Latest Posts by anera527 - Page 2
Just heard a local radio station talking about the president's who came from Ohio. When they got to the part where they talked about Ulysses S Grant, they played the Imperial March from Star Wars.
???
If they were trying to compare Grant with Darth Vader and the Empire, I don't get it.
Edit: now they're playing Stay by Maurice William's after talking about James Garfield's assassination.
My sister, my niece, and I are watching LotR. Conversation between my sister and niece:
Niece: What’s his name?
Sister: Elrond.
Niece: What’s his name?
Sister: Elrond.
Niece: But what’s his name?
Sister: Elrond.
Niece: What’s his name?
Sister: Call him Ellie!
It’s been a long time since I’ve watched season 1 of Broadchurch straight though, but man, the Latimer family kills me. Ashamed to say that when I first watched the series Beth got a lot of my attention (not really ashamed, just guilty), and then Mark ripped my heart out in S3, and meanwhile poor Chloe just got shafted to the wayside. Watching the series though again as a whole recently, though, I found myself paying a lot of attention to her.
This is the moment that served to punch me in the gut the first time, but it’s so much worse now in hindsight. She’s a fifteen year old girl who’s just lost her baby brother to a horrific murder, and now on top of that grief she’s overhearing her parents’ marriage falling apart.
And she’s probably thinking that it’s her fault. She got Becca Fisher to confess to the police she was having an affair with Mark to get him off a murder charge, sending her the assurance that ‘no one else needs to know’. But Beth finds out anyway, and Chloe doesn’t know how she does. She likely assumes the police told her, which in her mind paints her as the guilty one in all this, because if she hadn’t told Becca to talk to the police, Beth wouldn’t have found out.
It’s just a sad moment all the way around, and beautifully shot. She’s still a child struggling with her own grief over a dead sibling, but the camera angle shows her isolated. Her parents’ door is closed, obviously because of their argument, but it also shows Chloe’s extreme loneliness in this moment. Is it any wonder why she had a room at Dean’s to help her forget she’s the ‘dead boy’s sister’?
This has been knocking around in my head for a few months now, and it hasn't left me alone yet, so you know what? Imma share it.
You know who would be an excellent Minerva McGonagall if they ever remade the Harry Potter films?
Suranne Jones. That's who.
a question of temptation
"But surely you must remember a little bit of what it was like there," Aziraphale was saying. He finished the wine in his glass as he waited for an answer, his fingers silently tapping out a rhythm on his crossed knees.
"Heaven?" Crowley scoffed, slouched very carefully in his seat. "'Course I do, angel, why do you think I wanted to divert the Apocalypse? Endless white marble and gold with singing echoing down every street? No thank you."
"No, not Heaven, dear boy," Aziraphale said patiently, but there was a familiar conniving glint to his eyes that Crowley could truly appreciate. "God's presence. Surely even you can miss Her love? Why stay with Hell when you could have that?"
Crowley sat up slowly, his eyebrows shooting upwards in delighted surprise. "Why, Aziraphale," he drawled, "are you tempting me to Unfall?"
"I might be," the angel said smoothly, unruffled.
Crowley laughed. "I'm an awful influence, then. Good." He threw back the rest of his own wine with a gusto that made Aziraphale frown, and then he was standing to fill it again. "I don't remember Her, angel. Hell does that to a demon, you know, we can't go around yearning for God and do our jobs successfully. I don't remember what Her love feels like." With his glass refilled, he bent down with a suddenness that was startling and placed a kiss on the very end of the angel's long nose. His yellow eyes gleamed with something approaching fondness as he sat back down in his chair as Aziraphale blushed a deep red. The angel was so thrown by Crowley's actions that he very nearly missed what the demon murmured into his glass: "Yours is enough for me, anyway."
Ya’ll, I happened across the classical piece ‘Devil’s Trill Sonata’ by Tartini for the first time (don’t know how I didn’t know about it before), and I found THIS GEM in the comments:
I’m FUCKING DYING send help.
Honestly, one of the only things I have to complain about about Spielberg’s Lincoln is minuscule and people will probably roll their eyes but I’m a Civil War nerd, and it BUGS ME:
Ulysses S Grant’s uniform is entirely TOO CLEAN.
Just look at him. This is a commander who literally came from the battlefield, and all accounts remember him to be wearing a private’s borrowed jacket and splattered with mud. Does anything about that uniform/costume look remotely dirty?
(I mean, kudos to Lee’s clean crisp uniform. Historically he showed up looking like the commander he was, thinking he may become Grant’s prisoner.
Spoiler alert: he wasn’t.)
It’s a small detail, I know, but the more I learn about Grant, the more little missed details like this bothers me. Grant’s untidy, messy appearance showed just what sort of a soldier he truly was, and why he was, ultimately, the general who won the war: he didn’t care about personal appearances or advancements, he was there to get the job done.
