i was gonna make this my favorite season thing for s3

as I wait for the sky to fall

klance. 5.7k. pre-series to possible s3. angsty. ao3

The first time they met was a cold and rainy Tuesday, and Lance hadn’t had time to brush his teeth. He’d overslept. He ran into his very first class with half his jacket on and his boots unlaced, and the boy at the desk nearest to the door, a boy with dark hair and clear, focused eyes, muttered that he shouldn’t have come at all if he wasn’t going to take it seriously.

Lance was fourteen, and the scratchy cotton of his jacket was rubbing uncomfortably against his burning neck. The rain pounded mercilessly against the window as he took his seat at the only available desk in the back of the classroom.

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Richard Rankin Twitter Q&A

Well, a promise is a promise.  Fire away. #AskRR

Q: Finish this sentence please- “All I want for Christmas is________?”
A: You.

Q: Whose a better singer, you or @SamHeughan?  
A: Most likely…Me. 

Q: Loved you in Thirteen!! Are you currently binge watching anything?  
A: Just finished binging #WestWorld. Love it!

Q: Not sure how far you’ve read the Outlander series, but is there a time period you’re looking forward to playing as Roger?
A: I’m looking forward to the whole journey!! #Outlander

Q: What do you like most about playing Roger Mac?
A: The dynamic of his story and where that takes him. 

Q: Goodmorning! What is the coldest temp you’ve ever experienced? It’s gonna be -40C in Minnesota, wanna share a coffee and a hug?    
A: Probably not much below -10. Definitely and yes.

Q: What’s been your fav thing you’ve learned so far about Roger?
A: His love for a biscuit. 

Q: When do you think you’ll come to Australia? will you require a tour guide?
A: I really hope to do that soon. Yes, I will require much assistance.  

Q: What would you love to find in your stocking on Christmas Day?
A: An elf

Q: Favorite color?
A: Blue

Q: What’s the itchiest your arse his ever been?  
A: Excruciatingly. Like f**king itchy. And it was in public and I could get a good enough scratch in

Q: U met all Outlander fans expectations as Roger within 30secs of S2 Ep13. Do U feel like u R him on screen yet?
A: Thank you! I feel like I’m very much discovering the character along with you

Q: What are you doing for Christmas?
A: Celebrating Christmas in Azeroth. 

Q: Shaven or Beard? (From Rankin’s Beard)
A: Don’t put me in that position…

Q: Who is your celebrity crush?
A: Probably @SamHeughan but he never answers my calls…. 

(This is a long post, so more Qs after the jump :)

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my long overdue skam appreciation post 👏👏👏

Skam is such an amazing show. The filming is so unique (somehow subtly giving a different feel than anything I’ve ever seen. not too cliche, not too offsetting) and the colors are (subtly but intensely) pretty, and I love the mix between texts and real situations they alternate onscreen. the angles they filmed it really gets me too, like when the characters are lying together, you can see what’s going on and their interactions from all the angles they film it at. 

this post will be heavily spoilery. i’m gonna start of with seasons 1 and 2. those two seasons are so raw and real, especially eva’s season, we can all relate to her and what she feels when she’s alone in the school yard, personally I related to Eva a lot because my parents are rarely home and I have to do everything for myself and my brother. I’m not as lonely as her when I’m home because I have my brother, but I guess his company is the equivalent of eva’s friends like the squad and jonas, isak who are over often.

they put little details out of the camera’s focus (in season 3, at the start of episode 5, you can see even’s arm behind isak and i thought that was someone walking in but realized it was even stroking isak *squeal* and the gigantic hickey at the back of even’s neck in epi 8).

the music is timed perfectly, mixed with a bit of humour. in season 1, after eva finds out about isak, the music kicks in with ‘jealousy’ and I thought that was really freaking perfect. (not to mention the ‘i wanna fuck you’ of season 2.) i love how they cut music off abruptly with cues like the door closing, it really signifies the change of the character’s mood and emotional state, and the song choices are spot on. 

In season 3, there’s a lot of romeo and juliet 1996 songs. I love romeo and juliet and i loved that season 3 was heavily indulgent with elements from it (like the pool make out, songs, that eye contact they have in episode 2). it makes me very happy.

i love how they treat the major/minor and minor/minor characters. the major/minor characters in season 2 and 3 would be eskild and linn, and in 1 it would be someone like ingrid. also did anyone else notice magnus in season 1 because i saw him a couple times when i was watching it again like when vilde comes to the party and passes out magnus rushes to help her etc. for the next two seasons, we don’t see a lot of ingrid and sara, but they’re still there dancing at parties or there on school grounds. i love the fact that they keep them barely in attention (does that line make any sense lol), other shows don’t really care to do that with their minor/minor characters. whenever there’s a party scene (end of s2, start of s3) i rewatch again and again to see that little bits of ingrid, iben, etc. linn and eskild having fun at the end of s2 makes my life. (also, ingrid and iben are really beautiful. (as minor characters.) just wanted to put that out there.)

they really have details that are unnoticeable and noticeable at the same time. and the acting and chemistry is so superb, and it’s real. not only with the romantic partners, but with friends like the boys’ gang and the girls’ gang and eskild/linn/isak, eskild/linn/noora, what really got to me this season was isak texting eskild that everything was fucked and eskild just responding with jeg kommer, i’m coming. just that. not to mention the way the squad is there for every one of them consistently. everyone taking noora to the police and standing behind her while she gives her statement, sana comforting vilde while she nervously talks to the kosegruppa, jonas, magnus, mahdi actually caring and constantly asking about even, the girls cleaning vilde up and making her breakfast in season 1. i don’t know if i’ll ever get friends/people that genuinely care for me, and their relationships are beautiful.

it’s unbelievably (compared to other shows) real, like, we’ve all taken the am i gay? test and taken advice from reddit. the way they actually use things we actually use like instagram, facebook, texting etc makes it more real and the way they treat these sensitive subjects delicately without tiptoeing around it is just amazing. 

not to mention it being humorous and witty, like when magnus breaks the fourth wall and gives a shoutout to nrk, when isak and even get caught in the pool, eva pushing jonas off the bed and jonas flipping her off when her mom gets home, these are just a couple humourous bits that were particularly memorable to me but there are so many more.

in the end, my favorite part about it is that it relies on the audience to be smart enough. a lot of movies that i recently saw did not do this (cough fantastic beasts cough). maybe it’s because i’ve spent countless hours watching things and now i can predict everything, but most movies tend to feed me little bits of information at a time or give me just enough that it won’t be boring, but skam gives me a lot of information and trusts us to follow along, idk. to think about it, skam’s story isn’t that complicated, is it? but i somehow feel like there’s so much more information and story than what is presented, maybe it’s because it’s so emotionally charged or maybe because it’s packed full with metaphors and references (bible, romeo + juliet, even talking about sonja’s “aluminum leg” being a metaphor to his bipolar disorder), but it feels like a lot and the writers do a beautiful job of giving us the right amount of information.

(last bit, i love that when they wake up it actually looks like they’ve been sleeping)

3 words to describe it: raw, real, relatable.

On Junjou Romantica and whether we’ll have or not a Season 4

I was reading this question and I couldn’t help wondering if there will be a season 4 or not. As a yaoi series (yeah, even if there’s been less and less sex stuff as the anime seasons go), it’s probably a miracle we got 3 seasons so far. Traditionally, most of the hentai material gets lucky if it gets an OVA or two, though nowadays things seem to be changing - many new-ish series, like Super Lovers, get chosen for full seasons. With Junjou, 36 episodes + OVAs means we’ve been really lucky.

But personally, I feel that even if there’s enough material to fill 12 episodes of a fourth season, we’d be left unsatisfied - not because we don’t have an arc (we do: the Sentiment one), but because I feel that none of the questions we usually want answered (How will Takahiro react when he finds out about UsaMisa? Will Usagi’s mom ever show up? Will Misaki finally convey his true feelings? etc) would actually get an answer. The Junjou Mix stuff is great for one or two OVAs (there are two of them that are relatively new).

Because I had some time, I tried to plan what a Season 4 would look like, and I realized that 1) organizing the material to get a proper script is much harder than I thought; 2) there’s way too little material on Egoist and Terrorist. Now I feel I want to read more about that. *bangs pot*   

So, under the cut, you’ll find the episodes -as from Vol.17 in the manga, with a few exceptions- and what I think should be included in each of them. (If any of you has other ideas, I’d love to hear them!)

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FDTD 3x06 Review:

Yes its that time again and jeez do I have major emotions after this episode. Much as I enjoyed last weeks B-movie SUPERNATURAL/Hitchcock inspired monster fest this was the second strongest hour of Dusk this season! We’re finally at the halfway point in the show’s riveting 3rd season and the stakes have never been higher. All the performances in 3x06 were stellar, the twisted humor was an added bonus, the creepy SAW atmosphere was fun as it was disturbing, emotions ran higher than ever and once again the action sequences were simply astonishing.The shining stars of this episode however were definitely Zane Holtz, DJ Cotrona and Madison Davenport.


Seth & Richie Gecko: this was probably the most emotional episode for these two so far this season and in the series overall. It was interesting to see how vulnerable they became; Seth fighting to control his anxiety and fear of losing Richie while remaining focused on the mission to rescue him and whether or not he has it in him to do the alternative. And Richie struggling with his sanity after the abduction as well as succumbing to Amaru’s power. As we go deeper and darker into the story the tragedy unfolding between the brothers becomes all the more apparent. Regardless of unresolved issues 3x06 demonstrated the unconditional love the Geckos have for one another. And its that very sacred bond that will be put to the ultimate test as the episodes go on.

Zane and DJ’s onscreen chemistry together has never been more flawless and spectacular. Its simply the driving force of Dusk. Both of them gave powerful performances in 3x06. I was in tears during every one of their scenes. Even their quick fight scene together was gut-wrenching. I felt their pain and their struggles with both Richie’s abduction and Xibalban possession. And I almost got the feeling they wanted to challenge Madison and Brandon’s Fuller siblings for who could tear at your heartstrings the most. If I was gutted anymore after this episode I’d be hollow because I swear the Gecko brothers are going to break my heart. If there’s one thing Zane and DJ really excel at together either than the humor its the emotional brotherly angst which I’ve been missing since season 1. THAT HUG BETWEEN THEM DESTROYED ME! MY GOD!

Zane was absolutely brilliant hands down in this episode too. He killed it again. Zane has shown so many sides of himself in this series and 3x06 was no exception. He scared the hell out of me with those Jack Torrance [The Shinning] vibes as he stalked the unsuspecting team Gecko! I seriously can’t get enough of this man’s acting. This was probably the most challenging material he’s had yet on Dusk because it was taking Richie Gecko to a whole other level of darkness while remaining true to the spirit of the character. What I loved about this episode was that it wasn’t just about Richie’s decent into madness but it also emphasized the daily battle with his inner demons. Demons that Amaru manifested turning Richie into a raging monster which is frightening given how much his good side has to fight to suppress that dark side. It only defines how much more of a tragic figure he is underneath all that sass, confidence and emotional armor. 

And even while possessed and somewhat soulless, Richie still maintained a piece of his former self [like refraining from killing any of his teammates but locking them all up] thinking of his brother above everything else who he still cared about in his own twisted way. Richie still wanted to protect Seth [locking him in that control room] and give him what he always dreamed [Elrey] even if it was with sinister intentions. 

