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reidandweep · 4 years

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No Better Outcome

Spencer Reid x Reader (female)

A/N- I had a request for a Spencer imagine where the reader was held at gun point by the unsub and Spencer had to talk them down. I said it would be finished last week and posted, but to be honest, I hated how it was so I re-wrote the whole thing. I ca’t remember who requested it either.

Word Count- 2336 words

Warnings- Angst, Fluff, mentions of guns and murder.

“What do we know about this guy?”

Y/N glanced at Reid as she continued to drive to their destination. The team had been called to Baltimore on a case the morning before. Four couples had been found brutally murdered in their homes; located across the city. The team had quickly learnt that all the couples were newly engaged and had very healthy, happy relationships.

“Landon Reeves, aged 24. Garcia looked into each of the couples lives and found that Landon works at the local auto repair shop. Each of the males have visited the shop in the past three months, all complaining about the same problem with their cars; faulty breaks. Landon was the one that handled all the bookings.”

Y/N nodded her head as Reid spoke, taking in the information.

“So, we’ve got a 24-year-old, Caucasian, male who has fixed all four male victims’ vehicles in the last 90 days, which they all coincidentally needed the same job doing. Sounds like to me; Landon might have had his eye on them before they entered the shop. There’s too much coincidence between the couples for him not to have.”

Pulling up to a red light, Y/N turned her head to look at Spencer.

“The murders looked disorganised but were actually very meticulous. All the women were mutilated in the bathroom, but their bodies were tucked into the beds. They were covered and their arms crossed; showing signs of remorse. But the male victims were splayed and left out for all to be seen. He hid the women’s modesty and treated the men like animals.”

Honking drew Y/N from her thought process. Swivelling her body to face the wheel once more, she continued to drive.

Spencer comprehended Y/N’s words.

“Maybe he lost a fiancée or girlfriend? Left him for someone else or even cheated.”

Spencer shook his head.

“Usually, if an unsub targets woman that remind him of an unfaithful partner, the attack towards them would be messy, violent, and have shown forms of sexual assault. This hasn’t occurred here. The women were shot clean through the heart. No signs of sexual assault or torture. Garcia already looked into any past relationships of Landon’s. No spousal deaths or even any signs of a partner from his social media. Ever.”

Y/N pulled up on the curb outside their desired location. They had already checked to see if Landon was at work before they travelled to his home. Speaking to his co-workers at the garage, they were more than sure he was their unsub.

“Well, let’s go do our job Dr Reid. All we can do is question for now.”

Spencer chuckled as Y/N opened the SUV door, sliding out and adjusting her appearance; making sure her gun was secure in her holster. Shaking his head, Spencer stepped out and walked to her side.

Walking side by side as they walked up the steps of the house, the pair stopped at the door; Y/N stepped forward and knocked on the wood.

They waited for any sign of an answer. Spencer looked through the window to see a figure walking towards the door.

The pair stood straight as Landon opened the door.

“Landon Reeves?”

“Speaking?”

Y/N glanced at Spencer as he spoke.

“I’m Dr Spencer Reid and this is SSA Y/F/N Y/L/N. Were from the FBI. We just wanted to ask you some questions.

Landon begun to shift uncomfortably in his stance.

“About what?”

Y/N stepped slightly as she spoke, noticing the increased edge of his tone of voice.

“We just want to ask about a few of your customers. Of course, only if it isn’t a waste of your time.”

Landon stood silently for a while before he allowed them into the house.

Insisting Y/N to go first Spencer kept his eye on Landon, just in case he tried to run for it as they walked inside. He didn’t.

Shutting the door behind Spencer, Landon ushered them into the living room; offering them to take a seat on his sofa.

He gave of waves of discomfort. Fidgeting with his hands, biting his lip, and avoiding eye contact. He was guilty of something. But murder? Y/N wasn’t how sure. Something would have had to make him snap.

Y/N allowed Spencer to take the lead in questioning as she discreetly surveyed the room.

“Mr Reeves, on a weekly basis, how many customers do you have come into the workshop?”

Landon shrugged his shoulders.

“It depends. Some weeks are better than others.”

Spencer nodded his head.

“On average, according to the week, how many cars do you repair which the fault concerns the brakes?”

Landon shuffled in his chair as he uncrossed and re-crossed his arms.

“Only about one or two. We mostly get broken taillight or problem with the exhaust.”

Y/N’s eyes caught the pictures on the fireplace as she pretended to write down Landon’s answers. She knew Spencer would remember what he said word for word, so she had no worry but to focus on surveying the area for any information that could help.

Above the mantel piece sat an array of pictures showing Landon with multiple different people. Pulling out her phone, Y/N texted Garcia requesting details on Landon’s family. Not more than two minutes later, she got a reply.

From the information Garcia found, it seemed Landon had a good family. No problems concerning abuse, abandonment, gambling, nothing. But the description of the family didn’t coincide with two pictures. Landon and his family were all brunette. But he had two pictures on the mantle of him and a young blonde woman; who looked eerily like the victims.

“What does me fixing a few brakes and taillights have to do with the FBI?”

Y/N looked up at Landon at the sound of his agitated question.

Spencer went to answer his question, but before he could, Y/N interrupted the young genius.

“How long have you and your girlfriend been together? You’re a very cute couple.”

Landon looked in the direction that Y/N was pointing. His body became tense for a short moment; his hands clenching in fists. Spencer noticed the change in his demeanour.

“She’s not my girlfriend. We’re just best friends.”

Y/N nodded her head.

“What’s her name?”

Landon licked his lips as his nerves spiked.

“Celeste.”

“Well, I think you and Celeste would make a cute couple. You should ask her out?”

Y/N walked to stand slightly closer to Landon to gage his reaction.

Landon continued to tense up as Y/N carried on talking and walking closer.

“Or is she already taken? Because she looks an awful lot like three women who have been murdered in the following months. All whom were customers of yours.”

Spencer went to step forward.

“Y/N-“

“Does she not call you back anymore Landon? Cancels your plans? Or doesn’t even bother to make them herself?”

“Shut up.”

Y/N took another step closer.

“Is it because she doesn’t love you back?”

Before another step could be taken, Landon suddenly pulled a gun out from the cushion of his sofa, pointing it towards Y/N.

Spencer quickly drew his gun, aiming it at Landon. He could tell by the look on Y/N’s face that she knew he had a gun the whole time.

“Landon put the gun down.”

Through his earpiece, her heard Hotch’s voice.

“Reid, we’re on our way. Y/N’s mobile is called through to Garcia. We can hear everything, so stay calm.”

Spencer kept his focus on Landon in front of him.

“Landon put the gun down and we can talk, okay? She didn’t mean what she said.”

“Yes, she did!”

Y/N flinched at the sudden raised voice from the unsub. She knew the risk when she began to ask him questions. But there had been lives lost, and she did not want to walk away from this suspect, and another life be taken. She would risk herself always. Spencer knew this and he hated that she would always risk herself to save everyone else.

Spencer glanced at Y/N as he saw her flinch. Looking back at Landon, he saw the boys hand shaking. Keeping his own arm locked and in position, Spencer tried to defuse the situation.

“I know how it feel. To be love someone for so long and so deeply that it rips you apart to know they don’t feel the same way back.”

Landon looked away from Y/N and towards Spencer; tears of frustration falling down his face.

“But just because they don’t love you back the same way doesn’t mean they don’t care.”

Y/N couldn’t tear her eyes away from Spencer as he spoke.

Landon shook his head, the gun shaking in his grasp, as he repositions it in his sweaty grip.

“She was the best thing about this place. Everyone said we were meant to be together. Everyone! But she left with him. Moved to a whole different fucking state after knowing him for 2 months. We’ve known each other for 14 years. I’ve loved her for 14 years and she left me for someone she’s known for 2 months!”

Reid licked his lips, preparing himself for what he was about to say. He knew this could change things between him and Y/N, but he couldn’t risk the thought of her getting hurt. Or even worse, dying.

“I was 25 when I met her. I’ve been in love with her for over ten years. Watching her with other men, listening to her date stories, being there to help mend her broken heart, and so much more. We’ve been side by side nearly every day. Spending holidays together and birthdays, even when we didn’t need to. I thought for a while she liked me back. But I couldn’t put her through all the issues and problems that I come with.”

Y/N looked at Spencer in disbelief.

“I knew I loved her approximately four months after I had known her. I accepted she didn’t love me back after two years of hoping that she did.”

Spencer to a cautious step towards Landon; watching as the boy’s grip on the gun loosened as he recognised himself in Spencer’s story.

“But I would rather have her in my life every day, in any other way, than to not have her there at all. Because I would miss having someone to watch Doctor Who with when we both can’t sleep. I would miss the lunch trips to the food trucks when work was quiet. I would miss the good morning texts and goodnight messages. I would miss so much that I get in a friendship, that I wouldn’t in strangers of unreciprocated feelings.”

Spencer took another step forward.

“You choose, Landon. But, if you drop your weapon, and let us take you in, Celeste will still see you as her best friend; who she loves dearly.”

Landon looked at Spencer with tears streaming down his cheeks; his lower lip wobbling. Slowly, he lowered his gun, letting Spencer take it from his hands.

Passing the gun behind him, Spencer focused on cuffing Landon as Y/N quietly stepped forward and grabbed the gun.

Just as he clicked the cuffs shut, the rest of the team walked through the door.

Hotch and Luke moved to take Landon from Spencer, as JJ and Tara moved to consult Y/N. Checking her over for any injuries, the women asked if she was okay. Y/N reassured the pair, but she could not waver her stare from Spencer as he watched Landon be escorted out and into the police vehicle.

Sensing the looming conversation, the team all walked outside, leaving Y/N and Spencer in the house alone.

Silence befell upon them.

Y/N walked towards Spencer, placing a hand on his shoulder as she spoke.

“Spencer I”

Spencer swivelled around in her grip.

Before Y/N could say anymore, Spencer pulled Y/N into a tight embrace. Quickly interlocking her arms around his neck, the pair basked in each other’s presence. Spencer was the first to pull apart.

“Never put yourself in a situation like that again. You realised he had a weapon and still antagonised him. What would you have done if he had fired? What do you think I would…”

Before Spencer could finish berating Y/N, she grabbed his face between her hands and pulled his lips against her own. Moving her hands to tangle into his hair, Y/N pushed her body flush against Spencer, gasping as his hands instantly moved to grip her hips. Pulling her impossibly closer, Spencer’s mouth moved against Y/N’s feverishly.

The pair slowly pulled apart as they both filled their lungs back with air. Spencer couldn’t help but blush under Y/N’s gaze.

Y/N giggled at the rising pink in his cheeks. Placing a quick peck on his lips, Y/N looked Spencer in the eyes.

“I love you Spence. I have for a really long time. That’s why those other guys never worked out because I was trying to get over you, and I couldn’t.”

Spencer couldn’t help but lean forward and kiss her again.

Once again pulling apart, Spencer rested his head against her own, and allowed for the smile to take over his face.

“I love you too. But please stop putting your life in danger.”

Y/N leaned back and laughed at Spencer’s words.

Glancing out the window, she could see the team almost ready to leave. Y/N pulled herself from Spencer’s embrace.

