RUTH DEMMERT Tlingit

MARVA SII~XUUTESNA JONES Tolowa Dee-Ni' Nation, Yurok, Karuk, Wintu

Matika Wilbur will be speaking on UW-Milwaukee's campus Thursday, November 16 from 6-7p.m. in conjunction with her exhibition Seeds of Culture: The Portraits and Voices of Native American Women on view at the Union Art Gallery November 16 through December 15, 2023. 

-Jenna, Special Collections Graduate Intern 

We acknowledge that in Milwaukee we live and work on traditional Potawatomi, Ho-Chunk, and Menominee homelands along the southwest shores of Michigami, part of North America’s largest system of freshwater lakes, where the Milwaukee, Menominee, and Kinnickinnic rivers meet and the people of Wisconsin’s sovereign Anishinaabe, Ho-Chunk, Menominee, Oneida, and Mohican nations remain present.

[theartofangirling]

part 2 of the 2023 version of this post: young adult books!

part 1: middle grade books | part 3: adult books

this is a very incomplete list, as these are only books I've read and enjoyed. not all books are going to be for all readers, so I'd recommend looking up synopses and content warnings. feel free to message me with any questions about specific representation!

list of books under the cut ⬇️

aces wild by amanda dewitt

the chandler legacies by abdi nazemian

bruised by tanya boteju

juliet takes a breath by gabby rivera

picture us in the light by kelly loy gilbert

when we were magic by sarah gailey

iron widow by xiran jay zhao

the rise of kyoshi by f.c. yee

jane unlimited by kristin cashore

summer of salt by katrina leno

the wicker king by k. ancrum

the dead and the dark by courtney gould

wilder girls by rory power

i kissed shara wheeler by casey mcquiston

her royal highness by rachel hawkins

tell me how you really feel by aminah mae safi

the weight of the stars by k. ancrum

you should see me in a crown by leah johnson

last night at the telegraph club by malinda lo

the grief keeper by alexandra villasante

crier's war by nina varela

how to excavate a heart by jake maia arlow

imogen, obviously by becky albertalli

in other lands by sarah rees brennan

carry on by rainbow rowell

cemetery boys by aiden thomas

felix ever after by kacen callendar

i wish you all the best by mason deaver

little thieves by margaret owen

technically you started it by lana wood johnson

the gentleman's guide to vice and virtue by mackenzi lee

the infinite noise by lauren shippen

bonds of brass by emily skrutskie

the darkness outside us by eliot schrefer

simon vs. the homo sapiens agenda by becky albertalli

what if it's us by becky albertalli and adam silvera

aristotle and dante discover the secrets of the universe by benjamin alire sáenz

like a love story by abdi nazemian

different for boys by patrick ness

history is all you left me by adam silvera

twelfth grade night by molly horton booth, stephanie kate strohm, and jamie green

across a field of starlight by blue delliquanti

heartstopper by alice oseman

check, please! by ngozi ukazu

bloom by kevin panetta and savanna ganucheau

laura dean keeps breaking up with me by mariko tamaki and rosemary valero-o'connell

the princess and the grilled cheese sandwich by deya muniz

if you'll have me by eunnie

on a sunbeam by tillie walden

the girl from the sea by molly knox ostertag

always human by ari north

rust in the root by justina ireland

dread nation by justina ireland

pet by awkwaeke emezi

the darkest part of the forest by holly black

elatsoe by darcie little badger

i was born for this by alice oseman

loveless by alice oseman

i hate everyone but you by gaby dunn and allison raskin

you know me well by nina lacour and david levithan

the black flamingo by dean atta

spinning by tillie walden

dreadnought by april daniels

a lesson in vengeance by victoria lee

all the bad apples by moira fowley-doyle

clap when you land by elizabeth acevedo

summer bird blue by akemi dawn bowman

the miseducation of cameron post by emily m. danforth

we are okay by nina lacour

radio silence by alice oseman

we used to be friends by amy spalding

a neon darkness by lauren shippen

i hope you get this message by farah naz rishi

are you listening? by tillie walden

alone in space by tillie walden

all out edited by saundra mitchell

out now edited by saundra mitchell

out there edited by saundra mitchell

[glasskey]

THT True Love and Double Trouble Remix Part 3

Welcome to the 3rd and final part of this remix. In the context of this love triangle Luke is the equivalent to the “home body” or the “boy next door”. For years and years now, in classic love triangle scenarios these slouchers have been “getting the girl” based on the lame-assed rule of “first dibs”. However our heroine isn’t beholden to anyone, SHE makes the rules, and as the infamous Dawson / Pacey / Joey love triangle taught us; the so called “diamond in the rough” is the everyday man’s worst fucking nightmare.