I loved Seth rising to the occasion in this episode as well not just as an established leader of the team but also in his affection for Richie. The beautiful thing about the Geckos was that even in Richie’s monstrous state of insanity Seth still loved him. He still defended Richie when his team disregarded him. And he tried to use that love and devotion to fight for Richie’s soul even if he wasn’t enough. I was cheering the whole time because this was the Seth I’ve always wanted to come through. God that scene where Seth sets his brother on fire to save him had to be one of the most difficult things he’s ever had to do. The expression on his face when he did it just annihilated me. 

Another eerie thing about this episode was it further foreshadowed Richie’s fate; that my theory of him sacrificing himself at the end of S3 will happen and how much its going to hurt Seth. Richie’s guilt over Ximena’s death and the death of that asylum inmate is only going to provoke that crucial decision all the more. The pain is coming guys and it won’t be merciful.  

Kichie/Amarichie: aside from the Gecko brothers and the Fuller siblings my other favorite Dusk relationship is and will always be Kichie. Though Kate didn’t reach out to Richie in this episode I’d be lying if I said I didn’t enjoy the interaction between Zane and Madison the whole time. They really turned up the heat. Despite playing a different character either than Kate and Richie being under a Xibalan possession the chemistry between them has never been more fiercely electric than its ever been. They simply carry that connection into their dark personas so genuinely that it almost makes you root for them as much as you would actual!Richie & Kate. 

There was something strangely erotic about their scenes in 3x06 from that moment where Amaru took a hold of Richie’s hand telling him “remember what we shared” to the scene where she stuck his hand in that hell doorway. It felt very much like I was witnessing a demonic sex scene with Richie all sweaty under that exhilarating look of pleasure on his face matching Amaru’s. At the same time watching the Richie/Aamru scenes was heartbreaking for me because Amaru was actually using Kate’s memories once again as a way to compel and manipulate Richie’s thoughts, feelings and emotions. I couldn’t help feeling Kate’s pain through it all. Trapped and forced to watch a person she cares about mangled against his will.

I even felt a twinge of anger watching the Amarichie scenes because it brought back all those painful memories of what Santanico had done to Richie in the first two seasons of Dusk. Yes guys if you think what Amaru did to Richie in 3x06 was bad might I remind you of the hell Santanico put him through in S1 and S2? there’s no comparison. This isn’t the first time Richie’s head has been messed with. I don’t care how evil and wrenched Amaru is, it doesn’t change the fact that Santanico used, abused, manipulated and forced him to murder an innocent person against his will. It doesn’t erase what Santanico put Richie through mind-f**king with him [just as Amaru had done] and nearly driving him crazy all season 1. So yes I still have a lot of resentment towards Santanico’s character and Amaru’s torture of Richie reopened those wounds. It was disheartening to watch. 

That said the Amarichie scenes had its entertaining moments, especially that quick scene where they were both red-eyed grinning at each other in the car like the power-couple-from-hell; after the car rammed into Sex Machine lol. I could tell Zane and Madison had a blast working together in this episode and it showed onscreen. I hope the writers continue to let these two interact on the show because their scenes are always fantastic. Zane’s best work on Dusk is with DJ and Madison period. Those dynamics are the most interesting of all.

I still hope Kate comes through I haven’t given up hope our girl will reach out to Richie. I’ve been really missing Kate all season even though Madison is slaying it as the demon queen. But at least we got a few Kichie references in 3x06 including the moment where Amaru echoed Richie back at the pool with Kate. 

We also sort of got another Kichie [Amarichie] hand scene. I just hope we get actual Richiekate scenes soon because I’m dying for the follow up of that “I hope you burn in hell” moment they shared before Kate’s death in 2x10. Another thing I found interesting this season is the writers have managed to show us not one but TWO romantic relationships between a human and a culebra. First there was Kisa/Santanico & Manola. Then there was Freddie & Ximena. While both of them ended in tragedy I couldn’t help getting the notion these relationships hinted at Richie & Kate’s future together; a future where they will make it work. Because if there’s one thing I know  those other couples didn’t have; its Richie and Kate’s unique simple human connection.

However I have this tormented feeling that Richie’s sacrifice is going to do with Kate and not just saving the world or Seth. Its being made very clear by the writers how significant their connection is and that it may play a pivotal role in rescuing Kate. Richie is going to save her no matter the risk. I guess this means my Romeo & Juliet of the Underworld nickname is gonna stick after all.

Other episode highlights in this episode include the hilariously growing animosity between future brother-in-laws Scott and Richie. That fight scene between Brandon and Zane was bananas insane! I especially loved that moment where possessed!Richie gives Scott the finger lol. Also we said a heartfelt goodbye to one of Dusk’s newest additions Ximena [who I really liked as well as her scenes with Freddie] carrying with that the added angst between Freddie Gonzalez and Richie. 

Buckle up guys the storm is coming and its going to hurt a lot. 

Summary of Tyler Hoechlin's Solo Panel at EyeCon!

Here a summary of TyHo’s Solo Panel at EyeCon! 

(Picture belongs to @emorymcc

-> Tyler once again shares how he wants a scene with Derek and Stiles where latter uses Derek to let go of all the pent up anger and fear - because Derek does understand how that feels

-> Tyler said Derek is like a big brother to Stiles

-> When Posey and Dylan lived together with Tyler it was their first time outside their family home and Hoechlin took care of them

-> If Derek could write a book about his life, what would it be called?  Tyler: “Wen does it get better?” 

-> Tyler says he’s feel like he’s gaining two new family members each season and it’s gonna be like the Brady Bunch.

-> Before the fire the Hales were a really close family, ancient and really tight-knit

-> Derek used to be laid back and care-free before the fire. He was the middle-child. No pressure to be an example and he always got his way. Everything that happened due the fire was a huge adjustment to him, now that he’s drastically alone. Tyler said he does see glimpses of Derek’s “carefree and cocky” attitude now.

-> Tyler wants Colton back. “We’re so glad Colton’s gone. I"M KIDDING!" 

-> If Tyler would have to leave the show he’d take Derek’s loft with him. He would fix it up and re-decorate. 

-> Derek and Peter do not trust each other at all, they’re only together because they need each other. And in S4 we’re gonna get a closer look at Peter and who he’s becoming. 

-> Tyler says Derek was not jealous of Scott becoming the True Alpha, he’s proud of him. He would’ve been jealous in S1, but now he’s more a prideful mentor. He has accepted that he himself wasn’t meant to be an Alpha.

-> Derek’s new role is to make Scott as good as he can be, be the best Alpha be can be. He wouldn’t be the same without Derek.

-> Derek is the total opposite of Tyler himself.

-> "The thing I admire the most about that is I try to emulate is his growth, and learning from his mistakes." 

-> Tyler wants to play a villain. He’d like to play one in “Pirates of the Carribean” 

-> Tyler’s most memorable gift from a fan was a letter on a baseball.

-> Tyler said he doesn’t live-tweet because he likes the fan to actually watch the show.

-> How Tyler sees Derek’s role: “Derek isn’t a leader. He’s the guy who comes in and takes a beating.” 

-> Ty thinks that Derek didn’t turn bad because he met Stiles and Scott and their positive influence.

-> Scott is a true example of looking out and caring for other people and Derek saw that. 

-> Hoechlin’s worst stunt was the elevator scene (in 3A in the Hospital, “The Overlooked”) when Dylan had to slap him and accidentally hit him right in the nose and immediately hugged him right after.

-> Tyler one ripped off a toenail on set.

-> He flung himself into a boulder filming “Fireflies” and tore up his arm. 

-> He did the whole Kanima fight himself (at the end of S2), which is also his favorite stunt scene

-> Derek can’t be an actual part of Scott’s pack, but he would self-identify as Scott’s pack. He was kind of adopted by them and sides with them, but he’s still an Omega. 

-> Tyler has never freedom with his scenes either, only Dylan.

-> Tyler and Dylan were in the Pool (for the Pool scene in S2) for like 7-8 hours and it’s been really bad for Dylan Dylan had to carry him, fully clothed and soaking wet. Ty also weight 15lbs more in S2 than in S1. Both of them were constantly under water in the first takes and at some point Dylan refused to do more.

-> Tyler’s most memorable scenes from the show are the Scenes with Scott this season (S4), and the scenes with Stiles in S1+2. He also loved the Possesed!Derek scene with JR Bourne in S3B

-> To Tyler’s knowledge there’s no way for Derek to be an actual part of Scott’s pack

-> “Would you ever write a fic?”  Tyler: “Not my area of expertise.” 

-> Tyler says that S2 humbled Derek a little bit, but in S3 he hit rock bottom and he realized he needed to change - the fight with Alpha Pack made him realize that.

-> Tyler said that if his pack was still around, there would be a conflict between his pack and Scott’s - or the Hale pack would pack up and leave BH. He said he picked a pack of kids who had nothing left to lose, so he would move them out of BH

-> JR Bourne is one of Tyler’s best friends too

-> JR and Tyler love how Derek and Chris’ relationship developed and that they have a deep mutual respect for each other. They respect each other and if the circumstances were different they’d be on the same side. He thinks their relationship changes the dynamic between the Werewolfs and the Hunters

-> More Derek/Chris in S4

-> Tyler’s favorite scene with Ian (Bohen) will be in Episode 4 or 5 of S4

-> Up to now, his favorite scene of Ian is when Peter comes up and says, "The Hunter becomes the hunted." 

-> ”There’s no right or wrong, there’s just Hoechlin.” - Eaddy Mays 

-> According to Tyler Ian’s thing is “creeping”, it’s what he does best.

-> Derek has no age. He says they age’d Derek because Kate is no pedophile and they didn’t want to make her one. He joked, "The more time you spend as werewolf, the slower you age.” He think’s Derek is somewhere in his mid twenties-late twenties.

-> Tyler loves Baseball and always watches his Team. He also loves surfing with Linden (Ashby), as well as dirt-bike-riding. He’s also a big shuffle-board enthusiast. 

-> His most memorable quote of Derek is Derek brooding and staring. 

-> He did gymnastics for a few years as a kid, that’s where he learned to backflip. He does his own stunts. 

-> He can’t say if Cousin Miguel might ever come back because it would be a spoiler.

-> Tyler got at #AlphaCon a shirt that said, “This no fit.” 

-> S4 Derek would tell S1 Derek “not to bee too proud.” He said, “Derek was such a douche and thought he was cool.” 

-> Someone mentioned Tyler’s chest-hair and he pulled up his shirt to his neck. The girl said he should keep it and the whole room cheered. Tyler said that he asked Jeff and from now on he will, officially, have a hairy chest. 

-> Tyler was made aware of the “We hate Derek not having chest hair” campaign, and he agrees (HE’S BLUSHING). He says he’s tired of shaving. 

-> Tyler imagines Derek’s dad as an incredible man and a symbol of the community and that he loved his family a lot. Which is a reason why Derek feels the loss so strongly. Tyler also thinks that the leather Jacket Derek wore in S1 was his Dad’s 

-> Derek thinks if the Fire never would’ve happened, Peter “… never would have been pissed off about anything… well nah… he would.” He think’s there would be some kind of civil war because Peter was always jealous of Talia.

-> With no Hale-Fire Derek would’ve never met Stiles and Scott

-> Tyler prefers Q&A sessions when it comes to fan-questions because he likes to see his fans up and in person.

-> He says that it sucks to have Kate back as character, but he likes to have Jill back.