“Unfortunately, with the job we have, that’s one promise I can’t make.”

Spencer rolled his eyes with a smirk.

Y/N placed her hand in Spencer’s, interlocking the digits.

“Come on, Dr Reid. We got a case to officially close.”

The pair walked out the house hand in hand, as they walked towards their team. Giving Spencer’s hand a squeeze, she let his hand go and she continued to speak to Hotch and Luke, about the details of what occurred.

Spencer stood by her side, listening to her words and interjected when needed. While it wasn’t the exact outcome they expected the case to end with, it sure could not have ended any better.

A/N- I hope you enjoy. I have a few ideas that I’m going to write. One in particular is going to be a more personal one so stay tuned.

Taglist- @danielleslegacy

#spencer reid #spencer reid imagines #spencer reid imagine #spencer reid x reader #Criminal Minds #criminal minds imagine #criminal minds x reader #Matthew Gray Gubler #matthew gray gubler imagine #matthew gray gubler x reader #matthew gray gubler imagines

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starblaster · 4 years

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Georgia!!

georgia overton (she/her) comes from one of my workshopped novel outlines (the working title is reeve’s island at the moment but it’s prone to change).. which still hasn’t been written out as an actual novel draft yet </3 but i’m working on it. she’s a young cartographer just out of grad school whose story/plot primarily revolves around discovering that her divine destiny is to help put her ancestors’ souls to rest; help them cross over from their existences as ghosts into the afterlife (kind of a ‘you’re a witch’ sort of discovery but giving it a different sort of twist than covens and seances). it’s a duty that she didn’t ask for and it frustrates her but, as she learns about them, she finds that it’s difficult to let go of them as people. she never knew them in her own lifetime because they died before she was even born. they become the only family members she has ever had that Real of a connection to apart from her elder sister. most of the themes pertain to challenging/confronting the idea of living up to family expectations or fulfilling family obligations. maybe challenges/confronts is bad wording. complicates? because it is definitely not a narrative that insists on this logic. it negates it but proposes that it’s really special to have a connection to one’s roots, even if that connection is fleeting/temporary.

she’s a huge nerd with unconventional tastes. i’d say her character growth arc is very much about how to accept impermanence and the loneliness that comes with in-between periods in life (such as settling into a new place and not having many or any friends to speak of; feeling extraordinarily distant from people despite living in a large and very populated city). she’s aro and bi. a pisces. tea connoisseur. has an interest in stationery, bigtime; paper, wax seals, calligraphy. and she is a literal map maker. plot-wise, part of her duties entail making maps in a dreamlike state that her ghost-family can use to leave their sort of. limbo-existence as ghosts and make a trek into the afterlife. this wasn’t the Only way she could’ve helped them, of course, but this is the best way she knows how.

ask me about my ocs (list)

#georgia tag #suit.txt #long post #meowisee #ocs tag

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allez-argeiphontes · 4 years

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Comfort Films Meme

Tagged by @ladyannelister

List 7 comfort films and then tag some followers

1. Pride (2014) dir. Matthew Warchus. This film just makes me happy, ok. True uplifting story, labour movement solidarity, heartwarming Welsh stuff, queer friendship, awesome cast, best real life bookshop and anti-Thatcherism. All the things you need.

2. The Lord of The Rings Trilogy (2001-2003) dir. Peter Jackson. Yes, I know it’s cheating but come on :) Any of these (esp. the extendeds because yassss) are my ultimate sick day film. Bonus points if you watch all the DVD special features and get very excited about the plastic chainmail workshop.

3. Bill and Ted’s Excellent Adventure (1989) dir. Stephen Herek. Always makes things better. Ultimate uplifting message, George Carlin, Keanu Reeves at his most puppyish, Alex Winter in crop tops, heavy metal nonsense, dumb puns and confusing your teacher by quoting Socrates out of context when you’re 8.

4. Clueless (1995) dir. Amy Heckerling. Perfect over the top but actually very cutting nineties retelling of Emma. Just everything about this film is bright and good and actually makes things better. Also I win at life because I once used the insult “you’re a virgin who can’t drive” effectively and in context.

5. Thor: Ragnarok (2017) dir. Taika Waititi. The best Marvel movie. It has it all: the best version of Thor and Bruce, Valkyrie and Hela, Waititi’s perfect balance of surreality and comedy of deflation, the awesome design and colours, using Immigrant Song as much as humanly possible. It’s just a good time.

6. Star Wars: Episode V The Empire Strikes Back (1980) dir. Irvin Kershner. Favourite Star Wars movie and just yeah, it’s always there when you need it.

7. The ‘Burbs (1989) dir. Joe Dante. One of those late eighties “family films” that gets lost in the wash but somehow stuck for me. Tom Hanks annoys his beautiful wife Carrie Fisher and Corey Feldman is also there. There’s nothing specific that makes this film special but it’s just dumb and fun in a very familiar way.

I tag @sidewaystime @grimdarkfandango @silver-89 and whoever wants to play :)

#favourites #pride movie #clueless #the empire strikes back #the ‘burbs #thor ragnarok #bill and ted #lotr

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aion-rsa · 4 years

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Star Trek: Lower Decks Episode 9 Easter Eggs & References

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This Star Trek: Lower Decks article contains spoilers for Episode 9. You can read our review here.

If you started watching new Star Trek in the past ten years, that means your introduction to the franchise might have been the J.J. Abrams reboot films. From 2005 to 2017, there wasn’t any new Trek on TV, making the movies the only representatives of new stories set in the Final Frontier. This was also true for a big chunk of the 80s, before The Next Generation debuted in 1987. Arguably, without the success of the Trek films — either in the ‘80s or in the ‘00s — subsequent renaissances of Trek on TV wouldn’t have been possible. The latest episode Star Trek: Lower Decks is fully aware of this fact, and in episode 9 of season 1 — “Crisis Point” — the show tips its hat to the larger-than-life cinematic voyages of Starfleet.

Along the way, there are references to all 13 Star Trek feature films, at least two versions of Star Trek that were never made, and one iconic shout-out to Aliens. Here’s all the Easter eggs and references we caught in Lower Decks episode 9, “Crisis Point.”

They’re eating those guys!

The lizard aliens Mariner is trying to liberate seem to be oppressed by an alien that looks suspiciously like an Antican. In the TNG episode “Lonely Among Us,” the Anticans were self-described carnivores who kind of looked like dogs. In that episode, the Anticans were rivals with a reptilian-like species called the Selay. These lizard people don’t look like the Selay, but the reference seems clear.

This is the ‘80s!

Mariner complains about how she doesn’t need therapy because “this is the eighties!” She’s right! Lower Decks takes place in 2380 and depending on how much time has passed in Season 1, we might be in 2381. This also seems like a reference to the fact that even though we think of TNG as a ‘90s show, it debuted in 1987.

Mariner’s therapist is Paul F. Tompkins

The bird-like therapist (maybe an Aurelian?) is played by Paul F. Tompkins. In our universe, Tompkins is the co-host of the current official Star Trek Podcast; The Pod Directive, along with Tawny Newsome, the voice of Becket Mariner.

Da Vinci on the Holodeck

When Mariner enters the holodeck, Tendi, Boimler, and Rutherford are all shooting skeet with Leonardo da Vinci. This references da Vinci’s appearances as a holodeck character on Star Trek: Voyager, as played by Jonathan Rhys-Davies. However, this is also, possibly a reference to an unused script idea for a TNG feature film that was never made. Because this entire episode is about movie-versions of Trek, it seems possible that this is a slight nod to a script called Star Trek: Renaissance, which was developed shortly before First Contact became the second TNG film. In that unfilmed script, Data would have traveled back in time and become da Vinci’s apprentice. Really!

Boimler’s simulated crew

Boimler creating an entire holographic version of the Cerritos crew has several precedents, but the most on-the-nose episode being reference is probably the Voyager episode “Worst Case Scenario.” In that one, Tuvok created a holonovel that simulated a situation in which the Maquis tried to retake the USS Voyager. The simulation even meant that Tom Paris encountered his holographic self at one point, which is exactly what happens with Mariner later in the episode.

Opening credits

The opening credits to Mariner’s “movie,” are mostly reminiscent of the opening credits to Star Trek II: The Wrath of Khan, although the warping streaks behind the letters recall a brief title style used by The Next Generation during the season 5. The way the letters are flying past the Lower Deckers might reference the opening credits to the original Christopher Reeve-starring Superman film from 1978.

“You were kind of a Xon, to be honest”

Mariner says that in her movie, Boimler would be “kind of a Xon,” and that he might not make the final cut. This references David Gautreaux’s Vulcan character Xon, from the unmade ‘70s series Star Trek Phase II. Xon was intended as a kind of replacement for Spock because, at that time, it was unclear if Leonard Nimoy would return for the role. David Gautreaux does appear in Star Trek: The Motion Picture as a human named Commander Branch.

Artistic license

When the Cerritos is sent to track down a mysterious imposter starship, Boimler says “If this was actually happening, they’d send the Enterprise, but you know, artistic license.” This references the Enterprise itself, obviously, but also the idea that in several Trek movies, the Enterprise is bizarrely the only ship available to respond to a distress call or strange situation. In The Wrath of Khan, the Enterprise is sent on a dangerous mission involving a top-secret project. In Generations, the Enterprise-B is the “only ship in range” to assist refugee ships caught in an energy ribbon. In both cases, it feels odd that the Enterprise is the only ship that can help out, but you know, artistic license.

The long approach via shuttlecraft

Think it took a long time for the shuttlecraft to land on the Cerritos? This is an extended joke that references the loooong wordless scene in The Motion Picture in which Kirk and Scotty lovingly stare at the newly refitted Enterprise until, eventually, docking and getting on the ship. In TMP, the reason why Kirk and Scotty make the long approach via shuttlecraft (rather than just beaming over) is that the transporters aren’t actually working. But, in subsequent Treks, from TNG’s “All Good Things…” to “Caretaker” in Voyager, people tend to take shuttles to get onto big starships, even if it makes zero sense. Perhaps the only scene like this that makes actual sense (other than TMP) was in the first episode of Enterprise. In 2151, the transporters weren’t reliable!

Lens flare

The bridge of the Cerritos is bathed in lens flare, referencing the extensive use of this camera technique in the J.J Abrams-directed, 2009 Star Trek reboot film.

Warp Me!

Captain Freeman saying “Warp Me!” references her workshopping a catchphrase in the earlier Lower Decks episode, “Envoys.” In that episode, she wondered if “It’s Warp Time!” was a good thing to say before ordering the ship into warp.

The “movie” warp speed effect

When the Cerritos jumps into warp, the effect is way more bombastic than on the show. This references the warping effect in Star Trek Into Darkness, but also the rainbow warp speed effect from Star Trek: The Motion Picture.

“Our revels now are ended”

As Vindicta, Mariner says “Hell is empty and the devils are here” and also, “Our revels now are ended.” Ransom asks, “Is she quoting The Tempest?” The answer is yes, which not only references The Tempest by William Shakespeare but also the fact that General Chang (Christopher Plummer) said “Our revels now are ended, Kirk!” as he was attacking the Enterprise in Star Trek VI: The Undiscovered Country. More recently, Picard quoted The Tempest during Data’s “death” in the season finale of Star Trek: Picard, “Et in Arcadia Ego, Part 2.”

