#the monty python one is still in the works…

[ratpee73]

Do you guys like playlists

[panelshowsource]

random things to watch over the holiday break

happy holidays friends (⸝⸝^ᴗ^⸝⸝)❄️ as many of us have time off from our normal schedules, are taking long-haul flights or car drives, and will be spending hours in broom closets to avoid our terrifying families, i figure this is the perfect time to look back on the year and put together some watch links for over the break ❄️❄️❄️

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panel shows

the christmas special of never mind the buzzcocks is always...something else

speaking of, icymi in a panel show miracle earlier this year an anonymous source provided beautiful archival copies of the first 12 series of nmtb — so this is the perfect time to revisit its classic era!!

junior taskmaster just wrapped up its first season! very wholesome, for the whole family (don't forget to check out the taskmaster podcast discussions for each episode, hosted by ed gamble!)

there were some great eps of cats does countdown this year but this one was probably my standout<3

because this series is on sky so we have to be careful circulating it, not everyone got a chance to watch rob beckett's smart tv when it aired this year! some of the panel guests include natasia demetriou, nicola coughlan, david tennant, romesh, and alan davies, among others

idk if this is controversial but i think the australian guy mont spelling bee MIGHT be better than the new zealand version... i'm not sure yet... i need someone else to watch every single episode and tell me what my opinion should be. i also want to thank this show for teaching me how to spell vinaigrette

this, this, and this were some of my favourite episodes of wilty this year!! btw the 2024 christmas episode just dropped!

there were a lot of wild lineups on mel giedoryc: unforgivable this year, but i'd recommend just starting with the first episode of the latest series because..well you'll understand when you see it

this year i made three big lists of random panel show moments that, in my humble opinion, you will love wasting your holidays hours clicking through: part 1 / part 2 / part 3

misc. tv

the royal variety performance 2024

the completely made up adventures of dick turpin was renewed for s2 so make sure to catch up!!! it's SO stupid hahaha

on a similar, less stupid note, ludwig will also be back for s2!

we're all still missing sean lock, who passed away three years ago, so it's never a bad time to revisit 15 storeys high — especially now that we have upgraded rips!

listen jon and lucy may be divorced but that doesn't make meet the richardsons any less iconic and the last two episodes just released!

s2 of alma's not normal is out this year and doing such amazing things for our sophie willan!!

this was a bit under the radar but backstage with katherine ryan was really fun! i love the mostly-documentary concept and it's one of my favourite things to see the backstage culture between these random comedians (judi x ivo killed me)

rhod gilbert's stand up to cancer documentary was really beautiful ;;

am i being unreasonable? (written by & starring daisy may cooper, from this country) is one of my underrated scripted comedies of the year

paddy mcguinness on who do you think you are

in the new jimmy carr-hosted game show battle in a box, pairs of celebs (mostly comedians) are trapped in an empty box for 24 hours, forced to play a series of mental and physical challenges. if you like the lineup then it's worth checking out!

it's christmas. just follow tradition and watch fry & laurie.

standup

ahir shah – ends (2024)

fern brady – austistic bikini queen (2024)

harriet kemsley – everything always works out for me (2024)

lucy beaumont – live from the royal court theatre (2024)

john kearns – the varnishing days (2023–4)

rhys james – spilt milk (2024)

suzi ruffell – snappy (2024)

tony law – the law also rises (2024)

films

monty python and the holy grail (1975) dir. terry gilliam, terry jones

withnail and i (1987) dir. bruce robinson

gosford park (2001) dir. robert altman

the personal history of david copperfield (2019) dir. armando iannucci

how to have sex (2023) dir. molly manning walker

rye lane (2023) dir. raine allen-miller

scrapper (2023) dir. charlotte regan

kneecap (2024) dir. rich peppiatt

youtube

been enjoying the dish podcast this year!! some of my favourite episodes include claudia winkleman, jordan north & william hanson, saoirse-monica jackson, gordon ramsay, sandi toksvig, richard e. grant, matthew macfadyen, and stephen fry

sandi toksvig hugging guests (2024 edition)

obsessed with this house tour with richard e grant

phil wang was on jolly?? it was fun to see his house

don't sleep on the taskmaster outtakes content!

radio & podcasts

green wing came back for a 6-part radio series and warmed all of our hearts<3

some of my favourite episodes of off menu this year: elis james, john robins, sam campbell, frankie boyle, lucy beaumont, jess knappett, joe wilkinson, tommy tiernan, ardal o'hanlon, huge davies (one of the all-time clips), danny dyer (this one is truly crazy on the ears can't recommend it enough)

the horne section podcast was back for a few episodes!!! if you've never listened before, start with this classic episode you're welcome

susie dent and phil wang have adorable chemistry on this new radio game show

david o'doherty and max rushden started a new podcast about what people did yesterday that has had lots of fun guests! start here if you need to give it a taste

a few RHLSTP episodes worth giving a listen: lee mack, bob mortimer, armando iannucci, rob brydon, peter serafinowicz, ade edmondson, fern brady, among others. if you find your patience waning, he's doing a couple of 'best of 2024' eps! richard's really been focused on his book podcast this year

books

frankie boyle & charlie skelton – a short history of the apocalypse: the vital guide to your future survival (2024)

miranda hart – i haven't been entirely honest with you (2024)

richard osman – we solve murders (2024)

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i could go on forever but i've got to stop somewhere heh... looking forward to big fat quiz and more mindless telly in 2025! have a wonderful holiday x sarah

PANEL SHOW WATCH LINKS • NON-PANEL SHOW WATCH LINKS ♥ https://ko-fi.com/panelshowsource

[literaryvein-reblogs]

Writing Notes: Guilt by Association

Guilt by Association - moral guilt or unfitness presumed to exist on the basis of one's known associations

Guilt by Association Fallacy

Occurs when someone connects an opponent to a demonized group of people or to a bad person in order to discredit his or her argument.

The idea is that the person is “guilty” by simply being similar to or associated with this “bad” group and, therefore, their arguments should be disregarded.

Example:  We cannot have the educational reform that my opponent calls for because Dr. Corrupt has also mentioned this kind of educational reform.

This is the fallacy of trying to refute or condemn someone's standpoint, arguments or actions by evoking the negative ethos of those with whom the speaker is identified or of a group, party, religion or race to which he or she belongs or was once associated with.

It is a form of Ad Hominem Argument, e.g., "Don't listen to her. She's a Republican so you can't trust anything she says," or "Are you or have you ever been a member of the Communist Party?" 

An extreme instance of this is the Machiavellian "For my enemies, nothing" Fallacy, where real or perceived "enemies" are by definition always wrong and must be conceded nothing, not even the time of day, e.g., "He's a Republican, so even if he said the sky is blue, I wouldn't believe him."

Guilt by association fallacies can often work in concert with hasty generalization or ad hominem fallacies, especially when they’re used to attack a specific group of people.

While guilt by association fallacies often include unfair stereotypes, this is not always the case.

Guilt by association can even be factually accurate.

For example, imagine two politicians both support a bill for free school lunches. However, one of these politicians has a known history of corruption. Despite being based on fact, it would still be illogical to use the corrupt politician as a means to discredit the second politician and their ideas.

"Guilt by Association Gag" Trope

In a comedy, when a bunch of characters are subject to some kind of punishment or awful revenge, there will often be exactly one character who doesn't deserve it.

No matter how much this character voices his objection, he will never be recognized as an exception.

He must suffer with everyone else.

Examples

In one episode of Courage the Cowardly Dog, Eustace swindled Shirley the Medium out of a necklace for Muriel by giving her an oil bill he claimed was a deed to an oil well. In response, Shirley put a swindling curse on both him and Muriel, even though Muriel was completely innocent of the scam.

Near the beginning of Monty Python and the Holy Grail, a man is loaded onto a cart full of dead plague victims. When he insists he's "not quite dead yet" and attempts to leave, the cart-pusher refuses to take him at first, but the man who brought him slips the cart-pusher some money. A hefty whack from his cudgel and the man wasn't complaining anymore.

Schools often employ this tactic to keep students under control in chaotic classrooms, much to the chagrin of well-behaved students. It's become something of a Discredited Trope, as teachers have gradually come to realize that the badly-behaved students often enjoy getting their more well-behaved peers punished for no reason, and can actually cause the ones who normally behave to start being disruptive themselves once they realize they're going to be punished either way.

In the Spongebob Squarepants episode "Big Sister Sam", Squidward insults Patrick's elder sister, which causes her to cry. In response, Patrick shames both Squidward and SpongeBob, even though SpongeBob has just been standing there watching the whole thing.

The Simpsons: "Simpsons Bible Stories" ends with the Rapture. The Simpsons are to be sent to Hell… except Lisa, who is pulled heavenward in a beam of glorious light. Disturbingly, Homer is able to reach up and pull her down to hell with them, saying "Where do you think you're going, Missy?"

Sources: 1 2 3 4 ⚜ More: Notes & References ⚜ Writing Resources PDFs

[cowboyemeritus]

Cenerentola (Frater Imperator/Reader)

Summary: Copia hosts a gala to celebrate his ascension to head of the Clergy. When things go haywire, it's up to you to keep him safe. In the process, it becomes impossible to avoid your feelings for him any longer.

Content Warning: mild violence, a singular Monty Python reference

Notes: me? writing sfw? it's more likely than you think.

i've been doing a lot of social dancing so naturally that made me think about dancing with copia. i am also a sucker anything remotely cinderella-esque lol. reader is sort of based on an oc of mine.

i don't really know how i feel about this — i had ideas for two related scenes and then had to fill in the gaps from there. sorry it's so long lmao

feedback is always welcome :)

Even amidst the sea of people below, it is impossible for you to miss him. Copia shines like the Morningstar, the candlelight glinting off the ruby brooches and bedazzled collar of his new, freshly pressed suit. All eyes are on him as he spins the delighted young Sister of Sin in his arms, leading her with grace and elegance through the steps of the fast-paced waltz. He’s changed so much in the years since you left the Ministry. Now, with his ascension to head of the Clergy, there are moments where he seems like an entirely different person, exponentially more confident and self-assured than you remember. 

You know his new demeanor, however, betrays a deep-seated anxiety, the product of years of vague threats on his life from the organization he’s now expected to lead. And surely, the irony is not lost on him that the very hall in which he is now dancing sits directly above the crypts, where the bodies of his assassinated brothers lay in eternal repose.

From your position, leaning against a column up on the balcony, you have the entire ballroom in your sights. Every step, every gesture, every side conversation, is under your scrutiny. This was by design. Although Copia, by some miracle, lived to see the end of his reign as Papa, the transition of power has not been an easy one. Threats abound, the old guard of the Clergy still dissatisfied with him, many enraged by his recent promotion. His mother’s scheming was meant to protect him, but now it seems to have backfired, putting him in more danger than ever before. While this gala serves as a way for him to potentially smooth things over with the Upper Clergy, asserting himself as Frater Imperator, he is also making himself vulnerable, open to attacks of all kinds.

As a favor to his predecessor, the woman who taught you everything you know, you begrudgingly agreed to provide additional security around Ministry headquarters. At first, returning to the Abbey, its halls so hauntingly familiar, reminded you of why you left in the first place: decadence, hypocrisy, lies — a message lost in a quagmire of sex, drugs, and rock-and-roll. Somehow, though, Copia and his ghouls have wormed their way into your frozen heart over these last few months. It was done before you even knew it was happening. Copia has this sort of magnetism about him, some preternatural force that makes it impossible not to be charmed. It was like this even when he was a shy, awkward cardinal. Because of this, although the Clergy wants him gone, he has the distinct advantage of a congregation that completely adores him.

The song ends, and Copia sweeps the Sister into a dip. She giggles, pressing a playful kiss to his cheek. Something in your chest pangs.

At the end of the day, you just work together. It would be foolish of you expect anything more. Still, there’s been an undeniable tension between the two of you since your return to the Ministry. You see the way he looks at you, the way he hangs on to your every word when you speak. But maybe you’re imagining it — you spend so much time around him that perhaps you’ve mistaken proximity for fondness.

You sense a familiar, fiendish presence approaching from behind. “You’re having fun,” Cirrus remarks, entering your field of vision. She has a flute of champagne in each hand and offers one to you. To maintain the illusion of normalcy you accept, taking a small sip of the bubbly, golden liquid.

“We’re on the clock,” you say, eyeing a small group of cardinals that have congregated near the refreshments table. They seem to be merely gossiping. Rain is stationed nearby, carefully observing. “No fun allowed.” The ghoul chuckles, leaning against the balcony railing on her forearms.

“I take it everything’s alright so far?” You nod, thinking back on the hours you spent painstakingly drawing sigils at various locations around the Abbey, setting up one massive alarm spell. If anything supernatural tries to get in, you’ll know. All that’s left is to be on the lookout for any natural, more human threats. You swallow down a lump in your throat, hoping your preparations will be enough.

