i am now more confident than ever that something will happen between those two in the season finale

FOCUS ON... JOHN HARLAN KIM

Our latest ‘FOCUS ON’ feature interview is with  Australian actor John Harlan Kim. Kim has journeyed from the familiar sights of Ramsay Street on Neighbours, to become a valued Librarian on the hit TNT show, The Librarians.

Hi John, how’s your visit home been?
Unreal! Always good to get home for the Summer and see all my mates and the family. Mom was stoked to have me back but now I’m pretty sure she’s getting over it and probably ready for me to head back to the States!

We’ve just seen the season 3 finale of The Librarians. Talk about an emotional rollercoaster. Your character Ezekiel has grown over the years, matured, what’s the journey been like over that time?
It’s weird. Here’s a character I never thought would grow. It was apparent that he suffered from some type of Peter Pan syndrome. But over the seasons we’ve seen more and more that it’s just a guard he has set up and I think people can relate to Ezekiel in that way, that having walls up is a normal human thing to do. He has the most to prove yet he acts like he doesn’t care but we’re seeing more and more that he truly does care, especially about his new family.

Can you relate to Ezekiel in any way?
I’ve grown up with the show myself so that’s probably one of the coolest parts, to not only see Ezekiel grow up and mature with each script but also needing to have to do that myself albeit on a less grander scale because obviously I’m not fighting dragons and minotaurs in my personal life. My problems are a little more realistic like trying to score a date or not over-cooking my eggs.

Has there been an episode that stood out as a favourite?
Point of Salvation. Hands down. The cast were so supportive that ep as was Jonathan Frakes and Jeremy Bernstein. They put me in an environment where I felt confident enough to make choices and take creative risks. I think it all came together really well in the end and I couldn’t be prouder.

Tell us about your relationship with the other Librarians.
Lindy [Booth] and Christian [Kane] set great examples for me, they’re always there for me (Lindy & Rebecca have even housed me at one stage) and they’re just good people to be around. And with Noah [Wyle], I couldn’t be more amped to work with. He’s phenomenal at what he does and I have a lot of respect for the way he handles the pressure whether as an actor, producer, director or writer. He’s awesome. I really couldn’t be in a better position with the cast I have.

And the dynamic between the Librarians and their Guardian, as well as Jenkins? It’s a great technique, incorporating different roles to cover a variety of plot lines.
Rebecca Romijn and John Larroquette make it way too easy to play! They’ve both had long and successful careers in the industry and it was easy to see why from the moment I got to Portland. I love working with them. It’s fun because you’re right, when we have such a wide variety of plot lines to cover splitting up the team becomes necessary to keep on top of it all. Every script I get, it’s exciting! One day I’ll be sitting on a magic council with Larroquette, the next I’ll be beating up zombies along with Romijn!

The episodes are always so unique and interesting, when you first read each script how do you feel? I’d imagine much like the audience, fascinated, but excited as your character experiences it.
One of my favorite parts about the whole thing is getting the next episode’s script. The writers on our show are top flight and they do a spectacular job in conveying their vision onto paper and keeping things fresh and interesting! Like I mentioned, you don’t know what you’ll be doing or where your character will get to travel to, all you know for sure is it won’t be boring!

There are some harder themes, for example in season 3 the team deals with the resolution of Cassandra’s tumour. In contrast, what was it like filming those scenes? As a viewer it was tense!
To an extent, it definitely felt like a shock to the system! Showing up that day was such a different type of shooting day for us. I wasn’t used to coming in and filming something so somber but being the incredible talent she is, Lindy absolutely killed it!

Were there any other scenes that presented a challenge in terms of emotional response? Like the finale?
Yeah I mean Flynn’s ultimate sacrifice was rough. And I had already read what was going to happen and I still got anxious watching it! That and Charlene’s goodbye. Jane Curtin’s a star, I loved having her around.

