Gary Wrong


He becomes self-conscious of everything Carra says to him! [x]

Episode 348: Gary and Product Placement.

I don’t know how, but the show keeps getting better and funnier as time goes on. It doesn’t feel forced and everybody is meshing together perfectly. These last couple of weeks have been an absolute pleasure for any RM fan, the show is returning to it’s original roots. 

Although I personally didn’t see anything wrong with the latest episode, some fans are worried about when the members were talking about Gary, and the advertisement for the Galaxy S8. I’ll go over these two topics and try to tell you why we as fans shouldn’t be worried at all. 

Let’s start with the S8. Product placement is everywhere on TV and movies. Advertisements like this is what keeps the show going, they are paying to keep RM alive. The show didn’t go out of their way to show off these new phones, they have played the texting game before. These phones helped them find stores for their missions, if it makes it easier for the cast, then who the hell cares if they did product placement. The people who complain clearly never watched a Korean drama. This is not even 10% of what they have to deal with. 

And now we move on to the Gary issue. If you have not seen the latest episode, He is now married and changed his number. Close friends and members of Running Man were not aware of either of these changes to his life, and read about it just like you and I, on the news. 

Do I think Gary did anything wrong? No, not at all. It’s his life, if he wants to invite people to his wedding or not, that’s up to him and his wife. Think about being a celebrity, you have little to no privacy whatsoever. A wedding is something you want to remember and cherish for the rest of your life, if he didn’t want people intruding on his special day and taking pictures, that is their decision. 

He also changed his phone number and didn’t tell the RM cast. I don’t blame him at all. Are you friends with all of your co-workers and class mates? No, and that’s totally okay. You might think that their on screen persona is what they are like in real life, but in reality, it’s not. They aren’t as close as you see them on the show. I always felt like Gary was the odd man out from the very beginning. He never wanted to be a variety star, he wanted to be known as a musician first and variety star second. Obviously with the popularity of RM that became almost impossible. He probably didn’t even expect running man to last that long, maybe a year or two. I think that’s the reason he agreed to do the show, to promote his solo work and leessang. Gary tried to leave the show once or twice and the members convinced him to stay, and he was too nice to say no. 

Maybe he just wanted to focus these next couple of weeks/months to release a new album soon. Any form of communication with friends or social media can break that focus. Artists have different ways of working, and maybe Gary is the type that needs 100% attention on one thing and one thing only.

We shouldn’t overreact as fans. Each member has their own lives, how they choose to live it is none of our business.

anonymous asked:

hi can you explain whats wrong with gary yourofsky? what did he do?

Gary Yourofsky has undoubtedly done a lot of good work for animal rights; however, he is a controversial figure.

I’m sure there’s more but I think you get the picture. I wholeheartedly support passionate, outspoken vegans, but when it gets to the point where you are wishing harm upon the very people you’re trying to convince, there’s a problem, and there are so many other animal rights activists we can look up to.

Pokemon Prom Headcanons


Misty was expecting to go to prom with friends who didn’t have dates, but when her best friend Ash asks her to go with him saying, ‘It would be a lot more fun with you than Brock’, she’s slightly surprised. She goes shopping with her sisters, or rather; they drag her along and dress her up, and finds something she likes. Blue and flowy, easy to maneuver in. It’s a little fancy for her tastes but her sisters buy it anyways insisting that crop tops were ‘totes in’. On the night of, Ash picks her up in a suit that does not fit him well, but makes him look rather adorable, and his rusty old truck that he’s had forever. They spend the entire night being goofs and not taking the entire thing seriously. They were the two idiots who were running around, messing up their clothes and generally being disruptive of other couples. No one expected those two to slow dance sweetly, unless they were making kissy faces and moaning about how much they love each other, pretending to eat face, and generally making a mockery of the whole thing. They ironically are voted prom king and queen, their acceptance speeches were filled with fake crying and Miss America impersonations.


When Drew asked her nonchalantly if she wanted to go to prom with him she thought he was making fun of her, so she refused at first. He was persistent, finding unique ways to ask her. Once he hung a banner in the front of the school asking her to prom she snaps. She demands to know if she says yes, if he’ll quit bugging her, he agrees. When she consents he grins smugly and leaves her alone until the night of prom. May goes dress shopping with Dawn and Serena and almost picks a red dress, but then falls in love with a lacy cream one that suits her coloring perfectly. Drew comes to pick her up wearing a three piece suit and offers her a rose. May acts indifferent, but is secretly flattered that the guy who taunted her for years put so much work into taking her to a dance. They dance most of the night and are tormented by Ash and Misty. When he drops her off she shyly thanked him for the night and lightly kissed her cheek, dangerously close to her lips. May decided then and there he may be a stuck up brat, but he did give a damn good date and she might take him up on his offer for another.