LUKE

Because Luke is the everyday man he presents a perfect vehicle for demonstrating the casual chauvinism experienced by women as a normal daily occurrence. Luke is a homebody with a desire for a wife and an idyllic family, and with this comes all the dynamics of it’s traditionalist ideals. Luke represents the average middle class male persona; educated but self-entitled and somewhat willingly complacent in his efforts to change his or societies attitudes to gender roles and dynamics. As such, the infringements of June’s initial freedoms are concerning rather than alarming and certainly not enough to motivate him into direct action. In Atwoods text Luke actually enjoys some of these restrictions of June’s former freedoms, as they allow him to assert his dominance, thus bolstering his own sense of self confidence. This character aspect has been somewhat downplayed in the series, but we do still see signs of it.

In Atwood’s text, Luke taunts Holly making light of her action against the patriarchy, in the series we see echoes of the two at loggerheads when Holly voices her disapproval of June and Luke’s marriage. Holly’s perception of Luke is as a trap of conventional traditionalism, a direct obstacle between June and her independence. Holly embodies the fight against a patriarchal society and the definitive independent woman. As such she is captured, enslaved and most likely killed off during the inception of Gilead. Moira also voices concerns that Luke will leave her if she cannot produce the child he so desperately desires, leaving June wondering; what if he sees her as primarily a walking womb? June’s insecurity at his faithfulness and her own abilities to provide a child cause her to continuously apologize, and minimize her own anxieties. Ultimately it allows him to take control, determining when they run and enabling his passivity to leave her trapped.

When June returns home she is far from the affectionate, compliant wife he once knew. She is distinctly uncomfortable in a world that somewhat acquiesces to Gilead’s will. She is enraged, vengeful and hypervigilant. After waiting many years for her return, Luke seems determined to “love whoever she turns out to be”, it seems almost defeatist to “let her go” after all this time. However he’s constantly challenged by the person who’s returned to him, and while there are moments of connection they’re tenuous and it’s doubtful that pre Gilead, he would have ever chosen to marry the woman he now knows.

Prior to Gilead’s inception the nature of the physical connection between Luke and June ranged from flirtatious to affectionate. Upon returning from Gilead, physical contact between Luke and June ranges from cautious to violent and finally settles back into a friendly affection. In contrast scenes of unrestrained climactic sex seems to have been reserved almost exclusively for Nick Blaine, drawing a sharp line between the two. In S5 we witness a spontaneously passionate sex scene between Luke and June, but the lighting and positioning hurtles you back to Nick and June’s heated, passionate exchange at the Boston Globe. As June turns away from Luke, it’s difficult not to conclude that June is reliving a distant precious memory. It’s a moment of passion triggered by their mutual hatred of Serena rather than any loving desire for intimacy. In the fading cold light he lies exposed as she remains covered, his attempt to reach her has failed once again.

I truly sympathize with Luke, to me it makes perfect sense that he would TRY and reconnect with June. That he would hope against hope that despite many years of separation and her obvious love for another man, that he might be able to salvage his marriage somehow. Throughout season 4 and 5 we witnessed a man clinging to the past, the moments he connected with June were when he spied the remnants of the woman he once knew, or when hopes of Hannah returning were raised. Maybe, just MAYBE, he hopes, he might be able to get back the family he lost on that icy road so many years ago. Throughout S4 and 5 Luke showed a deepening awareness of June’s altered perception of both him and their relationship. He expressed regret that he’d failed her as a partner and made ill-conceived attempts to redeem his short comings, he tried desperately to hold onto her and the dream of his family…..but it all seemed for naught.