-> We’ll find out about Kate’s intentions this season

-> Tyler said after acting he’d like to become a Baseball-Coach and maybe even teach his kids one day

-> JR, Ian, Tyler and Jill have a ton of fun on set together 

(Picture belongs to @keysmashblog

If I missed anything, please let me know :D

Sherlock S4: A Study in Failure

I saw a lot of people in here making their own lists of all the inconsistencies of TFP, so I decided to make my own and to cover not only the final episode but also to take a look at everything since TST. Also I included some stuff from panels & interviews but didn’t mention anything about setlock, otherwise this list would be much longer.
I tried to make it as detailed as possible so be prepared for 2.5k words.
Fasten your seatbelts, it’s gonna be a bumpy ride!

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Olicity Meme: favorite thing about them
*slow burn*

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anonymous asked:

ok I just started peaky blinders season 3 and, why the fuck is grace dead?

Short answer: apparently a shoulder wound that Tommy survived with a bit of booze and some at-home doctoring in s1 killed his wife in s3 despite the fact that she’s married to a rich gangster who could afford the best medical care possible.

Long answer:

I’m sure that the writers, if it’s ever addressed, will give some bullshit excuse about this being the natural trajectory of the store and Tommy’s role as the (likely) doomed villain protagonist.  OR they’ll blame it on Annabelle’s movie career because whenever female characters get killed off on shows writers like to blame it on the actresses having “other commitments” and getting that $$$.  Never mind that the show bent over backwards to get Tom Hardy back for a little guest spot and Cillian Murphy was a respected film actor prior to the show starting and still does film roles…  (Note: Tom Hardy is a major coup for them get back on the show–but his wife gets pregnant, and we don’t even know what happened to May.)

The thing is that even if Annabelle couldn’t be on the show anymore, they didn’t have to kill Grace off.  It’s not as if the news of Annabelle’s rising career hit them in the middle of filming episode 1 and they had to scramble to write her out.  Knight had a long time to figure this shit out.  He even had a cliffhanger going on in which Grace could have been written out alive between seasons.  Look, I wouldn’t have been thrilled–but I wouldn’t have quit the show if we’d come back from the s2 finale to discover that Grace had decided–after Tommy failed to meet her after the race–to pass the baby off as her husband’s.  That Tommy had been heartbroken but gotten cold and decided to marry May for business.  It would leave Grace alive, most importantly; Annabelle could come back in a later season with a growing Shelby son if that was possible; and I’d come to like May if she was given time to grow without the shadow of Grace, I think.  If Charlotte Riley (May) was THAT impossible to reach due to her pregnancy (idk how that would work in terms of scheduling) then plot twist!  Neither of Tommy’s women wanted him.  Grace ditched him for reasons stated above, and May was like “fuck off” and now he’s alone.

Instead, the writers either decided that Grace dying was the best possible decision for the storyline.  OR they decided that killing Grace off was the best way to work around Annabelle’s schedule….  I do think her schedule figured into it, but the thing is that you don’t have to kill her off.  It’s shitty writing. After all this drama and buildup you kill the character off in such a dumb, typical way?  Shit.  Any way of killing her off would be stupid, but having her offed as the tragic gangster’s wife the episode after they marry is the most cliche thing possible.  Grace dying in childbirth would be dumb, but less cliche.  Grace dying in a tragic twist of fate riding a horse or some stupid shit like that would have still been less cliche than the whole “I was gonna go legit but then I failed to protect my mob wife and now I’m dead inside” thing.  

I’ve said it before and I’ll say it again: the only time this ever worked was in The Godfather, imo.  This is largely because it’s the example that defines the cliche; it wasn’t lingered over in an obvious way; and it wasn’t an excuse for the gangster husband’s actions.  And killing off the the gangster’s wife to make him realize what is truly important~ has been done a lot.  Fuck, I saw it happen on GENERAL HOSPITAL for God’s sake.  Like, congrats Peaky Blinders.  A “prestige drama” pulling the same shit a daytime soap opera did.

Look.  Season one was probably one of my favorite episodes of TV ever, and I love it still.  Season two was rocky but I still enjoyed it.  The offensive stupidity of Grace’s end aside–season three was just bleak, and not in a clever or earned way.  It became stereotypical in more ways than just this one.  I’m done.

kind-of-an-asstronaut  asked:

I'm probably (definitely) reading too far into this but have you noticed that Asami wears the same combat outfit to the poles that she does to the Si Wong Desert. I get that she's vastly better than I will ever be but how can she wear that thing without succumbing to heat stroke.

*Gonna clear out some outfit-related asks. Be prepared.*

For this one, gotta assume that undershirt is moisture wicking. We never even see the woman sweat, at least in comparison to her friends.

anon #1: Did you ever notice that sometimes Asami’s hair is shiny and sometimes it’s not? I think Studio Pierrot made her hair shiny all the time, but Studio Mir didn’t until Book 3, and then in Book 4, it goes from shiny to not shiny to shiny again. Something must be up with her conditioner tbh

Well, in lieu of making a graph that plots the sheen of her hair each episode, I’m willing to accept that in S3 when she’s traveling a lot she doesn’t always have access to Sato-approved hair products.

anon #2: Okay so this one’s a little weird and I don’t know if you’ve answered it before but… What about underwear? I mean, I think it’s fair game to assume that Asami’s got some pretty racy lingerie, but what about Korra? What about everyone else? Are bras even a thing in their timeline yet?

You know, around the holidays, someone sent me an anon saying that they head-canoned Asami as the inventor of the bra. That one is still creeping around my inbox somewhere. What was weird is that it actually made me stop and consider this, and the pragmatism of supportive undergarments for engineers in the vague 1920s era. I don’t know. I really just. Don’t know.

anon #3: I’d say Asami’s nightgown is a bit out of her usual color palette. The purple-grey robe, definitely the usual, and she does have some very muted pinkish hues in some of her clothes, but that nightgown is BRIGHT pink. Still not quite the same as some green or blue (I don’t think she would work the airbender colors quite as well, though).

Maybe she bought a packet of clips, and she really wanted some reason to don the pink one.

anon#4: Something that’s ALWAYS confused me was Asami’s casual outfit in season one and two. Why did they change it?

I think it looked more professional now that she was operating as owner/CEO than the popped collar one. The real mystery is why she settled on the turquoise clip. Is it her lucky one or something?

anon#5: what’s your favorite outfit for each member of the Krew?

Korra’s return to RC for the second half of S4. Asami’s action outfit (with goggles). I liked Mako’s suit in 1x04…not the one for the date but the one for the gala, because he used his scarf as a cummerbund. And I thought Bolin looked his best in his Kuvira uniform, but with his messy hair a la the beginning of 4x07.

anon#6: Can we all appreciate the fact that Asami probably went out of her way to find a blue helmet for Korra the first time they went racing together? She’s considerate like that.

Well god, she couldn’t have Korra clash…I wonder if she thought about that ahead of time.

Becca's 5 Worst Danny Phantom Episodes

I’ve always been a firm supporter of active fandoms and healthy criticism of media you like; one should never blindly accept every part of every medium.  We’re all of unique backgrounds and circumstances and tastes and opinions and we deserve to have, express, and discuss them.  Now I say this is a top 5 worst Danny Phantom episodes list but obviously they are all from season 3 for good reason - while there are low points in seasons 1 and 2, season 3 does something so consistently wrong with nearly every episode that no season 1 or 2 episode dips so wholly low as to be worse than any season 3 episode.  This is not to say there aren’t great s3 episodes - “Claw of the Wild” and “D-Stabilized” are amazing and on-par with all s1 and 2 episodes and are two of my favorites.  “Forever Phantom” is a good one and “Boxed up Fury” isn’t too horrible.  But, as a collective season, there are more flaws than redeemable elements.

Thus said I would like to preface this countdown with a review of season 3 as a whole.  Again, this entire post is my own opinion.  If you don’t feel the same way as I do, that is not only okay, but expected!  As I said before we’re all of different mindsets.  It’s what prompts creative discussion, and that should be encouraged, not vilified, in fandom.

Keep reading

S3 E7 Game, Set & Murder Recap

S3 E7 Game, Set & Murder Recap

Like most of you out there, my expectations for this episode were high. Really high. Being the penultimate episode of the season, it had a lot to live up to in my book with Murder in the Dark and Dead Air occupying the position previously. And to be honest, I’m not quite sure it hit the target. Grumbles to follow. Nevertheless, it had some of the best moments of the entire season as far as I’m concerned and that has to count for a lot. I was also pleased to see Daina Reid back as Director in the opening credits (this is her 4th MFMM adventure, including Murder in the Dark), so hopefully, the “long shots” we were all lamenting from last week are through. I was in desperate need of some face time.

And, my god, did we ever get face time. Quick, Nathan Page: make 100 different expressions that make you look like at least 20 different men while exactly pinpointing the mood and feeling of your character in that moment with perfect symmetry to the rest of the cast. Oh, and can you please ensure that each and every one is arousing to the point of knicker-dropping madness? Yes? Perhaps throw in some inspired choices of hand gesticulations? No problem? Brilliant! We knew you were the man for the job! Seriously. I almost feel bad for the guy. I mean, even the writers know how much his “strong, manly fingers” are getting to us at this stage of the game. Because they are freaking taunting us with that knowledge. Not fair, Producers. Nathan, you are an exceptional actor. Truly. You have a gift. You are not a piece of meat. But, my god… those hands. It’s just not fair.

And after weeks of non-stop murders and mayhem, it appears that time actually does pass quietly in 1929 Melbourne because it’s been 10 days since Frank McNabb took a dive off the roof of The Grand. Thank goodness. Having to solve another murder case while planning and holding a charity tennis tournament, flummoxing a smitten Detective Inspector and generally tripping the light fantastic might be a little much even for Miss Fisher. Not having to parent Jane must also be quite a relief. (Read: Where the fuck is Jane?!?) Based on The Globe’s printed tabloid photo of The Honourable Miss Fisher and her ball boy dated August 31, Belinda Roswell was killed on the afternoon of August 29th. The calendar in Miss Fisher’s kitchen moves to the month of September mid-episode. By my count, the episode spans a very realistic four days of investigating with loads of costume changes, including a glorious number of fluid, white ensembles - not the least of which was modeled by the Inspector (looking decidedly Un-Inspector-y at long last) and a beautiful evening gown worn by Dot. It’s no wonder this episode was Marion Boyce’s favorite. Everyone looked positively delicious. Later on, we learn that the Sydney Cup took place the week before and that Ms. Roswell was receiving payments over the last two weeks.

My theme of this week’s episode, brought to you by noted tabloid photographer and all-around skeeze, Fredrick Burn, “I’m getting sick of toffs acting holier-than-thou when they should be thanking me for the exposure!”  Exposure. The revelation of something meant to be kept a secret or likely to bring judgment. Now in the case of a murder mystery genre, exposure is pretty much the name of the game every week because the detectives must suss out their killer. But in this episode, the idea of exposure goes far beyond identifying the killer. In every instance, the thing that is threatened to be or is exposed has the power to ruin lives, to topple fortunes, to bring an honourable man to his knees. Constance Burrows fears that her pregnancy will be exposed and ruin her career. Stanley first worries that his affair will be exposed and then that he will lose his wife over the exposure of her crime. Angela Lombard is afraid that exposure of her red-blooded ways will cost her a lucrative endorsement deal. Dot and Hugh are exposed in a compromising position that threatens to overturn the newly made peace with their families - not to mention the shame it brings upon Dot. The fact that photography is used as the trigger point for all of these threats plays very well considering the ideas of film and flash exposure, the pop! of Burn’s bulb punctuating every shot. But, some threats don’t require the tenacity of the paparazzi. Some are simply innate. The exposure of Phryne’s ultimate weakness, for example. She isn’t the least bit bothered by Burn’s illicit snaps. It’s her arachnophobia that’s her undoing. It’s the same for Jack. The exposure that threatens him has little to do with film. He does everything in his power - including using Miss Fisher’s fear against her - to keep from exposing just how overwhelming his physical desire for her is becoming.