Dawn gets a lot of offers to go to prom, but she didn’t really feel like having a date, she wasn’t dating anyone so she saw no reason to tie herself down to one partner. She always had more fun with her friends anyways. She went shopping with Dawn and Serena, and being the bold, out of the box, person she is, went with a quite sexy option. The night of she got ready with her friends, Zoey, Candice, and Leona. The night was spent dancing with friends and anyone who asked, and a lot of guys did. Even Paul silently offered his hand to her. In the end, it was a great night and she was glad she decided not to take a date.


Iris did want to go to prom, like at all. It wasn’t really her thing; she hated dressing up and pasting makeup on. But Cilan asked and she’d had a crush on him since forever so she couldn’t really refuse. Iris went shopping with Leaf and Misty and ended up finding a dress that wouldn’t constrain her and allowed her to move freely. She made Cilan promise he wouldn’t do anything extravagant but the day of he showed up at her house with the smartest suit she’d ever seen, a corsage, as well as a stretch limo. She almost chewed him out, but saw how earnest he was and went along with it. They did all the traditional dancing and everything, but eventually Iris got bored and joined the two ruffians (Ash and Misty) in whatever trouble they were causing, with Cilan watching fondly but not getting involved. By the end of the night, Iris is beaming as well as disheveled, on the way back she couldn’t stop talking about what a great time it was, but was embarrassed by her state. Cilan assures her that she’s looked beautiful all night, leaving Iris thinking that maybe prom was her thing after all.


Serena had hoped that Ash would invite her to prom, so when she heard he was taking Misty she was pretty disappointed. She opted to go with Dawn’s group of friends until Clemont asked her if she wanted to go. She was pretty touched by this and agrees wholeheartedly. Goes shopping and finds her dream dress, the kind she dreamt of as a child. It was pink, frilly, and had a bow, yet still managed to look romantic. The night was fun; the two of them were very shy with each other though. There were slow dances filled with blushes and nervous laughing, but in the end Serena realized that she had a lovely time and Clemont was so sweet with her. Before he drops her off she asks him if he wanted to go and see a film with her next week. He assumes Bonnie and Ash would be coming but when he asks, Serena smiles and says, ‘Naw, let’s do it just the two of us.’


Leaf and Gary sort of have an unspoken agreement that they are each other’s dates for prom. Everyone else seemed to know too because anyone who wanted to ask either of them was sadly informed that they in fact had a date. While shopping with Iris and Misty and trying on gown after gown, Leaf decides she doesn’t really want to wear a dress and pants were much more comfortable. So she picks out a sparkly gold romper and calls it a day. When Leaf shows up at Gary’s house, he’s slightly surprised, but really what else did he expect from her. At the dance, they don’t dance too much, only when the occasional song they deemed worthy came on. They mostly flirtatiously bantered, and commented on Ash’s stupidity. Gary laughs about how funny it would be if those two were voted king and queen. Leaf agrees and they hatch a plan. Needless to say Gary wasn’t wrong, it was hilarious. 

Edit: An Anon requested I add Bonnie to the list so here she is.


As a sophomore in high school Bonnie wasn’t expecting to be asked to prom that year, she wasn’t really interested, mostly because she figured she’d be going in a couple years, but her friend Max asked her, he was a senior and they got along pretty well so she figured, ‘why the hell not?’. She takes Serena and Clemont shopping with her, insisting that they help her decide. Bonnie refuses to get anything boring, and buys a colorful cocktail length dress. The night of she meets Max there and they have a kick ass time. Max is a little awkward with dancing but Bonnie’s unrelenting energy rubs off on him and she drags him around being crazy and dancing the night away.


On 9 April, 1993, 40-year-old Gary Gauger called 911 after discovering the brutally slain bodies of his elderly parents, Morris and Ruth Gauger, at their farm in McHenry County, Illinois . Their throats had been slit. Gary immediately told authorities that he had been asleep when the attack took place and awoke to find the horrific scene. Imagine losing both of your parents to such a viscous attack and then being blamed for it. This is exactly what happened to Gary. Authorities took him in for questioning. From the onset, they lied to him - claiming they had discovered bloody clothes and a bloody knife in the pocket of his jeans. They also claimed he had failed a lie detector test. During the 18 hour interrogation, authorities told Gauger that he may have blacked out and committed the crime with no recollection. They forced him to describe a hypothetical scenario in which he murdered his parents. Absolutely exhausted, Gary complied; this hypothetical scenario which he described was then used as a confession. Regardless of the fact that there was not a shred of evidence against him, Gary was found guilty of the double murder and sentenced to death. In March of 1996, the Second District Illinois Appellate Court reversed this sentence due to the fact that his so-called confession was illegally obtained. Gary’s conviction was overturned and he was released from prison. He was eventually pardoned in 2002 when two motorcycle gang members, James Schneider and Randall Miller, were convicted of the double murder after Miller was secretly recorded confessing to the crime.