And what about training for the more physical combat roles, what was that like? Did you enjoy it?
Definitely. I got to live out a bit of a youth dream with that vampire ep. And to do it alongside Christian Kane who is well-versed in vampire combat himself. I mean, come on! How lucky am I!? Our stunt guys Tim Eulich and Buster Reeves were a dream to work with and they’re absolute legends as well.

Over the seasons, what’s one of your favourite moments working on the ‘The Librarians’ set?
My first day. Noah Wyle and the jewel theft scene. It still feels like a dream, such a surreal moment. I haven’t lost that feeling yet and I hope I never do. I never want to be jaded.

Do you have an idea as to what The Librarians will go through in the upcoming series? What would you like to see happen next, for all the librarians and specifically Ezekiel?
Zero idea. They’re good at keeping pretty secretive about all of that stuff. I’d love to see Ezekiel continue to evolve into the Librarian he’s going to be someday. He’s far from being fully-realized and has the most growing up to do so to see him take that next step would be awesome.

The Librarians has been renewed for a fourth season, what do you think makes the series so successful?
Our showrunners. John Rogers and now Dean Devlin. They’re the pulse of the show. I don’t really need to say anymore, they’re extraordinary at what they do and they’re two of the best men I’ll ever come across, by every measurement of the word.

Is there any other role you’d like to take on from a book or comic? Or another series you’d also like to be a part of?
Amadeus Cho. I’ve always wanted to be a humungous, green giant.

Did you always want to be an actor?
I decided at 15 I wanted to be an actor so I took a class, auditioned for my first gig and booked it. I then took that pay check from my first acting gig, coupled that with money saved from working at a charcoal chicken store and flew to New York in my school holidays. I knocked on the door to a film school building in Manhattan and told the concierge I wanted to be an actor and he told me to go find my parents. I think he thought I was lost.

On your down time what other things do you enjoy doing?
I love shooting hoops, hitting the water and playing video games. I picked up boxing a few months ago too but my heads so big, it makes it ridiculously hard to dodge punches.

How does working overseas compare to working here at home in Australia?
The biggest difference I’ve found is the pacing. I can’t speak for either industry as a whole but my experience on Neighbours was a much more fast-paced environment than something like The Librarians. It was actually a fantastic way to learn to nail your first few takes and within that, I found preparation was key so I make sure to show up to any set now with my lines absolutely ingrained into my brain so that the real fun can begin once you start shooting.

What advice do you have for actors, especially Australians wanting to make it in the industry and overseas?
Trust your choices. It’s so easy to second guess if you’re on the right path or not but just back yourself and everything else will fall into place.

And finally, what can we expect from you next?
I’m actually in the middle of editing my first project right now so I’m hoping to complete that before we start work on Season 4! Way too excited to see that finished and then to get to go back to work with Dean & the gang is going to be an absolute blast as always!

Thank you so much for your time John. We can’t wait to see you on screen in 2017!

Jane the Virgin and cheating the narrative

I’ve been mulling this over since the season 2 finale, and I realize I’m still angry at a show that I really love, so it’s time to start writing it out. This post will obviously contain all the spoilers for JTV through season 2. You have been warned.

Seriously. SPOILERS.

When the finale aired, I found that I was annoyed. Not disappointed in the way that I had expected (since I had begun worrying that the writers might do something to block Jane’s wedding), but because the two last-minute twists seemed… not very thrilling. Or rather… not jaw-dropping. This was to be expected - season 1 ended with a tremendous and utterly shocking cliffhanger, and it was obvious that season 2 would try for the same effect. The moment the wedding was carried out, it was obvious: something was going to happen to Michael before the wedding night. What other drama could they spin, right? Then the Susanna twist also sort of made itself obvious, the moment the Tuscaloosa smoking gun was introduced. “So she’ll play a role in Michael’s downfall,” I thought and… well.

The finale was frustrating, but I wasn’t yet angry. The anger came over the next few days.