Mariner’s energy weapon

The super-destructive phaser used by Vindicta/Mariner has a similar vaporizing effect as lasers used in the TNG “As Loud as a Whisper.”

The pah-wraiths and Jax’s giant phaser

In the Cerritos bar, Jax says “When you get to hell, tell the pah-wraiths that Jax sent you; special delivery from Bajor!” The pah-wraiths are the “evil” versions of the Bajorian prophets, which first appeared in the DS9 episode “The Assignment.” Jax’s giant phaser seems to be a reference to a huge weapon Guinan busted-out in the bar in the TNG episode “Night Terrors.” The design of this phaser rifle also seems a lot like one of the giant weapons used by Khan (Benedict Cumberbatch) in Star Trek Into Darkness.

The Pirates Orions

Tendi pushes back against the stereotype that all Orions are pirates and slavers. The Orions were first established in TOS episodes “The Cage,” and “Whom Gods Destroy,” and later in the TAS episode “The Pirates of Orion.” It wasn’t until the Enterprise episode “Bound” when it was revealed that certain Orion “slaves” were actually manipulating their “masters” to create an illusion of who has the real power. Tendi isn’t the first Orion we’ve seen serving in Starfleet — Uhura’s roommate Galia (Rachel Nichols) Star Trek 2009 was Orion — but it’s never been fully explained the relationship between the Orions and the Federation. In TOS, TAS and in the Short Treks episode “The Escape Artist,” we get the general idea that every aspect of Orion society is connected to crime and pirating. Tendi points out this isn’t true, and that some Orions haven’t been pirates for “over five years!” So, it sounds like some kind of Orion reform happened in 2375!

The destruction of the Cerritos

When the Cerritos burns up in the atmosphere of the planet, the effect is similar to the way the Enterprise burned up in the atmosphere of the Genesis planet in Star Trek III: The Search For Spock. But, when the saucer crashes on the planet’s surface, that references the saucer crash of the Enterprise-D in Star Trek: Generations. The Enterprise’s saucer also crashes on the surface of a planet in Star Trek Beyond.

Weird movie beaming

Rutherford says he uses a “a rapid repeating transport sequence” to beam the entire crew to safety. Billups is utterly confused as to how this is possible, and Rutherford says “No, it’s a movie you can beam whatever- you can do all sorts of beaming stuff in a movie!” This references several times that beaming tech in Trek film has been downright miraculous, as opposed to the slightly more reasonable beaming in TV series. In Star Trek: Generation, Scotty is able to beam 47 people off of one ship with a touch of a button. In Star Trek (2009) Spock helps Kirk and Scotty beam from a planet and onto a moving ship traveling at warp. In Star Trek Beyond, Scotty converts a cargo transporter so it can beam up dozens of people at the same time. In The Voyage Home the crew beam up some humpback whales. You get it.

Get off my mom, you bitch!

Holographic Mariner’s battlecry against Vindicta is not a Trek reference! This line is a reference to the climax of Alien in which Ripley said “Get away from her, you bitch!”

Toby Targ on Halloween

Mariner apparently dressed as “Toby the Targ” when she was a kid for Halloween. A targ is a type of Klingon pet that kind of looks like a dog crossed with a pig. The educational children’s character “Toby the Targ,” comes from Voyager. B’Elanna Torres owned a plush Toby the Targ, and the Doctor was familiar with the publisher of the “Toby the Targ ” stories, Broht & Forrester.

Rickety catwalk

Throughout the episode Mariner is obsessed with having a fight on a “rickety catwalk.” This probably references the ending of Star Trek: Generations, in which Kirk and Picard fight Dr. Soren on a series of rickety catwalks. But, Riker and his duplicate, Thomas Riker, also have a big confrontation on a rickety catwalk in the TNG episode “Second Chances.”

Do you like turtle necks or just standard uniforms?

Boimler absent-mindedly asks Captain Freeman if she likes “turtlenecks or just standard uniforms.” This seems to indicate that the DS9-style turtleneck uniforms might still be in service in some parts of Starfleet in 2380. Either that, or Boimler is wishing those uniforms could make a comeback.

Mariner is buried in rocks

Captain Freeman buries the body of the holographic Mariner in a strange grave made of rocks. This references the ending of Star Trek; Generations, where Picard buries Kirk in the exact same way. Why did Picard not wait to have Kirk’s body taken back to a starship? Why would Freeman have her daughter buried on a random planet? It’s a movie! Don’t ask questions!

Vindicta’s return

Before being shot by da Vinci, Vindicta rises out of a photon torpedo tube. This references the ending of The Wrath of Khan, which shows that Spock’s casket landed on the Genesis Planet. During the filming of the The Wrath, this scene was actually filmed at the last minute, and was overseen by Robert Sallin because director Nicholas Meyer was opposed to hinting that Spock was still alive. In other words, the photon torpedo casket was a small retcon inside of The Wrath of Khan, which is why it’s fitting to have it as the coda in this episode. Just when you think it’s over — somebody’s gonna rise from the dead.

Da Vinci shooting Vindicta with a shotgun could be reference to the very first episode of Enterprise — “Broken Bow” — when a farmer shoots a Klingon with a shotgun in the first scene.

Signatures at the end

At the very end, all four of the Lower Deckers sign their names in spacey blue ink across a starfield. This references the ending of Star Trek VI: The Undiscovered Country in which all seven cast members of the original series sign their names over the ending credits. This concept is interestingly used for the ending of Avengers: Endgame, probably because Marvel president Kevin Feige is a self-professed Star Trek fan. So, is this a reference to the TOS crew and the Avengers? It’s an episode of Lower Decks, so it seems like you can totally have it both ways.

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Star Trek: Lower Decks will air its Season 1 finale next Thursday on October 8.

The post Star Trek: Lower Decks Episode 9 Easter Eggs & References appeared first on Den of Geek.

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unbiddenrhythm · 4 years

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All right!

First chapter of Reeve/Rita (Reevita?) multi chap fic is drafted. Still (about) 10 chapters to go but...hey. Progress. At least the whole story is outlined. If I can draft a chapter a week, maybe it will be out in reasonable time? (haha lol like I can draft a chp/week)

Outlined a different fic, but need to workshop that still. I am really envious of people who, like...successfully have multiple WIPs. How?

...and that’s not even touching the RP drafts I now am writing...

#lol why do I do this to myself

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hamesjobart · 5 years

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(I just got back from the theatre and need to get out all of my thoughts or else I won’t be able to sleep el oh el)

goldfinch hot takes + questions

1. right off the bat: super weird pacing. the slowness worked in some parts and gave them more emphasis but it’s easy to lose interest when almost the entire movie functions that way.

2. it was,,,,interesting how it skipped around too say the least but the movie became completely incomprehensible havxjdjsjsb literally made zero sense. plus it made irrelevant scenes get way more attention than the more important ones

3. why did they whisper literally all the time. what the fuck please speak up I cannot hear you. also the nearly constant silence made it so awkward at times, not sure if that was intentional or not

4. where were the doormen? >:^( I feel like we missed out on some more characterization of theo based on his relationship with them

5. why did they put such an emphasis on theo’s relationship with mrs. barbour?

6. hobie was neither kind nor gentle. what was up with that. like he was a cool guy but did not seem friendly or parental :/

7. we were robbed of workshop scenes where it’s just beautiful shots of antiques in slanted, warm, afternoon sun

8. LAS VEGAS BABY!!!!!! tbh almost could be the saving grace of the whole movie, things started to finally pick up pace and sarah paulson was a fantastic xandra and the entirely unique atmosphere of that section really captured how harrowing it was

9. FINN WOLFHARD. ohhhh my god BORIS BORIS BORIS i cannot get over him. literally I just want to edit a compilation of every scene he’s in and that’ll be the whole movie. love that spastic little russian boy. he was so raw and emotional and beautiful and FUNNY!!!!! by FAR he was my favorite part of the movie. so fun to watch him play this character and so heart wrenching to see how the really tender scenes between theo and boris in the book played out on screen. i could make a whole separate list just on their dynamic. love <3

10. where was the part where theo ran into mr. barbour???

11. older pippa was beautiful and matched the book perfectly but that doesn’t mean her scenes with theo weren’t all incredibly awkward (which i guess makes sense as he’s more obsessed with her being tied to his mom than as a romantic interest, so it works, but still)

12. kitsey actually did great, she was exactly as unlikeable and distant yet icily pretty as in the book

13. nicole kidman...you look like miss hillary clinton but I love you for it babe

14. a lot of repetition? some reoccurring flashbacks felt a little unnecessary and redundant

15. I wish lucius reeve’s character had been elaborated on a bit more, he seemed tossed in a little haphazardly and it would’ve been nice to have more context

16. ansel was beautiful as theo in my opinion. I think he threw in just the correct amount to make theo a bit of an asshole but in the right way and handled the repression and emotion that comes with the character well

17. aneurin barnard’s funky teeth

18. really liked the sort of constantly jittery, high, adrenaline-based dynamic between the older theo and boris and how much they always have and still cared for each other. aneurin’s emotion was lovely and you can tell that boris still loves theo (+ vice versa)

19. the whole amsterdam debacle felt really rushed, and it seemed like a lot of important bits of the buildup and story were lost when it was rushed like that

20. but like.....how was boris able to heal his bullet wound?? he got shot in the shoulder and was fine the next scene I want to know what happened

21. the ending seemed a little lazy, just theo coming home safe and sound, no repercussions with kitsey or hobie, no sign of boris anywhere, and then another flashback to the museum. I wanted it to be a little more conclusive

22. overall I was just so excited to finally see it that I don’t care all that much that it wasn’t the best. I really really loved certain parts of it and certain parts not so much, but i’m not mad at all about the final product.

#it’s 2 am and this is so long #also it probably makes zero sense but i need to get my thiughts out #my opinions here will probably change later too tbh but yeah!! i had a good time watching it #the goldfinch #the goldfinch spoilers #the goldfinch 2019

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coffeeandcalligraphy · 1 year

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every time I'm like harrison novella??? lonan novella??? I also go REEVE NOVELLA??? & then I remember I actually have an entire novel dedicated to that

#the way houses with teeth EVADES me #written 3.5 books since I was supposed to write that one LOL <3 it's been four years <3 <3 #I DID workshop the reeve story that's basically the short story version of HWT #& it was successful!!!!#third person present tense with NO character names???#i *managed*#if u want to read that lmk! but anyway that story is the short story version #of 'New Game' which is a seventh virtue chapter #& I actually didn't think I could write it and gave up on it because it was too hard lol #but it did turn out! anyway I'm thinking about HER now <3 #she's allowed to kill anyone she wants to I support her <3 #that post I just rb'd just got me thinking LOL

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droughtofapathy · 6 years

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Hadestown Song-By-Song:

Notes: Hadestown is still in previews so things are still changing even now. We won’t have a definitive show until opening night. Even from the first preview to the second there were still changes. But yeah, this show now owns every single dollar I have. Other Broadway shows? What’s that?

Now buckle in, because this is long and I’m just going to give it to you.