I’ll not spend much time on the opening sequence as it’s been made very clear that a number of bloggers share Phryne’s fear of spiders. I will say that while they’re not my favorite creatures in the whole wide world, I’m not particularly scared of them… And I was crawling out of my skin - actually averting my eyes waiting for poor Belinda Roswell to put her foot in that shoe. Jesus! I think a year came off my life for that moment. The subsequent CGI shot (not gonna describe it - if you’ve seen it, you know the one I mean) didn’t bother me near as much. It was the anticipation - as is always the case with this damned show - that was killing me. But, I don’t care because… HUGH’S BACK!!!!!!!!!!!!!!!!

I think I was almost as excited as Dot to see that sweet face in the back door glass. The shot of Mr. Butler giving the “scram!” gesture to Bert was beyond perfect and Dot’s immediate reaction of joy tempered by justified irritation (about fish, LOL!) was exactly what I wanted… But then, it all seemed very anti-climactic. After all that. After absconding for weeks. After his mother calls him a tyke and kicks him out of the house, all he had to do to fix the situation was threaten to marry a fast Protestant girl? I was soooo disappointed. I wanted more. They almost made it up to me. Explaining his promotion, Hugh tells Dorothy, “The Inspector told the top brass that if they didn’t give me the promotion, he’d resign.” My first reaction to this was: Awww!! But then, it began to bother me. A lot. Especially later when Jack receives the call from the new Commissioner. In fact, most of my issues with this episode come down to the writing. Look, I know that Jack adores Hugh and is committed to his principles. But the last time he was willing to risk losing his position on the force, it was over the murders of young girls. It hardly seems likely that he would threaten to quit now because they wouldn’t give his constable a promotion. Though perhaps after a few weeks with Constable Martin, desperate times called for desperate measures. We know he can be a bit of a shit when necessary, like when he took over the Sanderson case from Sergeant Crossley or when he made to call the Chief Commissioner after his case was assigned to O'Shaughnessy. Jack isn’t afraid of the power play. It just seemed ham-handed. Hugh could have said, “The Inspector told the top brass that I was indispensable to the force. Said they’d be made fools of if they didn’t give me the promotion.” In fact, I think he just did. There. All better. #headcanon

We join Phryne - where she has taken over Aunt P’s estate for her tennis tournament - and meet her longtime friend and tennis coach, Stanley Burrows and his new wife and tennis pro, Constance. There’s something close to perfection in, “Aunt Prudence can’t abide ball sports.” One of the best lines of the show. Phryne makes an off-colour remark about the couple spending their honeymoon on the tennis court which underscores the tension of the newlywed couple - who we find out later is having very little in the way of marital relations. The first tip off to exposure comes as Dot asks Constance for her autograph. The picture she proffers shows the athlete lunging for the ball on a particularly windy day. “I’m practically naked!” she laments. Phryne, by comparison, is not bothered by the least by the photo and (while it’s clear that she is not fond of the idea of trespass) we learn that her method of dealing with the press is to “dance” with them rather than cultivate animosity. A sentiment that pays off when Burn publishes a decidedly un-racy photo of she and Jack - as compared to Dot and Hugh’s - with a rather sweet tagline.

Upon discovery of the body, Phryne sees enough to wait for the cavalry and plays it off, telling Jack she’s happy for him to be the “scout” in this case. Jack inspects the corpse of Constance’s practice partner, Belinda Roswell, and poses that the attack came from a you-know-what (hereinafter referred to as “the murder weapon” for you sensitive types) and because Jack has quite the handle on wildlife of all sorts, (lest we forget from the genus viscum), he thinks it odd because none of Victoria’s eight-legged inhabitants possess a venom strong enough to kill that quickly. Cursory research shows him to be correct - and even though there was a species of funnel-web that frequented Melbourne at the time, its venom was not considered fatal. It’s revealed that the shoe containing the murder weapon actually belonged to Constance - not Belinda - making her appear the intended target. As Phryne searches through the victim’s belongings, the murder weapon makes an appearance forcing Phryne up on the wall in a state of absolute terror. I was actually surprised that no one else had a bit of a reaction. I mean, how many people - phobia or not - would be so calm when faced with a murder weapon that large. Someone (I’m looking at you, Hugh) should have flinched just a little. But, no. To make Miss Fisher seem even more ridiculous in her reaction, they all held their ground and simply stared at her in dismay. It’s nice to know that she still possesses the ability to shock Jack, though - he seemed rather stunned to see her so unreasonably vulnerable.

Evidence all packed up, Jack sends off his Senior Constable and proceeds to taunt Miss Fisher about her reaction. “Well, I’ve finally found your Achilles heel, Miss Fisher - fear of arachnids.” Considering all the teasing Phryne has done in the past, I can’t really blame him for seizing the opportunity. When has he ever managed to have the upper hand? Speaking of hands… Jack wiggles his in a menacing gesture and Phryne eyes it with wariness. She attempts to downplay the revelation with bravado, “I’m not afraid, I just like to know where they are.” But Jack’s seen too much to be fooled and in a moment of incredible spontaneity, he crawls his fingertips up her shoulder to call her bluff. Phryne just has a way of bringing out his playful side… The “Beep, beep” in Murder at Montparnasse, insisting he see her home just before they both drop from the pier in Dead Man’s Chest, snatching the evidence just out of her reach in Dead Air. But this… well. This is playful touching. And while there was nothing indecent in Jack’s intention, it was most definitely intimate. Can you imagine him doing that to Miss Williams? No, of course not.

Her reaction is both instantaneous and unexpected - the memory of the murder weapon emblazoned in her mind. I doubt Jack would have ever attempted it, had he thought she would leap into his arms like that. But the Inspector finds himself being clutched by a wide-eyed, heart palpitating Phryne. That frame of her face over his shoulder… the hairs curling at the back of his neck… Oh god… and then Burn calls out to them to get his shot and we see that Jack’s hands are there to steady her, one inching higher over her hip to her waist… one at her back. Once again, we are forced to wonder what might have happened had they not been interrupted. When ABC released that particular promo shot, it was evident that they were just toying with us. But, I can’t say I minded because the situation immediately reverses on Jack. When faced with the tabloid photographer, it’s Jack who loses his cool while Phryne remains calm. Before he can say anything else to antagonize Burn, she quiets Jack by placing a finger to his lips. The contact is enough to stun him into silence - even as one arm remains around her - and the power tips back to Phryne as she sees the effect, gnashing her teeth at him to inflame him further. Despite her phobia, she is the victor in his game.

But it appears that Burn isn’t satisfied with capturing Miss Fisher in a salacious photo because he’s still skulking around the property, clicking off while Hugh brushes leaves and dirt from the back of Dottie’s coat. Toffs aren’t the only ones he enjoys exposing. I imagine that after all the dust settled from the Sanderson case, papers were paying a pretty penny for photos that compromised police officers. At the Morgue, Mac shows off her own considerable knowledge by identifying the murder weapon as a species native to Sydney, explaining that there is no way it would have chosen to stow away because it prefers “moist places.” Phryne grabs her throat in revulsion because, like the rest of us, she simply cannot abide the word, moist. I love that the doctor is completely unphased by Phryne’s reactions - they’ve been friends long enough for Mac to know where all the bodies are buried. It turns out, this isn’t a simple case of woman vs. wild. And it appears that Belinda may not have been the intended target. When Constance is questioned as to who might want to hurt her, she and her husband both exclaim, “Angela Lombard.”

Walking down the dock, Phryne fills the Inspector in on the finer points of the current women’s tennis circuit and he manages to keep a neutral expression as asks her about her passion for the game. “I have many passions, Jack,” she retorts. Well, it’s more of a passion for righting social injustices because while the men get sponsored to play all over the world, the women must pay for themselves. But, I can’t help but look back and think just how delighted Jack must be by this news. One of many shared passions. It turns out that Ms. Lombard is the reigning women’s champion and has been for a few years, going through a nasty divorce from her rich husband and bothered by the fact that Constance is primed to take over as Number One. Phryne has chartered the luxury steam yacht, the “S.Y. Ena” for her charity cocktail party and also so Ms. Lombard has a place to stay while in Melbourne. It was only due to pure curiosity that I was googling how steam yachts were named that I came across the fact that the S.Y. Ena is a real ship - built in 1901. If you’re from Sydney or Melbourne, you probably already knew that. But as I’m not, my jaw fell open! According to the website, which you should most definitely check out (steamyachtena dot com), it states: More akin to a piece of art than a sea-faring vessel, the 113-year-old treasure, described as “flawless and without equal”, is widely regarded as the world’s finest. Her gleaming brass and gold are complimented by warm radiant varnished timbers. With luxurious fabrics, etched glass murals, timber carvings and sophisticated appointments adorning her cabins.  It’s not hard to see why she spent so much of her life accessible only to society’s elite. Can’t you just see Phryne taking Jack out for a spin in it… next season?!? Glorious indeed!

Aboard the Ena, we meet Ms. Angela Lombard, looking very glamorous sunning herself on the deck. It would have been incredibly helpful to know at this point that Angela was supposed to be American. Couldn’t they have slipped it in when Phryne was telling Jack about her? It would have saved me endless minutes of confusion, trying to figure out if she was drunk or just had a really bad accent. Bad accent as it turns out. One of the other issues I had with this episode was Angela’s manner of speaking. Beyond the forced expressions like, “dumpy dame,” her execution, using a myriad of inflections, had what should have been an intriguing character coming off more like she had multiple personality disorder. Is she an elite sportswoman, a gangster moll or Betty Boop? (Anachronistic, I know.) What I did like was the juxtaposition of she and Miss Fisher. Angela Lombard is a young, privileged, modern woman who, being from America rather than the far off Antipodes, is much closer to the trends. Her outfits are more glamourpuss than flapper, reflecting the 30’s bombshell that was poised on the cinematic horizon. But even with her wealth, she’s not nearly as refined as Miss Fisher - the latter’s penchant for breaking and entering notwithstanding. Where Phryne is bold, Angela is brash and it’s refreshing to see the difference. Not to mention Jack’s reaction to it. Anyway, Angela has an alibi… a handsome young tennis player named Terence Lawson. Do you think it was Terry’s familiarity with Miss Fisher that won him a first class ticket to questioning down at the station? LOL! Rather unfair treatment considering Ms. Lombard was the original suspect.

Under questioning, it seems that Terence remembers the time he and Angela left the court a bit differently than she (two o'clock as opposed to midday) and that there might be something more personal between he and Constance Burrows - Connie - than just tennis. I love this segment of the interrogation that reflects interestingly upon the two detectives:
Terence: “I was keen on Connie, like all the other blokes, but all she was interested in was playing tennis.”
Jack: “Must have hurt your pride.”
Terence: “Not particularly. I had plenty of other options.”
And Terence Lawson is not the kind of man to forgo those options - always having an eye for the ladies. Jack, too it seems, has plenty of other options as Phryne is beginning to realize. She had to deal with the thought of a possible reconciliation with Rosie not long ago, then she met his old friend Concetta and now, it’s obvious that Angela Lombard thinks her Inspector is the caterpillar’s kimono.