“Try to relax, then,” Cirrus coaxes, sipping her own drink. There’s a pause. “You should go dance with him.” You feel your cheeks heat up, but keep your composure.

“I don’t have time to mess around,” you state bluntly. Your posture sags a bit. “He’s busy, anyway.” Copia is leading another Sister onto the dance floor, taking the starting position as the ghoul band strikes up another tune. You zero in on the hand resting on her hip, worrying your lower lip between your teeth. It looks like her dress doesn’t have any pockets; the probability of her concealing anything is low.

Cirrus places a clawed hand on your shoulder and gives you a playful jostle. “For you? He’ll make time.” You give her a quizzical look and she winks, straightening back up before taking her leave. “Do it!” She calls. “I’ve got good money on you two getting together!” Your mouth hangs slightly agape, watching as she descends the stairs to rejoin the party.

You take another, longer sip of your champagne, relishing in the sensation of bubbles tickling your tongue. It helps take the edge off, if only a little. You remain up on your perch for another long while. Copia eventually abandons dancing in favor of strolling through the crowd, greeting and shaking hands with various high-profile guests. It’s harder to keep track of him this way, even from your vantage point, so once your glass is empty you descend the stairs, entering the fray for yourself. To your relief, no one pays you any mind as you weave through the mass of bodies. You spot a truly nameless ghoul carrying a tray of empty glassware and flag them down, depositing your glass. You’re about to find a better place to camp out when someone taps you on the shoulder.

“Excuse me, signorina strega.” You turn and sure enough, it’s Copia. He’s holding out a hand. “May I have this dance?” Multiple pairs of eyes are now focused on you. Swallowing hard, you flush, smiling nervously. It’s a little more attention than you’d like, but you reason that within arms reach of him is the best place to be right now.

It’s completely logical, not motivated by anything else.

“Of course, Frater Imperator,” you reply, bowing your head slightly. You make it a point to use his full title in front of the guests. “I would be honored.” Gingerly, you take his hand, and he leads you to the dance floor. You pick up your pace a bit so that you’re able to whisper in his ear. “I’m not very good.” Copia gives your hand a reassuring squeeze.

“Do not worry. Just follow my lead.” As the last few bars of the current song play, Copia guides you into the starting position, placing his right hand delicately on your hip and holding the left out for you to take. You try not to think about how, even through the leather of his gloves, his hand is so warm. Having difficulty looking him in the eye, you glance over his shoulder in the brief moment of silence between songs. You see Cirrus, Rain, and Swiss gathered by the refreshments table, watching you with shit-eating grins plastered across their faces. The air ghoul flashes you a thumbs-up and you have to resist the urge to destroy her with your mind.

“Ready?” As if on cue, the band resumes playing. You recognize the song instantly: Waltz No. 2, Shostakovich. How woefully on brand. The dance begins, Copia stepping forward with his left foot while you, mirroring him, step back with the right. It’s easy enough to follow him after that, stepping to your left as he steps right, then forwards to start all over again.

“One, two, three. One, two, three. You’re a natural.” Once you find a steady rhythm, you’re able to look up from your feet and actually start to enjoy the feeling of whirling around the room.

“How are things?” He asks, clearly trying to remain nonchalant. There are so many eyes on you, and from the crowd you sense intrigue, amusement, and a significant amount of jealously.

“Fine, so far,” you reply through a smile, trying to make it as difficult as possible for people to read your lips. Copia nods.

“Bene.” A few beats pass. “Thank you for all your hard work. I appreciate you coming back after...” He looks away for a moment. “I appreciate it.” You didn’t do it for him and he knows that, but his expression of gratitude makes heat bloom in your chest nonetheless.

“I’m glad I did,” you say without thinking. “This place is different now. Good different, because of you.” Copia smiles, the skin around the corners of his eyes crinkling. He raises his left arm and you pass under it in a spin, feeling lighter than air.

“I had hoped you would be able to enjoy yourself tonight,” he admits, a hint of guilt in his eyes. “Instead it seems you are just fretting over me.” You quirk an eyebrow at him.

“It’s that ego of yours I’m worried about,” you tease. “Pretty soon there won’t be room for anyone else in this Ministry.” Both of you laugh at this.

“I had better check myself, then,” Copia says, running a hand through his mousy brown hair. “I would hate to see you leave again.” That catches you off guard and you nearly trip, but his hand finds your hip again, keeping you stable. By now, you’re certain he’s noticed the blush on your cheeks.

“Don’t worry. I’m not-“

Somewhere, an invisible thread snaps. It makes your stomach lurch, the color draining from your face. You pause, your playful expression melting away as you try to pinpoint the source of the disruption. The South Wing. It’s approaching fast. When you return to this plane Copia is looking at you with concern.

“I have to go,” you say quietly. He doesn’t have time to respond before you exit the dance floor, heading for the large double doors at the other end of the ballroom. It’s hard not to shove people out of the way as you duck and weave through the crowd. Dewdrop is at the entrance, minding his post, but as you approach it’s clear from the rigidity of his small body that he’s been waiting for you. He follows you wordlessly out into the hall. Kicking off your heels, the two of you take off in the direction of the intrusion. You internally curse your foolishness for talking yourself out of wearing sneakers, or even flats.

“It’s something nasty,” he says once you’re out of earshot of any guests. You can only nod in agreement, hoping the two of you are enough to deal with whatever this foul thing is.

You round the corner to the South Wing and stop dead in your tracks. The sight before you makes your blood run could. Charging towards you is a hulking creature, easily Mountain’s height but with Aether’s bulk. It’s clearly a humanoid figure, but its edges are poorly defined, a mist-like quality to them. Still, you observe shapes that resemble horns and a tail, and that tells you all you need to know: a rogue ghoul, not bound to this plane by a contract. As such, it’s less of a consolidated form and more of rampaging ball of fiendish energy. This information helps you narrow down the list of potential culprits exponentially.

There’s no time to dwell on that, though. The creature is headed straight for you, no doubt attracted to the smell of your human flesh. Before you can react, Dew puts himself between you and the ghoul, ready to engage. He’s strong in spite of his small size, but the odds of him defeating this massive a beast on his own, especially one this energized, are slim. You realize he’s buying you time to cast a spell, and immediately you formulate a plan in your head. It will take some time to accomplish, but if he can hold off this monstrosity for long enough, you should be able to successfully banish it back to the Pit without endangering him as well. Planting your feet, you take a deep breath, letting your eyes shut. There’s a whoosh of warm air as Dew charges the rogue ghoul. Energy begins to flow through you as you chant under your breath, crafting the spell. A metallic taste fills your mouth, the air crackling with static.

You’re about halfway through the incantation when the sound of a body hitting the floor breaks through your wall of concentration. The creature roars, forcing you to crack an eye open just in time to see it lunge at you. It’s covered in scratches and burns, but Dew is ultimately the one on the ground, desperately trying to pick himself back up. You’re only just able to side-step, the spell breaking as you focus all of your energy on surviving the next few seconds. You’re frantically backpedaling when it swipes at you, claws catching you in the side. You cry out as it tears through the flimsy red fabric of your dress, leaving three long gashes in its wake that begin bleeding immediately. Though profoundly painful it’s a superficial wound; if you had been stationary, there’s no doubt it would have disemboweled you. 

Your back hits the wall. Dew shouts your name but you just stand there, frozen. The creature is about to pin you when a large body slams into it from the side, knocking it to the ground. You immediately recognize the form as Aether, and looking in the direction from whence he came you see Cirrus, Swiss, Rain, Mountain, Sunshine, and Phantom, all approaching with teeth and claws bared. Cirrus gets to you first, grabbing your arm and pulling you away from the scuffling ghouls.

“Are you-“ She finally notices you clutching your side, blood seeping into your dress. “Oh shit, are you okay?” You nod, lifting your hand to show her it’s minor. Phantom is helping Dew to his feet. He seems alright other than a few scratches, the fall appearing to have knocked the wind out of him more than anything.

“I’m fi-” Your heart nearly stops. “Is someone watching Imperator?”

“Cumulus and Aurora are with him,” she says. “They’ve got it under control.” You let out a relieved sigh, shoulders dropping. It’s only now you that you notice how much tension you’ve been holding in your body all night. Your body trembles with excess adrenaline.

Aether lets out a frustrated growl. You barely have time to look in his direction before the rogue ghoul, having slipped out of his grasp, hurls itself out of one of the long, gothic windows lining the hallway. Bits of stained glass go flying, scattering across the marble floor tiles. The creature is smart enough to recognize it’s been outnumbered. One-by-one the members of the pack leap through the broken portal, none of them too keen on letting the intruder escape. Dew tries to follow, clearly excited about the prospect of a hunt, but Cirrus shoos him away from the window.

“Go clean yourselves up,” she orders, perched on the ledge. It’s directed mostly at you. “We’ll take it from here.” With that, she jumps down, disappearing from view as the sound of the pack whooping and howling fades into the distance.

Twenty some-odd minutes and a round of healing magick later, you and Dew are sitting out on the steps of the back patio, passing a cigarette back-and-forth. By now, the rogue ghoul has most certainly been torn to ribbons. There could still be threats lurking, but for as much as you’d like to go find Copia, you’re nowhere near presentable and would prefer not to incite panic, or suspicion, among the guests. Besides, you’re hardly capable of doing anything now, your energy completely drained by the evening’s events. You only had enough juice left to stop your cuts from bleeding; anything physically strenuous would certainly reopen the wounds. For now, you’re content to enjoy the cool autumn air, knowing he’s in capable hands.

“There you are.” Speak of the Devil. You look over your shoulder and Copia is stepping out into night, flanked by Cumulus and Aurora. Clutched in one hand are your strappy red heels, and it’s only now that you realize you’re still barefoot. Dew, with a quiet groan, rises to his feet and climbs the stairs, passing Copia as he descends.

“We’re going to go take care of this one,” Cumulus says, draping an arm over the fire ghoul’s shoulder. It’s hard to tell in the dark, but for a moment you swear she winks at you. Dew tries to shrug her off with a huff, and the girls giggle. Copia nods approvingly.

“Thank you, miei cari. We will debrief in the morning.” The three ghouls turn and step back inside, leaving you and Copia on the stairs. Your heart beats a little faster with the realization that you two are alone, although you tell yourself it’s because you won’t be able to defend him in this state. There’s definitely no other reason.

“Your glass slippers, my lady.” You roll your eyes and reach out to take your shoes from Copia, but he refuses to hand them over, kneeling on the stair below you. “Allow me, per favore.”

This might as well be happening. Lifting your foot up, you grant him permission to assist you. Copia slides the first shoe back on, holding your calf with one hand. Again, you can’t help but notice how warm and gentle his touch is. 

“I’m sorry for running off,” you say, needing to break the silence. “I hope you didn’t think that-“

“Not at all. I figured that something was, eh, ‘going down.’” When he looks up he finally notices the gashes in your side. He hisses, wincing. “Ahia! That looks like it hurts.”

You wave him off. “’Tis but a scratch.” He looks like he’s going to protest, clearly upset, but instead opts to tighten the strap of your shoe before moving on to the next foot.

“What happened?” He asks, starting the process over again.

“Rogue ghoul,” you explain, looking out into the forest at the edge of the lawn. “Likely the work of Cardinal Ambrosius. He’s gotten in trouble for trying to make contracts before. Doesn’t look like he’s quite figured it out, though. I can have his head on your desk by Monday morning, if you’d like.” 

Copia laughs through his nose. “You are absolutely vicious, mia strega.”

You shrug. “Just doing my job.” Once Copia finishes with your other shoe he stands, offering you his hand.

“Walk with me?” 

You give him a hesitant look. “I don’t want to keep you from your guests.” He scoffs.

“I have had enough of those two-faced pricks for one night. A lifetime, even.” His expression softens. “But if you are not up for it, I-“

“No!” You shoot up, taking his hand. It startles him a little bit. “I’m good. Let’s go.” Copia smiles, the moonlight sparkling in his eyes. Like an obedient  lamb, you let him lead you down the rest of the stairs and across the patio to where a walkway wraps around the side of the building. He’s taking you to the gardens, it seems. Though your legs feel like jelly, the walk isn’t very long, which you’re thankful for.

The gardens aren’t really a sight to behold this time of year, but the full moon bathes everything in a mesmerizing blue glow, giving the space a dreamlike quality. The ballroom is just up another set of stairs, the music still audible where you emerge. You stop by the fountain, a marble visage of Lilith pouring water from a bottomless goblet. The water is still running, providing a little extra ambiance.

“Care to dance?” Copia asks. “We were so tragically interrupted before.”

“I…” Damn you and your nerves. You’re blushing again. “I don’t want to get blood all over you.”