Jane was happy, I thought to myself as I washed the dishes. Jane was finally getting what she’d always wanted, I mused in the shower. Jane had gotten her dream wedding to her dream man and was having this snatched away for the sake of drama, I grumbled as I paid my bills. And Luisa! Luisa had been promised a healthy relationship, with someone who prioritized her mental health above any romance, I seethed as I sat at work. 

I began to wonder if there had been a false narrative at play. And then I began to wonder if I was so angry at the finale just because of shipping preferences. So I tried not to think about the finale angrily anymore.

Then I started rewatching season 2.

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Supernatural 11.23

It may be the case that my expectations in respect of Supernatural are now so low, that I am content if I manage to get through an episode without suffering stroke inducing rage. Certainly by the end of the season 11 finale, my feeling was mainly boredom, rather than fury; which isn’t to say this was a good episode - it was garbage - but there have been worse.

I think in credit to Dabb, he made a go of the material he had been given, by which I mean the horrible dog’s dinner of dismal plotting that comprised season 11s arc. I will even go so far as to admit that I get what he was trying to do with God and Amara, both within the boundaries of what’s left of Supernatural’s canon, and as an artistic statement. I don’t think it’s unintentional irony that the biggest fight of the Supernaturalverse went out with a conversation, and not a battle royale. I get the statement they were trying to make about family, too. It was a horrible, gross mess of a plot, overwhelmed by the identity of its antagonists, and the reduction to absurdity that that necessitated, and after 22-episodes of storytelling that just kicked the crap out of any possible suspension of disbelief, it was a damp squib of a finale. Carver’s era concluded with the rattling of a dying breath, and not the triumphant denouement of Swan Song. Of course, none of us are surprised by that.

I will also surprise people by saying that I didn’t hate Milady and the accompanying set up for the next season. Oh, the “English” affectations were truly horrible, incalculably worse than Bella ever was on her worst day; so ridiculous as to be risible. But, that Supernatural needs to escape it’s equally absurd escalation of consequence and villainy, is undeniable - where can you possibly go after God and his sister? And I always thought that Sam and Dean against a secret society of “enlightened” hunters, all equally as competent, dangerous and resourceful as the brothers, was an obvious way of making good TV. It would revisit the suspense of season 3, give an opportunity to dispose of the bunker, and get the boys back on the road. It would be interesting to explore how the brothers’ toughest adversaries were not gods and demons, but other human beings, and how the boys would meet that challenge, both practically and morally. If season twelve goes in something like that direction, I will applaud. Secret societies are, after all, a central phenomenon of the “real world” occult, and their absence from the Supernaturalverse has always seemed like an odd and obvious missed opportunity.

However, my opinion of the writing team is so low that I have little confidence that they will be able to make that story work. After all, they failed to make any of the elements of this season’s arc function, so why would they do any better with the next? Given what passed in last night’s episode, what we can expect from season 12 is what a friend of mine described as Lady Penelope (of Thunderbird’s fame) meets Buffy, and not what I’m hoping for, which is something more like Jason Bourne meets the Exorcist.

As for the rest of the episode, it’s difficult to know what particular piece of lacklustre scrap to focus on. I won’t even bother going into detail on the venal sins of style over substance that is this show’s principal quality: soul bombs, all-powerful reapers, window dressing Crowley, God and Amara reduced to ill tempered, petty teenagers, the pathetic shark jumping appearance of Mary at the end of the episode. Let’s just chalk those down as the indelible shit stains smeared all over this show, and move on to the two things that left me grinding my teeth again.

First, the contextually incoherent conversation between Dean and Cas. Not only does that conversation let Castiel off the hook (again) for his choices (which given the accusation levelled against Sam at the end of the episode is simply extraordinary), but the whole scene and it’s clunky dialogue was obviously an effort to revalue an otherwise valueless character. It was a bloated, ugly piece of fan service, trying to achieve the unachievable: the elevation of a character that has done nothing and contributed nothing for five seasons, to the same place of significance and importance as the brothers and their relationship. Nothing in that conversation was coherent in terms of plot context, or character.