Constance denies having any involvement with Lawson and waxes poetic to Phryne about the game of tennis. Another reflection. Even though Phryne is much more well-rounded in her interests and passions, I can’t help but think that Connie’s enthusiasm mimics Phryne’s feelings about solving a case: When I see the chalk outline of a victim or hear the shot of a round being fired from a pistol and I smell that coagulated blood, my cunt almost aches for the exhilaration of it. The first clues are also dropped about Constance’s “cold,” her dress being a bit too snug at the moment. What? Then why the hell would you pack it? And what does that have to do with being sick? Things like this bother me way more than they should. Moving on thanks to Fredrick Burn’s invasion of privacy. Notice that Phryne doesn’t put her fingers to her friend Stanley’s lips to keep him quiet when shouting at the menacing photographer. The incident jogs Stanley’s memory and he tells Phryne that Constance made a formal police complaint against Burn last week in Sydney, making Burn a potential suspect who happens to be facing other charges.

Exhausted from their day, players and detectives alike must have tucked in for a well-deserved slumber. They’ve been pulling an awful lot of all-nighters lately. The next morning, Senior Constable Collins sheepishly presents a newspaper to his boss. While I’m certain Jack reads The Argus regularly, I’m sure he couldn’t be bothered with a rag like The Globe - much less the “Out and About” section, LOL! It turns out that Burn might actually have a soft spot for Miss Fisher after all. Perhaps he appreciates her dance because the picture is not nearly as damning as it could have been and the byline is actually rather sweet. The interlacing shots of each of the detectives’ reactions was one of my favorite moments of the show. Jack is looking rather sober, anticipating the reaction from his superiors and Phryne is positively giddy, exclaiming to Dot that Burn “has captured our best angles.” I think she’ll be clipping that one out for the scrapbook, don’t you? Nestled in amongst all the other clippings from the cases she and the Inspector have solved. The new Commissioner, however is not amused, ringing Jack’s line and forbidding him to solve cases with a civilian. I know this call was necessary as a plot-driver but, it didn’t sit well with me. Why would the Commissioner care? Granted, the photo’s caption mentioned Phryne’s profession as a private detective and identified Jack as Inspector (not even his formal title, thank you very much) but, this seemed to me to be a personal matter - not a professional one. Would his boss really care that much? Is the Victoria Police’s reputation so much in the shitter that someone would bother to look twice at this photograph? Not to mention forbid him to solve crimes with her - which surely would have a negative effect on their clearance rate. I thought Jack had enough clout to get his man promoted. Why wouldn’t he just tell the Commissioner to bugger off? On second thought, considering how he managed to circumvent the order… I suppose he did.

Phryne bounds down the stairs, brimming over to tell him about the charges Burn is facing in Sydney. She stands before him completely open in little more than her pyjamas and kimono, a stark contrast to the last time she faced him at those stairs dressed similarly, clutching at her clothes in vulnerability because she thought he had chosen Rosie. “Sign this,” he tells her and there was something about the way she snatched the pen as he held on to the cap that I just loved. She obeys his request without question - without doubting him for a second. Only after it’s official does she ask him what she “just agreed to.”
“You are now a special constable of the Victoria Police Force.” I’m not even going to lie… I was grinning from ear to ear, thinking of how she practically begged him to make her a constable at the Green Mill so she could help search the club’s clientele. Phryne, naturally, is delighted.
“How wonderful! Don’t I get a certificate or something?” LOL! More for the scrapbook! But even better than her asking for a tangible record of the honour was Jack’s amused smirk. He thinks she is adorable. Of course he does. What’s more, he knew she would ask… so his expression is somewhat self-satisfied in his accurate prediction.

“I’ve been saving this since I was ten years old… for Buffalo Bill. But you’ll have to do.” Are they are determined to make me gag on my own sentimentality? I can never get enough of these little insights into Jack. Can’t you just picture him as a lad? Riding his bicycle through Richmond, a ragged dime novel of The Buffalo Bill Stories stuffed into his back pocket, dreaming of becoming a lawman in his own right. And the badge. The badge! Procured as a boy and kept safe for all these years. Treasured. Do you think he swung by his flat to pick it up on the way to St. Kilda? Or had he been carrying it around in his pocket? A talisman. My god, there are so many stories to be written from this little tidbit! He’s been saving it to give to his hero - Buffalo Bill. A person larger than life, braver than all others, determined to right the wrongs of the world with more daring and determination in a little finger than most people have in their whole body. Sound like anyone else we know? Yes, I suppose Phryne will do very nicely. And she’s rightfully touched, as he pins the badge to her.

So, here’s my problem: between the “you’ll have to do” / “we’ll have to make do with each other” and the pinning of the badge / pinning of the swallow brooch, the concentration of the meaning is threatening to become diluted. In an effort to ensure that does not happen in my mind, I propose that the language of making do is really the only way Jack can lightheartedly convey that Phryne is, in fact, the only one who will do. He’s using their comfort with teasing and banter to ease the blow of a very deep sentiment. As for the brooch, it was symbolic of her past, the importance he saw in returning something cherished to her and his pledge to stand by her. The badge, however, is symbolic of his past, and in giving her his treasure it proves his belief that she has what it takes to stand by him. All that being said, the next time I see Jack Robinson pinning something, it had better be Phryne’s wrists to a wall. When Dot inquires as to Miss Fisher’s whereabouts, Mr. B tells her that she has “just gone out with the Inspector.” So, Jack waited for her as she got dressed and ready to embark on the day’s detecting. This isn’t important as much as it is positively darling to consider how his eyes must have lit up at the sight of her coming down the stairs, proudly wearing his badge next to a diamond brooch. Each bearing significant worth.

But it’s clear that she plans to have fun with her new found status as she announces herself in a baritone voice outside Mr. Burn’s studio. He thinks it’s out of retaliation for the “Love All” photo but they cut him off at the pass - neither bothered enough by this particular exposure to even merit its mention. The words Burn uses to describe his subjects are crass and dehumanizing - hardly akin to the “gift” he called Miss Fisher: toffs, whinging cow, piece of skirt, stupid bint. Add to that his little pornographic sideline and you’ve got a recipe for major suspicion. Burn takes off and the detectives give chase, Phryne using her super powers to hurl a trash can lid with enough force to bring him down. << Insert Jack Robinson eye rolling gif here! >> Back at the station, we learn that the charges pending against Burn are for obscenity. Shocker. But I laughed out loud when he tried to appeal to the Inspector’s base nature. That’s not going to win you any points, Burn. Neither is publishing that pic of Hugh and Dot. “A handful of fun."  If you’ll pardon the pun, my cheeks were burning for Dot.

So, it turns out that Dot, while letting out Mrs. Burrows’ too-tight evening gown, unearthed some evidence that proves that she and Terence Lawson were an item. When confronted, Terry’s over the moon and Constance attempts to downplay it. She reveals that they had a love affair that she attempted to hide from the press and her new husband… but he’s already well aware. Despite Terence spreading himself around anything with a two X chromosomes, his affection for Stanley’s wife was just too obvious to ignore. Cue the eel. What? Yes… well, Ms. Lombard was staying on the water. So, suspicion turns back to Constance’s on-court nemesis and Phryne sends Jack to go and deal with her in the hope that Angela’s interest in the handsome detective will lead to the exposure of some new evidence. Well, it leads to some kind of exposure, anyway! You know, I was waiting all this time for Phryne to razz Jack about that photo. Perhaps there was just a little too much truth in the byline for her to confront him with it. But that doesn’t stop Angela Lombard. In fact when the Inspector’s intentions are portrayed as less then honourable, she’s queuing for the line. "Are you exclusively Phryne’s ball boy or do you spread yourself around?”

Say all you want about Phryne’s innuendos, her remarks seem the height of sophistication next to Angela’s. Though, her boast that when a man’s with her, “he tends to get confused” had me on the floor. And I love watching Jack react to her forwardness, proving that he can volley right back. He is not Hugh - forced into a fit of embarrassment when confronted with a woman’s sexuality. This undeniably attractive woman is throwing herself at him, stroking in his tie in a way that has me yelling “Don’t touch that!” at my computer screen and the only effect she can manage is to extract an amused smile. Finally, she admits to paying Burn to upset Constance - the bootlegged Lumberjack whiskey her giveaway. Unsportsmanlike but hardly illegal. When Jack sidesteps her offer of joining her in the pool, she cajoles him into untying her sundress. I suppose that voice is meant to be seductive - but mostly I just find myself wanting to drown her and steal that fabulous hat.
Jack looks away. Not to avert his gaze in my view - but to check he’s not being watched. Probably equally afraid of being caught by Phryne as Fredrick Burn. With the coast clear, he focuses he attention on Ms. Lombard’s bare back, the strings of her halter. Following them up to the knot and deftly undoing them - all the while careful to never touch her skin. Good heavens. At least the hot water bill will be low this month. “See?” she teases. “That wasn’t so haaarrrrrddd.” And Nathan Page, master of the hand gesture, is perfection as he stands there, hands clasped over his… Well… Perhaps it was a tad hard.

Phryne and Dot have retired to The Esplanade in order to get ready for the cocktail party and we join them as Dot is recounting her shame over the photograph. Her mother’s reaction, Hugh’s mother’s reaction, Father O'Leary. Good thing Father Grogan’s been put out to pasture - he’d have her ex-communicated. Poor, sweet Dot. “You must stand proud and laugh it off,” Miss Fisher tells her, insisting she come to the event and hold her head high. It’s the height of irony later when Phryne can’t laugh off her own exposure as Jack taunts her with the “important evidence” in the glass jar. Speaking of which…
Oh hell. Another murder weapon. Avert thee eyes, oh fearful ones. This one’s crawling up Phryne’s sleeve. I will bet anything that Essie Davis did these takes with a live um… murder weapon. Serious props. And then… MAGIC.

This is one of those moments when having such a talented ensemble cast elevates a moderately funny scene to one of absolutely sublime heights. Phryne, having trapped the murder weapon under her diaphragm, is still visibly shaken while attempting to hold on to a shred of pride. Jack must take the threat on Phryne’s life seriously while being amused beyond belief at her quick thinking… and the fact the trap in question was, naturally, close at hand. Not to mention the fact that he’s back in her bedroom. Dot is wringing her hands and decidedly looking NO ONE in the eye. And Hugh does Hugh as only Hugo Johnstone-Burt can - flummoxed until the realization of what the rubber item is turns his expression to one of pure mortification. Later on, when Phryne tells Jack that every woman has her limit in terms of modesty. Funnily enough, we find that this was one of hers. Hugh’s writing up the police report and needs to know what to call it. Does she say “diaphragm?” Nope. Remember how proud she was to tell Dot that it was for family planning in Cocaine Blues? Well apparently, “internal device” is as far as she’s willing to go on record with the Victoria Police. And then I’m in stitches again as the murder weapon inches across the floor under its cover. Dr. Stopes surely never envisioned this. I sure hope Phryne has a spare because there is NO WAY she’s putting that back up her happy place. I’m imagining Mac telling the story of the spidephragm with glee at cocktail parties for many, many years to come.