Can we talk about why The World's End is probably the best of the Cornetto Trilogy?

I know, this post is a little bit late (it’s also really fucking long), but bear with me. 

Like many at first, I was hesitant to call The World’s End the best out of the trilogy, as I am a firm believer that the second film in trilogies always tend to be the best (see: The Godfather 2, The Dark Knight, Empire Strikes Back, Temple of Doom); and Hot Fuzz was such an impeccable film that it seemed nay impossible to top.

The World’s End is a deep, intricate film that weaves complexity with grand ease, and therein lies the misconception of its simplicity. We are set to believe The World’s End isn’t the best film because it’s too simple, or maybe it’s because it lacks the sheer comedy that Shaun of the Dead and Hot Fuzz are rife with.

But that’s just wrong.  

The World’s End is an amalgam, a culmination of everything gone right; or maybe gone Edgar Wright. (Bad pun, I know)

1. TWE is, ironically enough, a soberer film than its predecessors. This is because the film is not a comedy. It is an epic. Gary King’s opening narration recounts the “legendary” twelve pub crawl that he and his company attempted. This proclamation that the night was the greatest of his life and couldn’t ever be topped is a cue for the audience to catch the underlying message of the film. TWE has itself grounded in Arthurian Legend. We then cut to a present-day Gary King: a disheveled and sad drug addict lost in the glory of his youth. This is a fact that will be repeatedly brought to our attention throughout the course of the film.

2. Gary King is a tragic character, his flaws and emotions literally worn on his sleeve. Only he recalls the past as being glorious. Everyone else is just glad to have put it behind them, and they all think Gary King mad, a pathetic loser unable to function in the world of today. King’s biggest mistake is that he never moved on, never grew up, never got with the program. Because of this, he is constantly treated like a child; even screaming to Andy: “They told me when to go to bed!”

We could safely assume that the underlying theme of the film is about growing up, but what if we look at the film from a different angle, one where Gary King isn’t wrong but actually right?

3. The film begins with Gary King escaping from the rehabilitation center to recruit his merry gang: Peter Page, Oliver Chamberlain, Steven Prince, and Andy Knightley; their names indicative of the Arthurian Legend, and provides some merit to King’s decidedly anachronistic ways. 

Viewed from a literal reading, Gary King can be considered a drunken fool, unable to escape the past and desperate to get sloshed. But viewed from a sub-textual layer, he is a king summoning his once-loyal followers to join him on a merry, new quest, a return to the taverns of olde where they will reclaim their past glories. Understanding this doubleness is essential to reading the film properly.

In Shaun of the Dead, Shaun ultimately shapes up, takes responsibility for his life and wins back his girlfriend, Liz. In Hot Fuzz, Nicholas Angel learns how to relax, makes a new best friend, and comes to appreciate his reassignment away from London. But The World’s End doesn’t function the way the other two did, and I don’t believe it wants to. It’s an ending. It’s the end. Accordingly, Gary King doesn’t change, growing toward others in order to better fit into society. If anything, he remains resolutely maverick, a fixed point, throughout the entire film as society changes around him. And if he is happier and healthier by the film’s resolution, it’s because he finds himself in a very different world.

4. King—aided in part by drinking—sees a different world than everyone else does. For him, a beer named “Crowning Glory” really is a crowning glory. Consider also his periodic bouts of semi-archaic monologues — such as when he spouts out lines like “Let battle commence!” or “The once and future king has returned!” or: “Tonight, we will be partaking of a liquid repast, as we wind our way up the golden mile commencing with an inaugural tankard in the first post, then on to the old familiar, the good companion, the trusty servant, the two-headed dog, the mermaid, the beehive, the king’s head, and the hole in the wall for a measure of the same—all before the last bittersweet pint in that most fateful, the world’s end. Leave a light on, good lady, for though we may return with a twinkle in our eyes, we will in truth be blind—drunk!" 

It’s almost as if Gary King is living in a different time from everyone else — not just 1990, but 990.

5. The interplay between metaphorical and literal meanings becomes a central theme to the film. The title alone means three things: 

A. It’s the name of the final pub on the crawl.
B. As already noted, it identifies King’s driving ambition in life to not be sober.
C. It predicts the direction the film will ultimately take: this is a film concerned with the end of the world.

Notice at the beginning of the film, the literal meaning is the pub’s name, which is only metaphorically named after the apocalypse. However, by the end, the metaphorical meaning supplants the original literal one as it pub, and the world, burns away.

