have the mcgills been in

Gould: Vince has said something that always rings for me, which is that we thought we set out to make a comedy. When we started out, we used to say, “Breaking Bad was 70 percent drama and this one’s gonna be 70 percent comedy.” But the more we work on this, the more it feels tragic. It’s interesting you say it’s so dark, because I can often think of moments in this season that I think are as funny as anything we’ve ever done, like when Jimmy’s making his commercials and his slip-and-fall and so on. But I think it is true that the thing you take away from it is a great sadness and I think it’s the sadness of the loss of this upbeat, striving and essentially good character, Jimmy McGill.

Gilligan: Yeah, it’s sadness for what could have been if he had only remained Jimmy McGill, if he didn’t have Chuck chipping away at him so that he felt the need to start chipping away at Chuck. If they didn’t exhaust themselves emotionally, morally, every-which-way battering each other to the ground, if they hadn’t wasted their energy on such a pointless exercise, they both could have been great. It’s a good question and it puts me in mind of what Peter said. I didn’t want this to be a tragedy, but it is a tragedy. There’s no denying that it is a tragedy. We didn’t realize that. I didn’t realize that going into it. I’m not even 100 percent sure if I’d known that it was gonna be, in a lot of ways, a straight-up tragedy as a story, I’m not even sure if, knowing that going into it… I might have still done it, but I don’t know that I would have been as excited about it.“

Gould: We thought it was gonna be a romp!

Gilligan: We thought it was gonna be a romp and it just goes to show what Peter was saying earlier. You can do anything you want when you’re a showrunner, which is one of the great joys of the job, but if you’re smart you’re gonna go where the story takes you and sometimes the story takes you places you just don’t want to go. But you can’t tell the characters where they need to go and who they need to be. It sounds weird. It sounds like, "Well of course you can! You’re the writer!” In a weird way, you are but you’re not. Sometimes this feels like transcription, rather than writing. The characters, you really want them to come alive above all else, and they can’t come alive if you don’t let ‘em, if you don’t let 'em go where they’re gonna go. It’s odd, but in our experience it’s been the case every time that the characters lead us and not the other way around.

The path to transcendence is unrecognized by many because it appears ordinary. As sensory experience junkies, we have been blinded to the majesty in the common; like never seeing the stars above the city lights. But out on the quiet country roads, like the untrodden corridors of your meditative self, there is clarity to see the brilliant stars of your own luminous perfection. Like the unseen stars, your joy and perfection have been there all along — awaiting your recognition.

— Bryant McGill

anonymous asked:

So I just got into McGill's Architecture program up in Montreal. Don't think I'd be going there if not for the inspiration you've provided me for the past 2-3 years. Thank you!

CONGRATS! That is a great personal achievement and you should be proud. The architects I have worked with that graduated from McGill as part of the CHUM team have been great partners, Your words humble me, if I had really anything to do by providing inspirations there is no higher compliment you can give me.

Originally posted by drunkbroadway


Anonymous said:

to the student who got into mcgill: congrats! I’m a current student there and would suggest you check out the McGill Architecture Students’ Association page on fb and reach out to us! never too early to join in on our lively community!

Originally posted by thecwwhoseline

Stefan’s S7 Journey – Homer’s Odyssey

So on Twitter today @shadesofbabyblue brought up a very interesting little easter egg (if you will) that the prop department and writers put into 7x09 that I and @humormakeslifebearable is foreshadowing Stefan/Caroline/Valerie’s upcoming storyline. When Valerie is babysitting a comatose Nora she’s opens Stefan’s journal to the entry about herself (because she’s a crazy person) but the entry on the left side is dialogue from the movie ‘O Brother Where Art Thou’ here’s the passage put in word for word in the journal

Ulysses Everett McGill: Deceitful, two-faced she-woman. Never trust a female Delmar, remember that one simple precept and your time with me will not have been ill spent.

Delmar O'Donnell: Ok, Everett.

Ulysses Everett McGill: Hit by a train! Truth means nothing to a woman, Delmar. Triumph of the subjective. You ever been with a woman?

Delmar O'Donnell: Well, I… I… I gotta get the family farm back before I can start thinking about that.

Ulysses Everett McGill: That’s right, if then. Believe me Delmar, woman is the most fiendish instrument of torture ever devised to bedevil the days of man.

Now for those of you unfamiliar with ‘O Brother Where Art Thou’ the movie is based off of the Greek classice Odyssey one of Homer’s poems (it’s the sequel to the Illiad) and I believe Stefan’s story is going to be heavily drawing on parallels to the greek story.

  • Stefan; Odysseus
  • Caroline; Penelope
  • Valerie; Siren (journal is her ‘song’)
  • Alaric; The Suitors (for marriage)

Odysseus is on a journey home after the fall of Troy back to Ithaca to be with his wife Penelope and their son Telemachus. His wife Penelope presumes him to be dead but continues to be faithful to him even though she has all these suitors looking to take her hand in marriage. On his way back home to his wife he encounters the land of the Sirens who sing songs to sailors trying to lure them to their death, if they hear their songs they will steer their ships into a rock and sink. Odysseus tells his men to plug their ears so they can’t hear the sirens song while he has them tie himself to a mast listening to the song. The legend was if you passed the sirens after listening to their song it was the only way they could die (the sirens.) Eventually Odysseus makes it home to his wife but he hides his identity at first to test her true intentions, he’s actually found out by one of the servants because she recognizes a scar he has and tries to tell Penelope. There’s an archery contest, Odysseus wins and then kills all the suitors and then reveals himself to Penelope.

Now TVD will obviously not follow the story exactly but I think the parts are pretty close. Stefan is trying to return home to Caroline after war (the phoenix stone and the huntress) while she’s living with a new suitor because she presumes him dead however she’s staying faithful to Stefan (Calaric engagement is fake.) While Stefan is still being hunted and can’t be with Caroline Valerie casts a spell on the 1863 journal manifesting Stefan’s 1863 feelings for her onto him (essentially her siren song.) This is why when Stefan sees the journal in his car in 7x03 and he can’t burn it, basically Stefan needs to break free of the song either burn the journal or seeing Caroline will break it.

Other possibilities from Greek Myth

Since I’m convinced the FF have some weird logic fails I think the FF could also be a labyrinth that Stefan is trying to navigate himself out of (i.e. repeating the same day over and over) and the huntress is the Minotaur. And perhaps Damon is the one who is giving Stefan the ball of thread to help him navigate out of the labyrinth now (though in the story it’s a woman the hero is in love with.) Damon is able to naviage the labyrinth because he’s beaten it before (this is under the assumption the FF are Stefan’s second trip into the stone because he didn’t complete his task the first time.)  

Either way the writers putting that passage there right before the storyline is most likely going to start seemed intentional. Also having Valerie looking at the journal and reading a passage about a deceitful two-faced woman makes me think we’re really not supposed to trust her. And just remember Stefan is the doppelganger of an Ancient Greek.

BCS 1x09 - Observations: “‘Pimento’ is all about the road not taken. Mike could have been the head of corporate security at New Mexico State. And Jimmy McGill could have been Erin Brockovich. And the reason why they’re not, well, that can be traced back to the family, to some original sin that can be neither forgotten or forgiven. It’s sad for these two men that we’ve improbably come to know and love throughout this surprising season of Better Call Saul. But it did give us one hell of an hour of television, and the promise of more adventures to come.” Allen St. John, Forbes