Jack suggests it was Stanley but Phryne cuts him off, spotting a torn piece of clothing on a nail in the window sill. With the beastie trapped or not, she doesn’t dare place a foot on the floor where its crawling - so she leaps like a monkey from furnishing to furnishing to retrieve the evidence. Jack shares more with her - an envelope from a serious letter Ms. Lombard was reading. Lawson, Lombard, Burn… the pool of suspects is still considerable and he wants her to let him conduct a search of her party Phryne refuses - recalling Rosie’s disinclination to have a “police presence” at her event. Instead, she’ll search and Jack can… Phryne looks meaningfully at the ensconced murder weapon. But there is no way in hell Jack is going to touch Phryne’s diaphragm. Not right now. And certainly not in front of Hugh and Dot. “Collins!” he orders. And it only gets better as a beleaguered Hugh has little choice but to scoop it up, touching as little of the device as he can manage. Good man. He certainly earned that promotion. By the way, did anyone else notice that the Sarcelle was not hanging in its usual place? Where has it gone? Has anyone spotted it elsewhere in the house? Just curious.

Phryne and Dot arrive at the S.Y. Ena, fashionably late, of course as the party is in full swing. I suppose Burn was invited with the hope that he could be caught in cahoots with Lombard but I find it incredibly distasteful that he was there considering how badly Dot already felt. She looks absolutely lovely in a sparkling red gown - a gift from Miss Fisher no doubt - as she attempts to hold her ground, trusting in Phryne’s word that this will make her feel better. It doesn’t - though a bit of eavesdropping does seem to take her mind off things. Angela is holding court, airing all of her dirty laundry in a way that makes her seem very interesting to her subjects if only for the novelty of hearing a woman swear like that. She addresses Dot’s photo in The Globe and toasts her in earnest for being “one racy dame.” Dot does not look the least bit flattered. But it’s interesting that all of the “racy dames” at the party are wearing red. Besides Dorothy, Ms. Lombard is a siren in a glamourous silhouette that is far ahead of the trends and Phryne oozes sophistication a black beaded gown that is very much on trend (albeit not ahead) with a dazzling blood red beaded wrap. Before we get too far, it’s also fun to point out that there was an error in consistency when shooting Phryne in this outfit. On board the Ena, she is accessorized with the diamond knot and waterfall necklace and a diamond cocktail ring.  But in Jack’s office, neither piece of jewelry is anywhere to be found. These little gaffs only make the show more interesting for me. It’s a bit of a game to spot them - and come on, nobody’s perfect.

After witnessing Constance Burrows mopping up her gown and Burn chasing after her, clicking away, Phryne manages to find the letter that the Inspector witnessed Ms. Lombard reading at the pool. She is forced to charm her way out of getting caught red handed by Terence Lawson and as he packs his things, she sees that one of his shirts are torn… making him look like he was responsible for placing that last murder weapon in her room. She has to play off her intent gaze when he notices by coming on to him and even though he’s been enjoying Angela Lombard’s hospitality, he returns her sentiment with interest. Angela is not thrilled to find her own ball boy, Terry, cozied up to Miss Fisher. Especially when she failed arouse the interest of the Inspector. Of course Phryne doesn’t know that, so Angela covers her own feelings of inadequacy by attempting to make Phryne jealous, using the Inspector’s familiar name and intimating that far more was shared between them than a simple chat:

“So, did I mention that Jack and me had a swell talk this afternoon?”

“No, you didn’t.”

“He sure knows how to unhook a gal’s dress. Must be those strong, manly fingers of his.”

Regardless of Phryne’s feelings about this little tidbit of information, she isn’t about to let Angela win this game. This is Jack Robinson we’re talking about. And I’m quite certain Phryne has given a lot of thought to just exactly how he might unhook a (lethal) dress.

“Well, it’s so much better when he does it with his teeth.” From your lips to god’s ears. I’m not sure what I loved more, the Step-Off Bitch delivery or the fact that Phryne believes Jack’s mouth to be even more talented than his hands.
Meanwhile, Dot overhears a disturbing conversation between Constance and her husband, Stanley that also mirrors some jealousy. Stanley’s worried she will run off with Terence Lawson because she was so loathe to have sexy times with him after they were married. She claims it was the tennis. He thinks she’s not that into him. Ding! Ding! Ding! Tell him what he’s won! Dottie’s practically bursting to tell Miss Fisher the news but the Inspector’s Special Constable must report for duty with the latest evidence. Lawson gets hauled in for more questioning and he very believably denies having anything to do with trying to hurt Constance or Miss Fisher.

In his office, Jack reveals that the murder weapon Phryne secured in her “bedroom” wasn’t capable of murder at all. (Bedroom, people. Jack will never, ever call that space a boudoir! LOL!) And she argues with him. This is the first time that Phryne is actually more concerned over her safety than he is, thanks to her fear. He holds up the evidence and she freezes. When he proffers the jar - even with his desk between them - she leaps up onto the chair and NOW we see a possible reason for the raised mantle in Jack’s office. I’d love to know if it was to get the best possible visual in this scene or to give Phryne a place to brace herself as she shrinks back in terror. He tells her that it was far more likely to be a practical joke than a murder attempt. And where she had only hours ago told Dot to “laugh it off,” she tells Jack that she “fails to see the humour.” But oh my god, that FACE! Nathan, you are magic. He is giving serious Sad Clown Face! For those of you might be coulrophobic, I am warning you: do NOT freeze frame in the middle of that pout. All he needs is a stick of greasepaint, oversized shoes and a red rubber nose before all my Jack Robinson dreams are shattered. Fuck the spiders, Phryne. What the hell have you done to this man?!?

She asks if he’ll get rid of the practical joke but he’s having too much fun at her expense. “It’s important evidence, Miss Fisher,” he teases. But he obviously hasn’t learned his lesson because she turns the tables on him once again. This time, by hiking up her dress all the way up to her garter to reveal the letter pilfered from Ms. Lombard’s things. Now it’s Jack’s turn to freeze. His expression as she tells him that he won’t get to see it until the joke disappears is reminiscent of both the fan dance and the revelation of the Sarcell painting - but only just. Jack is far more confident these days and recovers so quickly. After hiding the jar in his desk, much in the same way one would relinquish a weapon - he quirks his mouth at her, gesturing to her in a come hither motion that I have watched far too many times for me to still be allowed to walk the streets alongside sane people. Tit for tat. It’s her turn. And she doesn’t disappoint, making a show of lifting her hem and sliding the letter from its hiding place - Jack never taking his eyes off her. And she uses very similar words to Angela Lombard when she asks, “That wasn’t so difficult now, was it?”

The Mormon shoe contract was another one of those elements that was played with too heavy a hand. “Zollinger… A most Mormon sounding name.” Seriously? What does that have to do with anything at this point except being a poorly planted seed? Another line of dialogue down at the tennis courts later would have been a better way to go. Whatever. Just roll the come hither again and I’ll forget any complaints I might have had. I call it Robinson’s Dementia. Additional side effects include daydreaming, drooling and frequent nocturnal emissions. Anyway, he letter gives Angela a serious motive for doing Mrs. Burrows in and Jack claims not to have been made aware of any of it during his interview. “Was that before or after you helped her out of her dress?” Phryne asks - not waiting for an answer as she warns him not to get caught by Burn. So in revealing to Jack that his moment with Ms. Lombard was, indeed, exposed, Phryne reveals that she was bothered by it. It’s not a particularly bad headspace for Phryne to be in. In anything, I think it only increases her attraction to him. Jack, for his part, seems to be enjoying the attention thanks to his new found lightheartedness. While he pretty much ignored Miss Fisher’s exaggerated pick up lines in Cocaine Blues (modest by comparison to Angela’s), he’s now all coy smiles when a woman is open about her interest in him. And look at the smug expression that plays on his face as she sashays out of his office! He hates to see her go but he loves to watch her leave!

Back at the Fisher ranch, Stanley Burrows is waaay too disappointed that Lawson hasn’t been arrested and in an effort to snoop on Constance, his affair with the deceased Belinda Roswell is exposed by means of a nude photograph of her that he was keeping.  The next morning (an almost unheard of Day 3 of the investigation, the detectives confront Burrows. (And, she’s back in that beautiful robin’s egg blue jacket she wore the morning after Jack spent the night in her bed - this time accented with periwinkle and grey instead of red.) She asks Stanley if he was in love with the woman and he denies it - saying it had nothing to do with love… and surely Phryne would know that. I’m not entirely certain if Stanley was implying that she should know that he was too deeply in love with Constance to even consider it, or that he knew her to be familiar enough with the sensual pleasures of life to realize the difference. Either way, Phryne is not impressed. Neither is Jack. When Stanley pushes his friend, Jack steps in to dismiss him before he can put Phryne in an even more compromising position - she is still acting on behalf of the police. But, I thought it was rather gallant of him, too. Mostly because I found Stanley’s attitude completely disgusting. Now, the target of the killing shifts from Constance back to Belinda and Phryne considers that her good friend may have had something to do with it. Jack hasn’t forgotten her reaction to his locking Mac up and I think he is surprised to find that she isn’t blindly loyal to her friends. Mac simply wasn’t capable of murder. But Stanley… she’s not so sure. They resolve to go back over Belinda’s things and because the nude picture was clearly taken by Fredrick Burn, he will need to be questioned again. But Phryne knows she can dance with the snake far more successfully than the Inspector and concocts a plan that Jack can go to his grave without ever knowing about as far as I’m concerned… Not that he would be surprised. During her little game of strip-interrogation, Phryne discovers that Burn was paying Belinda on the side to take illicit pictures and that Belinda found a way to parlay her talents into a larger fortune elsewhere, her last meeting being with Constance Burrows. I did love that Burn was getting rather worked up during the photoshoot, both Angela and Phryne figuring out that the man was rather susceptible to a woman’s many charms. And using the privilege Jack bestowed on her, she confiscates that film. It will probably end up in the fireplace but I can’t help think that she would be tempted to develop a frame or two to slip into an unsuspecting man’s pocket.

Phryne confronts Constance and believes she’s about to hear a tale of jealousy in which Constance finds out that her husband has been cheating on her with her practice partner. But what she gets is so much worse. Constance wasn’t interested in meeting Stanley’s needs and asked Belinda to seduce her husband. Constance’s marriage is one of convenience in which Stanley is a decent man, rich enough to support her beloved tennis. For a woman who doesn’t believe in marriage, Phryne gets awfully judgey about the situation. How is this any different than the way women have been supporting themselves since antiquity? It’s not. So, then, it’s really not about the marriage per se. Nor is it about sex or dalliances. This is about toying with a person’s heart - which Phryne has always been very careful not to do. The day of Phryne’s tournament arrives (Day 4) and we find Constance looking flushed and ill. Dot suspects a fever but Constance brushes it off, remarking how warm it is in the room. But when Phryne arrives, dressed in her tennis whites, the air is distinctly cold. In fact, it’s downright frigid. Constance scurries off under the disapproving gaze of her hostess but Dot doesn’t see what’s between the women - she is concerned for the tennis star’s health. Jolted back to form, Phryne begins to wonder once more if someone isn’t trying to kill Constance… she’s had a fever for days… Could someone be poisoning her special brew of tea?

Awaiting Mac’s report, Phryne is perched in her favorite place on Jack’s desk. I’m just going to say that in terms of sheer hotness, this scene ranks right up there with, “If you really want a Roman Soldier…”
But this one is far more oblique, making it all the more delectable. Staring off as she thinks out loud through the latest developments, she’s oblivious to the fact that her exposed legs are deeply distracting the Inspector. He averts his eyes and attempts to get on with work, flipping through his file. After all, it’s the fourth day and they still haven’t managed to crack the case - time is running out. But he looks again, unable to keep his mind on the job. He can’t help it and quickly grows frustrated by his own lack of control - as evidenced by his grimace. Consider that Jack had very little problem maintaining his composure when confronted with Ms. Lombard’s bare flesh. Consider that he can be passionately kissed by a beautiful Italian woman and remain unmoved. And now consider that he cannot even glance at Miss Fisher’s stockinged knees without feeling himself come completely undone. His passion and physical desire for her is reaching a breaking point. At this point in their relationship - when both parties have made it abundantly clear how much they care for the other - he knows that if she reads the unbridled lust in his eyes, he’s done for. The exposure of his greatest passion. And certainly not in his office when he should be concentrating on catching a killer rather than tearing through the fine silk with his teeth. He can’t take it anymore. He slams the file closed and resigns to defeat.