6. We might also say that the film’s title is ultimately predictive. So, too, is Gary King’s speech. During the car ride to Newton Haven (a Camelot of sorts), he says: “There should have been Five Musketeers, that way two could’ve died and there’d still be three left.” This, of course, comes to pass, as if the King has decreed it. Later, when the gang pauses on the road overlooking Newton Haven, Gary King instructs everyone to “gaze upon it in its original colors, for tonight we paint the town red.” I mean, come on, just watch the ending.

7. We get an even stronger example of King’s visionary speech in his opening narration, which, like Wright’s previous films, lays out the entire arc of the film. Everything that Gary King says not only describes what happened in 1990, but predicts everything that will come to pass in 2013. Here are a few examples: 

A. The companions fall off the crawl in the same order they did the first time around (only now they’re replaced by blanks).
B. During the first crawl, when the gang got to the smokehouse, they smoked pot and everyone grew paranoid. This time around, when they reach the smokehouse, they grow afraid of one another, uncertain of who is human or a blank. The three surviving companions finally reach
C. The three surviving companions finally reach the hill overlooking Newton Haven to witness a new sunrise.

8. Accordingly, we would do well to pay close attention to all signs, spoken and visual. Just like in Terry Gilliam’s Brazil, there’s a tonne of printed matter on display, and all of it comments on the action. The figures, for instance, in the school disco poster (seen here and there in various backgrounds) have glowing, blue eyes. Meanwhile, the pubs (all of which have signs) predict what will happen at each one:

1. "First blood” of the journey is drawn at The First Post. 
2. Not only does the gang meet Sam in The Old Familiar, the pub itself is the same as The First Post, a comical take on “Starbucking." 
3. The gang sees crazy old Basil, and Gary discovers his picture on the barred for life wall in The Famous Cock.
4. The gang engages in a fist-fight with the first of the blanks at The Crossed Hands. The imagery of the bar’s sign shows five hands coming together, symbolic to that of our gang coming together – there’s even a wedding ring on of the hands, just like Andy wears.
5. Everyone but Gary is having a terrible time, but they continue on with the crawl in The Good Companions.
6. They meet Reverend Green, a willing participant for the Network in The Trusty Servant.
7. At this point in time, Oliver succumbs first to the Network, having been turned into a blank. He represents the secret traitor in the group. There is also the more literal meaning when Sam meets with the Twins at the Two Headed Dog, who also turn out to be blanks.
8. The gang runs into a trio of sirens, the “Marmalade Sandwich,” in The Mermaid.
9. The gang meets with the representative of the Network and are told of the hive-mind’s plan at The Beehive.
10. After losing Peter to the blanks, Gary is knocked unconscious by Steven and is taken to The King’s Head. The bar sign itself resembles Simon Pegg.
11. Steven crashes the car through The Hole in the Wall.
12. And everything comes to head at The World’s End.

9. The film trades constantly in polysemy, especially by means of punning (all the more reason to view the film on many occasions).

For example, when the gang first arrive in Newton Haven, their slow-motion entrance is set to Suede’s “So Young.” What may seem to be a wholly ironic moment turns out to be the first glimpse of the eerily impassive inhabitants of Newton Haven. One of the lines from the song goes: “We’re so young and so gone, let’s chase the dragon from our home!” In this case, the language is predictive.

A second example is when their phones stop working, one of them says “It must be the network.” He’s right, of course, but doesn’t know how.

Along similar lines, words and phrases and jokes keep recurring throughout the film, constantly shifting meaning. At one point Andy complains that King wants his friends along to serve as enablers (a words King then mocks). The Network, later on, reuses the word: “We’re here to enable your full potential.” (It also describes what it’s doing to Earth as “an intervention.”)

10. This reuse of language, the continual infusing it with new meanings, syncs up nicely with another formal aspect of the film: the tension between stasis and change, epitomized by return.

The film begins with King’s desire to return home, to return to the past and to his youth. This turns out to be an old theme: the return of the King. But although he’s the most obvious example, King isn’t the only one who wants to remain in the past. As the film progresses, we see that, despite their outward signs of adulthood, the other principal characters haven’t grown up all that much.

Steven (a striking resemblance to Lancelot), for instance, is preoccupied with keeping fit, and quite proud of the fact that he’s dating his 26-year-old fitness instructor. Meanwhile, he’s still in love with Sam (Guinevere), the woman he loved as a teenager although she got with Gary King (Arthur). Similarly, Peter remains a coward, working at his dad’s new car lot, hiding from his wife and children behind the morning paper the same way he once hid from bullies in the toilets. And Andy (the brave Galahad) has spent the past two decades years unable to forgive King for an accident he instigated, since which time Andy has been sober and pure.