Road To Hell I:

· We open on this gorgeous set that’s something akin to an old French balcony café (it’s the green door and iron staircase that really does it) and 1920s speakeasy. The band is onstage and nearly every one of them are the same people from the NYTW days. They have fantastic costumes too. No basic black here.

· The cast casually enters the stage and the applause was deafening both nights. There are five ensemble members and they are all so fucking ripped. Both women in the chorus can probably kill me and that’s totally okay.

· Also, on the first preview night the opening applause lasted 40 fucking seconds. Yes, I timed it. It was amazing, Amber was tearing up, I was almost crying. What a great start. Then, after a long silence, the applause started up again for another fifteen seconds or so.

· Such great opening trombone.

· So there’s been a bunch of significant lyric changes to this song. Hermes now gives the characters, including the “hardest working chorus in the goddamn world”, an official introduction. And there was uproarious applause for every single person.

· When Hermes calls the Fates old women they all simultaneously turn and give him the most attitude-laced look I’ve ever seen. Yes.

· Side note: the Tony Awards needs to create a category for best ensemble because these people are fantastic.

· Persephone has a wicker fan and bag and yeah I’m liking this costume more and more.

· They changed Orpheus’s characterization. He’s much less suave and cool now, and definitely reads on the spectrum. It fits Reeve better, I think. Now Orpheus is a gentle, good-natured bumbling sweetheart who is said to be “a little touched.”

· Eurydice is a firecracker. A jaded bitter little ball of attitude. Eva Noblezada is perfect.

Any Way the Wind Blows:

· I love the original lyrics to this song because it felt like a fantastic prologue. But now it’s more story-centered, and I love it. Eurydice and the Fates (and the Fates have the most beautiful harmonies I’ve heard in a long time).

· The Fates truly are the ones singing in the back of our minds. I love them. They could snap my life thread whenever they want.

· This song establishes more of why Eurydice is so bitter and used to being alone. She’s been fucked over by the weather and by people so much that she’s just fed up.

· Also, the Fates used to be three voice parts (I assume. I’m not an expert at all in this): soprano, mezzo, and alto. But now all three are much lower. I’d have to guess it’s a low mezzo, alto, and contralto because Jewelle Blackman’s voice transcends humanity. It is beautiful and impossible. Like, I know I advocate for Grace McLean as Hades one day, but like…Jewelle Blackman as Hades would be everything I’ve ever wanted.

· Orpheus takes a piece of paper and makes it into a flower, and in the first preview there’s a long moment of silence, but in the second preview Hermes narrates over it so it’s not a big long awkward silence.

· Also all the Fates are women of color in this production and I am in love.

Come Home With Me:

· So Hermes warns Orpheus not to come on to strong, and what is the first thing this idiot boy asks? Come home with me. And it’s fucking hilarious. Especially since he immediately follows up with how he’s going to marry her. Like, boy, calm down.

· Eurydice is decidedly unimpressed and borderline belligerent because she’s had enough of liars and players.

· When Orpheus says how his song will make spring come again, the chorus says the same thing and has a fantastic harmony.

· The plot now has Spring or Fall as something no one’s seen in a long time. It just goes from Winter to Summer because Hades keeps Persephone in the Underworld longer and longer.

· When Eurydice asks “what else you got?” it’s not passive. She’s mocking and aggressive and I love it.

Wedding Song:

· That mocking tone continues in her first verse in this song. She’s like, ‘you think you can change shit? Fucking prove it, bitch.’

· And Orpheus is an awkward noodle who sounds so earnest. In the NYTW version (especially since these songs were cut on the recording, but bless bootlegs) I don’t think we see much of how Orpheus gets Eurydice to fall in love with him. Here her journey is so much more clear. She starts out so skeptical, and goads him into singing his song to impress her.

· The La La La etc. part is now a huge motif. Orpheus sings this angelic medley and literally conjures up a red flower, and that’s how Eurydice starts to fall. She’s just in such awe that a voice could bring something to live.

· Now they’re singing together and it’s really quite cute. Eurydice is totally on board with this romance now.

Epic I:

· The La La La is a melody from long ago. And it comes back in a big way. Spoiler: it’s the song Hades sang to Persephone in the garden.

· Big lyric changes here. The Epics all have gone through major revisions and I’m not sure how to feel. Like this Epic is fine because it’s still in the works, but later…well, I’ll get to it.

Livin’ It Up On Top:

· We’ve now got an anticipation first verse about how everyone’s waiting on Persephone and Spring.

· And Amber just prances down the staircase in a huge fur coat. What a voice. So know how NYTW Persephone is very distinguished? Now she’s a disaster goddess who literally sings about how she’s just “doin’ the best she can.” Which is great.

· Mentions of Demeter. Yes.

· She’s got two bottles of wine and a circular flask and is perpetually adorably tipsy while up on top.

· Great dance break by the ensemble here. Brian Drye on the trombone comes to the center of the stage to play, and it’s a fantastic moment.

· Orpheus’s toast is awkward and earnest. Which is his entire personality to be honest. But when he says “to the world we dream about and the one we live in now” it’s said without any music accompaniment and it’s such a sobering moment the audience murmurs. Also because the entire cast turns to the audience during that point.

All I’ve Ever Known:

· Also Persephone, when she’s not singing, spends her time onstage almost constantly just draping herself on a step and watching the action. It’s a lot like what Hélène does in Great Comet, and Amber is so good at looking casually regal.

· Eurydice has her love epiphany. They both sing, and it’s such a good song. Eva’s delivery is delightfully vulnerable.

· We see the start of Orpheus’s insecurity about how Eurydice could ever love him, leading later to his paranoia as he exits the Underworld. It establishes more of his doubts because Hades preys on his very insecurities. And it’s some good characterization shit right there.

· There’s a very suggestive sensual sex thing going on. And Eurydice is a TOP. We all knew it, but now we’re validated.

· The wind’s never going to change? Think again bitch.

Way Down Hadestown:

· The whistle sounds and the train comes and you can see the pure dread and horror on Persephone’s face.

· And the Fates, these bitches, gleefully tell Persephone to pack and even help her get her suitcase. Persephone is not amused. What icons.

· Okay, so Amber has this amazing choreography here. She’s bent completely in two, and it’s like she has no limbs with the way she fluidly moves. Her spine must be otherworldly. Amber Gray for the Tony.

· Hermes now has a beaded umbrella and does some fantastic dancing with it. It’s huge. The exact extraness we need.

· Persephone now sings the “chromium throne” and all those lyrics with such vehement disgust.

· And here comes Hades. He has fucking those sunglasses. And his “I missed you” line is heavily laced with all of that.

· When Eurydice sings about how she wonders how it feels to have everything, Hades stares right at her over his sunglasses.

· When the floor drops down and Hades and Persephone descend into the underworld it is a beautiful and terrifying moment. For the first preview I sat in the mezzanine so I could look down into that pit and it’s great. Persephone looks near tears.

A Gathering Storm:

· What a great little addition. It establishes how Hades keeps coming sooner and sooner for Persephone and how winter comes faster and fiercer with each passing year.

· Now Eurydice snaps out of the honeymoon phase, and gets to work. You can see how she becomes more and more impatient with Orpheus as he works on a sing while they starve and freeze to death and doesn’t hear her when she calls at all. Eurydice deserves better, damnit.

· The Fates are so ominous here.

Epic II

· More Orpheus song workshop.

· Okay, so. I think Reeve has come a long way since the bootlegs I’ve listened to. The change in characterization really does him a lot of favors. We see more of his struggle to find the right melody.

· The Ensemble enters in their workers uniforms and it’s fantastic costuming. They’re all dressed the same regardless of gender. They have their leather overalls and tool belt, everyone’s head is wrapped, and everyone’s chest is bound. There is no gender down here. Everyone is the same and everyone is dead.

Chant:

· The music turns so fucking ominous. Hades and Persephone are on the middle turntable that elevates while the ensemble chants and surrounds them. And she just stares at these dead souls with a mix of morbid horror and fascination.

· She’s not fucking impressed with Hades and his desire.

· Meanwhile, Orpheus is struggling to find his La La La melody.

· The ensemble moves with perfect synchronization. And the lighting goes all orange and spooky.

· We see more of Eurydice’s futile efforts to keep herself and Orpheus from starving. And clearly Orpheus doesn’t understand the dangers they’re in. He keeps singing, and Hermes even tries to get him to come back to reality because there’s a storm coming and Eurydice is alone, but he’s just stuck in his song.

· The storm catches Eurydice. The Fates are the wind, and they gleefully tear her bag and coat from her and leave her with nothing. She calls to Orpheus with such terror but does he hear? Nope.

· Persephone’s verse now has a nod to the turmoil above and how the earth is in chaos as the oceans rise and temperatures heat up.

· She descends into the underworld alone, and it’s terrifyingly good how Amber can look that angry and scared and resigned all at once.

· Also, when Hades sings his final “think if it as my embrace of you” Persephone is now gone, so he’s staring right at Eurydice. And it’s a moment of blocking genius.

Hey, Little Songbird:

· This song highlights the wonders of Patrick Page’s voice perfectly. It’s basically the same song as NYTW because it was already perfection so why mess with it?

· And after seeing the terrifying storm Eurydice has just been caught with, it’s so understandable why she’d see this promise of a better life enticing. Orpheus is off doing whatever he does. He hasn’t come to help, he hasn’t heard her scream. But Hades has. We see the conflict in Eurydice. She doesn’t want to leave the man she loves, but the vipers and vultures (the Fates! Looking deliciously diabolical) will kill her. And he has a ticket with her name on it.

When The Chips Are Down:

· If ever it was possible to experience an auditory orgasm, it would be with these harmonies. Goddamnit this is a good song.

· This would be a dream role if I had any talent, which I don’t.

· And yeah, Hades was seductive and convincing, but the Fates are the ones who really get Eurydice to make her choice. Which, if these women wanted me to do anything and tried to convince me by singing like this? Yeah, I’d do it without question because I’m a weak lesbian and they’re so fucking good.

Gone, I’m Gone:

· Eva sings deep at one point and it’s so good. And down into the underworld she goes.

· Then the Fates come in and sing right to the audience basically saying ‘you can blame her all you want, but what happens if you’re in her shoes? Yeah, you’d do that too.’

· The line about having principles when you have a bellyful is so damn poignant.

Wait For It:

· Orpheus, this idiot, didn’t even know Eurydice was gone. So when Hermes breaks the news to him he’s devastated.

· And okay. This whole scene is the most visually magnificent thing I’ve seen, possibly in my entire life. There has never been a moment when I’ve been so awestruck by a set change and lighting that my jaw has dropped.

· So, Orpheus starts his long walk down. And the workers have headlights and are armed with those lights that hang from warehouse ceilings. And let me fucking tell you this whole thing is a theatrical masterpiece.

· The Fates stand at the gates and ask who Orpheus thinks he is to do this. But he sings and (yeah, Reeve was fine here) but it’s supposed to be such a beautiful song that the ceiling lifts and the walls literally crack open to reveal the Underworld. And holy shit it’s gorgeous. This is the best set change I’ve ever seen.

· The “ceiling” lifts to reveal the copper pipes and the ominous orange lighting and there’s smoke curling everywhere and holy shit it’s not something that can be described or captured in photo. You need to see this because Bradley King and Rachel Hauck deserve their Tonys right fucking now.