“Would you…” he begins, looking up at her in that way, his hand gesturing in a way as if trying to grasp from thin air just how to put this… “Get off my desk, please?”
She’s actually completely innocent for a change when she asks, “Why?” Oh sure, she knows the effect she has on him when she tries. Case in point, the letter in the garter. But in this case, she was doing nothing at all to be provocative and doesn’t yet understand the long, hard truth of the matter..
And in rather the same self-preserving manner that he once told her that he was a grown man, unlikely to blush at the sight of a little bare flesh, he all but begs, “Just… Remove yourself, Miss Fisher.”
Until then she really had no idea what was going on because she was so absorbed in her thoughts about the case. But now that she knows, she’s certainly not going to make it that easy for him. “I’m quite comfortable, thank you.”
And so, Jack does the only thing he can to preserve his dignity. He brandishes the jar containing the practical joke and she practically teleports to the other side of the desk.
“Not fair, Jack,” she clucks. Perhaps not but effective nonetheless. Jack deserves to win a few rounds, doesn’t he? But what’s so great is that neither ends up taking offense. I imagine that they both playfully brushed it off after sharing a knowing smile. When we next see them again, they have resumed inspecting Belinda’s things in hopes of discovering anything that will point them in the right direction. Which of course, they do and it does. The false bottom (because of course) of Belinda’s luggage is where she kept numbered photographs of Angela Lombard being intimate with Terence Lawson.

Meanwhile, Mac calls to report that the Constance’s sage tea showed no signs of poison and Dot and Hugh are once again confronted with more exposure as Burn threatens them with taking another lewd-looking photo. And anyone who thought they might be above making out with Hugh Collins would be damned if they themselves weren’t sorely tempted as the Senior Constable shows his mettle. And it turns out that in order to put the incident behind her, what Dot needed wasn’t a fancy cocktail party or to consider that anyone who knows her would know the real truth. What she needed was Hugh.

Lombard comes clean to the detectives and admits that Belinda was blackmailing her for the photos. She couldn’t risk that her love life would be exposed to the god-fearing Mormons - potentially costing her the shoe contract. Much to her delight, she produces the illicit photo to show to Jack - no doubt hoping that what he sees might entice him. But there’s still one photograph missing as Jack and Phryne attempt to work it out in the stands, watching Ms. Lombard beat a very ill Mrs. Burrows. Inspecting Angela’s photo, Phryne notices Mrs. Burrows captured in the shot fussing with her dress. She puts it all together.  Her sage tea - sometimes used as a digestive aid but also to stem excessive milk production, her unwillingness to bed her husband straight away. Constance hasn’t been spilling things on her dress - she’s sopping up the wet spots. Well, at least I’m not the only one. Constance Burrows was hiding a pregnancy. She admitted that she went away after breaking up with Lawson - to clear her head. But what she really did was give birth. Unfortunately, she was suffering from threatening mastitis and it gave her away. Could she have trained and played with a condition like that? I think so. She is an elite athlete so besides being in prime physical shape, her determination to compete far outweighed any physical symptoms she might have suffered. I’ve seen cyclists ride up mountains in Tour de France stages with broken collarbones. Hell, half the world just watched as Aussie Jason Day competed in the US Open while suffering debilitating bouts of vertigo. It was the murder itself that I found convoluted. Why would Constance kill Belinda if half a dozen other people knew about the pregnancy, figuring for hospital staff and the adoption broker? Any one of them could have exposed her and ruined her career. And why wait until you got to Melbourne to do it? (Well, I think that was because she had hoped that Phryne’s friendship would provide cover.) Then, you’ve got Stanley - supposedly Phryne’s close friend - who turns out to be the one who planted the practical joke in Phryne’s room, knew his wife had been the one to kill Belinda and kept quiet about it, attempting to frame an innocent man out of jealousy. Bah! But there’s three minutes left in the show… plenty of time for another bout of Robinson’s Dementia, so let’s have it.

Ms. Lombard can’t let the opportunity of bedding Jack Robinson pass without giving it one last try. “If you ever get tired of Miss Fisher and wanna play ball with me, I’ll give you the best game you’ve ever had.”
As if he could ever imagine himself tiring of Miss Fisher. As if he could ever imagine anyone surpassing what he and Phryne will be capable of when they finally do get down to playing ball.
“I think we both know that’s a challenge I won’t be accepting. Goodbye, Miss Lombard.” Of course they both know. He isn’t Stanley Burrows - a man who is so in love with his wife that he attempts to cover up her crime and yet, so easily compromised by unfulfilled lust that when Belinda seduces him, he readily gives in to his desires. No. Jack Robinson does not work that way. He will not be taking Angela up on her offer just because he’s backed up. But god love him, he’s just so damn polite about it - even though he’s not letting down a woman who is in love with him. Angela wants him for one thing and one thing only.
And the little smirk he wears proves that the flattery is good for his soul. But there is only one woman with whom Jack wants to play. And he wants match her … Love All.

The closing soundtrack is incredibly poignant. “When You’re Smiling” was recorded in 1929 by Louie Armstrong (even though it’s the King Oliver version that plays):
When you’re smilin’ keep on smilin’… The whole world smiles with you
And when you’re laughin’ oh when you’re laughin’… The sun comes shinin’ through.

And what could break the clouds and make the sun shine through, but hearing Jack Robinson laugh? Thank you, Producers, for granting one of my top wishes for Season 3. I’m so incredibly grateful, I’m not even going to fuss about the crappy overdubbing job.

Presumably after locking up the Burrows, Jack darts home for his tennis whites and joins Miss Fisher in a rather unusual wrap up to their case. They’ve been doing things quite differently for a while now. First Jack brings her wine, then they drink lemonade, we last had a waltz and now it’s time for a serve. So we meet up with our two crazy kids literally playing ball, giving great game on Aunt P’s tennis court. And they are adorable. Nathan looks a natural on the court, which should come to no surprise to anyone. The man possesses a preternatural grace and an athletic physicality that would make Roger Federer envious. Not to mention the fact that he can make a sweater vest seem the sexiest piece of clothing ever invented. But it’s Jack’s demeanor and appearance that are the most striking. No overcoat. No jacket. No tie. His collar undone and his shirtsleeves rolled up. Nothing to hide behind. Because there’s no reason to hide anymore. What he feels has already been exposed to her. So there’s no reason to not to laugh, not to smile, not to relax and enjoy. Jack Robinson is alive again, folks. And wearing white pants. Is that a tennis ball in your pocket, Jack? Or are you just happy to see me? When he stretches back to serve, it’s revealed that Jack does in fact own a belt - a small detail I was ridiculously overjoyed about. Don’t judge. It’s the little things.

And it’s the next two little lines that absolutely say it all where these two are concerned:
“I aced you, Miss Fisher.”
“You just caught me off-guard.”
Are we still talking about tennis? Jack Robinson has indeed caught her off-guard. Just as she has managed to infiltrate his life, he has managed to infiltrate hers. They have to make do with each other, after all.

I loved how earnest Phryne was her compliment, “You’re actually quite good, you know?” And we see the Jack from Queenscliff, the one who strides up the beach in confidence, the one I believe is quite at home with his body’s abilities. He shares that he learned while he was at the Police Academy. Put that into your fan fiction pipe and smoke it. While I don’t believe it was formal training, I have to assume that the cadets were encouraged to keep fit and knowing that the Police Association had clubs for training and boxing, there may have been a group who played tennis and a young Jack was keen to learn. Don’t care. Jack’s in white pants with his forearms bared. I’m going with it. He uses the segway to rib her about the lack of detail in her police reports… Can you imagine Phryne having to process paperwork?!?… and formally retires her from her station as his special constable.

“I see,” she says, not surprised in the least and grasping for something in her bag. “I suppose you’ll be wanting your badge back, then,” and holds it out for the taking. Surely, he wants it back. He’s kept it since he was ten for fuck’s sake.
But he looks at it, sizing it up. The treasure that, as a boy, he imagined only being able to part with if it belonged to his ideal partner.
“Well,” he considers… the decision made. “No.”
She looks up at him to find that his expression has sobered.  "No, I think you’ve earned the badge.“ And even if his voice takes on that deep rasping quality that makes us weak in the knees, it’s not sappy or saccharine. Nor is it condescending. She has earned it. Earned his respect. Earned his admiration and trust. Earned her place by his side and sometimes (ok, mostly) in front. And I love that he tells her this before any attempt to use his mouth  - verbally or otherwise - to convey his other feelings toward her. Because their relationship was built on this.

And goddamm it, he’s pinning the shit to her again!! Isn’t it bad enough we only get 8 episodes? Do you have to shoot a nearly identical frame of something we’ve already seen? But as I’ve said, his giving her the badge to keep is not about love. This is about respect. There’s no flourish the way there was with the swallow brooch. It’s professional, almost militaristic - as if he were bestowing a medal of commendation. Which, in his way, he is. And to drive the point home further, look at his stance. Toe to toe with Miss Fisher, Jack’s hands are clasped gently behind his back in a completely open and earnest posture. As opposed to the naughty way he was holding them after undoing Angela’s dress or the way we always see him stuffing them into his pockets. So I can’t be too mad. And anyway, I’ve already admitted that I’m afflicted with a debilitating disease and the next bout’s going to be a doozy. Because my god, look at that smile…

Cheers everyone! Only one more to go! And by the way, Acorn has started taking pre-orders for Season 3 on DVD/Blu-Ray if you’re interested.

anonymous asked:

Who are your favourite fic authors in the kabby fandom and what are your favourite fics? (:

Ahhh I love everyone, but my faves are @brittanias​ (victorias), @grrlinthefireplace​ (ChancellorGriffin), and @marcaskane​ (erudite). Everything by them is fantastic. 

And I’ve picked my ten favorite fics, but if these authors have more than one fic I strongly suggest you check out everything they’ve written, not just the ones I’ve plucked here because I didn’t pick anyone more than once but hoo boy are these people good at fic. OKAY SO HERE WE GO. SAM’S FAVES:

Maelstrom by @marcus-kane​ 

This is one of the first kabby fics I ever read so it’s got a special place in my heart. Summary:  After Finn shot the Grounder in the bunker, his people retaliate by turning Marcus’ rescue mission into a chance for revenge. Abby seizes a dangerous opportunity to get him back.

Teasing, Tents, and Cheesy Romances by @gandalfcalrissian

Listen, there are few things I love more in this world than drawn out UST that eventually gets resolved in the best way. Sex, I’m talking about sex. This fic is so cute and happy and sexy. Summary: It’s springtime at Camp Jaha. Winter is over and Abby and Marcus’s flirting is out of control.

through the wire by @marcaskane

This one is a WIP, but I already love it so much. It’s such a precious little au that fills one of my favorite tropes–the good ol, ‘please be my fake date, oh no I’m actually in love with you for real’–a CLASSIC GUYS. Summary:  Abby’s younger brother is getting married in one week. When she received her RSVP six months ago, she told her family that she’d be bringing her serious, long-term boyfriend as her plus-one. Only problem is, Abby doesn’t have a boyfriend. Marcus Kane is the solution.