The difference is that those other men, unlike Andy, have masked their stunted growth with outward signs of adulthood and maturity: houses, spouses, children, jobs, laser surgery, suits, et al.

Even the Network turns out to be obsessed with preserving the past. Its blanks can never be truly defeated, since they return ad infinitum, rejuvenated, with no sign that their body parts were severed or smashed.

King, by way of contrast, refuses to hide his innermost desires; he remains in his trench coat and Sisters of Mercy tee. “You haven’t changed a bit,” the others tell him. “But I still like the Sisters of mercy,” he protests. Viewed in this way, he’s the only honest one in the lot.

But that’s what makes one a king. One is born to royalty, and cannot stop being such.

11. Note, however, that the film’s structure, while cyclical, is not entirely repetitive, because its components change each time they recur. Even King understands this: he returns to Newton Haven in order to change things — to finish the failed crawl. Meanwhile, the others comment on how the town, while in some ways the same, is also different. And while key story events recur — King’s attempt to shag Sam in the loo, the appearance of the Marmalade Sandwich, King’s punch at the bathroom wall – it all goes down differently this time around.

The film’s larger patterns of repetition function the same way. The film closes similarly to how it began: with a narrator sitting in a circle, telling others what happened on one fateful night. But in the end, it’s a different narrator, a different circle, and a very different recounting of what actually happened. It’s beautiful really.

12. Initially it seems The World’s End is just cribbing at times from Shaun of the Dead and Hot Fuzz. Gary King’s desperate attempt to reach the final pub revisits Shaun and his friend’s attempts to reach the Winchester. The conspiracy of Newton Haven strikes a formidable tone with the sinister plot lurking at the heart of Sandford in Hot Fuzz. Thee retreads may seem to make The World’s End the weakest of the bunch, but looking at the repetition throughout not only the film but the series as a whole, it becomes a part of the design.

Case in point: Pierce Brosnan’s character, the patronizing school teacher Guy Shephard (another shining character example of old, Merlin) might seem to be a newer, updated version of Timothy Dalton’s Simon Skinner from Hot Fuzz, and guess what? He is. Think about it for a moment. What does the Network do best? They replace you with a younger, better version of yourself. Not to mention, what other famous character did Brosnan follow Dalton in playing?

This is where we truly see how clever Wright and Pegg truly are. They are indeed reworking material from the earlier films — and from other earlier films — but they are repurposing it.

Along similar lines, we are no doubt meant to detect in The World’s End echoes of other works: The Network and its blanks recall Invasion of the Body Snatchers and John Wyndham’s The Midwich Cuckoos. There are overt references to Casablanca and Aliens. The ending around the campfire harks to the ending of Mad Max 2. There is a subtle nod to Star Wars, as the bartended doesn’t serve to robots.

13. Certainly King is not an ideal protagonist—in fact, he’s pretty pathetic, for the most part. Watching him fumble around, we find ourselves hoping that he really will grow up and join society, but at the same time the film doesn’t portray adulthood as being all that great. None of King’s childhood friends have gone on to particularly wonderful lives – they’re mostly sad sacks who’ve resigned themselves to their fates (and who are also less mature than they initially appear). As Andy finally concedes to Gary, “it’s not all that perfect.”

The Network further complicates our notion of progress. Speaking in corporate euphemisms and using simplified infographics, it represents a parody of today’s business world, where progress amounts to “Starbucking.” The Network envisions progress as conformity, removing any markers of individuality and experience.

But is the answer to the Network simply individualism? I don’t think so. For one thing, we’ve already seen that Gary King’s hedonistic assertion of self isn’t all that wonderful. The answer has to lie somewhere else.

This is where we can try bringing together the film’s structure with its detailed critique of the self. Gary King doesn’t want to play by the modern world’s rules. But at the same time, he isn’t just playing by his own. He abides by a code: the code of companionship, of loyalty. His morality is arguably a medieval concept: the group identity of the band. Without his fellows, he’s lost — the archetypal melancholy wanderer of Anglo-Saxon poetry. But once everyone’ has been reassembled, then King has a purpose, as does everyone else.

King, in other words, is not entirely selfish. His preoccupation is with the group. Each time he’s asked what is it he wants to do, he quotes the intro to Primal Scream’s “Loaded”:

We wanna be free
We wanna be free to do what we wanna do
And we wanna get loaded
And we wanna have a good time
That’s what we’re gonna do
We’re gonna have a good time
We’re gonna have a party 

It helps to take note that King here is using the royal we, as he speaks on behalf of his companions, his party.

14. The Network is also a group, but it’s a modern, bureaucratic group, in which every member is anonymous and disposable. The World’s End, then, is an attack on the modern world, and a model of adulthood that necessitates replacing authentic youthful companions with corporate ones — friendships born out of career advancement, and the outward signs of progress, rather than genuinely liking someone, and therefore protecting them.