It was, however, maybe less aggravating than what this episode did to Sam Winchester. Let’s leave alone the accusations made against him by Lady Penelope - I’m going to give the writers the benefit of the doubt on this one and assume Lady P simply doesn’t know the whole truth, and this, rather than the unforgivable ignorance of canon on the writers’ part, explains why she accused Sam of things other people were responsible for. Let’s also leave alone Sam’s quiet, but grim acquiescence to Dean’s self sacrifice. I assume that choice was symptomatic of the whole “maturity” nonsense this writing team seems obsessed with. There’s nothing mature in just letting a loved one go off and martyr themselves, with only a hug and an unshed tear to tell grief. Instead, we’ll focus on what really left me shaking my head, namely the final reduction of Sam to an afterthought.

When the show runners revealed their intention to change the focus from Sam’s story, to Dean, I expected there to be a similar switch from Dean’s pint of view - which arguably is where the show has sat since Pilot - to Sam’s, and moreover, that rather than Dean saving the day again and again and again (season 2, 4, 5, 6, 7, 8, 9, 10), we’d see some of that role taken by Sam; that we’d start to get a sense of Sam as a hero. Instead, what’s happened is that Dean has retained his costume of white knight/cavalry, while also becoming the principal focus of the story. Don’t get me wrong, I love Dean. I am enthusiastically pro Dean in every respect. But the show is about two brothers and their relationship, and since Carver took over, we have seen little evidence of that. What we have seen is the complete deconstruction of Sam Winchester to a weak cipher, playing a supporting role (if even that) to his brother. If asked to explain what Sam’s role, what Sam’s story was, in this season, I’d be hard pushed to come up with anything. Certainly in respect of the arc he engaged with no one, he achieved nothing, he faced no noteworthy challenges, his character development was almost as stagnant as that of Castiel and Crowley.

And this, ladies and gentlemen, is unacceptable. It’s one thing to reduce Castiel and Crowley to pointlessness, but to so completely dismantle the character of Sam Winchester, to reduce him to nothing more than a plot device, is both tragic and offensive. It’s not enough for the writers to say they understand that the show is about two brothers, they have to write like they mean it, and that requires compelling character development for both brothers, plotted in advance. It requires asking where Sam is at the start, and where Dean is at the start, then asking where Sam needs to be at the end, and where Dean’s need to be at the end, and working out interesting, dramatic ways of getting them there. While the story is “their story”, they are actually fully autonomous human beings. Neither brother deserves to be reduced to a plot device for the other, or worse, the kind of fifth wheel afterthought that Castiel and Crowley have become.

In conclusion, I’d like to acknowledge that season 11 was the best season since six ended. That’s faint praise, of course, but to give credit where it’s due, some of the MotW episodes managed to recapture the feel of classic Supernatural; they were the best episodes in years. But the main arc was as abysmal as the three preceding it, in fact, I think it was the worst, and if that wasn’t enough to render nugatory the goodwill earned by those MotWs, the continuing mutilation of Sam’s character was.

Hopefully, season 12 is an opportunity for the new show runner. If he has any sense he will not follow Carver’s example. He will, instead, avoid the instinct to find something even bigger and badder than God, and go for a more modest tale. He’ll figure out character development for the brothers both corporately, and individually. He’ll resist the urge to Pretzel his characters into bhavior they would never knowingly entertain. He’ll ditch the dead weight characters. He will realize that less is more - no more soul bombs, no more exploding jam jars, no more witches throwing lightning from their fingertips like glittery Sith Lords. He’ll quit the passive aggressive fan service, and give us something other than a shabby, rickety, piecemeal redux of season 5.

As ever, I hope for the best. But I fear that season 12 will be just another trite, contrived, bloated piece of Soapernatural fan service.