That little detail aside, I truly loved Lincoln a lot, Daniel Day-Lewis is absolute PERFECTION playing our titular President, Sally Fields is fantastic as Mary Lincoln, Tommy Lee Jones was brilliant as always, and Jared Harris is my favorite Ulysses S Grant so far depicted in either television or film.
I was looking through my old artwork and stumbled across this. I drew it over ten years ago now. God, her story makes my heart hurt.
Broadchurch, with a mythological twist. Will probably be part 1 of a series, but one thing at a time. Also, I think I’ve written Mark Latimer as a truly depraved individual, and he’s starting to scare me.
Radiation and its severity was still so wildly underestimated in 1986, but all I am currently doing watching this series is screaming at the screen at the firefighters and crew to just get out of there, literally run for their lives in the opposite direction. Holy crap, this series going to be hard to watch.
The thing I'm most grateful about the DW franchise for is that it has taught me how to FINALLY spell 'twelfth' correctly.
‘I never wanted that day to end.’
This is my Saturday night. How's yours?
Watching/reading Shakespeare's Richard II:
Them: Isn't he a bit overdramatic?
Me: Well, yeah, he's supposed to be an overdramatic shit.
Have you ever thought about the fact that skulls all look like they’re smiling?
Question about writing here: in my senior year of school my English teacher told my class that the word ‘get’ should never be used when writing. He said it’s a lazy word that never adds anything to the story, and that you should find a better way of explaining what you mean. I typically tend to avoid using ‘get’ as a result of what he said, but is it really that bad of a word to use?
It’s been almost twenty years, but I still tear up every time I hear the Hobbits’ theme played any time during the LotR and Hobbit soundtracks.
Absolute. Perfection.
Just once, when the Master is revealed to be The Master, I don’t want the Doctor to be all horrified and taken aback and be all like ‘oh my gosh it can’t be’.
I just want an exasperated eye roll and a ‘fuck’s sake, you again, huh?’
Am I he only one who thinks that Desert Bluffs is one of the countless alternate Night Vales that’s just been warped and broken by the Smiling God? Just me? Okay.
So did Mary Poppins inspire Missy, or did Missy inspire Mary Poppins?
You’ve got your faith. You’ve got your songs and your hymns. And I’ve got the Doctor.
Perhaps I’m mistaken here, but every time I watch BBC Sherlock all the way through, I feel like the dynamic of Sherlock and John changes between TRF and TEH. Sherlock is still the brilliant detective and John is still the faithful blogger and friend; but it’s their individual reactions to St Barts and the subsequent two years that have changed how they react to one another.
Sherlock’s still an insufferable prat most of the time, and he still misses social cues 99.9% of the time, but he’s softer around the edges. The way he interacts with Archie, his reactions to James Sholto locked in his hotel room, his MANY little moments with Mary, all reflect on a man who went through hell during his two years away and rather than becoming even more closed off and alienated than normal actually found it hard to be as much of an island as before. His circle of friends is small but he finds it impossible not to be somewhat gentler to them than before Moriarty’s scheme on the rooftop. Or rather, he had come to care for John and Greg and Mrs Hudson a great deal before the rooftop, but Moriarty forced him to actively prove it and once the lid was popped open it was impossible for it to be sealed completely again.
It’s rather like the Twelfth Doctor, who starts out as oblivious to social cues and more of an anti-hero than any Doctor before, a man who is harsh and unforgiving to those who anger him and has absolutely no recognition of friendship or even the desire to hug; who by the end of his tenure and with the help of his companions, whether it be Clara or Bill or Nardole or even Missy, has softened to the point where he even initiates a hug with Bill and Nardole and clearly has no desire to break it. Of course, Sherlock and the Twelfth Doctor are both written by Moffatt, so it’s not so much of a surprise that their dynamics are so similar.
John, on the other hand, grew sharper due to St Barts and the subsequent two years. His anger with Sherlock’s necessary deception is unrelenting and viscous, and it’s clear that even if he forgave Sherlock of it in TEH we can still see its latent existence all too clearly in TLD. He’s a man who fell to pieces once again in the wake of a life-changing tragedy and when he managed to glue himself back together some of the pieces were either missing or more brittle. He has less patience for Sherlock’s actions, he actively confronts Sherlock about the latter’s drug use during TAB, and I will not even get started in on the morgue scene during TLD. (That will be addressed later in another post eventually.) Where Sherlock’s learned response to the two years-hiatus is newfound understanding, John’s is anger, which all culminates in TLD and finds a somewhat solved dynamic in TFP.
#we stan a multi-dimensional badass warrior
‘A Little Priest’ has got to be the most passive-aggressive song ever written for a musical ever.
Oh John, Sherlock doesn’t need someone to do that for him. He has YOU.