Still, he persists, shrugging. “It’s a black suit.” It’s hard to say no to that face, but the McQueen jacket? Really? He gives you a pleading look and your resolve instantly crumbles.

“Alright.” It’s all but a whisper. “But go easy on me.”

You don’t wait for the next song to start, you simply get in position and go from there. It’s slower than what you danced to before, and you two end up just swaying to the rhythm rather than following any steps. That’s fine with you, your legs are still shaking, though you can’t tell if it’s from exertion or something else entirely.

“You look beautiful,” Copia says after a few measures. In that time you two have drifted closer together, only a few inches between you now. It’s hard to look him in the eyes when your face is so embarrassingly red, so you choose to stare at the ground.

“I’m a mess.” You laugh, but there’s something bitter in it as your eyes wander to your soiled dress, torn and bloody. There was a silly, naive part of you that had been thinking of Copia when you selected it for this evening. He stops swaying, a hand finding your chin and gently lifting your head. In your opinion, he’s the beautiful one, practically glowing in the moonlight. 

“Nonsense. You are the fairest of them all, cara.” You roll your eyes, but the corners of your mouth draw up into a slight smile.

“You’re getting your fairytales mixed up.” The two of you share a laugh before dissolving into a few moments of comfortable silence. You can tell he’s thinking about something, and he looks away, clearly nervous.

“Did you mean what you said about coming back?” The question catches you off guard for a second.

“I did,” you finally respond. “I really did. This place feels like home again.” Swallowing, you decide to take a bit of a leap. “Did you mean what you said, about me leaving?” You haven’t discussed it in a long time, but when you first took the job, the understanding was that this was only a temporary arrangement, lasting at least until Copia was able to settle into his new position. The notion pains you now. He nods.

“Yes. I-“ He chuckles. “I cannot stand the thought. Signorina strega, say that you will stay with us, with me.”

You don’t even need to think about it. “I will. Of course I will.” Copia beams, and the sight is breathtaking. There’s another pause, the air between you charged with an energy more powerful than magick. In the ballroom, the final notes of the song ring out, though you hardly notice. A bomb could go off next to you, but even that wouldn’t be enough to pull you out of this moment.

“Beautiful…” You don’t protest when he cups your flushed cheek, running his thumb across the bone. “May I kiss you?” It takes everything you have to not melt into a puddle.

“Please.”

And then his lips — Sathanas, they’re soft —  are on yours. Stars explode behind your eyes as he presses into you, the hand on your hip to pulling you in closer. His body is so warm against you; it feels so right. Your heart is racing, head spinning, as the euphoria overtakes you. 

He kisses you until you’re both out of breath. When he finally pulls away, you want to chase after him, to kiss him until your lips fall off, but then your knees buckle. Copia is just barely able to catch you, letting out a surprised little noise you can’t help but find adorable. He seems less concerned when he sees you’re grinning like an idiot.

“Alas, I have killed her!” You both laugh as he helps you regain your balance. “Why don’t we sit down?” Humming in agreement, he leads you over to the fountain, sitting you down on the edge. He brushes a strand of hair out of your face, tucking it behind your ear. “Are you sure you are alright?”

“Just peachy,” you say, gazing at your intertwined hands. “It’s been a long night.” Feeling bold and still a bit woozy, you bring Copia’s hand to your lips, pressing a kiss to his knuckles. 

“Ah, young love.” You both jolt, heads snapping in the direction of the voice. Before you stand the glowing specters of Papa Nihil and Sister Imperator. The old man has a wistful, nostalgic look on his face, while your former teacher observes with her arms crossed. How long have they been watching you? “Just like we once were, don’t you think?” Imperator huffs.

“I sure hope not.” Her focus falls on you. The wrath in her translucent blue yes makes your blood freeze. “You think you’re good enough for my son, girl?” For a moment, you’re completely speechless.

“I-“

“Are you two serious right now,” Copia shouts. “Get out of here! Go on! Get!” He gets up from the fountain to shoo them away. Imperator gives you a pointed look before dissolving into a blue mist. Her message is clear: this isn’t over. You gulp.

Copia groans, pinching the bridge of his nose. “I cannot believe those two. I finally get to have my moment with you, and then they go and spoil it!” He flops back down next to you, sighing. “I am sorry, bella. I understand if-“

“Forget about it,” you say, holding up your hand to silence him. “Just kiss me, like, forever.”

Copia happily obliges.

[resowrites]

Holy Grail - drabble.

Summary: Henry develops a fixation for a certain part of his pregnant wife’s body…

Pairings: AU!Henry Cavill x Wife!OC

Warnings: fluff, banter/British humour, sexy talk, language, dialogue heavy, nondescript OC body type/appearance, hastily written/lightly proofread.

WC: 635

A/N: My work must not be copied, reposted, or translated elsewhere. Likes, follows, reblogs and comments are thoroughly welcome and appreciated! Gifs/pics not my own. I hope you all enjoy and thanks for visiting!

Holy Grail - drabble.

"Whoa--"

"Henry, get out, I'm trying to get dry!" He quickly turned around as she grabbed the towel from the bed and clutched it to her chest.

"I'm sorry! I came in here to fetch Kal so I could give him his tea!" But the pooch was still fast asleep at the foot of their bed.

"Well you better get out of here before he wakes up, you know how protective of me he is at the moment."

"I know, the soppy git…"

"He's soppy?! You almost had a panic attack yesterday when you thought I ate shrimp! And he picked up following me into every room from you!"

"Yeah well at least I don't guard you when you're in the shower--"

"Well thank God for Kal, otherwise you'd be leering at me through the glass!"

"At least then I'd get a look at them! Come on, drop that towel, and lemme see if I can't tune in for the news and weather--"

"Out, now! I wanna get dry in peace."

"Then here, let me help…" Henry took a few steps forward only for her to dart under the bed so she could fetch something. "What the hell is the broom doing under there?!"

"I had to bring it up last night to squish a spider on the ceiling and now I'm going to use it to get rid of another pest."

"My lady may call me whatever she wishes. For she is beautiful, rich, and got huge… tracts of land!"

"That's it! I'm not enduring Monty Python quotes. You're banned from my presence the rest of the evening. Be gone!" She tried to jab with the broom only for him to dart out of the way.

"Aww come on, when was the last time we got to knock boots?"

"Last bloody night!"

"Then you should be warmed up by now!"

"God give me strength… anyway I thought you just wanted to cop a feel?"

"Well I'll take whatever I can get--"

"Yeah well by the time I'm finished with this broom, you'll be able to sweep the floor!"

"Charming, all I wanted was to enjoy the beauty of my pregnant wife! Honestly, it looks like you're holding up two ten-gallon hats--"

"God you belong on a bloody list… can't you go one night without being a pervert?"

"No, but I'll tell you what, you flash me lefty and I'll give you a hundred quid."

"A hundred quid?"

"Yeah, would you prefer cash or bank transfer?"

"Is that all you think I'm worth?!"

"Well, it's not like you're giving me a handful!"

"And how much would you pay for that? I was thinking of redoing the kitchen…"

"What? Why? I did a good job of the tiling!"

"Henry, two fell off just this morning!"

"Then let little Henry have a dance in your ballroom and I'll fix it for free!"

"Will you also disappear back downstairs?"

"God, you always want to get rid of me!"

"Yeah, cos you get on my sodding tits!"

"I bloody wish!" She looked up at the ceiling and prayed for guidance.

"Henry, give me one good reason why I should have sex with you tonight."

"I can do better than that, I can regale you with song."

"What?!" Henry cleared his throat.

"Every sperm is sacred, every sperm is great. If a sperm is wasted, God gets quite irate!" She perched on the edge of the bed with her head in her hands.

"I can't actually believe I'm having your child…"

"I can, especially after last night. Now get thee to bed, and let's go for round two--"

"Really? You're reciting Shakespeare now?"

"Well I thought that might do the trick--"

"Fat chance."

"Why not? I can leave the money on the bedside table--" she chucked a pillow at him.

To be updated on when I post please follow @resowrites and turn on post notifications.

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[felixcloud6288]

Dungeon Meshi Chapter 60

I think the story might be trying to subtly imply something when the chapter introducing the Winged Lion has a title image called "Monsters that steal your heart".

I have seen this Monty Python skit.

Good news. Laios did not try to fuck a minotaur.

Notice that the succubus Marcille's hair is loose just like Laios's shapeshifter Marcille. The databook on the shapeshifter incident said Marcille's appearance when she resurrected Falin left a strong impression on him, and it's still true at this point.

I've suggested that Laios might have romantic feelings for Marcille, but now I think it might be more accurate that he uses her as a template for what he would seek in a romantic partner.

It could be because she's stuck with him through everything even after he's shown his weirder interests. Or maybe it's because she cares about Falin just as much if not more than he does. Regardless, his subconscious has come to love something about her and uses her as a baseline for what he'd want in a romantic partner.

Also, his subconscious desire includes notes such as "Is a monster", "has multiple heads", and "They could turn me into a monster". Laios would love werewolf stories.

Laios and Marcille's sense of taste comes from the exact same place but it manifests in two completely different ways. They have a childlike obsession with certain design aesthetics and will add as much of that as possible if no one is around to stop them. The only difference is Marcille likes the romantic aesthetic so she'll pour tons of shine, sparkle, and roses into her design. Laios meanwhile likes monster aesthetics so he pours tons of claws, fangs, and teeth into his design.

Since this is a series about cooking, I think the most appropriate analogy is Marcille and Laios's aesthetic taste is akin to someone who only likes one specific flavor and insists on making everything taste like only that. But Marcille wants everything to taste sweet while Laios wants everything to taste spicy.

...

Writing "child" in the above section caused my brain to free-associate some things from earlier chapters that I wish it had done earlier. It would be more appropriate to append this to some other chapter, but I don't feel like searching for which one would be most appropriate.

I looked back at chapters 17 and 28 and compared Marcille and Falin in both of them. Judging by Falin's appearance, she probably started attending the magic academy when she was 10-12. And Marcille by comparison looks like a young teenager who started to hit her growth spurt. So chapter 17 would have been at least 10 years before the main story.

Chapter 28 is the first chapter where I can get a good side-by-side comparison between them in the present time. Falin is taller than Marcille and looks a little older, but they both still look the same relative age to each other.

So now I just need to know what elf growth is like. Everything so far has implied that all the human races age at rates proportional to their expected lifespans. Elves live about five times longer than Tallmen so elves age five times slower than them. So shouldn't Marcille look like she's 14 or 15 at this point?

Anyway, back to the chapter.

I wish I could see the succubus's thought process over how it approached Laios. It scanned his subconscious, approached him as Marcille, and when that didn't work it turned into GIGA HEPTA-HEAD MARCILLE.

Like, did the succubus see that form and think "I must have gotten something wrong. There's no way THIS is what would let me safely approach the target." And when normal Marcille doesn't work, it realized that actually yes, that is what would let it safely approach Laios.

Laios mentioned Marcille is a scylla. In Greek mythology, Scylla is a specific monster first mentioned in the Odyssey. She and her counterpart Charybdis live on opposite sides of a strait and sailors passing through the strait are forced to deal with one of them when passing through it. Scylla was considered the safer option because while she might snatch and devour several of the sailors, she wasn't likely to try destroying the whole ship.

In Laios's mind, Izutsumi is perfect the way she is.

Imagine if these were a trio of other succubi who were playing wingman to the Marcille succubus. Like, what if this panel wasn't Laios's imagination? What if these three literally were standing in front of him when the Marcille succubus said it had transformed the others?

I bet Laios's favorite movie would be Ghidorah, the Three-Headed Monster.

You have to be a particular kind of idiot if an abstract concept given form feels the need to call you one. Like everyone else putting their faith in him, the winged lion may have realized it made a horrible mistake.

Laios and the Winged Lion are in the exact same empty space as Laios's nightmare from chapter 42. Laios's most faithful servant is even hanging out in the background.

I do think the Winged Lion is being genuine about why it likes Laios but there's more that it isn't telling him. It stated it is merely the power to fulfill the wish of the lord of the dungeon. But it's also actively trying to subvert Thistle. It has its own interests and agenda.

Laios's royal regalia is the same outfit he wore as a child in chapter 26.

Genuinely, I like this ideal world of Laios's. I'd love to see it become true and I got so swallowed into it that I had to actively remind myself that the Winged Lion should not be trusted.

Kui really likes to push the joke about the barometz.

I do have a morbid curiosity about what the fruit looks like when it transitions from a fetal to newborn state though. Does the outer fruit burst open when the lamb gets big enough?

Laios doesn't know how to articulate himself. The best he can do to express his desires is say he wants a world where humans live alongside monsters. But this ends up coming across as him being insane and wanting to make a kingdom of monsters.

Laios has always been the outcast and the "other" his whole life. What he really wants is to make a world of unity where every culture, every race, and every species coexists and there is no "other".