· The ensemble has their lights and they attach them to cables that come down from the ceiling. They take the lights and in perfect synchronism they swing them like pendulums and they move perfectly like physics was made exactly for this moment. And the harmonies as they do this. Yes.

· This scene is so visually gorgeous that there was a fucking forty-second round of applause that shattered the house. Oh my god. Just wow.

Why We Build The Wall:

· Hades is center stage. When the company sings about why they build the wall, it’s sang with such vehement belief in it that it’s terrifying because they’ve _all _been brainwashed by this man to believe it. Even Persephone sings the response with a hopeless sort of defeat. She doesn’t believe a word of this shit but what can she do?

· What a politically appropriate song. And yes, Anais Mitchell wrote this

· Eurydice enters. And suddenly there’s this world that promises her freedom and security. As they sing the final line, everyone has their finger up in some sort of salute that really just turns your stomach, and Eurydice sees it and joins in. Only Persephone, though she sings the words, does not make the sign. Everyone looks so proud and gleeful in their freedom but she’s horrified.

· Then Hades ascends the staircase to his office and Eurydice follows. And Persephone knows what is going to happen but she’s helpless to do anything. And goddamnit the music is ominous.

· We’re left on such a heavy note, but then Persephone turns to us and asks us the real question: anybody wanna drink? And yeah. We fucking need a drink after that.

· Also I should mention, Persephone is now in her black costume which is identical to her other green dress in every detail save for the color. Her hair is now tucked up into a snood, and the flowers are now black.

Act II:

Our Lady of the Underground:

· Intermission just sort of fades out. The band reenters the stage and starts playing as the audience scrambles back into their seats. And it’s such a great song to open up an act.

· Persephone mocks her husband “step into my office” and she’s like two sips from drunk off her ass.

· It’s just her, the band, and Hermes on stage. This is just a song about getting blind drunk to forget the horrors of the world. She’s got her little flask and is chucking that shit all damn day.

· Side note: when she sings about having the wind right here in a jar she grabs her boob and jiggles it and it’s everything the gays want. Then she while she’s dancing up a storm she decides the best way to hold onto her flask is to tuck it in her bra and she gives the audience this playful coy look when she does it.

· The moment she sings about seeing the sky it’s so sobering and she’s on the edge of being devastated again, but then comes the crack in the wall and the alcohol and it’s all okay again.

· And yes, they kept the band introduction and I’m living for it. Everyone is the same from the NYTW days except we lost Jenny Shineman and gained Dana Lyn. But I’m so glad an orchestra is getting their fucking recognition. Deafening applause for everyone of them each night. It’s them who sings the “our lady of the underground” parts.

· They’ve changed “one at a time boys…” to “tell my husband to take his time” and it’s sung in a way where Persephone is trying to make light of her husband’s infidelity by pretending she’s okay with having this time to fuck around, but like she’s still afraid for the poor soul he’s with.

Way Down Hadestown II:

· Eurydice enters now dressed like every other worker. And the Fates order her onto the line. Gone is the enticing promise, and now they give a fuck about any illusion.

· Side note: in the program this and every other song that was once II is now (reprise) and I do not care for that shit at all.

· She joins the line and starts doing the workers’ movements. But now there’s a thing about how none of the workers will look her in the eye, and she’s a little terrified because they’re all just mindlessly working themselves to death.

· The Fates gladly inform her how she’s fucked herself over. The lyrics are now: “but why won’t they look at me? It’s like their eyes don’t see.” instead of “there must be some mistake…” and the Fates answer: “they don’t//it’s easier that way//and your eyes will look like that someday.” It’s a scary moment. That Eurydice, so full of vinegar and life, will become a dried husk.

· She tries to leave, but we visually see how the life begins to drain from her. We see her begin to die.

Flowers:

· This song is heartbreaking. Eva sings it so wonderfully.

· When she sings how she opens her mouth and nothing comes out it’s sung with such despair and terror. And the regret when she sings about how she turned away into the shade.

· She lies down and who should pop up? Orpheus.

Come Home with Me II:

· In the second preview he enters from the audience aisle. He’s all battered from his long long walk.

· So, lyrics: Eurydice says “I called your name” Orpheus: “I know” Eurydice: “you heard?” Orpheus: “no…” And what a good addition.

· This is where the tightening of the show really happens. Orpheus says how he’s going to sing them home again, but there’s no back and forth callback to Come Home With Me I. Instead, Eurydice tells him in a anguished voice that no, he can’t. And he doesn’t get it. And then Hades enters.

Papers:

· What a guy.

· Persephone tries to step in but Hades isn’t having it.

· In a moment of confidence, Orpheus tries to argue, and Eurydice can’t bring herself to tell him what she’s done. How she’s signed her name.

· And it’s a whole thing. Where he asks if it’s true, but oops. It’s fucking true. And this is where Eurydice says “I did…I do.” Which takes out the double marriage acceptance//signed life away meaning, but still. Okay.

· Fight scene is so well-choreographed. Reeve is just tossed around like a hackey sack and the ensemble beats his ass. In the first preview he has a visibly bloody lip that stays for most of the show, but in the second preview it’s toned down and I think it was the right move because it looked pretty ridiculous throughout the whole emotional bits.

Nothing Changes:

· The fighting freezes and the Fates come in to offer their message of ‘give the fuck up cause you ain’t shit’ and wow they just roast this boy. What an ultimate defeatist song.

If It’s True:

· Orpheus starts out echoing the Fates and their defeatism, but then…

· Just before he turns to go…the walls have ears. It’s the workers who hear his song in this production. And suddenly their perfect synchronization is broken as they start to wake up and it’s beautiful. It’s their spark of something that gets Orpheus to stop in his tracks.

· “Brother who are they to say?...Cause the ones who tell the lies…” His entire mood and tune changes. This is a rebellion in the making. Suddenly he turns and asks Hades how the fuck he is to tell the many what is true. It could have been more powerful, I think. And it was better in the second preview.

How Long?:

· So things were changed in this song. Persephone is now much more angry and accusatory. They took out the lines about ‘looking at other girls now and then’ and instead it’s Persephone getting fucking pissed off and saying how Orpheus and Eurydice have the love they once did.

· And Hades at one point tells her to basically calm down and have a drink, which is not the fucking right thing to say my man. She responds by saying she’s “had enough” which is an incredible character development moment because thus far we’ve seen her fucking wasted, but she’s also saying how she’s had enough of everything that’s been going on.

· So when Amber sings “Hades my light” she does the exact same movement she does in Great Comet’s Charming when she sings “oh, how she blushes…” You know, that thing where she bends her knees and extends her arms in presentation. And that is some good shit.

· The song is now less about an old couple trying to reminisce and shit and now about Persephone being fucking done. There’s some good back and forth here. They’re standing opposite on the stage, with the pit between them and a bit of smoke and it’s great blocking.

· The question is how long they can stay married like this. And the answer is: not very.”

Chant II:

· So the platform rises back up and the ensemble workers are surrounding Orpheus asking is it true? They’re no longer mechanically working. There’s a spark of life again, and Hades is not having this.

· So when Patrick Page says “It’s the boy!” he does a great delivery but it kind of sounds a bit Disney villain to me, I don’t know.

· There’s a steam whistle on stage and I want one.

· Now the workers are working, but there’s something different. A recognition of what they’ve become.

· The verses in this song have gone through some big changes. I’d recommend listening instead of me trying to relay.

· But what there is in this song is some fantastic usage of turn tables spinning in different directions. Hades and Persephone stand completely opposite, and as they walk in different directions of the tables they’re stationary. But then there are moments when the pause and are whisked around. And always opposite. Then Persephone sings to Eurydice and they’re opposite because she hops onto the middle turntable and it’s some amazing choreography and blocking here.

· The part in this song marks the first time the chorus sings as individuals. Some of them get solo lines that are echoes of Orpheus and Eurydice “If I raise my head…if I change my voice…” and it’s a sign of them waking up and remembering themselves as individuals. Now they’re out of sync, and they fucking start to question everything. They question the wall and why they can’t even look at each other if they’re supposedly free.

· Persephone is really fucking at her breaking point in this relationship.

· I like the additions of the workers verses because holy shit that’s fucking great. I’m not sure about Hades and Persephone’s verse changes yet. And they’re still being developed I think, because there are some very subtle differences from first preview to second.

· But yeah, the Electric City line is still a jaw-dropping moment. When he sings it, to prove it, the lights all blow out. And it’s great.

· Hermes hands Hades a stool that he dramatically slams down and sits on as he demands Orpheus sing for him,

Epic III:

· Alright, so this is why I’m not sure the lyric changes work. The first preview night, Reeve’s singing didn’t convince me that it would be able to evoke such a viscerally emotional response out of stoic Hades. It was just eh. For the second preview, I don’t know if it was the developed lyrics, or if Reeve just stepped it up and did a better job, but I was more open to believing he could convince the king of the underworld.

· Also, side note: when Orpheus sings his opening line about “Hades is king of the underworld” Hades chuckles and says “oh, it’s about me” and almost preens and both nights the audience can’t handle it and erupts in two rounds of raucous laughter. It’s such comedy gold.

· When Orpheus sings the la la la melody, Hades is ready to kill him right there, but Persephone is not having it.

· The La La La is fully established as the Song Hades Sung to Persephone and suddenly everyone, the chorus, the Fates, Persephone they’re all echoing this symbol of Hades’ forgotten love. And wow. Vocally stunning.

· Here is where Orpheus makes Hades realize that Persephone is one step away from leaving him entirely. And he’ll lose her if he keeps this shit up.

· And Hades tentatively sings is melody, and Persephone is so damn happy about it. She gives him this just soft wistful look and it’s so cute. And and when Hades sings he conjures up a fucking red carnation and what a fucking moment.

· There’s some really adorable dancing between Hades and Persephone to some ethereal orchestration. And they end up embracing and staying like that for a long ass time. Like throughout Promises.

· And yeah, Orpheus breaks the tranquil moment by being a clueless idiot who asks Eurydice what he does now.

Promises:

· They moved Promises up and changed it up so now it’s less the two lovers being scornful about how they haven’t kept their promises and more about how they don’t give a fuck about promises as long as they have each other and a few basic needs.

· They don’t need fair skies, or kind roads. They just need each other.

· And god fucking damnit. Goddamnit. It’s so fucking hopeful, and Eurydice even says the workers can make the journey too, that everyone is filled with anticipation and just for one fucking second you believe that maybe it’ll be alright. Maybe, just fucking maybe, everyone will be okay. And you know it can’t end like that, but damnit if it doesn’t make you believe it.

· But then Orpheus asks if they can go, and Hades says “I don’t know.” And let me tell you, I’ve never seen a woman pull away from a man with such horror and disgust on her face in my life than Persephone in that moment. She practically staggers across the whole stage to get away fast enough.

Word to the Wise:

· And then the Fates come swooping in to offer their two cents. What icons. What a song. Hell fucking yes. What taunting bitches. They’re the real orchestrators of these events, literally.

· And such good voices all converging to bring us a masterpiece we’re unworthy of.

· Question: can the tony award go to all three women? Is that a thing?