15. While the film doesn’t condone drunkenness as a solution, it also complicates what it means to be sober. When King first gathers up his friends, they are awkward, stiff — even hostile. Their politeness toward one another is the politeness of networking (they even exchange business cards). But as the crawl progresses, everyone loosens up, becoming friends again.

16. So if the film is an elegy for lost time (and it is, as King puts it: “It never got better than that night!”), then it’s an elegy for the authenticity of childhood.

King doesn’t want to sober up, and that is indeed sad. There’s something pathetic about the guy whose greatest achievement was some half-finished, drunken teenage night. But at the same time, King stands firmly opposed to the phoniness of adult life — to the pretense of appearance. That is the way in which he’s heroic: he’s the only one who calls out getting older as a big lie. He’s fearless in his honesty, wearing his devotion to his childhood passions proudly.

This is why the Network can’t seduce King. It offers him exactly what we might think he wants – the chance to be young again, with selective memory – but King already has that.

17. The film is open in its fear of aging. Newton Haven’s gang of five taciturn youths obviously represent replacements for King and company. Elsewhere, characters and places are bought out, Starbucked, replaced by the Network. The Network even reveals that it is behind the past two decades of technological progress.

King’s final response to the Network is to behead his would-be usurper: “There’s only one Gary King!” Amusingly enough, the Network addresses him as “Gary King of the Humans,” finally recognizing him as royalty and thereby entitling him to speak for everyone.

The end of the film finds us in a second Dark Age – not necessarily a return to the past, but definitely an interruption in the Modern idea of technological pursuits. Time goes backward to go forward.

This ending neatly inverts the film. At the outset, King was the man out of time, living an unsuccessful, medieval life in the modern world. He wanders off into the unknown with his trusty, albeit blank, companions, even carrying a sword into battle, another nod to Arthurian legend, what with it being Excalibur. But now, in this new Dark Age, when all humans have been left to their own devices, we see the others attempting to live modern lives in a medieval world. Oliver remains a realtor; he’s even depicted showing a house to the same couple from the beginning. Steven builds a “drafty” new house with Sam. Peter and Andy reunite with their nuclear families.

Only Gary King thrives in this new environment, not because he’s changed, but because the situation has. The past overtakes the present and becomes the future, the proper place for one such as him. Given the proper sunrise, he finally finds himself free to do what he wants, in all of his sober glory. 

anonymous asked:

heyyy... not asking you anything but dropping a line to shout out how much i love your blog & thank you sooooo much for all my tom hardy squeeeeee moments :) love most of his projects for different reasons. unfortunately, Child 44 didn't work for me - not the acting (how can you go wrong with gary oldman, vincent cassel, tom & noomi?) but the story is a bit of mess :( heheheh, my fav tom-as-total-candy role = Handsome Bob... i want a sequel! keep up the great work... squeeeeeeeeeeeeee...

Hey! You are too kind! Let’s keep the squeeeee-fire burning, eh? :D

Ah, yes, the very handsomest of all Bobs! If there ever is a sequel, it should all be about him. It would make a much better film! Bob’s so handsome, he’d rule London if he wants. Who can resist this face? Not the boys of London, that’s for sure. :)

I have been on happy farms, I have been in supposedly better slaughter houses…I can say to you quite confidently, there is no animal product that you can buy anywhere that is not the product of torture. It doesn鈥檛 matter whether they had the best lives in the world. Killing an animal so you can eat the animal or you can wear the animal is wrong.
—  Gary Francione, Live and Let Live
Goodbye Newsroom

I discovered tonight that I had really been missing Neal, this season had been missing him. I got him back, but they took away Reese. Reese needed to be there.

The series finale in some of my favorite quotes….

“Is it alright for you to be outdoors?”
“I can be outdoors for the first eight weeks.” “Feels like that was a joke, but I can’t tell.” - Wil & Mac

“Do we know if it’s a boy or a girl?” “Yeah, there’s a good chance it’s gonna be one of those two.” -Will & Mac

“I think maybe we should just put you in a hospital bed right now and hook you up to an epidural. Would that be premature?” - Will

“Maggie Jordan is the sixth best we’ve got. Couldn’t do any better than Maggie unless you went with one of the other five.” - Jim

“I still don’t know what I’m doing here or what a personalized soft drink is.” -Mac

“Visit us anytime you want.” -Don

“Should we go bury him or do you guys feel like you did that already?” - Will

“He can get pretty creative with revenge.” - Don

“I’d like to make a career out of doing the news.” “Who’s stopping you?” - Will & Leona

“I was wrong, that hurt.” (After being slapped) - Will

“There were times when I thought if I was at Charlie Skinner’s funeral it would be because I killed him.” - Leona