(Long Post) On ‘Yuri!!! on ICE’: what exactly are we seeing here and why is everyone falling over themselves calling it “revolutionary”

This is in response to @animentality’s honest opinion after the airing of episode 7, which has subsequently led to many a dashboard filling up with posts documenting The Kiss™ and phrases being tossed around like “game-changing”, “anime has been saved”, et cetera. The OP provided a different point of view regarding the whole anime in general and that one scene in particular, which I read about an hour before taking my Add Maths final exam and promptly answered with “GIVE ME SEVEN HOURS ISTG I’LL RESPOND TO THIS CRAP WHEN I GET HOME”.

Admittedly, I could’ve chosen a better way of wording my comment, and since OP messaged me about it afterward I want to first apologize for demeaning something you took the time to write and post. Whatever our disagreements, it wasn’t my intention to be rude and I will try to make this as civil as possible like you asked.

I posted this separately instead of a reblog because I will be including quotes from the original post verbatim, with lines centred on the same topic rearranged into a segment, then followed by my direct responses. I put a ‘read more’ after the main responses so people who want to read my extra answers can do so, but I won’t take up any more dashboard space than I already have. Still, this will be quite lengthy; you have been forewarned.

Input and responses are always welcome.


I’ll start with the part that contains the whole heart of the matter:

In order for yuri on ice to be “game changing”….it HAD to stop beating us over the head with gay overtones.

It would’ve really been something if we’d seen Yuri and Victor actually developing like real people, falling in love, and then actually having a kiss THAT WE CAN INDISPUTABLY SEE.

Then it would’ve been ballsy.

Assuming none of what’s happened in the series so far counts as development of any kind, you’re basically asking the anime to give up the sports thing and just dive into the BL market. That’s exactly what we’ve had up until now; sports keep to sports, romance keeps to romance. Why can’t we get a glimpse of athletes’ romantic lives, or lovers’ professional careers? Why does it always have to be a slice of the pie instead of the whole thing?

The reason why the whole yaoi industry even exists in a country such as Japan is because it’s understood that homosexuals are only there for those who are entertained by them, instead of being regular humans like everyone else. Regular humans don’t centre their lives around only love or only careers or such; we’re a complex network of connections and relationships, and it’d be pointless to talk about one’s life if you try to single out on one aspect alone. That’s why there’s such a great hullabaloo about representation and whatnot, because for the first time in mainstream anime being gay is normal. They’re still passionate about their calling and enjoy the competition, the spotlight just isn’t focused on their love lives alone anymore.

This is first and foremost an ice skating anime; to try to pretend otherwise would be meaningless. They would choose to devote screen time to showing other competitors instead of focusing on the relationship between two characters because that’s how a sports event is covered. And yet they don’t forgo the romantic aspect of the main characters either, but insert it seamlessly into the effort they put into their training. And their love gets affirmed in the midst of their careers, not some afterthought or epilogue for a “happy ending”. 

We finally get to see both sides of the protagonist’s life develop at the same time, and that’s why this anime has certainly made a difference. This is not about sticking a middle finger in the face of Japanese censorship; this is about making the characters of the story relatable, that what is happening to them could easily be happening to the viewer as well. Instead of some overblown love story, we get a balance between Yuuri’s romantic and professional life where his orientation doesn’t detract from his talent, which is a giant step forward for LGBT portrayals in media.

Now regarding the relationship itself:

Yuri on Ice escalated so quickly that they really had no other choice than to have a kiss.

We’ve had every queerbaiting trick in the book.

It was nut up or shut up time.

They literally pushed themselves into a corner where they were forced to go there.

But they played themselves.

They literally played up the gayness so hard that they were forced to make this move AND to a normal audience, it didn’t even have that much of an impact because THEY PLAYED IT UP TOO HARD.

So the argument is, quite simply, that the whole relationship between Yuuri and Victor is too rushed. Nearly every episode has a notable ‘gay moment’, and the first three episodes really go for a home run with the subtext:

(all but one of the unsourced GIFs are from @allanimanga​‘s GIF set, please reblog from there if you want the full set)

Originally posted by shiruba-tsuki

All this happened in April, culminating in the Onsen On Ice showdown that cemented Victor’s staying on as Yuuri’s coach.