His Kiss, the Riot:

· Now Hades has to make a choice. He’s got to do something to keep his wife from never acknowledging his presence again, and he’s got to keep his reputation.

· How does someone sing this deeply? How is this possible?

· He has his little epiphany and shares it with his pal Hermes.

Wait For Me:

· When Hermes relays the news that they can go, everyone is given this little jolt of hope before he rips it away as he lays out the terms.

· And here is where Orpheus is convinced it’s a trap, even though Hermes tells him it’s a trial, not a trick. So they start.

· What a great arrangement of a song. The workers chorus sound so hopeful, so excited to be shown the way the world can be. “If you can do it so can she, if she can do it so can we.”

· And yes, Hades and Persephone will try again next fall. They’ll wait for each other.

· It’s such a triumphant moment, but then the Fates come in and start asking Orpheus who he thinks he is to be able to lead anyone out of anything.

· The turntables are going, and Eurydice is right behind him singing joyously to “wait for me.” It just sounds so beautiful and lifts us up like yes, they can fucking do this. They can do it.

Doubt Comes In:

· But then it grows dark and terrifying, and Eurydice slips out of view. And who should be two steps behind Orpheus? Our favorite Fates.

· These bitches come out of the smoke and darkness with their lanterns and they’re circling and slipping into shadows and turning their lights on and off and whispering into Orpheus’s ear. What diabolical voices. Where is she? They ask and taunt and Orpheus’s La La La melody fades out as he’s overcome with doubt.

· But Eurydice is right fucking there. She’s right fucking there singing about the coldest night. Offering her encouragement even though he can’t hear her. He can’t hear her and that’s why they’re in this fucking mess.

· And yes, it’s a valid paranoia, but come on. Just keep going. Just keep walking, damnit.

· The workers are there too, and they’re all ready to go.

· And as Eurydice sings her last verse, where she sounds so joyous to finally be able to see the sun, Orpheus stumbles up the last few steps to the beacon of light.

· And he fucking turns around. He fucking turns around and the entire audience knows it’s coming because they warned us, but damnit if we don’t all gasp anyway.

· “Orpheus.” “It’s you.” “It’s me” and she says it with such anguish and heartbreak, like yes, ‘it’s me I’m right here, we were right there, we almost made it. All of us,” and then he reaches for her, but she’s on the turntable that drops, and she’s dragged back down to the underworld. And everyone is in tears because they were so fucking close.

Road To Hell II:

· The opening song starts up again, but so much sadder. As if the joy has gone from the world, but it’s time to start up again.

· Such devastation. Such anguish. But we sing it again.

· The lyric changes emphasis how this is very much a circular story that will continue to go around and around forever. We are right back where we started, but we know how it ends. That is how it ends.

· “It’s a sad song. It’s a sad tale. It’s a tragedy. It’s a sad song. But we sing it anyway. Cause here’s the thing. To know how it ends and still to begin to sing it again as if it might turn out this time. I learned that from a friend of mine. See Orpheus was a poor boy…”

· And right then Eurydice reenters asking for a match just like she did in the beginning of the show. Full circle.

· “Oh a sunny day there was a railroad car.” And the turntable rises once more with Persephone in her green dress reclining on the speakeasy tables. Spring is back. Again.

· The lyrics focus more on the old song and how they sing it again and again, and the echoing harmonies are so good.

· They cut out “it’s a tale of a love that never dies…it’s a love song about someone who tries” and instead repeat the again and again.

Bows:

· Standing ovations, deafening applause and cheering. What a fucking great show.

I Raise My Cup:

· The program says nothing about this song, but it’s still fucking here bitches.

· I was skeptical about having it after bows, but not a single person even attempted to leave. The music started, and we all instantly shut up to see what beautiful thing would happen next.

· Everyone has their cup, and Orpheus starts strumming his guitar (which by the way looks a bit too shiny and new to be in character, but sure). Amber does the bulk of the singing, but Eva joins in and the chorus harmonizes and it’s good.

Final notes: This is basically just me talking Tonys and I’m not an expert on anything so don’t take what I say too seriously because I don’t know what the fuck I’m talking about.

· I’m excited to see the final product. Will definitely be going again, and again, and again.

· What a stellar cast. And yeah, I was hesitant about Reeve Carney, but he was fine. Wasn’t exactly blown away, but it’s adequate. He did well, and I saw major improvement from one night to the next to the next so hopefully it’ll just keep getting better and better.

· I’m living for Eva’s Eurydice characterization. The embodiment of “looks like a cinnamon roll but could kill you.”

· Amber Gray needs a Tony right fucking now.

· I’ve seen a number of the new shows this Broadway season and if this doesn’t win what it deserves to win I will riot.

· Okay, I really enjoyed The Prom. It was a fun, heartwarming, touching show. Especially since I’m a lesbian who grew up in a small town and is now in her twenties and has since gotten out of that. I loved it, and I believe it really deserves recognition and I want it to get it…But Hadestown is just better. It has a stronger book, score, and overall presentation.

· I saw The Cher Show, and it’s a great production of a jukebox/biography musical. I thought Stephanie J. Block did a phenomenal job. I’m sure this show is likely in the top running for costumes purely because they’re so flashy and hell, Cher’s actual designer did them. But I kind of want a more nuanced designer to win than just whoever has the most zazz.

· I know Be More Chill is really relatable for the young people out there, and I think that’s great we’re getting a bigger audience demographic than just old white people (which is mostly what the theater is filled with regardless, however) but I’m not convinced it can come even close in terms of Best Book. And DEH aside (I’m still fucking bitter about that show winning over Great Comet or even Come From Away, and I’ll never not be) we’ve seen musicals geared towards that generation with that sort of message not get awards, which is probably not right. Legally Blonde didn’t win because it was too “pink” and “pink” musicals don’t win. And in this case Be More Chill should not win over a better show.

· And it’s kind of down to just a few musicals realistically to win Best Musical. A lot of shows that opened this year are either for only limited runs (look if Oklahoma or Kiss Me Kate do really well, they might extend them, but if they’re just doing alright it wouldn’t be profitable to give it more awards than necessary. It’s strange how the revivals aren’t open runs) or are already closed. Head Over Heels was a fun riot of a time, but since it’s closed (like Torch Song, Choir Boy, Getting’ the Band Back Together) it wouldn’t be profitable to give them anything.

· Pretty Women and King Kong aren’t doing so hot either. And we have to wait on Tootsie and Beetlejuice, but I can’t see any of them winning big.

· I’m interested to know what the American Theater Wing rules on Acting eligibility here. The rule is that if the name is below the title, they’re a featured actor, but if it’s above they’re leading. That’s why Yul Brenner didn’t get a best leading actor Tony in The King and I. The rules are a little bit more flexible these days, I think. And I know for the Prom, at least, even though some of them aren’t above the title, they’re still considered leads, but who knows?

· And like, who constitutes a definitive lead in this show? Eva probably does, but for Reeve it’s a little different. See he’s not exactly given any more or less stage time than, say, Hermes who is with us for the whole show but might somehow be more of a Featured Actor role. The five principle characters are all pretty solid leads (maybe Persephone a little less so but she’s still very much leading) so who knows? Not me. I have no understanding of how this works.

· Bottom Line: Give Amber Gray, Rachel Chavkin, and Anais Mitchell their fucking Tonys. If Rachel Chavkin doesn’t get the recognition she deserves I’ll riot.

· Bradley King for Lighting and Rachel Hauck for Scenic should be shoo-ins. Nothing I have seen this season will ever be this fantastic.

Edit: Alright, who wants an audio bootleg?

#hadestown #Hadestown reaction #Hadestown for the tony #Anais Mitchell gave us the show we needed

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riotkissed-archive · 4 years

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@antolcgias sent : 🎭 hadestown.

goooooooooooooooooooooodddddddd , would you ever die for a musical ? because i would d i e for this one . . . okay , so basically , this is a folk/blues musical about the myth of orpheus and eurydice . it was originally an iconic folk album by the incomparable anais mitchell. that album got me through a serious depressive phase in college , let me tell you.

the setting was originally kind of like . . . a steampunk great depression vibe ? it made its off-broadway debut at new york theater workshop . . . AND LET ME TELL YOU ––– THAT IS THE BETTER VERSION !! but before i rampage about that , let’s tell you what we’re workin’ with here.

ORPHEUS : a songwriter / poet. in the original version , he’s played by damon daunno ( my KING . . . i’m a full ass lesbian and i would fuck that man. he recently starred and was nominated for the recent oklahoma! revival and he is very ugly hot . ) damon’s orpheus is kind of a fuck boy. on broadway , he was replaced by reeve carney. reeve’s a rat. his orpheus is “ more likeable , ” which is apparently a euphemism for awkward and naive.

EURYDICE : a hungry young girl. god , god , G O D –– the way i would die for her !!! she’s been alone , poor and out of luck her whole life until she meets this fuck boy orpheus and it’s literally one of those pinterest quotes that are like ‘ i had nothing to lose but oh –– then i found you . ’ type romances. played by nabiyah be off broadway. played by eva noblezada on broadway. i personally prefer nabiyah because i think her portrayal allowed for more nuance and also i think the parallels between persephone and eurydice are important so she should also be black. but eva is cute and very talented. YOU CAN SEE BOTH NABIYAH AND DAMON HERE.

PERSEPHONE : my drunk queen. middle aged woman in a spoiled marriage , has grown tired of the underworld and forgotten why she loves her husband. played by amber gray , queen of my life.

HADES : so the underworld is kind of like ? ? ? aesthetically , a manufacturing company , and all souls in the underworld work for him just to have shelter , but slave labor. he keeps the underworld very hot and bright because he thinks it will remind persephone of spring. accidentally had a lot of trump parallels back in 2016 no one saw coming , but more redeemable. played by patrick page , abuelito of my heart.

okay this is already too long but basically during the winter orpheus is too damn busy working on his music to help eurydice prepare for the cold and she’s desperate. persephone and hades are fighting , so hades goes to find a side chick to piss her off. he offers eurydice a ticket to the underworld and she’s so desperate for security she takes it. ( yes cue me screaming forever about how in this version eurydice kills herself because she’s so desperate for peace and the implications of class struggle that has don’t TOUCH me. )

MOST ICONIC SONGS: way down hadestown . chant ( i & ii ), wait for me , epic iii ( this one is all about the lyrics. ) and basically the whole rest of the album.

QUICK POINTS ABOUT WHY HADESTOWN OFF BROADWAY WAS BETTER & THEN I’LL SHUT UP UNTIL I HAVE ANOTHER HADESTOWN MELTDOWN.

the way they changed orpheus’ character was bad. first of all , they stripped our hero of his hubris by making him awkward and naive. and as we all know , greek mythology and hubris are besties. also ( they toned it down ) but at the beginning of the run , there was genuine confusing over whether orpheus on bway was supposed to be on the spectrum ( he’s referred to as touched and god touched and couldn’t go more than two seconds without a quirk or stuttering. they cut some of that now. ) and that would be fine , and i know people write fic about the representation they feel in that except . . . his naivety is his downfall, and i don’t know if i like those implications.

they cut down persephone and eurydice’s characters in order to flesh out orpheus. huge mistake because the charm of this portrayal was giving an orpheus story and not allowing eurydice to have a character outside of being in love with him.

they dumbed down the lyrics considerably . this is one songs transformation from off-broadway to broadway. and i get why they felt they had to do that for a wider touristy audience. but it’s laughable.

they made it too political on broadway. it was accidentally political in 2016 when hades sang a song about building a wall write after trump started campaigning for it. the direct parallels on broadway make it hard to root for hades which sucks because he’s such a great character. also –– in broadway they make orpheus , the young white man , try to lead a revolution for liberation of everyone in the underworld who are mostly poc . . . and then he fails but its somehow uplifting ??? but they do do cool thing like reference global warming and add more mythological stuff in the staging.

okay i’m done. if you want to watch the bway boot with me or read the off bway script with me while listen to an audio bootleg of the old version with me . . . i’m always down.