As June bade him farewell at the train station we saw her pivoting from Ep 9 where she told him to let her go, to telling him to come find her. But the borderline disconnection of the last 2 seasons made it seem either like a sentimental goodbye, or an unrealistic attempt to suddenly reconnect these two characters fully. I was moved by the “goodbye’s”, but the “I love you’s” and “come find me’s” left me confused. Had I missed something? Had some immense edit had taken place to save air time?

Both Luke and Nick are cautionary tales but in decisively different ways. Luke is privileged and well educated, he works in a white collar job and he chose a passive role, doing little or nothing to act, at the inception of Gilead. He represents the willful ignorance and complacency of men who assume that power comes at no personal cost. He is a demonstration of men’s responsibility to, not only change their own gender biased beliefs, but be pro-active about changing those around them. In contrast Nick is poor, unemployed, with no higher education and he chose an active role. His position has a great deal to say about the ease of manipulation by the wealthy ruling class. His servile and initially diminutive role of action turns the larger wheels of power for Gilead, as Serena said: “we wouldn’t be here without him”. Both Luke and Nick illustrate the incredible destruction caused to ALL, by both the active practice and social complacency of gender bias. Both challenge our perceptions of guilt and innocence. The Handmaid’s Tale is known for its painfully accurate social commentary, and the inescapable truth is that whether passive or active, both of these roles can be equally devastating.

In S5 we see Serena confronting Luke with the reality of his inaction, provoking a rage filled response. Luke is seething with hatred for Gilead, but there is also an undercurrent of immense guilt and self-loathing for his own apathy.

Luke said nothing, did nothing, ran too late, lost his wife, lost his daughter…….there are consequences. Nick joined the Sons of Jacob, he took part in a right wing regime and he lost his country, his freedom, his daughter and the woman he loves……..there are SO many consequences.

Both of these men signify a journey that male attitudes and society at large must take in order to unstack the deck. Throughout the seasons we’ve seen both Nick and Luke’s painful personal journey of enlightenment, regret and their ultimate choice to change. It’s no coincidence that they BOTH now reside in the “purgatorial” Big House…..it’s time to show true sacrifice and pay the piper.

There seems to be a tendency to attribute a mantel of innocence to Luke for his passivity during the inception of Gilead, furthermore the idea that he’s EARNED some sort of expected devotion through the role of husband and provider. Ironically this attitude reflects the very archaic traditionalism that The Handmaid’s Tale kicks against time and time again. As Holly said, “now’s not the time for settling down, now’s the time to fight.” so when push comes to shove, if either of these boys want to tag along with our rebel, they’d better get ready to gear up and go underground. Rebellion waits for no man.

In story telling great lovers have something that for lack of a better term, could be referred to as “calling cards”. They act like talismans of their deep connection, and Nick and June have a LOT: their hand brushing, foreheads touching, ever present glowing lights, when Nick calls her name, her gasp and eyelash flutter at the mere mention of his name, and the touching of June’s neck. These “calling cards” seem so very conspicuously absent in Luke and June’s relationship, and as the seasons roll on, this is harder and harder to ignore.

The end result is that watching Nick and June fall in love, is like watching two people GENUINELY fall in love for the first time. Regardless of whether this portrayal is the result of June’s overly romanticized narration is irrelevant, the fact remains that Nick Blaine is quite literally being visually described as “the love of her life". In comparison the audience is fed somewhat ordinary glimpses of her life with Luke. The Handmaid’s Tale moves in circles, depicting the turning of seasons and as such June swings back and forth between these men. The end of the shows seasons always somehow cruelly reuniting and yet separating her from Nick. The rule of chances state that the wheel of fortune must finally turn differently this time. But I don’t trust these writers, I never have, they’re erratic and brilliant and you can never trust genius to be predictable. Whether Nick and June end in tragedy, sacrifice or victory is yet to be seen.

[harvardfineartslib]

Rest in Power, Dinh Q. Lê.