From the get-go Victor’s whole character already falls in the far end of queerbaiting: the “you can’t possibly still think he’s straight” end. Of course, gay characters are nothing new in anime, and messing around like this isn’t completely out of the norm either. 

In all this time Yuuri is alternatively starstruck by being in such close proximity with his childhood idol and freaked out by his new coach’s advances - just look at him in the second GIF. However, by the time he steps out onto the ice in the showdown against Yurio he isn’t the same skater that met birthday-suit Victor in the onsen. He has a motivation for his Eros, and while pork cutlet bowls were his initial step to grasping the concept, his routine is specifically intended for someone:

Originally posted by miyakuli

Now at the beginning of his training in episode 4 it’s already May, as seen on his phone lockscreen at the opening scene of said episode. It’s been a month since Victor first arrived and only now are they starting to prepare properly for the upcoming Grand Prix season. 

This also signals the beginning of Yuuri’s change in attitude with Victor as the catalyst, such as taking the music and choreography into his hands. He also starts to get comfortable with having Victor around both as his coach and as his companion in this new path of his career, including involuntarily touching Victor’s hair and barging into his room in the middle of the night just to let Victor listen to a music track.

In fact, the defining scene in this episode is by the seaside where Victor asks what Yuuri wants him to be to him, and while there was a mention of “boyfriend” somewhere in there (plus the subsequent refusal), the takeaway from this whole episode is that Victor isn’t there to be Yuuri’s boss and tell him what to do, which is what Yuuri’s been expecting instead of taking some control himself. He “meets me halfway”; he takes the first step to close the distance, then waits for Yuuri to make a move as well. It comes down to an equal balance of what each expects of the other:

(posted by @mermaidstrandedonland here)

This is veering away from the sensual tones of the first three episodes and focusing on building up their core relationship as coach and mentee. You can already tell this isn’t something your typical BL plot would include; the topics of trust and hard work are actually pretty close to what you’d find in most sports anime, which is this series’ main genre after all.

Now fast forward four whole months to the national championships in September and suddenly we have lip balm and hugs galore:

This particular moment has a markedly different tone to Victor’sbehavior in the first three episodes. Newly-arrived Victor was a flirt and a tease; this Victor has heart behind his actions. He’s been coaching and mentoring another individual for four months now, and the bond they’ve formed in that time shows not only in physical contact, but also in other aspects (Yuuri changing his attitude towards Minami when Victor pointed it out, Victor being conscious of his role as a coach, Yuuri basically leaping into Victor’s arms while sporting a nosebleed). We also see Yuuri gaining confidence in himself and his performance, and taking his own direction in his program.

It’s also deepened to the point where it isn’t mere queerbaiting; this isn’t the usual nudge-nudge-wink-wink play, there are actual emotions on display. By this point it’s certainly safe to say at least a good part of Victor’s affection is genuine.

Then another two months forward to the Cup of China and there’s now a significant shift in the dynamics:

Originally posted by zaanarkand

Originally posted by chaotic-king

Yuuri is not only used to physical contact with Victor, he even starts to initiate it himself. This is another further development from September’s championships - Yuuri is responding in kind to Victor’s affection, almost as if it’s second nature. It’s certainly come a very long way from their first meeting.

It’s also proof of how serious the series is handling this now. This isn’t just the “next level” of surface attraction; these characters are now finding common ground, neither one being above or below the other. They have different personalities, but each is accommodating the other and finding that midpoint that is the root of their connection. There’s no surprise factor or sudden “romance” element here; they’ve been living together for over half a year now, there is a firm base that their relationship expands upon.

And at this point, in comes the final scene of episode 7 in all its glory:

Originally posted by fyeahyurionice

Originally posted by asparagusoup

It was mere days from the end of episode 1 to the conclusion of ep 3, but ever since then time has been practically flying. We’re now seven whole months from the onsen meeting, and those seven months had been filled with turmoil, confrontations, effort, and reaching out to each other. This isn’t something ticked off at the very end of the queerbaiting to-do list, this is the culmination of all the time they’ve spent together and the growth they’ve gone through because of it. This isn’t fanservice gone too far, nor is it there just to “reel the masses in”.