#* ( FILED ) ･ﾟ ANSWERED.#* ( FILED ) ･ﾟ OUT OF CHARACTER #antolcgias #you brought this upon yourself this is my favorite topic.

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ninasfireescape · 6 years

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HADESTOWN

So yesterday (21st December) I saw hadestown at the National with @only-a-little-bit-dead, @ya-sudan and my mum. I’ve been a fan for a little over a year, having got into it through great comet (I would die for Amber Gray) so not only was it incredible getting to see it live but also to see her live and now I’ll give my thoughts/casual review of the production.

There are three theatre spaces at the National and it’s in the Olivier which is the biggest and is the one with the spinning stage which fits perfectly.

Also I completely underestimated how close to the front I would be. I booked for this side balcony bit but it’s actually right in front of the stage so I was only five feet from the actors and Amber and Eva made eye contact with me multiple times.

The set is this cute summer cafe but if you “look a little closer” you see it’s covered in mould. There’s also a bunch of posters up and one is for a jazz concert.

All of the cast enter at the beginning and Eurydice is rocking her look by French tucking her shirt (Tan would be proud). Hades and Persephone spend the first few songs just chilling up on the balcony and it makes it all the more ominous when he finally comes down in Way Down Hadestown. Persephone is fanning herself the whole way through.

I should mention this production is really diverse. Like not just racially but they’ve got dancers of all different sizes and body types and one dancer is an amputee as well.

When Hermes calls the Fates “three old women all dressed the same” they all glare at him and it’s really funny.

Eva is an amazing singer and she’s so beautiful and really small and Orpheus gives her lots of piggy backs

Persephone gives her her lil flower in Livin’ It Up On Top

I know lots of people were wondering about a sex scene in the show. I’d hardly call it a sex scene. It was Eurydice artfully straddling Orpheus for 0.2 seconds while fully clothed then rolling off him to sing All I’ve Ever Known

For no reason, Hermes whips out an umbrella and honestly? Iconic. (Also Hermes you know it’s bad luck to open an umbrella inside you’ve caused bad luck for Orpheus and Eurydice)

Like I said, Hades is on stage all the way up until Way Down Hadestown but we never hear him say anything until then so I expect for people who hadn’t heard the soundtrack before his voice must have been such a shock and the build up worth it. It’s actually surreal hearing a voice that deep live and my friends and I were all saying we wished our voices were that low

He and Persephone stand in the centre of the stage and then it just sinks below the floor. This trap door works a lot through the show but the first time is when they first go to Hadestown and it’s a big surprise at this point. Steam comes out and they just disappear.

The Fates act as the wind and tear off Eurydice’s coat so she’s just left with her half French-tucked shirt and it really opens the question of whether she actually died of exposure.

Meanwhile, Orpheus is just chilling writing his song at the side of the stage. I bet if we looked at that sheet of paper, it would just be pictures of his gf in hearts

Orpheus is really adorable ok.

And then he turns around and “oh my gf’s gone and I didn’t notice.”

Wait for me is really really really amazing. First of all, they’ve added some nice overlapping memories but there’s swinging lights overhead, smoke everywhere, and the workers have torches on their heads. It genuinely feels scary as the Fates follow him around going “Who are you?” so you feel he actually is facing dangers while walking to Hadestown.

Act 2 begins and Persephone is hiding flasks in amongst her basket of flowers. All the workers are really in love with her and one of them looks like he is about to faint when she puts her arm around him. Mood.

When she says “it’s right here waiting in my pay-per-view” she points at her forehead so I think Persephone’s speakeasy is ultimately just her sharing stories about being up on top and that’s how desperate the workers are to be out - that they’ll settle for stories about it.

Flowers is so beautiful, this is where you hear Eva’s voice the best.

Orpheus runs through the audience to her.

There’s this amazing dance sequence where Hades commands the workers to fight Orpheus

Hades has taken off his jacket and has a tattoo of a brick wall on one arm and another tattoo on the other but I can’t tell what it is.

If it’s true, also a gorgeous song, why did they cut this from the cast album?

All the workers end up banding behind Orpheus after this.

Now this is where a bit of bitterness comes in, they changed ALL the lyrics to Persephone’s verse in Chant II. I don’t mind most of the changes they made but this is bad, and they’ve also shoehorned in a verse sung by Orpheus which just doesn’t fit the tune but oh well.

“I CONDUCT THE ELECTRIC CITY!!!!” Patric’s voice is so powerful that there’s a burst of electricity and then a full blackout.

Epic III, Hades is crying, Persphone is crying, you’re crying, I’m crying, there’s a link between the two couples and Orpheus ends up starting a riot and the trap door bit in the middle rises up with him on top of it.

His Kiss The Riot is incredible to hear live as well with all the background music. The Fates all have instruments and are playing around him as well as the band. This is one of my favourite songs in the musical.

So Orpheus and Eurydice head back up and this section is really scary. The stage is spinning madly, Eurydice disappears off and you can barely see a thing, just smoke and shadows. Everything is really distorted as the set comes back together, shaking everything. There’s a new verse where you really see inside Orpheus’ head and though we all know he’s a dumb bitch, we understand why he would turn around because he thinks Hades is playing a trick on him.

Indeed, when Eurydice does reappear onstage to sing, she almost looks too happy, you can imagine her being some kind of vision sent to taunt him.

Light filters through this metal grate on the floor to show they’ve almost reached the surface and Orpheus is literally on the top step when he turns around. Eurydice slowly sinks back through the floor.

The play starts again at the beginning with Eurydice and Orpheus meeting again. I don’t quite know what it’s meant to be showing but I think it’s about how we tell the story again and again even though we know how it ends.

The bows take place. Here I was internally thinking “WHY WOULD THEY CUT PERSEPHONE’S FINAL SONG?”

However it comes after the bows. Hermes basically tells everyone to stop clapping and sit down without saying a word and Persephone sings I Raise My Cup.

Meeting the cast

I managed to meet everyone except for one of the fates

The cast all probably hate me because the pen I brought doesn’t work very well and Andre De Shields borrowed a gold sharpie from someone else and then wrote his name out with it in my programme in huge letters. He’s so fancy and I love it.

Apparently they were told English audiences are really cynical and were shocked by how lively we are. Then again, he does have a point. I’ve been to Hamilton London and the audience don’t even clap for “My name is Alexander Hamilton.”

My friends and I were pretty sure Reeve Carney was smashed when he came outside but he was really nice and had a long conversation with us. I know the discourse about him and honestly so unnecessary. I agree that the guy on the workshop has a better singing voice but Reeve is a great singer too and he can actually act. He is not to the detriment of the musical in any way.

The Fates seemed surprised I wanted a picture with them but they were really nice. I talked a lot to Gloria Onitiri and we joked about an actor’s salary when she asked if I was coming to Broadway and how I said “I’m a student so no”

I waited a loooooong time for Amber to come outside because I painted her a picture of her as Helene and Persephone. There was only one other person outside so I was just about to ask the doormen if I could leave my picture when she came out. She was soooo lovely and she really liked my painting. She said she’d take it to Broadway with her. She said no pictures which I was sad about but fair enough and I GOT TO MEET HER!

#hadestown #west end #hadestown london #alexia talks #alexia reviews

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podcastcoach · 2 years

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Danny Peña: Keep it Fun and Master Your Craft

Danny Peña is one of my favorite guests. We started his story on episode 506, got an update on episode 633 and now he has a ton of "Because of My Podcast" stories for episode 827.

Danny is an award-winning, 2015 Podcaster Hall of Fame inductee and one of the hosts of Gamertag Radio. He is also the Game Editorial Lead at G4.

Gamertag Radio (GTR) is an independent online gaming website dedicated to the gaming community that was founded in 2005, and intended to help to unite all gamers. Over the past few years, GTR has grown from a small website to one of the largest and most respected gaming information sites on the Internet. Every week GTR records and distributes new episodic content recapping the news of the past week, including discussions about what is happening in the online gaming community along with interviews and a weekly custom soundtrack highlighting up & coming Hip Hop artists.

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More info can be found at: www.focusrite.com/podcasters

In This Episode You Will Hear

How Danny continues to take advantage of opportunities, which then lead to more opportunities.

How Danny ended up on a billboard in Time's Square

How he got to interview Keanu Reeves

How his persistence lead to scoring a large guest (Reggie Fils-Aime).

His conversational interviews based on his curiosity lead to six news outlets promoting his interview.

Reggie insisted Danny interview him at a large event as part of the opening keynote.

Danny once had access to a new Microsoft product MONTHS before anyone else. Instead of enjoying the new item, he allowed one of his listeners to enjoy it and the video went viral.

Join the School of Podcasting

When you join the School of Podcasting you can quit worrying about: Are people going to listen to me? (Yes, cause I'll show you how to see what they want). Am I going to sound stupid? (No, as I'll show you the magic of editing) It will cost a million dollars (No, I'll have you sounding like a million bucks without spending a million bucks). I don't anything about this technology (You said the same thing about driving). Get access to: Step-by-step tutorials, live group coaching, a mastermind group filled with brilliant podcasting minds, and the ability to schedule as many one-on-one quick fix calls as you like at no extra charge.

Join worry-free with a 30-day money-back guarantee Go to www.schoolofpodcasting.com/start

Where I Will Be:

May 26-29 :Podfest Multimedia Expo Orlando, Fl. July 19-20: How to Make Real Money Podcasting Online Oct 20-22 Erma Bombeck Writers’ Workshop Dayton, Oh For the most up to date itinerary, go to www.schoolofpodcasting.com/where

Podcast Launch Checklist

You want to start a podcast, but you're not sure where to start. This free checklist outlines which step to take first and why.

www.schoolofpodcasting.com/checklist

Mentioned In This Episode

Building a Better Dave - recreational Outrage

Check out this episode!