Last month, the art world lost one of the most prominent Asian American artists of our time. Dinh Q. Lê (1968-2024) was a Vietnamese American artist known for his large woven photo collages. Lê was born in Ha Tien, Vietnam, near the Cambodian border. As a child, he learned to weave from an aunt who used the weaving technique to make grass mats. In his work, Lê used strips of photographs to make tapestry-like pieces that wove together images of Vietnam’s history with depictions of Vietnam in Western media and Hollywood films such as “Apocalypse Now.”  Lê also worked in film and installation.

Growing up in Vietnam near the Cambodia border, Lê had traumatic memories of the Khmer Rouge Invasion. He and his family fled Vietnam in 1978 by boat, first spending a year in Thailand, then moving to the United States. Lê studied photography at UC Santa Barbara and went on to earn an MFA from the School of Visual Arts in New York. Lê eventually became a U.S. citizen, but never felt at home in the United States. He frequented Vietnam in the 1990s and eventually made his permanent home in Ho Chi Minh City.

Image 1: Detail, “Untitled” from Cambodia: Splendor and Darkness

Image 2: “Untitled” from Cambodia: Splendor and Darkness

Image 3: “Paramount”

Image 4: Detail, “Paramount”

Dinh Q. Lê : from Vietnam to Hollywood Christopher Miles, Moira Roth. Lê, Dinh Q., 1968- Seattle : Marquand Books ; New York : Available through D.A.P./Distributed Art Publishers, 2003 English HOLLIS number: 99157434767203941

[thelovetheystole]

Randomly wondering why Emmerdale hasn't brought in any long lost Sugdens; real, adjacent (Merricks!) or retconned, in these last 10ish years or so, besides Robert. And I'm not even talking long-term, just at all!

Let's see.

When Robert arrived back, he was tacked-on to a family he was only related to by marriage-to-be, the Whites. They were wealthy, powerful and had a three generation dynamic he wasn't a part of, as Lachlan wasn't his child (we got to meet Donny later). Of course Rebecca completed the White line-up.

Making Robert a dad was super important to TPTB, but even then, Robert lost Seb to Liverpool long before Ryan Hawley gave his leaving notice.

In contrast we have the Dingles and the Dingle add-ons. Here is what I could think of right now; A secret daughter for Marlon in April, Kyle came back to live in the village, they brought in Aaron's sister Liv, then we had Faith re-cast, Mandy came back + Vinny, brand new secret sons - Ryan for Charity (and his son Oscar on top of that!) and Nate for Cain, and finally Caleb, his wife Ruby and their son Nicky.

Not to mention the people who have married and/or had kids with Dingles.

They brought in several Bartons, relatives by marriage to Moira, but blood relatives to her children; James, Ross, Pete and Finn + Emma, then a return from Holly, Matty and finally a brother for Moira; Mackenzie.

Tates: they started with Joe (and Graham who was very entangled with the whole family) followed by Kim, then Jamie, Andrea and Millie (and Millie's maternal granny), and also Caleb and his family who are both Dingle and Tate adjacent.

The Anderson family was extended with daughter Naomi, mother Claudette and father Victor, and we even got to meet the mum/ex-wife.

We got two new Sharmas in Amit and Suni, plus the return of Archie, a couple of extra King kids in Elliot and Carl + nephew Tom, Meena was Manpreet's sister, Chloe was Kerry's secret daughter and Amy's sister, and Paddy got a brand new dad in Bear. Vanessa and Tracy were made sisters and got a joint dad in Frank. Rhona's mother Mary came and stayed, and then there was Gus and a new biological baby with no cheating story!

Heck, we were even subjected to Wendy's creepy ex-husband, Russ, making the total Posner count four characters + they made one of them "father" to Harry!

Both Jack and Joe Sugden were away from the village plenty, as was Robert. They could have gotten up to all sorts. Andy had a whole other birth family, but they all disappeared. Robert has two half siblings in Sandie and Tommy (he is something of a mystery), and they are bound to have families of their own. And what about Sarah Sr, couldn't she have a relative or two out there in the world, who would be blood relatatives to Victoria and Harry? Kathy was very much a part of the Sugden family, she had at least one kid in Australia we've only ever heard of.