“I shut it down from my phone.” (Yeah, he’s that good) - Neal

“All time and fourteen years are two different units of measurement.” - Neal

“You embarrass me. It took me a long time to build ACN Digital. I was laughed at by the people in this newsroom. People who I respect didn’t respect what I did around here, but I built this into a tool that gathered, expanded on, and disseminated information that’s useful. I kept telling my colleagues and my bosses that the Internet is user sensitive just like most things and I’ve watched from a thousand miles away while you proved that. You embarrass me.” (This had me emotional) - Neal

“He wasn’t angry that you guys were fighting him, he was counting on it.” (My favorite, this had me in tears) - Nancy

“I’m a news anchor on the side.” - Will

(Jam session - it’s how I got to Memphis)

“Jim Harper’s here.” - Will

“Of course not. You’re not supposed to do that until after the first semester.” “Trimester.” - Will & Mac

“You know what I always thought would be fun if I was a parent? You teach your kid something wrong like wood comes from birds and you see how long you can keep it going. They’re all grown up at a dinner party and people are admiring the table and your kid says, it took a lot of sparrows to make that table.” (This, I would so do this) - Gary

“People have different parenting styles, there’s no right way or wrong way. Maybe there’s a wrong way.” - Gary

“Seems everyone feels responsible for Charlie dying and of course that’s ridiculous. It was Sloan.” - Will

“This fight is just getting started because he taught the rest of us to be crazy, too.” - Will

“I wasn’t in love with them.” “Wait, what?” - Jim & Maggie

“Except for you killing Charlie.” “That’s not funny.” - Don & Sloan

“I just miss him.” (Aww, Sloan. You’re the best) - Sloan

“We did the news well. You know how? We just decided to.” - Charlie

“Good evening.” - Will

And with that, one of the best shows on television comes to an end. It was a great ride.

Enough - part 2

A/N: I’m not too happy with this chapter, but hopefully the next one should be better. Thank you for all of the lovely feedback and stuff, it’s really lovely. If all goes to plan, part 3 should be out this evening.
Peace out & much love xxx


Finn regretted the words as soon as they came out of his mouth but he had done it and he was too angry and sad to turn back around and declare his undying love for her. He turned on his heel and left out of her bedroom door, listening to the stifled cries of his ex girlfriend. He couldn’t bare the thought of causing her pain so he left with out another word and quickly paced home, tears stinging in his eyes.
“Yalright son?” Gary called as Finn walked to into the house, slamming the door behind him.
“Yeah” he muttered as he took off his jacket and shoes. Gary came into view of Finn
“Didn’t expect you to be home this early” Gary said looking at Finn quizzically, leaning on the door frame leading to the living room.
“Yeah well…” A tear streamed down one of his cheeks and his face contorted.
“Oh Finn, do ya wanta talk bout it?” Gary had no clue what was going on
“No.” Finn wiped the tear stain “nah I’m alright da’… I’m jus’ gonna go up ta my room and get some sleep” Finn gave his dad a weak smile and scurried up the stairs. Gary looked at his watch and saw it was only 8:30 and his eyebrows rose to know the fact that Finn was going to bed. He didn’t understand what was wrong and was beginning to worry. Finn hasn’t cried since his Nan had passed. Finn entered his room and flopped on his bed. With tears still in his eyes, Finn rolled over and tried to distract his mind to anything other than Rae.

Rae sat silently crying on her bed as soon as Finn had left. The last thing she wanted to do was hurt Finn. He deserved so much more. She wasn’t opening up - something she had told herself to do when they got back together again. But seeing the circumstances , it seemed to make sense and it seemed as if it was for the best to keep it from him. Her mum and Karim were away for a week with the baby. She was alone and in a dark place - exactly the opposite of what should be.

Rae had not spoke to anyone from the gang in 3 days. They were worried about her so asked Finn was was the matter.
“We broke up” Finn said
“Wh-hen?! Why? What the fuck?!” Archie shouted when they were all sat at the pub
“Three days a go” Finn said monotonously
“Why?!” Chloe squealed
“It wasn’t working out” Finn had had enough of this conversation and decided that it was time to leave the pub. “Right I’m going.” He stood up and left, ignoring the shouts and protests that the gang were saying.