What he wants is a world where everyone, no matter their background, race, culture, etc can share a meal together.

The series doesn't use many double-page spreads. But when it does, they are worth looking at.

Well we now know why Kensuke was able to open that door on the sixth floor. Maybe it was made by Thistle to keep intruders out of the deepest levels, and only his power could unlock it. But since his power draws from the Winged Lion, anyone could unlock the door if the Winged Lion permitted them. More proof that the Winged Lion is actively able and willing to defy its master.

Again, Laios doesn't know how to express his thoughts. All he can say about why he liked his dream is that everyone was fine eating monsters. But really, he liked it because everyone accepted each other and everything. And being fine with eating monsters adds to it. In his ideal world, monsters are not these dirty, unclean things that need to be expelled from human society. There is no divide between human society and nature. Instead, humans are an equal part of nature and they accept monsters as part of their lives.

Maybe if he could say that, Kabru wouldn't have such a negative opinion of him.

That doria looks amazing and I'd love to try it. And this is coming from someone who hates shrimp.

That chat at the end really shows that disgust is arbitrary. Marcille was grossed out at the idea of eating bug larvae or horse brain but then said she's eaten fish testicles.

back

[randomitemdrop]

Trick or trivia

Happy Halloween! I do enjoy trivia of many types, but one of my favorite genres is what I call the Berenstein Timeline: unmade shows and movies, versions of classic movies where studios and producers made different decisions, some better, some much worse. All of these are real projects that were, on some level, considered (there are some recurring names)

"Heat Vision & Jack", a 90s pastiche of 70s-80s action shows starring Jack Black as an astronaut on the run from the law and Owen Wilson as his talking motorcycle

"Jurassic Park" directed by Tim Burton with Johnny Depp as Alan Grant, Jim Carrey as Ian Malcolm, and Vincent Price as John Hammond

the 90s "Batman" directed by Ivan Reitman; Bill Murray and Eddie Murphy were going to star but couldn't decide which of them would be Batman and which would be Robin

Back in the 1970s the American network was getting good numbers showing heavily-edited reruns of "Monty Python's Flying Circus", so they tried to sell the Pythons on the next logical step: an animated Saturday morning cartoon

"Edward Scissorhands" still directed by Burton but starring Tom Cruise or maybe Michael Jackson

"Return of the Jedi" directed by David Lynch; Harrison Ford was considering not coming back for the third movie and so when he came out of the carbonite there was a chance he would have been Christopher Walken

Guillermo del Toro's "At the Mountains of Madness". Also "the Hobbit" and lots of other things, he seems to have a lot of unmade projects

the 2010s "Star Trek" movie directed by Quentin Tarantino, where the edgy reboot crew visits the Gangster Planet from that one stupid episode of the original series

Everybody knows about the unmade "Superman Lives" starring Nicolas Cage in the title role, but did you know it was going to be directed by Tim Burton and include Christopher Walken as Brainiac, who would have been a green head on spider legs

Harold Ramis didn't particularly want to act on camera, so when they were casting "Ghostbusters" Egon could have been Christopher Walken, Christopher Lloyd, Jeff Goldblum, or John Lithgow. Supposedly the movie was originally intended to be a relatively serious exploration of Dan Akroyd's very real interest in paranormal investigation, although this clashes a bit with the fact that Peter Venkman was originally going to be played by John Belushi and Winston Zeddmore was written for Eddie Murphy who backed out when the character's backstory and most of his lines were cut

John Waters' animated series "Uncle John" on 90s MTV

the original version of "Bill & Ted's Time Van" starring Pauly Shore and Sean Penn

"Red Dragon" (the original Hannibal Lecter novel) directed by David Lynch starring John Lithgow as Hannibal Lecter and Mel Gibson as Will Graham

the 1970s "Dr. Strange" TV series

the 1990s Disney animated "John Carter of Mars"

the 1990s Warner Bros animated "King Tut" musical with songs by Prince

the serious horror version of "Beetlejuice"

Drew Barrymore's 2000s remake of "Barbarella"

the Dungeons & Dragons movie James Cameron was going to make until TSR left the table over merchandising disputes, forcing Cameron to go work on some dumb movie about the Titanic

American "Doctor Who" movie starring Michael Jackson

Canadian "Doctor Who" cartoon by Nelvana starring a Doctor based intensely off of either Jeff Goldblum or Christopher Lloyd

"Harry Potter and the Philosopher's Stone" directed by Terry Gilliam

"Good Omens" directed by Terry Gilliam and starring Johnny Depp and Robin Williams

"The Black Cauldron" using character and background designs by Nightmare-era Tim Burton

[humbledragon669]

S2E3 - I Know Where I'm Going Write Up P1 - up to the credits (present day)

Tiny bit of trivia about me that I’m sure nobody really cares about - as of Christmas just gone, I own my own version of Jim’s mug. It’s definitely one of the top three presents I got (one of the others is a GO themed long-sleeved t-shirt), and I absolutely have been using it to drink hot chocolate out of. I LOVE it.

Anyway, it’s Easter egg time! Yeah, that’s right, this one appears right at the beginning of the episode. And I suspect that many people will already have noted this one, but as I’ve said before, you never know. So here it is:

That’s the music instrument shop across the road from the bookshop, called “Arnolds”, presumably for the soundtrack composer for Omens - David Arnold. Obvious though it may be, it’s a bit “blink-and-you’d-miss-it”, so I felt like it was worth drawing attention to, just to reiterate the level of care and attention on display in this show that we all know and love. And whilst I have my attention-to-detail hat on, I have a brief point of speculation to make about Jim’s location in this opening shot. Given his view across the street, and the limited view we get into the room behind him (I’m thinking mostly about the lamp you can just about make out over his shoulder), this would appear to be Jim’s bedroom. In front of him is a tray with his mug and a container of hot chocolate on it. There’s even a trail of hot chocolate powder in between the mug and the container, as if someone has been a bit careless when spooning the cocoa from the pot into the cup (no judgement, I do this ALL the time). Before breaking away from this shot, we see Jim pouring boiling water into the mug from an electric kettle. All perfectly understandable actions for a set-up to show a man looking out over his neighbourhood, right? So my speculation is this, and I am jumping ahead a little. Why is it necessary for Crowley to leave the room when offering to make Jim a cup of hot chocolate in a later episode? It would seem that all the equipment required is right there in Jim’s bedroom. Sounds like another instance of scriptual convenience to me, albeit a small one. Anyway, enough pedantry, let’s move on.

It's taken me ages, but I’ve worked out what the music is playing in the background of the coffee shop. Unsurprisingly it’s another Queen tune - “Radio Ga Ga” this time. Given the lyrics, which speak of a fond farewell to a medium that no longer has relevance given more modern offerings, I wonder if this might be a reference to the state of Nina’s relationship with Lindsey at this point? Aside from that potential insight, I can’t really say there’s an awful lot about this scene that I like. Obviously Nina is still being her unlikeable self (checking her phone whilst she’s in the middle of serving someone? Not being funny, I would genuinely walk out of a coffee shop if a barista did that to me), but now we’re “introduced” to another fairly abrupt character, but this time we don’t even learn her name. Poor Mrs. Sandwich, she turns out to be an incredible likeable addition to the show, but in my opinion, she really doesn’t get to shine here. And what’s the point of this scene really? So that we can get a long shot of Muriel’s arrival and have it hammered home that their appearance is visible and noted as odd by the people in Whickber Street? If that’s the case, honestly this whole scene feels pretty unnecessary, but perhaps that’s just me.

Now. I did a little bit of digging about the way that Muriel introduces themself, because this stereotype is familiar to me, but I have no idea where it comes from. There’s a lovely bit of hive mind research been done here, which suggests the origin of the phrasing is over 100 years old but personally my money is on this being a nod to Monty Python (as detailed in that forum post), particularly as it wouldn’t be the first time we’ve seen a Python reference in the show (NIAT RUC, I’m looking at you). I think there might be another little homage here though, and this one if a bit more niche. It’s to do with the whistling in the soundtrack, heard here:

It rang bells with me, and unlike the backing music in the coffee shop earlier, this one didn’t actually take me very long. Back in the mid-90s, there was a sit-com show here in the UK called The Thin Blue Line, which followed the personal and professional lives of a group of policemen from an English town. The policemen in question were of both the uniformed (commonly called “bobbies”, or “on-the-beat”) and non-uniformed variety. Muriel is most definitely dressed as one of the former. Here’s the theme tune from that show:

Not too dissimilar, are they? I couldn’t find any evidence for whether the theme we hear in the Omens soundtrack is an homage to the theme from The Thin Blue Line or not. Perhaps it wasn’t even a conscious thing, though I highly doubt that. I would so love it if this was an intentional reference to that little copper comedy from the 90s - it ran for only 2 seasons, but I remember watching every episode when it aired and finding the whole thing really funny. I don’t know how well it will have aged, but I do remember that (bearing in mind this was the mid-90s) its casting was progressive - an Asian woman and a gay man both playing lead roles and part of the police force, with the characters most commonly ridiculed for being wrong and unreasonable being the middle-aged white men.  It was perhaps a little slapstick in places, and intrinsically “British” in its humour, but I still feel like it was a delightful addition to our televisions, so if this is a tip-of-the-hat to the show, I feel it’s well placed. Right, time to move on, this is supposed to be a write up of a Good Omens episode, not an appreciation post for long-dead British TV shows.

It's pretty difficult to say with any certainty, but I don’t think Aziraphale recognises Muriel when they arrive. Granted, he wouldn’t have seen or spoken to them in quite some time (since his defection from Heaven at the latest, though the only time we see them interacting is in the Uz flashbacks), but given the conversation he had with them during the Job debacle, you’d think he might at least realise he’d seen their face before? Particularly given the memories he has so recently lived through. Don’t get me wrong, he clearly knows they’ve come from Heaven, but that outfit pretty much gives the game away on that front, and he has been told to expect a visit from an auditor. Doesn’t take him long to decide to play along either.

I really love this moment - I’m pretty sure that this is where he decides not only to pretend he doesn’t know Muriel is there to check up on his miracle claims, but to be gentle about his interactions with them. He's recognised the joy that Muriel is getting out of the situation and decided that the nicest thing to do will be to let them enjoy the ride, which can only happen if the pretence is maintained. Subtle as it is, I actually think this is one of Aziraphale’s clearest indications of his Good nature - faced with a similar situation, many people (Crowley included, as we’ll come to see shortly) would openly mock Muriel for their apparent lack of intelligence, and given their visit’s true purpose I don’t think anybody would have been too displeased if Aziraphale had just closed the door in their face. It’s such a selfless act of kindness, and in not shunning Muriel, we are treated to some truly beautiful comic moments throughout the rest of the season.

Oh hold up. Was I just waxing lyrical about how kind and considerate this angel is? I take it all back. I almost feel like Crowley has suggested this to him, it’s that mischievous. And not the first time he’s done it either, except the last time he tricked another angel into sullying their body with a liquid intended for human consumption, that being was suffering from complete amnesia. Vulnerable you might say. Which is actually not that dissimilar to Muriel, who is clearly in a very precarious position and not doing a particularly good job of hiding their discomfort and mild panic in trying to maintain their cover whilst staying in character. He even manages to sound as if he’s trying to coach them on proper human responses with no hidden subtext. At least he has enough of a conscience to show pity for his visitor and the position he’s put them in:

Bit of a tangent here - why doesn’t Aziraphale recognise that the fact that Crowley is bringing his plants into the bookshop gives the game away that he’s living in his car? Don’t get me wrong, I am in no doubt that the reason Crowley removes them from the car at all is because he wouldn’t trust anybody else to look after them, not even his angel, so I do understand the reason for them to be removed. As far as I can see, there are four possibilities for this:

Aziraphale doesn’t make the connection between Crowley having his plants in the car and what means for his living situation.

Aziraphale does make the connection but, perhaps due to the current awkward situation panning out in the bookshop and his plans for his Edinburgh road trip, doesn’t mention anything about.

Aziraphale already knows that Crowley is sleeping in his car.

Crowley isn’t really living in his car at all, and the plants are simply kept there to maintain the cover story.