I don't know if the show doesn't 'dare' mess around with the Sugdens and feel they are a bit 'untouchable' or if they just plain and simple aren't at all interested in them? (Actually I can guess.) But I still think it's weird and the Dingles should never have taken over the whole village like this.

That turned into quite a long post, if anyone made it to the end of it, sorry! 🙈

My brain is pretty fried after this, let me know if I missed/left out anything important!

[asadfangirlbitxh]

Underated Sitcom couples

1) Cece and Schmidt - New girl

2) Holly and Michael - The Office

3) Dina and Garett- Superstore

4) Eleanor and Trent - Never have I ever

5) Kevin and Captain Holt - B99

6) Janet and Jason

7) Jay and Gloria, Modern family

8) Turk and Carla, Scrubs

9) Moira and Jonny, Schitts Creek

10) Uncle Phil and Aunt Viv

[holly-foster]

♒︎ holly james foster ♒︎

born on: december 7, 1999 (24) works as: fitness instructor lives in: clearwater, florida ♒︎ family: moira jean foster (dec. 2015) - mother james “jim” royal foster (57) - father kristoper “kris” royal foster (9) - brother ♒︎ loves: the beach, flavored sparkling water, sun showers, audiobooks hates: littering, people who chew with their mouth open, know-it-alls, entitled attitudes

[heterochromiasmackdown]

HETEROCHROMIA SMACKDOWN ROUND 1

I have finally assembled the full bracket for the Heterochromia Smackdown! Dates for when each match up will be posted are under the cut. Once each match up is posted, they can be found under the tag "round 1" and each round will be 24 hours, so make sure you vote when you can!

May 22nd 12:00PM CST

Catra vs Markus (RK200)

Alex Fierro vs Ken Kaneki

Artemis Fowl and Holly Short vs Raymond

Shoto Todoroki vs Sollux Captor

May 24th 12:00PM CST

Lilith and Eda Clawthorne vs Pure Vanilla Cookie

Jade and Floyd Leech vs Yuna

Zagreus and Melinoë vs Neopolitan

Yasha Nydoorin vs Sans

May 26th 12:00PM CST

Mika Kagehira vs Seijūrō Akashi

Ai Ohto vs Hajime Hinata

Frankie Stein vs Alear

Ciel Phantomhive vs Kimihiro Watanuki

May 28th 12:00PM CST

Kakashi Hatake vs Candace

Moira O’Deorain vs Atsushi Nakajima

Kaname Date vs Garnet

Judai Yuki and Yubel vs Obanai Iguro

[the-forest-library]

June 2023 Reads

Return of the Thief - Megan Whalen Turner

Moira’s Pen - Megan Whalen Turner

Once More With Feeling - Elissa Susan

Cassandra in Reverse - Holly Smale

Ciao for Now - Kate Bromley

The Happy Life of Isadora Bentley - Courtney Walsh

Same Time Next Summer - Annabel Monaghan

Meet You in the Middle - Devon Daniels

Not Here to Stay Friends - Kaitlyn Hill

What Happens After Midnight - K.L. Walther

The Wishing Game - Meg Shaffer

Some Shall Break - Ellie Marney

Bryony and Roses - T. Kingfisher

As Old As Time - Liz Braswell

Such Sharp Teeth - Rachel Harrison

Jasmine Zumideh Needs a Win - Susan Azim Boyer

Yellowface - R.F. Kuang

Charlotte Illes is Not a Detective - Katie Siegel

Are You There God? It's Me, Margaret - Judy Blume

The Princess and the Grilled Cheese Sandwich - Deya Muniz

She-Hulk, Vol 2: Jen of Hearts - Rainbow Rowell

Happily Ever After - Debbie Tung

Book Love - Debbie Tung

The Worrier’s Guide to Life - Gemma Correll

Cryptid Club - Sarah Andersen

Escargot - Dashiki Slater

Cloudy With a Chance of Meatballs - Judi Barrett & Ron Barrett

Hooked - Sutton Foster

Better Living Through Birding - Christian Cooper

Have More Fun - Mandy Arioto

Notes from a Public Typewriter - Michael Gustafson

These Precious Days - Ann Patchett

It Was An Ugly Couch Anyway - Elizabeth Passarella

Dear Girls - Ali Wong 

Where to Start - Mental Health America

The Vegan Week - Gena Hamshaw

Bold = Highly Recommend Italics = Worth It Crossed out = Nope

Thoughts:

I am now in a world with no more Queen’s Thief books to look forward to, but what a marvelous ride it was. This is now one of my favorite series, and I eagerly look forward to whatever Megan Whalen Turner does next. 