#podcasting #podcast #coaching #new media

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youneednoremotehere · 6 years

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One of my favorite show’s as a kid. I remember every morning class started at school with “The Electric Company” playing on a television at the front of the room. 1st grade through the 4th , every room and every teacher had this show tuned in for their students. I remember moving from Ohio to Tennessee the summer before I started the 5th grade. My first day at the new school, I ask the teacher , where is your TV ? Don’t we watch “The Electric Company” ? The teacher looked at me as if I had some type of mental defect, when I was standing there thinking the same thing about her ! Hick school.. :( No more Electric Company for the city girl, I was now a country girl , who learnt at the age of about 10 that the world was not all tuned in to the same channel. :(

The Electric Company is an American educational children's television series created by Paul Dooley and directed by Robert Schwarz (1971 & 1977), Henry Behar (1972–1975), John Tracy (1975–1976); written by Dooley, Christopher Cerf (1971–1973), Jeremy Steven (1972–1974) and John Boni/Amy Ephron (1972–1973); and produced by the Children's Television Workshop (now called Sesame Workshop) for PBS in the United States. PBS broadcast 780 episodes over the course of its six seasons from October 25, 1971, to April 15, 1977 (in many areas, a preview special, Here Comes The Electric Company [pilot episode], was seen in syndication through sponsor Johnson Wax on many local commercial stations during the week before its 1971 debut). After it ceased production in 1977, the program continued in reruns until October 4, 1985, as the result of a decision made in 1975 to produce two final seasons for perpetual use. The Workshop produced the show at Second Stage, located within the Reeves Teletape Studios (Teletape), in Manhattan, which had been the first home of Sesame Street.

The Electric Company employed sketch comedy and various other devices to provide an entertaining program to help elementary school children develop their grammar and reading skills. Since it was intended for children who had graduated from CTW's flagship program, Sesame Street, the humor was more mature than what was seen there.

The original cast included Morgan Freeman, Rita Moreno, < Both shown in the photos above, Bill Cosby, Judy Graubart, Lee Chamberlin and Skip Hinnant. Most of the cast had done stage, repertory, and improvisational work, with Cosby and Moreno already well-established performers on film and television. Ken Roberts (1971–1973), best known as a soap opera announcer (Love of Life; The Secret Storm), was the narrator of some segments during season one, most notably the parody of the genre that had given him prominence, Love of Chair.

Jim Boyd, who was strictly an off-camera voice actor and puppeteer during the first season, began appearing on-camera in the second season, mostly in the role of J. Arthur Crank. Luis Ávalos also joined the cast at that time.

Cosby was a regular in season one, and occasionally appeared in new segments during season two, but left afterward. Nevertheless, segments that Cosby had taped during seasons one and two were repeatedly used for the rest of the run, and Cosby was billed as a cast member throughout. Similarly, Chamberlin also left after season two, but many of her segments were also repeatedly reused; consequently, she was also billed as a cast member for the rest of the show's run.

Added to the cast at the beginning of season three (1973–1974) was Hattie Winston, an actress and singer who later appeared on the show Becker. Beginning in season four (1974–1975), Danny Seagren, a puppeteer who had worked on Sesame Street and also as a professional dancer, appeared in the role of Spider-Man; Marvel Comics published a title,Spidey Super Stories, that tied into Seagren's appearances as Spider-Man, in character as whom he never spoke aloud or unmasked himself.

It would be wonderful if PBS would show more of the “Classic” show’s that once made PBS so wonderful. The Electric Company, Zoom, Sesame Street before guest like Katy Perry , back when no one looked at Puppet’s or Muppet’s who shared an apartment and bed implied anything, back before sickening Elmo emerged, Back when a damn Cookie Monster was allowed to eat cookies. WTF has happened to television anyway ? :(

#The Electric Company #Morgan Freeman #Rita Moreno #PBS #TV #Television #70s #1970s #Classic #Loved #Children's #childrens televison #Katy Perry #trash #Muppets #Puppets #Childhood #Memories #Public Broadcasting

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mst3kproject · 7 years

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Babes in Toyland

This review represents a fairly important milestone for me – back in January I decided to start doing Episodes that Never Were on a schedule, and I've kept it up for a whole year! I'm hoping I can continue in 2018, since there are a lot of bad movies in the world and it would make me giddy if a few Episodes that Never Were became Episodes that Actually Are. The closest I've come so far is Reptilicus and its curious accident of timing.

Anyway, it just wouldn't be the holidays on the Satellite of Love without a messed-up acid trip of a Christmas movie. This is one a lot of people my age remember being traumatized by as children, and is probably the only time you're ever going to see Drew Barrymore, Keanu Reeves, or Pat Morita on this blog. Reeves frantically driving a pink bumper car with flowers on it is a sight not soon forgotten, I assure you.

Our heroine Lisa is eleven years old and wants a blender for Christmas, although a sled will do as a consolation prize. She and her sister get in a car accident in the middle of a musical number on their way home, and Lisa hits her head and wakes up not in the ER, but in a magical land of balloon trees and furries. This is populated, Wizard-of-Oz, style by fairy-tale characters played by the same actors as people in her real life. Lisa arrives just as the beautiful Mary Q. Contrary is about to be forced to marry evil Mr. Barnaby instead of her true love, Jack B. Nimble. Obviously only Lisa, with help from Georgie Porgie and the Toymaster, can defeat Barnaby and save the day – but first she has to learn to believe in toys!

This is the kind of movie that actually makes you cringe watching it. I spent most of it wanting to cover my face so I wouldn't have to see the actors embarrassing themselves. Everybody came across kind of stagey and uncomfortable in their roles as ordinary people in the real world, and it gets ten times worse when they're dressed up as nursery rhymes. Every single person looks like they're wondering how they got here and trying to remember how much they're getting paid for this. The dialogue is bland and obvious, and the characters over-emote at the same time as they have no conviction whatsoever.

I'm even embarrassed for the prop and costume people. Toyland probably isn't supposed to look real – that would defeat the point – but it shouldn't look like plywood. And then there's the people in the animal costumes with the immobile faces and empty eyes and visible joins between the head and shoulders. I've seen better costumes at ComiCon and some of those were in diapers. Are the silent teddy bear cops supposed to be intimidating? Because they're less scary than the donut cops from Wreck-It Ralph. Barnaby's army of trolls look like a cross between the Blood Beast and the Killer Shrews.

A large portion of the budget seems to have gone into creating or buying the wonderful wooden toys that fill the ToyMaster's workshop. A few of these are actual works of art, designed to turn the heat rising from a candle into whirling motion. Too bad they're only onscreen for a few seconds before we move on to half-assed stuffed animals and creepy-eyed tin soldiers. These impressive toys are way too good for Babes in Toyland, as is Pat Morita as the ToyMaster – I suspect he agreed to be in this movie only on condition of being allowed to hide behind that fake beard. His helpers are supposed to be elves, I think, played by children who are also wearing fake beards. This is distressing in ways I cannot quite describe.

The jokes are so terrible that I'm not sure some of them are meant to be jokes. Lisa tells the Toylanders about Cincinnati and pretends its a magical kingdom ruled by King Pete Rose... is that supposed to be funny? Georgie Porgie complains that he wasn't cut out to be a hero and Jack says, “they could cut three heroes out of you, old buddy!” Is that a compliment or a fat joke? I think Barnaby's bowling ball-shaped house, which he rolls down the street to knock people over whenever he has a tantrum, is a joke, but it's kind of a setup without a punchline. There's a sequence in which Mother Hubbard is introducing her children and she can't remember the last one's name. That's not funny, that's horrifying!

I can't even bring myself to write about the musical numbers. Anybody who has a hard time with secondhand embarrassment really shouldn't watch this movie.

The plot of Babes in Toyland is a list of tropes, but this is entirely appropriate for the type of story we're being told. Barnaby is evil for the sake of being evil, Justice Grimm allows himself to be tricked and locked up in his own jail cell, and various characters show up to reference their fairy tales and then wander off again. It should work because it's exactly what we expect, but instead of feeling natural, there's a sense of obligation about it. “Yes, we're Jack and Jill. We have to fall down this stupid hill, so we might as well get on with it.” The characters never appear comfortable with these situations, so the cliches become awkward instead of seeming like the natural order of the story's universe.

(One of the rules is that, as Mary explains to Lisa, it is always daylight in Toyland. We're never told when anybody sleeps, although we do see a couple of beds. We also see a sun, meaning that to have eternal daytime Toyland's planet must be tidally locked. There ought to be howling winds as the warm air on the day side rises and sucks in cold air from the night side, which would be a frozen wilderness of perpetual night. But only a nerd would worry about something like that.)

Toyland's tropes are based around characters and situations from Lisa's life in Cincinnati – Mary, for example, is her older sister, who is subject to sexual harrassment by her greedy boss, the tyrant of the toy store where she works. One would therefore expect that the situations Lisa encounters in Toyland would teach her to deal with what's going on in reality, like how Chihiro learns courage and confidence through her experiences at Yubaba's bathhouse. In Babes in Toyland, however, it's the other way around. Lisa has already convinced her sister to tell off her boss and leave the toy store, and it's this she applies to Toyland in stopping the wedding of Mary and Barnaby. Lisa already enjoys fun things, as evidenced by her happiness at the gift of the sled, and already believes in true love, as her first major act in Toyland is intervening in the wedding. The lessons the plot is set up to teach her are ones she does not need to learn.

The other characters likewise seem to have their arcs done for them. Mary insists that she will rescue Jack herself, saying “it's time I did something besides cry!” We have literally never seen Mary crying – in fact, the only time she's come across as a weeping damsel was at the wedding, and there she thought she was doing what was best for her family. Georgie is supposed to be a coward who wants to be a hero, and yet he keeps doing brave things from the start. And what's with the subplot in which Lisa matchmakes between Barnaby and Mrs. Hubbard? Does she want her mom to marry the creepy toy store owner? Eww.

Besides the wooden toys, there are a couple of other things in the movie that do work. Barnaby has three main minions – two of them, called Zak and Mak, are basically the porcupine guys from Highlander 2 (not that I've seen Highlander 2 or anything), and the third is a bird named Trolla. This beast is played by a little person in some kind of unconvincing shaggy pterodactyl costume, but it does have a single large eye that Barnaby uses as a crystal ball to watch what other characters are doing and stay one step ahead of them. For some reason, the eye is really quite disturbing and its image tends to stay with you – YouTube comments suggest that it's the thing a lot of people remember best about the movie. The worst part, however, is that when the ToyMaster wants to subdue Trolla he does so by painting over its eye. Oh god that must sting!

Then there's the Bottle of Evil. When Barnaby uncorks it, a green mist comes out to envelop the characters. It's not a great effect and you don't believe in it any more than you believe in anything else in the movie, but it's a scary idea and realized just well enough to make you worry. Then they defeat it by singing a song about Cincinnati. No, really, that happens. It doesn't come across like a great moral victory, it's just a giant what the fuck. How do the other characters even know the song?

The idea of being knocked out and awakening in a magical land or another time is a very common trope in itself, going back at least as far as A Connecticut Yankee in King Arthur's Court, written in 1889. I know we're not supposed to worry about it, but when watching or reading such stories I always wonder what's going on in the 'real world'. One of the things I really liked about Life on Mars was how the storytellers actually devoted time and thought to the fact that Sam is in an ICU hallucinating all this, and things in that outside world can affect the world he's imagining. We don't get anything like that for Lisa. At the end she just wakes up on the sofa and everybody's glad she's okay. Why is nobody calling an ambulance?! A loss of consciousness of more than a few seconds is a medical emergency! Call a doctor, for heaven's sake, concussions do not make for a very merry Christmas!

The thing I'm maddest about, though? Is that Barnaby wasn't defeated by getting crushed by his own bowling ball. I waited the whole damn movie for that. How dare it disappoint me!

#mst3k #reviews #episodes that never were #babes in toyland #holiday reviews #80s

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