I think Aziraphale is smarter than the first option, even with his innate inability to pick up on Crowley’s cues. And I can’t really comprehend that Aziraphale would have taken the revelation that Crowley is living and sleeping in his car without any sort of protestations (let’s not forget that Crowley openly offered Aziraphale a place to stay when they thought the bookshop was gone, and that was before their respective defections). The third possibility has legs, but it doesn’t sit right with me - I just can’t see that Aziraphale would tolerate this living situation for Crowley, even if it meant buying or renting a place somewhere else for the demon to call home. The last of those possibilities is where my head canon lives, as I think I’ve mentioned in previous write ups. We’ll see Aziraphale “reacting” to the confirmation that Crowley has been sleeping in his car in a future episode, so I’ll hammer this point home one last time when we get there. And regardless whether you agree with my ideas or not, you can’t deny that Crowley’s confident swagger when he bursts into the shop really goes to show just how comfortable he is in this environment, and that he has no qualms about asserting himself there. Almost like it was home in fact…

See? No problems asserting himself at all. The subtext here is pretty glaring - his joining Aziraphale gives a clear message to Muriel about the fact that they’re a team (a group. A group of the two of them), and despite the fact that there surely must be A LOT of body contact going on here, Aziraphale’s expression doesn’t change at all. Not a muscle moved. It feels to me as if this is the sort of close proximity contact that the two of them are very accustomed to when not in the presence of other beings that might see it for what it is. And not only is Crowley comfortable with his position, he’s really enjoying himself:

I’ve mentioned it before, about us not getting to see much of Crowley’s mischievous side in the present day in this season, but this is it on full display. I’m not sure why I love more about this interaction with Muriel - Crowley’s cheeky grin or the fact that Aziraphale does absolutely nothing to reprimand him over his behaviour. That angel is having just as much fun partaking in the mischief as Crowley is, and I find it really adorable to see him indulging his playful side, even if it does eventually result in another one of those pitiful compassionate looks he throws Muriel’s way.

There’s a potentially interesting use of pronouns in the conversation that follows in the back room:

Interesting, see? Crowley refers to Heaven as “your lot”, despite the fact that Aziraphale has openly admitted that he no longer works for them. Not only that, the angel takes the baton up with his reply, grouping himself together with his former workplace using the “we” pronoun. Perhaps it’s just the habit of the previous multiple millennia, it just strikes me as odd, not least because Crowley’s questioning of them being “in charge” would appear to imply that he feels Heaven has the upper hand in the Heaven/Hell power play. Semantics aside, there’s something about this conversation that I really love. They’re both actually listening to one another, the tone is congenial, and they’re engaging in teamwork, and it all feels so natural. There’s no emotional stress going on, no arguing, just two people working together to try and achieve a common goal. I think this is probably the closest we come to seeing them in their normal relationship state, and it feels so relatable.

Well, it looks like Crowley’s plan has changed somewhat following his streetside conversation with Nina - now it needs a “fabulous kiss” for it to be successful. Considering his previous plan was so obviously a retelling of the love story between he and Aziraphale, I find the addition of a kiss at this point to be a notable one. Yes, my head cannon has our hero couple very firmly established in a relationship in the present day, but no, I do not believe that they kissed during either of the two “shelter-under-an-awning” moments that they have shared. Not to mention that I feel like there’s an element of heartbreaking foreshadowing going on with his throwaway comment (though to be fair, I don’t think there’s anything “fabulous” about that kiss in the Final 15, but I’m getting ahead of myself). What is it that makes him add the need for a kiss for his plan to be successful? Consulting my head cannon again, I suspect there might be some further revelations to be had about when he and Aziraphale shared their first kiss, and that this might tie into his updated plan somehow, but whether we’ll get to see that in the space of our final 90 minutes, I don’t know.

Oh I love this. Like, so much. It’s such a MARRIED COUPLE mini spat. It’s so obvious that Aziraphale takes the role of the stereotypical wife - there’s no negotiation, just the thinly veiled threat of extreme rage if his wishes aren’t complied with. And just as obvious is Crowley’s adoption of the stereotypical husband role - downtrodden, with the resigned knowledge that he’s been beaten and can’t worm his way out of a situation that whilst he knows he doesn’t like, he has no logical argument to counter. It’s so lovely. Beautifully delivered and excellently timed. The more I look into the episodes for this season, the more I seem to find that feels stilted and somewhat unnecessary, but moments like these are most definitely not one of them, and in fact I think they’re probably largely responsible for our intense love of the relationship between our hero couple. There’s another one coming up, but I’ll get there in a moment.

Despite being at the tail end of a spat, and that Aziraphale is clearly both disappointed and distracted not to have put his hands on the car keys, we’re about to see a lovely example of Aziraphale and Crowley showing a sixth sense for knowing their roles in the relationship. Regardless of the fact that there is no verbal communication between them following Muriel’s entrance to the room, Crowley knows instinctively that this is his cue to step up and perform a mini rescue, and Aziraphale knows to simply let him do his own thing. He doesn’t say a word once Muriel bursts in on them, just allows Crowley to do all the talking, with the instinctive knowledge that they will be in a better position soon. Which of course leads to this OUTRAGEOUS look from Aziraphale:

There it is, another one of those moments I was just discussing! I remember the first time I caught this look from Aziraphale, it was like a bomb had gone off in my head. It’s… well it’s pure filth, isn’t it? We all thought the look Crowley drew in the Bastille was the best example of a mental undressing we would ever see, but this just blows it out of the water. And why wouldn’t Aziraphale be feeling particularly enamoured of his demon at this point in time? There he is, doing his little rescue and invoking feelings of his knowledge of love (“love”?) at the same time. It’s pretty clear to see how much Crowley’s little speech has affected him, because he barely manages to catch the keys that the demon throws to him mere seconds later. He doesn’t even argue when Crowley continues to assert that the Bentley belongs to him alone, and even manages a wink, which I can only assume is supposed to be reassuring that he’s on the same wavelength about the current situation, and that he appreciates the olive branch just offered to him by way of Crowley’s accepting of the mission he’s been given.

Apart from a quick note to say that Aziraphale’s driving looks worse than Crowley’s, and that Crowley’s reaction to seeing his beloved car driving away speaks (to me, anyway) more of boredom than it does of worry or possessiveness, I think that’s all there is for this instalment, seeing as we’ve arrived quite neatly at the opening credits. As always, questions, comments, discussion: always welcome. See you for the next one!

[satureja13]

Dayn has to leave soon, his clients are hungry and waiting for him. Jeb and Kiyoshi quickly dragged him over to the astrometrics lab, where they'd stored Vlad and Ji Ho's meteorites, to ask him if he knows anything about their strange behaviour - only to find out that they now even started to float ö.Ö' And Dayn has no idea either what might have caused the glowing and floating stuff...

He also delivered their mail to the security office. A few letters form a certain Jasmine Holiday? Jeb: "I don't think we know her? Is this spam?" Dayn: "Uh - maybe? I've delivered quite a few of them." Jeb will check them later.

And when Dayn just wanted to head to the bridge, he sensed that this odd sensation, he noticed since he came on board, grew stronger again. Dayn: "Do you mind if I make a quick scan? There is something unusual here..." Saiwa: "Sure, go on."

Little Goat to Little Goat: 'Omg! They are going to find the Romantium!' Little Goat: 'Oh no! They are going to take it away!' Little Goat: 'Ach! And we had so much fun with it...' Little Goat: 'At least we have the hot tub now.' Little Goat: 'But who's going to use it without the Romantium?' Little Goat: 'Ach dammit!'

Dayn: "The source is in the engine room, let's take a look."

Dayn: "This is a Romantium ore. Why did you put it beneath the ventilation? It's permeating the whole ship. Oh, I see! Clever!" *Dayn winked at Saiwa* Saiwa: "A Romantium ore? I don't know why it's here. Strange. Though - I noticed something was... uh 'encouraging' us ^^' " Dayn, eagerly: "If you want to get rid of it?" The Little Goats stepped into Dayn's way, a hostile look on their cute little faces.

Saiwa shooed them back to the meadow and looked at the ore. It has potential... Saiwa: "Oh, that won't be necessary. We can handle it." Dayn laughed: "I see."

Vlad and Jack at the bridge overheard them. Vlad: "You know something about that ore?" Jack: "Why do you ask me?" Vlad: "Do you?" Jack: "Eh... I found it beyond the veil. The lightning that hit me left it behind. And I kind of know about its eh - romanticizing effect. But I didn't put it under the ventilation! I swear!" Vlad hissed: "And I swear - one day..." All that kissing and stuff with Ji Ho. It just happened because of that ore?

Luckily Dayn came upstairs just in time to show them which button to push to ignite the beacon so they can be found by the outpost, should they get lost.

Jack's finger hovered over the button: "It's this one, right?"

Dayn: "Yes. But don't get so close to it. There is only one beacon. If you accidentally push it and you get lost afterwards - you're really lost... The outpost won't find you and no one will know where you are because the GPS still doesn't work. Just let the autopilot follow that detour to the outpost - and don't push that button if it isn't necessary." Jack:

(Iconic scene above is from Guardians of the Galaxy 2) Then it's time to say farewell to Dayn. He hugged Lenny one last time: "Good luck Boys! Take good care of our Lenny!" The Little Goats were so glad he's finally leaving and that the Romantium's going to stay: 'That was close! Let's hide it before they get a grip on it!'

'The universe itself keeps on expanding and expanding In all of the directions it can whizz As fast as it can go, of the speed of light, you know Twelve million miles a minute and that's the fastest speed there is

So remember, when you're feeling very small and insecure How amazingly unlikely is your birth And pray that there's intelligent life somewhere out in space 'Cause it's bugger all down here on Earth'

Galaxy Song from Monty Python's 'The Meaning of Life'

From the Beginning 🔱 Underwater Love 🔱 Latest

Current Chapter: starts ▶️ here Last Chapter: 'Here comes the Sun' from the beginning ▶️ here

📚 Previous Chapters: Chapters: 1-6 ~ 7-12 ~ 13-16 ~ 23-29

[marta-diablo]

Any small child catching sight of Noel Fielding of The Mighty Boosh in his clown gear would vow never to go to the circus again. Fielding’s torso is encased in a green felt globe, his hands protruding helplessly from the bottom. From beneath lurid make-up, he flashes a deeply unsettling grin, as if auditioning for the role of a psychopathic killer in Test Card: The Movie. “I’m just popping out for some coffee,” he deadpans. “Does anybody want anything?”

His Booshmate Julian Barratt, who currently looks like the victim of back-alley gender reassignment surgery, brushes his new blond tresses away from his face and sighs. “What a job, eh?”

When the duo decided to pose as the pair from the 1970s TV test card, it didn’t take long to decide who should play which part. If you want make-up and a manic grin, Fielding’s your man. He arrives at the studio resembling a time-travelling glam-rock star: pointy boots, snug red trousers, tight T-shirt, pendant shaped like a Flying Vee guitar, alarming bone structure. In one episode of their TV series, Barratt tells Fielding, “Look at you - feather cut, the pointy features. Put you in the 1950s, you’d be imprisoned for being a witch. They’d lock you in a trunk!” He’s probably right.

Barratt carries himself like someone trying to elude capture. It’s this wary unease that defined his performance as misanthropic style journalist Dan Ashcroft in Nathan Barley, Chris Morris’s Channel 4 comedy series. Morris wanted Dan to be someone who “wasn’t really comfortable in his skin”. I ask Barratt if Dan is a version of his own personality and he looks mildly wounded. “Not really, no. There were elements of me - it’s sometimes painful to be around people who are annoying - but Dan was a bit of a tit. I didn’t really like him.”

The Mighty Boosh have already completed two successful BBC series and are currently working on a third. Fielding, 33, thinks comedy is about allowing people to feel young again. “When you’re really laughing, you feel like a little kid and nothing matters. Everyone’s trying to feel as free as they were when they were kids.” Barratt, 38, seems to regard comedy’s inner workings as an imponderable mystery. “You still don’t know why you’re funny, do you?” Fielding says. “Not really,” Barratt sighs.

After almost a decade of working together, the pair are obviously close. When the camera’s not pointed in their direction, they huddle on the studio sofa in earnest conference punctuated by giggles. There is much to discuss: “We’ve got so many things we want to do and we need a basket to put them all in,” explains Barrett. “A structural basket.”

Fielding has a different metaphor. “We know when we’ve got enough ideas. If we haven’t and we try to write, it’s a bit weird. It’s like loading a gun and not having enough bullets.”

They first met in 1996, when Fielding went to see Barratt doing stand-up in High Wycombe. There had been less auspicious nights. Barratt recalls, “I ran off stage at my first gig. Halfway through it, I forgot my lines and didn’t know what to do, so I just ran out of the building down towards a lake. I was going to throw myself in, but the compere came out and said, 'No, it’s going well, come back and finish the gig!’ ”

The two share enthusiasms (Captain Beefheart, Monty Python, Mr Benn) and Barratt launched their collaboration by asking Fielding if he wanted to write the new Goodies. “We wanted to be a gang rather than a sketch troupe,” he says. From the start, their combination of absurdist wit, far-fetched narratives and bizarre musical interludes was the stuff of cult success. Audiences either entered their world and found them the funniest thing around, or they didn’t get them at all. “We used to have to convince people we were funny,” Barratt says, “and it didn’t always work.”

It did, however, work well enough to earn them nominations or awards at three consecutive Edinburgh festivals. A radio series followed and they finally made it to the nation’s TV screens in 2004. Earlier this year, they returned to touring. They get offers all the time, but having got this far on their own idiosyncratic terms, they have no desire to work according to anyone else’s.