Also, I didn’t mean to read two beauty and the beast retellings back-to-back, but it was fun to compare them. The highlight was T. Kingfisher’s Bryony and Roses, which was absolutely lovely. 

Goodreads Goal: 210/400

2017 Reads | 2018 Reads | 2019 Reads | 2020 Reads | 2021 Reads|

2022 Reads | 2023 Reads

[juneandnick]

Make A Wish - Season 6

I have a lot of wishes for the finale season. Wishes you can read there: #season6 wish

The name Martha means Mistress of the house.

In Season 1.

Nick does business with Beth (Martha at Jezebels): trading alcohol, hair dye for Oxy, Percocet, speed, pregnancy tests ... They also had a "love affair".

In Season 2.

Marthas create a diversion to allow June and Holly to leave Gilead.

In Season 3.

June works with Mayday into Lawrence’s home. These people are Marthas.

At Jezebels, after June killed Winslow, Marthas hide the murder, clean up the room, make the body disappear ... (with the music Cloudbusting in the background).

We also learn in this season that they have a communication code:

- Muffins mean yes, - Scones mean no.

In Season 4.

Nick wants to know if June is in Chicago. He meets two Marthas (Lori and Reese). They let him know that his star on his shoulder does not give him the right to treat them any way he wants. It is obvious that they have no fear of him.

Lawrence and Tuello made a trade: The release of 22 women of the resistance in exchange for Fred Waterford's return to Gilead. Many of them are Marthas.

In Season 5.

In Canada, June and Moira meet Lily, who works for Mayday and was a Martha. Lily is one of many women who were traded for Fred Waterford.

We absolutely do not see Nick's Martha. We nevertheless know that he has one because in episode 1, Rose tells him: I did not want to wake the Martha so I made the coffee myself. Who could she be? Have we seen it before?

- Could it be Alison?

A chemistry teacher who goes deeply in the resistance (S3E02).

- Could she be one of the five women June saved?

An engineer, an IT tech, a journalist, a lawyer and a thief (S3E03).

- Could it be Maureen? One of these five women who helps June to escape from Jezebels (S3E11).

(Non-exhaustive list)

From the beginning, the Marthas have a key role in The Handmaid's Tale. I hope it will be still the case in the finale season. Obviously, I have absolutely no idea what season 6 has in store for us. Like all of us, I have expectations, hopes, wishes…

I would like the Marthas to be true allies for Nick, whether he escapes from Gilead or not. As I hope they can always count on his help to resist against Gilead.

I still have this hope that Rita will be involved in the fight against Gilead in season 6 and that she will help Nick (in one way or another) and her old friends.

Sources Pictures: Screenshot S4E05 (by me) - The Handmaid's Tale Instagram

[avornalino]

the side characters™

more about them below the cut

poppy fyres - youngest child of dominic and moira fyres // nicest and sweetest person ever // active, genius // floaters // student council member

leonel bjergsen - older twin of maria // actually so smart but rarely speaks out // bookworm, stoic // rebel rousers // mock trial team member (never goes)

ian lyman - moved to windenburg from del sol valley at 12 // goofball, glutton // cool llamas // football teammate

maria bjergsen - younger twin of leonel // will never miss a chance to sneak out // party animal, cheerful // floaters // cheer team member

hollie matthews - daughter of brytani cho and will let you know any chance she can // party animal, active // womp jocks // swim team captain

elliott chopra - johnny zest is his stepdad and he hates it // foodie, outgoing // nerd brains // swim team member

madeleine (madi) jang - don't call her madeleine // steals half their clothes from her sister billie // stoic, recycle disciple (she thrifts) // artists collective // barista