He decided to stop off at the local record shop on the way home. The place reminded him of Rae - they always used to go together on little mini dates. He smiled sadly at the memory and preceded though the door making his way straight Over to the rock section.
And there she was. Beautiful as always crouching down on the floor flicking through the crate of Reggae vinyl.
She noticed a presence standing above her so she diverted her eyes to see Finn standing there looking directly at her, as if he wanted for her to notice.
She took a sharp intake of air and stood up, matching his stance, arms hanging limply at the sides.
“I…-” Rae was about to speak when she quickly cut herself off. He looked directly into her eyes, she had eyes you could get lost in.
He was brought back to reality when she shuffled uncomfortably.
He didn’t know what to do. Should he smile at her? Ignore her? Talk to her? What?!?! He started to panic and he fiddled with the buttons on his jacket and diverted his eyes away from her.
A few moments of silence passed and she finally spoke up “I’m-im just going to go” she grabbed her bag and left swiftly out of the record shop.
Finn could see the tears stinging in her eyes, he hated that he made her feel this way. He hated that he could t have her. He hated that he couldn’t even talk to her. But most of all, he hated that things would never be back to the way they were.
Finn trudged home from the record store feeling horrible. When he got in his dad spoke again “Finn?”
“Aye, it’s me dad”
“Have a good time at the pub?”
“Yeah, was alright I s’pose”
A few moments passed again “Finn, is there something wrong?” Gary was worried for Finn. He knew that Finn wasn’t the best at speaking, but it was important that he did because Gary knows all to well what happens when you keep things bottled up.
“M-me and Rae broke up” Finn staggered.
“Oh Finn, son I’m so sorry” Gary had no idea where this was coming from, Gary could see that they were in love. “Want to talk about it?”
Finn thought for a moment, he did want to talk about it, but he wanted to wallow in his own self pity more. He knew it wasn’t good for him to feel so sorry for himself so he agreed.
“Yeah ok” Finn said finally
Finn went in to explain why things hadn’t worked out between him and how Rae had become so distant from him. His dad simply said “it will all work out son, you and Rae are supposed to be together. It’s inevitable.”

“Rae! Pleaseeee!” Chloe whined down the phone trying to convince her to come to the pub with her and the gang.
“Chlo.. Finn’s gonna be there. I don’t think I can handle seeing him” Rae had missed Finn like crazy, but she was scared to see him just in case he didn’t want anything to do with her - that would kill her
“Oh please Rae! For me?!”
“Oh fine, I’ll meet you at the pub at 7, but only for an hour or so..”
“Eeeeek! Thanks Rae! See you soon”

Rae put the phone down and sighed. She knew that she would have to tell him at some point, she just thought it would sound more real if she said it out loud. At the minuet it just felt like words in her head and not reality.

When Rae entered the pub she saw the gang sitting at their usual table. She smiled slightly and sat down in the only vacant seat which happened to be next to Finn.
“Ey’up raemundo!! Want a drink baby girl?” Chop hollered
“Yeah, cheers chop” she nodded and he went over to the bar
The gang engaged in normal conversation between them all though Rae and Finn never spoke to one another.
When Chloe and izzy went to the toilet and Archie and chop had returned to the bar, Finn finally spoke.
“So how ‘av you been?”
“Ups and downs, Yano” she looked down, not making to make eye contact.
“Havent seen ya since.. Y-yanno”
Rae felt it was difficult to talk to Finn. She never found it hard to talk to him ever, but the break up had seem to have choked them. Conversation didn’t flow anymore.
“About that..” Finn said and looked at Rae
“Hmm” Rae hummed, dreading what he was about to say next
“What happened?” Finn looked hurt “where did it go wrong?”
Rae just looked at him. She stared into his honey eyes and said no words.
“Rae..” She was snapped out of her trance by his words. She could see izzy and Chloe coming out of the bathroom door
“Come round mine after the pub, I’ll explain” Rae was nervous
Finn frowned and wondered what could be happening, but he nodded in agreement.
When the rest of the gang joined the table, Rae made her excuses and left for home. She had told Finn to come round after he had finished at the pub. And it only seemed that he left 10 minuets after Rae did. He needed to find out what was troubling her. He needed his girl back.

Rae had just entered her house and had put the kettle on. The house was cold and empty and alone. Just after she had put the tea bag into her mug she heard a knock on the door and knew it was Finn.
“Hey” she said, almost whispering
“Hi” she stood aside and let him in
“I was just making a cup of tea, ya want one?” She smiled small
He nodded and proceeded into the house and sat down on the sofa in the living room.
Rae came back into the living room with two cups of tea.
“Where’s ya mum and Karim?” Finn asked
“They’re away with the baby” Rae said, taking a seat next to Finn”
“How long have they been gone for?”
“A week tomorrow”
“How come ya didn’t say anythin’, ya was all alone?” Finn didn’t understand why she would want to be by her self.
“I dunno”
They both took a sip of their tea simultaneously.
“Ya know why am here”
“Yeah” she paused before carrying on “Finn, I know that you probably hate me right now and you can’t stand being here and that you-“
“Rae just tell me”
Rae took a deep sigh with tears threating to break “Finn, I-I’m p-pregnant”