“If Tim Burton called up and said, 'I’m making a film about two white Americans who go and become Red Indians’, I’m sure we’d jump at the chance,” Fielding says. “But if it’s, 'Do you want to be in this sitcom that’s a bit like Coupling?’ I’d rather shoot myself.”

When did you first find something really funny?

Noel Fielding: My nan used to look after me in the summer holidays and she had a cat with one eye. It used to walk into walls and tables. I used to think it was hilarious. It was a slapstick cat.

Who are your comedy inspirations?

Julian Barrett: I loved the Goodies’ sense of adventure.

NF: The Young Ones was the first thing I really liked. I was so young I didn’t really know what students were. I just thought they were some men who lived in a house.

What’s not funny?

JB: Cancer?

NF: It can be, though, can’t it?

JB: Yeah, sometimes a tumour will make me laugh.

When did you last laugh?

NF: I laugh all the time. I’m slightly simple. I went to a festival in Cambridge last weekend and there were men standing on a wheelchair and getting their friends to push them down a muddy hill and really hurting themselves. One of them had a fur coat, a dress underneath, massive boots and a witch’s hat. It was so stupid that everyone was laughing at them. It was quite freeing, actually.

What’s the funniest thing that’s ever happened to you?

NF: Once I got stuck in a suit of armour. I had to be a knight in Al Murray’s show for two minutes. I had a gig afterwards and there was no one there backstage, so I couldn’t get out of it. I had to run next door and do the gig in a suit of armour. Al thought it was the best thing ever. “You should do that every night! It’s brilliant!” he said.

What’s the secret of comedy?

JB: The secret of comedy is don’t grow up. That’s why some comedians are a nightmare, because they never grow up.

Tell us a joke

NF: You stop hearing proper jokes when you’re a comedian. I’m always slightly disappointed by real jokes. There’s a lot of pressure to understand them and laugh at them. Occasionally we come up with a proper joke by accident and we almost apologise.

· The Mighty Boosh debut live DVD is released on November 13.

x

[overthestars-and-offtoneverland]

Olaf's Last Name

Look, I know he'll never have a canon last name and we've already gone through the "Labinski" fiasco.

I wanna go through several options I've been considering for headcanons and why each would possibly work (or not). Hell, Labinski can even stay because someone else has already mapped that out (Though I'm gonna be annoying and tell you why I personally disagree. If you like it, keep it. All power to ya).

Actually, you know what? Labinski is going first! Why? Because it actually kinda helps my case for the other options. Onwards!

Olaf Labinski (Credit to @snicketsleuth)

Pros:

As Sleuth pointed out, Olaf's first name and title appears to be in reference to the character of the same name in Theophile Gautier’s novel Avatar. So, hypothetically, it makes sense to give our Count Olaf the same last name.

Cons:

However, here's my personal issue. Doing that A. Feels a little like plagiarism and B. Doesn't fit Handler's literary reference naming convention because of point A.

Whenever a character has a literary reference name, it is never a direct one. Esme, for example, is named after a poem. "To Esme with Love and Squalor" and Jerome is named after the poet who wrote it (That's the J in J.D. Salinger). Note his name is not directly Jerome Salinger.

Mr. Poe's obviously an Edgar Allen Poe reference. But his name is Arthur. His sons hold the more direct reference names.

Uncle Monty's a Monty Python joke.

Hell, this is actually why I know for a fact that Charles' last name is not Baudelaire. Our leads are names after Sir Charles Baudelaire, yes. But it's no coincidence that the Baudelaire children are temporarily in the custody of two men who go by Sir and Charles.

The only exception to this I can think of is Georgina Orwell just being the feminization of George Orwell because it's a tongue in cheek about the hypnotism thing. But even then, it's still not one-for-one.

So, him being straight up named Count Olaf Labinski when that name already belongs to someone else's character doesn't fit to me. However...

Let's get into some other options

Olaf Gautier

So apparently some of the reason the Labinski thing happened is hypothetically because Charles Baudelaire and Theophile Gautier had beef. So, my proposal, Gautier does fit the literary naming convention because it pits rival against rival again in a meta sense.

Also, think of the comedy of Olaf having a French last name. I don't know if it's funnier if he pronounces it correctly or not ("Gautier" is usually pronounced in the US as "Goh-Shay" [Wrong] it's pronounced in with the "CH" sound "Goh-Chay" [Correct] in French. Source: Lived in a town called Gautier named after the family that founded it. Was classmates with the grandson of this family) The jokes write themselves. I personally think it's funnier if Olaf pronounces it with the correct "CH" sound but everyone else treats him like he doesn't know how to say his own name.

Olaf Von Bulow

Okay, so this requires a little lore. To those of you who don't know, Violet, Klaus, and Sunny get their first names from the attempted murder trial of Claus Von Bulow. Klaus, though his name is altered in spelling, is named after the defendant, who (allegedly, he was acquitted) poisoned his wife Sunny, and was prosecuted by a woman named Violet (The Violet source is a little fuzzy. I just know she's named after one of the lawyers involved).

Dude, how messed up would it be if Olaf's last name was still in reference to this trial? It would be a really messed up way to make him into a matching set with the kids.

Also Von Bulow, like Labinski, does fit the general geography of where a name like "Olaf" would exist

Take it all with a grain of salt, just felt like throwing my hat in the ring on some options that generally fit canon naming conventions.

And no, I will not be addressing the "Olaf Baudelaire" theory ^_^. Too much canon material is super against the idea that Olaf and Beatrice are siblings. One super big one I can point to is Olaf being listed by Lemony as one of Beatrice's potential suitors in The Beatrice Letters ("-or even O"). Really don't think incest is what he had in mind when he was talking about marrying anyone that would make her happy especially since he brings up that R is on the table even though same-sex marriage wasn't a thing at the time.

Love to hear any other options anyone can come up with!

[yonderghostshistories]

HAPPY 13TH ANNIVERSARY TO “HOLY FLYING CIRCUS” (2011) 🥳🎉🎊🎂🎈

(Aka the best Monty Python biopic imho)

It’s been 13 BLOODY years since HFC aired on this day (19th October) at 9:00pm on BBC 4 in the year of our lord 2011, but it’s only been a few months since I (and many other of my mutuals) watched and rewatched it this year, and I will always treasure the times that I have seen this wonderful movie!

I remember when I was a newly fresh faced MP fan in 2023 and was slowly and gradually getting into them, and that I was wondering if there was ever a biopic made about Monty Python? I mean, it would be kinda weird that there wasn’t a biopic made about Monty Python, ya’know considering that they were very much influential in the world of comedy and beyond, that it would obviously be a missed opportunity to NOT make a biopic about them.

I then went and logged on into one of the school computers at my secondary school to look up if there was a Monty Python Biopic, in which I googled smth along the lines of “Monty Python Biopic”, and LO and behold, HFC was (iirc) the first result that came up!

I was IMMEDIATELY intrigued to see what HFC was all about, and so I looked at and read the plot synopsis for HFC on IMDb. At the time, it was honestly really cool and interesting fr! Then I looked at the cast and…well. I wasn’t immediately put off by the fact that the cast for the HFC Pythons weren’t exactly 100% identical to the irl Pythons, like they were similar to them but JUST different enough to have a sorta distinct, uncanny feeling to them. But ngl, at the time when I saw photos of the cast, I did have a feeling that was like “ughh….this is soooo obviously cheap, why couldn’t they have gotten a bigger budget for this?”, and now looking back, I do recognise that HFC was, well, made on a BBC 4 budget (aka a low budget, at least for BBC 4) and that the cast and crew had to work with what they had (both in terms costumes and hair) and tbh I was kinda a bit mean on them at that time and that do I regret it. I mean, I still don’t forgive some of the HFC Pythons’ hair cuz OMG Steve Punt/Eric and Phil Nichol/Terry G’s hair is still kinda not good lol 😂 but I do understand why it is what it is.

Anyway, I digress!

It was because of this (plus looking at some rather quite negative reviews of HFC) that I STILL wanted to check out HFC and see what it’s about, but I had INCREDIBLY low expectations for it. At best thinking that HFC would be at least kinda decent, but at worst thinking that it would be kinda mediocre and not the worst but definitely not the best. So, for Christmas 2023, I asked my Dad (iirc) to buy me the DVD for HFC (as well as some other DVDs, those being “A Liar’s Autobiography” the book, the animated film adaptation “A Liar’s Autobiography” (2012), “Remember Me” (2014) starring Michael Palin, “A Field in England” (2013) and “In the Earth” (2021), the latter 2 cuz I was really into the League of Gentlemen/Inside No. 9/Reece Shearsmith at the time and also cuz I love me a bit of horror!). Then came January/February 2024, and I got my DVDs by that time!

(Here’s a crappy looking (affectionate) picture I took of them back in February when I still used my Android phone to take pictures of stuff)

Then I…..didn’t watch them (and in this case HFC) for a couple months after I got them (mostly due to school and exams and shit which made me kinda exhausted and so I didn’t watch much stuff during that time cuz of it), BUT! BUT BUT BUT!!

It was on a somewhat regular day on the 20th of May 2024, when I finally, FINALLY AFTER ALL THIS TIME OF LAYING IT OFF AGAIN AND AGAIN (again due to the exams and studying for said exams and shit) that I decided to finally get the courage to watch HFC in its entirety!! Also cuz I needed to give myself a bit of stress relief and also a lil reward for studying too much lol.

I got the HFC DVD from my living room shelf, I took the HFC DVD out from the plastic cover, I then got my DVD player and carefully inserted the HFC DVD into the DVD player so as to NOT potentially break it, and then…..I finally watched it.

It was…..quite the experience (and I mean this in the most positive way ever!)

Watching the film for the first time genuinely, like GENUINELY, floored my previously low expectations of it. Like, fr IT WAS CRAZY. AND AMAZING. AND WONDERFUL. AND SURREAL. AND FUNNY. Like, it was honestly the best thing I ever watched at that time!!

The HFC Python cast, who I thought was not gonna be the best, was actually fr incredible! Not only did they all get their respective irl Pythons’ mannerisms and expressions on point, but their unique take on each Python was genuinely charming and interesting fr! Especially Charles Edwards/Michael and Darren Boyd/John and their relationship between each other in the film was indeed very captivating to watch (and a lil gay and fan service-y, to which I also love it for that <33).

Speaking of which, Charles Edwards as Michael Palin was unironically the best thing about this film, not only for his voice and mannerisms but his character as well!! Like fr CHARLIE EDWARDS FR LOOKS LIKE ACTUAL MICHAEL PALIN LIKE WHAT?!!?!!

Darren Boyd as John Cleese was also quite great too, like, even if he portrayed him as the “Basil Fawlty Persona” version of John, I felt like it was still pretty much like John’s character, and Darren Boyd/John does show little moments of genuine vulnerability, which make it really more profound imo!

Rufus Jones as Terry Jones, Phil Nichol as Terry Gilliam, Steve Punt as Eric Idle and Tom Fisher as Graham Chapman were also pretty great in this as well! But ESPECIALLY Tom Fisher/Gray as HE ABSOLUTELY STOLE THE SHOW IN THIS MOVIE FR, AND THAT HE ABSOLUTELY SLAYED AS GRAY AND I LOVE HIS JACKETS, HIS SEXINESS, HIS QUOTES, HIS GAYNESS, HIS WISENESS, HIS EVERYTHING AGHHHHH (also he’s really beautiful imo). Like with Charles Edwards/Michael and Darren Boyd/John, their performances as their each respective Python was really amazing, such as Phil Nichol exhibiting Terry G’s childlike craziness and goblin-like energy, to Rufus Jones/Jonesy also acting/double role-ing as Michael’s Wife (in a loving homage to Jonesy playing most of the female characters in MPFC and the films with absolute PERFECTION) to Steve Punt/Eric being very much onto the business side of Python (in which he’s referred to as a “money grabbing bastard”, which I almost quote all the time haha).

Also shoutout to the supporting cast of HFC, they also carried the movie too! My personal favourites being Jason Thorpe as the rude and annoying and obnoxious boss (and very funny) Alan Dick and the LoB obsessed but with good intentions Christian with a stutter Desmond Lovely, Simon Greenall as the Pythons’ Manager/Film Distributor Barry, Paul Chahidi as the meek and trying to make things go well Harry Balls, and Stephen Fry as God (cuz Stephen Fry is an absolute ⚡️✨ ICON ✨⚡️fr)!

Oh yeah, also, I LOVE THE ANIMATIONS AHHHH THEYRE SO AMAZEBALLS FRRR!!!! AND I ABSOLUTELY LOVE LOVE LOVE THE MUSIC TOOO!!!! SHOUTOUT TO THE ANIMATION TEAM AND MUSIC COMPOSER FOR HFC, THEY DESERVE IT FR AND DESERVE ALOT OF APPRECIATION!!!