This isn’t shounen sports. This isn’t BL fantasy.

This is a story about an ice skater. And as his career progresses, he falls in love and begins a relationship with his coach as well. This is literally a skating program themed around love. That’s all that is to it.

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anonymous asked:

Even though I watched the video that stephen amell did how sure are we that Felicity is endgame?

Well, it is not something that can be calculated with complete accuracy or precision (though I try later on). Let’s go over the possibilities and see how likely or unlikely it all is. This got enormously long, so putting it under a cut.

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  • I really love the new Nonnatus House. The architectural details are stunning and the whole place feels so comfortable and cozy, like they were always there.
  • Turner Family Dinner! I love seeing Shelagh all domestic. With her hair down wearing a headband.
  • Shelagh is trying so hard, finding an activity for her and Timothy to do together. But Mr. Please-Diagnose-My-Dead-Latin-Name-For-a-Butterfly is apparently too good for the science museum.
  • “It’s Sister Julienne.” What we didn’t see on screen was bold Shelagh all “Drop your fork, get off your ass, and get down there NOW. She’s my mother, and so help me God, she will not die before I make her a grandmother.”
  • Why did Patrick drag Timothy along with him to check on Sr. Julienne? Surely Timothy thought those long waits in the car were over once his dad married Shelagh.
  • Yowser, first fight. I actually love that Shelagh feels comfortable enough not only voicing her opinion, but in a raised voice. And the way she immediately apologizes for her outburst. But we’ll have a bit less of that finger pointing, Patrick.
  • The nervousness between Shelagh and Sister Julienne was so palpable and adorable. Shelagh’s navy suit is also adorable.
  • Have tensions ever been higher in Poplar? Nonnatus House, Turner House, Noakes House, St. Gideon’s. Everyone is like

    ….except Cynthia, Fred, and Sister Winifred. Perhaps Cynthia has taught them her breathing exercises. Actually, Fred probably does everything he can (like change bike tires and help vicars unpack) to stay out of the female drama.

  • Shelagh having lunch in her old seat at the dining table! Oh, the nostalgia.
  • We’ve all said it, but it’s fabulous the way bold Shelagh waits for Sr. Evangelina to finish her snide remark and then promptly takes the shoes and insists they be mended, while strutting off in her high heels. She is becoming confident in her decision and who she is and she won’t allow others to trample over her or keep quiet the way she may have in the past.
  • The St. Gideon’s dance was absolutely adorable. Like

  • “I think I might just have fallen a little bit in love with you.” Yes, Patsy, I think we have, too. You wear cropped slacks, bring your own whiskey, and apparently have a knack for cleaning and organizing. Welcome aboard!
  • Angry Dr. Turner releases his inner moral outrage again!
  • I love how everyone assumes Sister Monica Joan is shouting because she’s hurt, but really, would Sister MJ shout “help” over something as trivial as an injury? The nun knows what really requires help. “Forget about the intruder breaking in - MY FRICKIN’ PIE IS GONE!”
  • We finally had a “Case of the Missing Cake” where Sister MJ was not the culprit.
  • “Just because food has…gone missing.” She so tactful, isn’t she? I’m sure Sister Julienne didn’t tell her that being the Nonnatus Referee was among her duties.
  • Calm down, Sister Evangelina. Shelagh has actually done none of the planning for your Jubilee - have your words with Nitty Nora and the cake decorating committee.
  • Jacob is one determined fella. Snagging Sally’s address, catching the bus, enduring stares and misunderstanding, and hobbles all over Poplar to get to his Sally.

  • I love how everyone in Nonnatus House (and Hot Prison Vicar), treated Jacob and Sally normally and never talked “down” to them. Trixie holding the teacup so he could drink….