Also, this movie is fr so funny frfr, have I mentioned that it’s really funny? Cuz it’s really funny! It’s also (like Holy Grail) very quotable indeed, and there’s a lot like ALOT of quotes from HFC that live in my head rent free! My personal favourites among them are:

-“It’s Half Logical, Half Silly!”

-“Eric is a Money Grabbing Bastard!”

-“Glass of Cordial? S P O T O F S O U P ?”

-“Are you Willy waving at Jesus?”

-“Well, I am Gay, I like Neeews, it’s very good for film reviieeewwws 😌😏”

The ways this movie have changed my life for the better (and for the sillier) is that I’ve gone through the rabbit hole and have discovered many, MANY amazing shows and films starring each of the HFC Python actors, for example; “Treacle Jr” (2010) and “The Nine Lives of Tomas Katz” (2000) (both films starring Tom Fisher) are genuinely pretty great and I do recommend you watch them if you can! Plus I bought them and other projects starring each HFC Python on DVD cuz it shows how much I’m THAT dedicated to this movie (HFC) fr, and that I’m fr grateful for discovering this little BBC 4 Pythonesque comedy drama from 2011, cuz if i hadn’t, I’d have missed out on some real great stuff!

I will always love “Holy Flying Circus” (2011) for the rest of my life, and I will always appreciate and treasure it with my entire heart 🫶❤️, and I will continue watching and rewatching it and continue fanning about it into the future! I’m very lucky that HFC came into my life and that I watched it, and that I don’t think I’d be quite the same if I hadn’t the courage to watch the film on the 20th May 2024.

It’ll soon be almost 1 hour to the time (that being 9:00pm) when HFC aired on the 19th of October in 2011 by the time I’m writing this, so I’d like to quickly wrap up by saying:

Thank you “Holy Flying Circus” (2011). Just, thank you ☺️🫶❤️…..

And remember:

“Eric is a Money Grabbing Bastard”.

[queer-ragnelle]

Hi! I was wondering if you had any advice on how to craft a well-written, compelling Arthurian OC that isn't obnoxious or out of place but is still unique. I recognize the difficulty in doing so with so many different source texts (I'm most familiar with Le Morte, so that's usually my go-to) and the vast list of already existing characters. I'm just curious about your thoughts on the matter, since you're an author and also very knowledgeable about Arthuriana 💖

Hello there!

This is a tough question to answer! I think it's important to note that everyone will have a different opinion on this, but that shouldn't alter you writing your story how you want to. Some think adding any characters at all is too big of a change, while others write a full cast of original characters and then Merlin shows up randomly and makes the story "Arthurian."

I'm going to say something controversial.

Every Arthurian character is an OC.

Even King Arthur himself is an OC.

I'm going to elaborate on this quite a bit, as it's very important to me. But the TL;DR is that reading more will definitely help you conceptualize the boundaries of what's possible. Le Morte d'Arthur is a great start, but there's so much out there, both medieval and modern, that'll undoubtedly aid in your Arthuriana writing journey! :^)

While I do say things like "I love Arthurian OCs" as a means to convey that I view everyone's new creations as valid and interesting, I actually don't believe in a strong differentiation between Chretien de Troyes' Sir Lancelot or Marie of France's Sir Lanval and what you or I are writing today. We're participating in a tradition which can, at times, necessitate the creation of a new character or repurposing of an existing one. I think as soon as you create a character for your Arthurian story, they're an Arthurian character. Some refer to Lancelot or Galahad as "French OCs" or call Knight of the Cart or the Vulgate "fanfiction" as a means to degrade it's validity. Some seem to have an arbitrary timeline on which the full body of Arthurian works is measured, and the more recently something was written, the less authentic it becomes. I think they're wrong. I believe that whether or not we enjoy an installment in the ever expanding Arthurian tradition is irrelevant; it's all equally entitled to a measure of respect, even the new characters. No character or story is lesser than another by virtue of its age or language of origin or target audience or medium. I disdain the excess of scrutiny put upon certain arbitrary groupings of Arthurian tradition. Each story is full of original characters and building on the foundations of what came before. That's the nature of creative influence. Whether or not Arthur was a real person at some point in history is moot. The guy in the Mabinogion or the Vulgate or Le Morte d'Arthur or BBC Merlin is a character. He's a tool to tell a story. Such as your creation will be! Your brand new Arthurian character stands equally with all the rest who preceded them. :^)

Now, it can be helpful to distinguish between a medieval character and a modern one, sure, as they may represent different things depending on what point in history (or part of the world) they were created in. But Arthuriana isn't a franchise one must obtain express permission to contribute to, and it doesn't have a "canon," so therefore differentiating a character as "other" can be counter productive when developing a story. I don't believe Sir Robin from Monty Python and The Holy Grail (1975) or Brian from The Adventures of Sir Lancelot (1956-1957) are any less valuable as characters, even if they do draw on traits of existing Arthurian motifs in order to commentate on them or otherwise expand. In fact I think they're great characters and serve their narrative roles beautifully. One simple and one complex. I recommend watching those to see how it's done well and that may help you develop your own characters. But I'll delve into it a bit here to illustrate what I mean.

Sir Robin carries the coat of arms of a chicken, he's a cowardly knight followed around by a troupe of musicians that sing songs about all of his exploits. That is, the things he's run away from. Rather than use an existing Arthurian character and degrading them, Monty Python developed Sir Robin in order to tell their joke.

The flipside is Brian, a bona fide kitchen boy, who attaches himself to Sir Lancelot and desires to squire for him. Brian's narrative purpose is to deconstruct the nobility in a way that Gareth Beaumains, whom Brian is plainly inspired by, could not. Brian begins as a true serf forced to endear himself to Sir Lancelot to elevate his station. Merlin forges papers of nobility to convince King Arthur that Brian is worthy of this privilege. Even after that, Brian must face the brutality of his fellows while living in the barracks with them, as they don't take kindly to a "smelly kitchen boy" in their midst, plotting to get Brian to incriminate himself as a thief and get evicted from Camelot by Sir Kay. This role is incongruous with Gareth as Sir Gawain's brother, who was always noble, always a prince, and merely cloaked himself in the guise of poverty to prove a point. Gareth could return to the comforts of wealth whenever it suited him and his reason for going stealth was to intentionally distance himself from that privilege. The character Brian exists in order to commentate on the injustice of the upper class's oppression and dehumanization of the lower class in a way Gareth, or even Tor, could not, as they are of noble blood, even if it came by way of reveal. That's why Brian is a great addition to the Arthurian tradition.

Really, it comes down to treating the creation of your new Arthurian character like you would developing one for any other work, one entirely separate from the tradition. If they're a good character, they're a good character! Try not to get hung up too much on whether or not they're going to mesh well with the rest of the cast. For centuries, writers have transformed historical figures into Arthurian characters. (See: King Mark of Kernow better known as the Cuckhold King from the Prose Tristan, Owain mab Urien better known as Sir Yvain from Knight of the Lion by Chretien de Troyes, Saint Derfel better known as Derfel Gadarn from The Warlord Chronicles by Bernard Cornwell, etc.)

Speaking of Prose Tristan, would anyone consider Sir Dinadan an OC? Or Sir Palomides? They're characters added to a story drawing from a much, much older tradition, and I think they enrich the story. I feel likewise about the many Perceval Continuations, including the German Parzival by Wolfram von Eschenbach, which adds a half brother named Sir Feirefiz, or names Chretien's anonymous haughty maiden Orgeluse. What about Sir Aglovale's son Moriaen in the Dutch tradition? Amurfina in German Diu Krone by Heinrich von dem Türlin? Morgan le Fay's daughter Puzella Gaia in Italian La Tavola Ritonda? Not to mention the countless Middle English additions. The Green Knight and his wife? Dame Ragnelle and Sir Gromer? Or how about everyone's favorite Savage Damsel, Lynette of Castle Perilous? Is she not a late-era addition to the tradition courtesy of the man, the myth, the legend, Sir Thomas Malory himself? And then here comes Tennyson, who read Le Morte d'Arthur, and got to the end of dear Gareth Beaumains' story and had the same reaction we all did: "What the hell? He marries her sister?" And then he went about changing that in Idylls of the King. Speaking of Lynette, what's up with her niece Laurel? She's just a name on a page, the vast majority of retellings choose to ignore her, even if they do keep Lynette and Lyonesse. Laurel can scarcely be called a character, after all. She doesn't even have dialogue. So as I've gone out of my way to make her a prominent, fully developed character, with her own culture and back story and motivations, does that make her an OC of mine? And Henry Newbolt who included Laurel in his play Mordred: A Tragedy. And Sarah Zettel, who wrote from Laurel's point of view in Camelot's Blood. We did all the work, but we threw an Arthurian name on the character, so therefore, she isn't ours? But if we changed her name, she would be? Who gets to decide?

All of the Arthurian characters belong to all of us. That's the beauty of writing in a long-standing tradition, which exists apart from all other forms of writing. We have complete creative liberty to do what we want and refer to it how we want and no person or corporation or anyone can dictate otherwise. The intellectual property of Arthuriana belongs to the people. So invent a brand new wife for Gawain, and well, you're only the millionth author to do it! Just make sure she's an interesting character and that's literally the only requirement. Can't wait to meet her. (And all others you create!)

Have a great day!

[libertineangel]

A history & overview of communist groups in Britain

I've done so much reading into all the different splinter groups here, trying and failing to find one worth joining, that I might as well make all this accrued knowledge useful in case anyone wants to know what the situation is like (spoiler alert, it's a shitshow). I'll put it under a cut 'cause it'll probably get fairly long, and I'll tackle the Marxist-Leninist and Trotskyist sides separately 'cause they split in about 1932 and have barely had any crossover since.

I will not be unduly neutral or polite in my assessments, because Mao would call that liberalism and also it's no fun, so get ready to roll your eyes a lot and understand exactly what made Monty Python do the People's Front of Judea bit.

The (ostensibly) Marxist-Leninist side

In 1920, several smaller Marxist groups merged to form the Communist Party of Great Britain, the official British section of the Third International, and immediately set to work arguing with itself about the viability of parliamentarism, eventually adopting Lenin's position on the temporary utility of reformist unions & parties, which led them to spend several years trying - and even succeeding in a couple of seats - a strategy of entryism into the Labour Party, which is a phrase we will all get tired of by the end of this post; when Labour then lost the general election in 1924 it blamed the Communists and banned all their members, which sounds awfully familiar.

The CPGB did gain a fair bit of support & swelled its membership during the general strike of 1926 though, albeit in a handful of specific areas and industries, and then lost most of them again during the Comintern's Third Period because the workers didn't want to abandon their existing trade unions in favour of revolutionary ones. Did a couple of decent things in the 30s, fought at Cable Street and raised a small battalion for the International Brigades; they went back & forth on their stance on WW2 in line with the Comintern, supported strikes, actually reached their peak membership (~60,000, still tiny compared to their European comrades) during the war because they were the loudest anti-racist, anti-colonial voice around who did do a fair bit to raise public awareness of Britain's horrific treatment of India.

In 1951 they issued a new programme, The British Road to Socialism, which is pathetic reformist bollocks that insists peaceful transition to socialism is possible and sensible, and five years later the Soviet suppression of the '56 uprisings caused a massive split that saw a good 30% or so leave the party, causing them to return to the good old tactic of trying to push Labour and the unions leftward.

Nothing material really came of that and the Party declined further with the Sino-Soviet split, after which a minority of pro-China members left to form the Communist Party of Britain (Marxist-Leninist), which has since turned Hoxhaist (also surprisingly anti-immigration, and I'm fairly sure they're transphobic). Throughout the 70s they got increasingly Eurocommunist until even more revolutionaries got sick of them, and in 1977 another split saw the formation of the New Communist Party of Britain, which claims to still be anti-revisionist while also having spent the last 24 years insisting everyone vote for Labour (also from what I've heard they don't even email potential recruits back, so I doubt they'll survive beyond their current old membership, not that they'll be much loss because I don't believe they've ever actually done anything). Tensions between the Eurocommunist leadership and the Party membership continued to rise through the 80s until a final split in '88 produced the Communist Party of Britain, which is still extant today and still uses that silly electoral reformist programme from the 50s, and as an indicator of how that's going they earned 10,915 votes in the London Assembly elections this year, the third fewest of any candidate, less than half even of the fucking Christian People's Alliance (also their youth wing the YCL has marched alongside TERFs up in Scotland, they're the party that one author endorsed over Labour).

The CPGB finally folded in '91 and its leaders founded a series of steadily softer left think tanks, while other self-declared Leninists went on to form the Communist Party of Britain (Provisional Central Committee), which is so small and insignificant I can't even figure out when they actually started; nowadays they are, to quote someone off Reddit, "a small and almost entirely male group of Kautsky enthusiasts and leftist trainspotters with a knack for the fine art of unintentional self-parody, who regularly publish articles defending Marxism against the feminist menace."

Entirely separate from all that shit, in 1972 a group of students inspired by Hardial Baines formed the Hoxhaist Revolutionary Communist Party of Britain (Marxist-Leninist), and honestly I don't really know much about them because nobody online seems to have any idea if they do anything and looking at their website burned my fucking eyes. There's also the Communist Party of Great Britain (Marxist-Leninist) (yeah a different one), formed in 2004 when a bunch of people got expelled from infamous union leader Arthur Scargill's party; they are so rabidly transphobic it makes the CPB look welcoming.

Finally, there's the Revolutionary Communist Group, which surprisingly formed out of the Trotskyist International Socialists (which became the SWP, we'll get to that soon); they're not a formal Party because they don't think the revolutionary situation here is developed enough for one, but they are fairly active in protests and pickets. Unfortunately, back in 2017 they dragged their heels investigating a member's sexual assault and then let the perpetrator back in after a two-month suspension and apology letter.

The Trotskyist side, if you can stomach it after all that bollocks

Modern British Trotskyism descends entirely from the Revolutionary Communist Party of 1944, formed by the merger of two smaller groups at the request of the Fourth International. They split after three years over the viability of entryism into the Labour Party, with the majority correctly seeing it as bollocks. Unfortunately, the majority RCP did fuck all afterward and grew disillusioned enough with the leadership to throw their lot in with the minority breakaway known as The Club, who kicked them all out again and proceeded to never do anything of note whatsoever (they eventually changed their name to the Workers' Revolutionary Party and imploded in about nine different - equally irrelevant - directions in the 80s when founder Gerry Healy was expelled for having serially abused women in the party for decades).

Followers of notable RCP member Tony Cliff (formerly the 4I's leader in Palestine) joined him in his new Socialist Review Group, devoted to Trotskyism but breaking from orthodoxy in favour of Cliff's theory of state capitalism that's silly even by Trotskyist standards that I don't think even the party itself really adheres to anymore. They changed their name to International Socialists in 1962, tried to appeal for left unity and got roundly ignored by everyone except a small Trotskyist group called Workers' Fight, which joined the IS, swelled their own ranks, tried to challenge the leadership and got thrown out again; they still cling onto existence as the Alliance for Workers' Liberty, whose existence I had completely forgotten until I saw a poster of theirs down my road and remembered I was in fact at the London Young Labour conference which banned them for refusing to properly investigate the repeated abuse of a teenage boy in their youth faction. The IS still tried to grow, but expelled what would become the aforementioned RCG in '72, expelled the faction that's now Workers Power in '74 (whom I have never heard of, which at least means I don't know of any awful shit they've done), tore themselves in half in '75 when Tony Cliff decided older workers were reformist and recruitment should focus on the youth, and in 1977 they renamed themselves the Socialist Workers Party. The SWP did do a few decent things, like form the Anti-Nazi League and organise Rock Against Racism, but to be honest those had a much bigger impact on the British punk scene than actual politics. Using charities and campaign groups to jump on bandwagons for shameless self-promotion is mostly what they're known for these days, along with making placards for any protest anywhere no matter how irrelevant they are to the party's platform; their membership and image among the left took a tremendous blow in 2014 after the Comrade Delta scandal, in which they were found to have covered up the National Secretary's repeated sexual abuse for years.

Followers of other notable RCP member Ted Grant joined him (after their expulsion from The Club) in his Revolutionary Socialist League, which believed in entryism into the Labour Party, and in 1965 it split with the 4I (because the 4I thought they were shit) to become Militant. They actually managed to take control of Labour's youth wing and successfully pushed the Party to commit to nationalising the country's major monopolies, but when Labour - on a platform of spending cuts and reformist liberal appeasement - lost the election to Thatcher in '79 they blamed it on the Communists and in December '82 they got blacklisted (which sounds awfully familiar). Took a while for that to sink in though, and Militant-affiliated members actually managed to take over Liverpool City Council through the mid-80s - they planned a massive amount of public works building, cancelling redundancies and other such things that sounded good but they really couldn't pay for, and tried to play bankruptcy chicken against Margaret Thatcher, which went as badly as you'd imagine and embarrassed them on the national stage (even if the people of Liverpool still supported them). Their last act was to help instigate the Poll Tax Riots in 1990, but that was one good deed to many for a Trotskyist group and they finally split in '91 - a majority decided they should finally sever ties with Labour and strike out on their own, while the minority insisted that entryism into the Labour Party really could net real national success if we just keep trying come on guys let's stay on the sinking ship history has taught us nothing!!!

The majority formed the Socialist Party, who have done nothing of note ever, and in 2013 they failed to adequately respond to sexual harassment within their ranks. In 2018 their international, the Committee for a Workers' International, experienced a split which it looks to me was over the old established leadership not getting with the times when it comes to women and LGBT+ people, and the majority went off to form the International Socialist Alternative, with the Socialist Alternative being its British branch; just last April the Irish section disaffiliated with the ISA because of its poor handling of abuse allegations against a leading member.

The minority stayed in Labour under the name Socialist Appeal (and the International Marxist Tendency), under the leadership of Ted Grant & Alan Woods, never really doing anything, and in 2021 Keir Starmer's left purge finally banned them, which was totally unrelated to their decision to finally strike out on their own this year as the Revolutionary Communist Party (yeah a different one). They're a money-grabbing newspaper-obsessed cult who've harboured abusers in five different countries, and to be honest I don't even see why they still exist now that they're no longer devoted to entryism considering that was the entire reason they split from the rest of Militant in the first place, they might as well reunify with the CWI or the ISA but far be it from me to expect insular Trotskyist control freaks to make sensible, practical political moves or to ever get the fuck over a split.

[just-made-to-comment]

There is no pagan version of Arthurian legend.

There is no pagan version of Arthurian legend. The oldest mention we have of Arthur is from the 6th century at the EARLIEST. That is already post christianisation. However, some stories do include pagan gods or euhemerised versions of them.

However, there is a polytheïstic version. Diu Crône has multiple deïties that exist within its pages, like Lady Fortune, who may be Fortuna, her son Luck. She is explicitly called a goddess, and rules Ordohorht. Giramphiel also is a goddess, and is a villain, opposing Gawain. Throughout the pages of Diu Crône, Lady Fortune acts as a sort of patron deïty of Gawain. Gawain is a polytheïst, and polytheïsm is true within the narrative of Diu Crône. However, Jesus is also praised by characters who know Lady Fortune is real. This suggests that the narrative of Diu Crône is Christopagan in terms of lore.

Then let's talk about the work that started it all: Geoffrey of Monmouth's Historiä Regum Brittaniäe. Geoffrey includes the goddess Diäna in an earliër bit of his book where Brutus of Troy sails to Britain, beïng one of the first people to ever go there, and also founds London, calling it "New Troy." In this bit, he has a vision after sleeping in her temple that commands him to go to Britain and found a city.

Next, euhemerisation is the origin of a few characters. First, Mabon is Maponos, he shows up in "Culhwch and Olwen". Modron is also clearly Matrona. If you apply the sound changes from the Celtic language these names come from, Maponos becomes Mabon, and Matrona Modron. Then, Griflet is probably Gilfaethwy. His father, Do, is just Dôn in French, who is equivalent to Danu. Ydier's father is just what "Nodens" becomes in Welsh, (Irish Nuada). These are a bunch of originally gods but in the story they are mortal humans.

If you've ever read Sir Orfeo, you'd know how they refer to the Greek gods:

His fader was comen of King Pluto, And his moder of King Juno,    That sum time were as godes yhold For aventours that thai dede and told.

Also this is basically what Saxo did with Norse Mythology. This happened within Welsh sources too in the case of Arthurian legend. Culhwch and Olwen is a Welsh source, and yes he does show up as Mabuz in Lanzelet, so he's not some Welsh-exclusive figure like Culhwch. There's a bunch of weird stuff in Welsh Myth. Math fab Mathonwy baptises people. He is also around when people first get pigs from the fairies, so that would place it roughly 6,500 BCE as when Math is ruling Gwynedd.

The stories of Arthur are set at the very least after 410, because it has to be after the Roman withdrawal, and before 700, because by then the Anglo Saxons had already marched past the Severn which is the western border of Logres, which is Arthur's kingdom, although Pengwern was actually east of the Severn and they fought against the Loegrians according to Canu Heledd, but then again that's further east anyways, so that should just push then end time back further. Look, apart from Monty Python, it's always Sub-Roman Britain. By then it was thoroughly Christiän, yes, there was some paganish beliefs, but that would probably be categorised as folk Christianity which is still Christiänity, and people believed in fairies but fairies were conceptualised in a Christian cosmology where they basically were between heaven and hell in some way.

Actually. There probably is a pagan version written by somebody in the modern day. People never stopped writing it, and it's basically fanfiction all the way down anyway.

[tehamelie]

Various fine opinions on the meaning of life contained in Monty Python's The Meaning of Life:

*Unionize your workplace, alternatively turn it into a pirate ship and take to the high seas. It'll piss off management either way.

*Question everything.

*Look at what you think you know from a different perspective.

*The pursuit of profit at all costs can and will ruin the meaning of any work and also make you worse at it.

*Gender roles are not necessarily assigned at birth.

*The Catholic church is not well.

"God has blessed us so much I can't afford to feed you all any longer."

*Just because you're allowed doesn't mean you should.

*You should not, and will not, die to "keep China British."

*God has many ways to cook you to death, if He wants to.

*Straight sex is so damn boring.

*Don't just stampede towards the clitoris, Watson.

*Sport, like sex, only works between equal parties. Any other way and you invite horror and depravity. (That kid is definitely dead and the upperclassmen are just stomping on him anyway.)

*Actually, getting murdered playing rugby against adults two or three times your size is an excellent way to prepare you for fighting in a war.

*Even a good captain will be hated by their subordinates. This is the burden of command.

"We'll always need an army, and may God strike me down were it to be otherwise." *is immediately struck down by literal the hand of God*

*A fighting force is better served by a single soldier who actually wants to be there than twenty men who doesn't.

*There's a fine line between keeping one's cool in a heated situation and acting like you're on a bloody different planet when people are dying in front of you.

There are less than 4500 wild tigers left in the world. The "A tiger? In Africa?!" bit is less of a joke every year.

*In less than surprising news, killing people is bad for you. (It turns out, for psychologically healthy people, doing violence really hurts you as much as the victim.)

*Where is that fish?

*Theme restaurants could do with a bit of randomly mixed themes.

*Don't be afraid to ask the most idiotic questions about things you don't understand. That's how we learn.

*Oh ho it's the meaning of liver donation I get it now.

*The Galaxy Song is fun and all but don't give in to misanthropy.

*Matter is energy, the human soul grows with care and attention, and people aren't wearing enough hats.

*Actually, the movie makes a staggering point here and buries it with distracting nonsense jokes, while also making the point that we get sidetracked from self-actualization by distracting nonsense jokes. It's a point sandwich with joke filling.

Isn't it awfully nice to have a penis? Shout out to happy penis havers, though I'm not one myself.

*M Creosote shows us that single-minded devotion to one's mission in life (eating an entire upscale French restaurant in one sitting, for example) will leave you unhappy and alone.

*Dunk antisemites in buckets of vomit.

*Gaston, the middle aged waiter, delivers a coherent personal philosophy as he walks us to the cottage where he was born. The significance of this cannot be overestimated. He decided to be a waiter, you see. Because he believes in something. It's a simple belief of giving, of loving people and bringing them joy. But be believes it with all his heart and he'll fight for the right to live the life he chose.

*If you have to die, but can choose the manner of your execution, try being hounded to death by naked women.

*See the world in a grain of sand, or a maple leaf as it were.

*Terry Pratchett was a great man and a great writer, but he's wrong about one thing: Death is relative. No, no, you can't argue away Death or shoot him, but he is subject to the laws of relativity. Consider the stars in the sky; at least one star that's visible to the naked eye I hear may be dead right now - it's 500 light years away and they think it may go supernova at any point within 500 years from now. But here, locally, the star still lives; there's no possible reality where it's gone until the light of its explosion reaches us.

*Heaven is a fantastically cheesy musical theater performance with angel santa claus strippers and a lead singer you just want to punch. Clearly we need to build something better here on Earth.

*Be nice, read books, take a walk sometimes, and try to live together in peace and harmony with people of all creeds and nations. Obviously.

*[The producers] hope that other fish will follow [the example of the movie] so that, in future, fish all over the world will live together in harmony and understanding, and put aside their petty differences, stop hunting and eating each other and live for a brighter, better future for all fish and those who love them. Yes, clearly this is about fish.