  • Sister MJ can’t catch a break, can she? Even PC Noakes assumes it’s her out frolicking in the streets late at night.
  • Sister Evangelina revealing her dark personal secret to Peter was like Sister Julienne confiding in Fred two weeks ago. Peter is removed enough from Evangelina’s everyday life that it made so much more sense for her to unburden herself to Peter - who is not only an objective listener, but has seen men like Vincent - rather than one of the women at Nonnatus.
  • Did anyone else find it interesting (and squeee-worthy) that Shelagh and Cynthia joined in the Divine Office hymn in the back of the chapel? I would love the show to delve into Cynthia’s personal storyline from the book (next season?). It was also lovely to hear Shelagh’s voice again and I always wondered if she would ever want to join the sisters for compline, the way lay people go to daily Mass or night prayers.
  • While heartbreaking, it was almost a blessing Sally’s baby was born early and did not survive. Imagine the turmoil and divisions among everyone involved had the baby lived…
  • If Trixie doesn’t want Hot Prison Vicar, can I have him?

  • “We can’t choose where we love, can we?” “No, nor can we choose what happens when we do.” I love how they both not so subtly acknowledge to the other that things done out of love cannot be wrong. Each woman is referring not only to the other, but to herself, when she speaks - Sister Evangelina’s “stealing” to help the brother she would rather cast away but won’t because she still loves him; and Shelagh’s leaving the order to be with the man and child she loves. Shelagh has tried to make amends with Sister Evangelina, so it is even sweeter when Sister Evangelina offers the olive branch after Shelagh gives her an opening to do so.
  • I am dubbing this relationship Evangelagh.
  • Sister Julienne has Shelagh on their prayer list. Sister Julienne has Shelagh on their prayer list. Allow me to bring back our first piece of evidence that she wants Babyturnerland as much as we do…

  • Talk about progress. We went from a snippy “Mrs. Turner” at the start of the episode to a love-filled “Shelagh.” And then Sister Evangelina had to go and say Timothy is her child, so she already is a mother. And then she had to reminisce about his birth and the late Mrs. Turner #1 and Patrick handing a baby Timothy to her…

  • She is such a tough hard-ass, but she can be just as sappy and sentimental as the rest of them.
  • The arm grasping and back rubbing! I cannot…
  • “All I want to do is pass it on. And I don’t know how…or to whom.” // “You just bid your time, He’ll show you His plan. Mark my words.” And it was in this garden, ladies and…ladies, that the seeds of adoption were planted.

  • Damn, Jacob has a great death stare.
  • Jacob touching Sally’s red sweater.
  • Beside You…. As if we didn’t have enough feels the first 55 minutes, they have to insert songs at the end that kill us even more.
  • Shelagh gives Timothy independence with the space she leaves between them, while giving all her love as she walks at his side.
  • I won’t even go into all the feels over Timothy dropping his sticks, hobbling to reach his father, Shelagh catching him, Patrick catching them both, the Turner Family Hug…

  • The perfect gift for someone who wants nothing for herself is boundless love. The testimonies of the residents of Poplar was the best gift Sister Evangelina could ever receive. All while sitting on her throne under her floral arbor.
  • Except, of course, a new pair of shoes. I made a very high pitched noise when Sister Julienne looked back and Shelagh gave a cheeky little smile.
  • Now I see why Patrick holds the brylcreem hostage. Timothy goes a bit overboard if it’s not rationed, doesn’t he?
  • Shelagh in her short-sleeved blue floral dress. Why did this dress not have more screentime than Sister Evangelina’s shoes?
  • Next week: “Hello Timothy’s Mum and Dad.”

To Bones, With Love

I would like to preface whatever this is by saying we are not at the end. We are not near the end. There is still so much story to tell. But on the heels of this renewal and the announcement marking the imminent ending, I am feeling SO many things. So many conflicting emotions. And I just need to let it out into the universe or I may actually explode. So here it goes…

(Coming back after having wrote this whole thing, I have ABSOLUTELY no idea what I’ve done here…No rhyme or reason. You’ve been warned.)

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