The fabric of the heavens by @maegfen

Me before reading this au: soulmate fics are okay I guess but I don’t really buy it. Me after reading this fic: HOLY SHIT I LOVE SOULMATE AU’S THIS IS INCREDIBLE THEY’RE SO DRAWN TO EACH OTHER EVERYTHING MAKES SO MUCH SENSE. Summary: “She meets Marcus Kane on a Wednesday in the middle of July. At the time the day doesn’t seem significant at all, but oh, how every detail of their initial meeting will stick in her mind for years to come.” - Soul bond AU, drifts from pre-series to current canon, but doesn’t use every aspect from the show.

We Are Starting at the End by @galfridian

One of my favorite things about Jess’ writing is that she manages to create such a massive story and yet be so succinct with her words that every one packs a punch. This is another one of the first fics I read for these two and the imagery has stuck with me ever sense. Summary:  Abby remembers three things from her wedding day.

echoes of a city that’s long overgrown by cassi0pei4

dear cassi0pei4 wherever you are, please come back to the kabby fandom. this fic is treasured by us all and we miss you greatly YOU WERE HERE BEFORE HALF OF US. LOOK AT WHAT WE’VE BECOME. COME BACK. This is probably the first smutfic I read for these two and hoo boy it’s so good, plus the frickin title is from a florence and the machine song like honestly just take my heart. Summary: They’re both terrible people. (Abby can be honest with herself about this, even if she couldn’t ever admit it to anyone else.)

 The Middle by @racheltuckerrr

This story is just so good, every part of it. It bounces back and forth between their time on the ark and on earth and has one of the best hug/kiss scenes I’ve ever seen in my life. And because I’m the romantic sap that legit wants kabby to be so canon they get married, this fic is perfect to me. Summary: ‘He considers one of their many beginnings to be the day she tells him he’s her best friend. They’re ten years old and it’s not exactly a heartfelt admission of sincerity, but it’s from the girl he likes, so naturally, it means the world.’

15 Ways to Build a Life by lelawry

I LOVE THIS FIC SO MUCH. It shows so many little intimate moments and it shows relationships between characters we don’t always get to see interacting. The whole thing is so beautiful I like to imagine this is what happened in the three month time jump tbh. Summary: “I found a couple of things on the last trip to Mount Weather I thought you might like.” Bellamy says to Lincoln as he hands over two small packages. One is a box of art supplies, finer than any he’s ever seen before. The other is a book.Mythology, the title reads, by Edith Hamilton.—15 stories of survivors, strangers, and neighbors.

The Scars That Show by @grrlinthefireplace 

if this fucking fic isn’t at least 80% canon in season 3 I’ll eat my own hands. Okay I’m not gonna eat my hands because it’s basically canon: Kabby [check], Raven’s truck [check], Bellamy/Kane Brotrip [check]. I love this fic, one of my favorites of all time tbh. Summary:  The hostages have returned from Mount Weather. The danger is over. A new life can begin. But Clarke has disappeared, leaving Bellamy adrift, and the only person who sees it is Marcus Kane, who didn’t realize until he saw Abby tortured inside Mount Weather how he really feels about her. As Bellamy pines for the missing Clarke, and Kane tries to break down the walls between himself and Abby, the two men who love the Griffin women find empathy and understanding with each other.


If you’ve ever wondered what pure joy looks like written down, it’s this fic. I love it so much and not just because one of my favorite humans wrote it. It has sparring and public displays of affection, and sassy Raven, and Octavia and Abby teaching each other things, and Marcus trying to impress his girl. The way Brittany writes the intimacy between Marcus and Abby is so beautiful, it’s basically all I want from S3. Summary: The absolute worst kept secret in Camp Jaha was, without a doubt, the betting pools.


"I don't think I can live forever without him" - 6x01

It’s always nice when they writers give us confirmation of what we’ve always known, or suspected at the very least. This season premiere was definitely full of confirmations.

First of all, if confirmed what we’ve been saying since the first half of S4, that Elena accepted her vampirism thanks to Damon. Only because of him. She hated being a vampire, it was her worst nightmare, the last thing she wanted to become. But then something happened, someone happened, and things changed. Damon took that hate and he turned it into love, making her find out what’s good about being a vampire: it’s not the immortality, nor the physical strength or compulsion, it’s the fact that you can live forever with the one person you love.

“If you want to love forever, you have to live forever.”

“The promise that love could be eternal.”

Her whole speech to Alaric also confirms what we’ve known since 4x23, that Elena decided to stay a vampire only to be with Damon. No other reason. Without him, vampirism and immortality are just a curse.

This episode also confirmed what we’ve been saying since S2-S3, that Damon slowly but surely became the lighthouse in Elena’s life, her rock. During all the chaos and storms and devastation happening around her, Damon has always been Elena’s only constant, her anchor to hold on to. She kept standing and moving on thanks to him, no matter what. Elena lost a lot of people in her life, too many, but somehow she managed to go on. Because he was always there, he never left her. And that’s why now he’s the one sitting in that car with her, not her parents, not Jenna, not Bonnie. Damon became so important to Elena that his presence turned into a physical need for her. He got so much under her skin that he merged with her own being.

“Every time I look at him, I feel like I’m going to break.” (3x06)

“Every time I let it sink in that I’m never gonna see him again, I feel like I’m gonna die.” (6x01)

In 3x06 Elena couldn’t bring herself to look at Stefan, even though she had accepted (to some extent) that she had lost the guy she loved. He came into her life looking like a savior and he had now become her torturer. She was aware of that and this knowledge had the power to break her, but not to kill her.

In 6x01 Elena can’t not see Damon and she can’t accept that she lost him. Here is her atrocious dilemma. The hallucinations save her from a reality full of pain, torment and agony, but at the same time they make her hurt people around her; she acts recklessly and destructively because of them. Damon is both her savior and her torturer, he’s the best thing for her and the worst at the same time. She knows that and she knows that she can’t do anything about it, she’s powerless. It doesn’t matter how much she wants to let him go, the truth is that she is not able to, because deep down she knows that she’d die otherwise.

So, here we are to the last part of the crypt scene, definitely my most favorite one in the whole episode. Elena said Damon goodbye, she thinks that she is ready to move on. Except that she isn’t, she’ll never be, as Hallucination!Damon tells her. She fights, she screams, she cries and she trashes the whole place, finally collapsing to the ground. And it’s in this very moment, when she hits rock bottom, that she understands: there is no escaping it for her. When that hand gently touches her shoulder, she knows she can’t make it. Just like when he was alive, Damon is there to give her a shoulder to cry on, to sit in the darkness with her, to give her a silent comfort, to pick up the pieces. The fact that it’s just a figment of Elena’s imagination, makes this moment so tragically beautiful. Her subconscious knows Damon better than anyone else: it knows that he’d laugh with her about Ric’s new job, that he’d joke about their dramatic predicament, that he’d be brutally honest with her, that he’d take her hand to give her courage, that he’d stand by her side in her darkest hour. So, Elena grimaces in pain and resignation, clutching his arm for dear life. She has always fought against her feelings for him but, in the end, she has always had to give in.


The sun rises on a new dawn, yet few of us realize the debt we owe to those responsible for this, to those who dwell among us, anonymous, seemingly ordinary, who destiny brought together to repair, to heal, to save us from ourselves, and they’re still out there among us, in the shadows, in the light, we pass them on the street without a glance, never suspecting, never knowing. Do they even know yet? That they are bound together by a common purpose? A glaring reality, to be extraordinary, and when destiny does anoint them, how do they hide from it? How long can they dwell in the shadows before either fate or their own flawed humanity draws them out into the light again? And how will they know what awaits them when it does?

anonymous asked:

I know Stephen will never say whether he favors a pairing over another (even though he's not very subtle, like, we all know. Lol) but he did sort of alienate a little bit when he said O/L and O/S won't "ever be together-together again." Do you think he was just emphasizing that it really is Felicity right now? Because the fact that he refuses to go on record about who he wants to be together, I took it as a fact that he talked with the writers over rather than opinion. (:

Fair point Anon. That interview shocked me and I am not easily shocked when actors talk about their TV shows. Normally they have approved “talking points” and they churn those bad boys out interview after interview. That’s why Comic Con was so AMAZING! And shocking. The talking points. I know the entire Olicity fandom was asking, “Did that actually happen?” 

On closer examination, you are 100% right. In the specific interview you are referencing, Stephen’s not giving his opinion. He’s selling the show. I am totally gleeful right now because I use to be in marketing. So we are combining my two favorite things: marketing and TV.

Feel free to check out the interview here starts at 1:50. I transcribed it.

Q: We’ve heard already that he has this disastrous date with Felicity. So obviously that romance is going to be on hiatus or totally kaput. Are there gonna be other ladies coming into Oliver’s life this season?

S: There’s one lady in Oliver’s life.

Q: Just one?

S: Just one.

Q: He hasn’t counted all the women on screen lately has he?

Stephen smiles shakes his head no then repeats: No. There’s one woman in Oliver’s life this year.

Q: Is that his sister?

S: No. It’s Felicity.

Q: It just seems like he’s got of course Sara and Laurel still out there and they don’t seem to have romance interests, at least not steady -

S: (interrupting) No, th..the ship has sailed on those romances. I don’t think that will ever see Oliver and Sara or Oliver and Laurel together again. I mean, they’ll be together, but just not together together. They’ll be teammates, but uhh..no we discover in the pilot the way Oliver feels about Felicity, so because of that, if we just introduce random love interests, it would kind of undersell what we do in the premiere.

First of all, the entire Olicity fandom needs to give that interviewer a standing ovation. Because damn she was persistent.

The way she phrased the questions also gave Stephen a very small, but specific window of opportunity. Our Captain took it. 

The original question included the phrase this season. The interviewer asks if Oliver will have any other love interests other than Felicity. Stephen’s answer was no. But she kept going at him like a dog with a freaking bone. So much so Stephen had to say THREE TIMES there’s only one woman in Oliver’s life. She thinks Stephen’s talking about THEA. Stephen corrects her again. He means Felicity.

Then the money shot. She pushes back and specifically asks about Sara and Laurel. The way the last question is phrased is more expansive than the first. Since the first question included this season, as the conversation progressed all the other questions were under same caveat. However, when the interviewer asks about Sara and Laurel she says, “still out there”. Still out there is more expansive than the specific “any other ladies COMING IN to Oliver’s life this season?“ Sara and Laurel are already in Oliver’s life. They don’t need to come in. The first question was about new love interests. The last question was about existing love interests. Still out there connotes that Sara and Laurel are still out there as possibilities. They will always be out there as possibilities. Since the interviewer began questioning under the guise of “this season” she was then able to very slyly slip in a more broad question, beyond this season. An endgame question.

Furthermore, the interviewer was’t asking Stephen his opinion. She was asking Stephen what’s happening on the show. Stephen could answer because it wasn’t his personal opinion. He’s simply stating what’s happening on the show.  Since it was a vaguely worded endgame question, Stephen could answer it more definitively. The vagueness of the question left room for interpretation so Stephen didn’t have to do it himself.  The Who’s To Say? interview was the opposite. That was a direct “long game” question so Stephen had to deflect. He had to be vague because the question wasn’t. See the difference?

I was in Marketing. You know what the number one rule of Marketing is? Know. Your. Product. Know what you are selling. Why should consumers buy this product? What are your talking points? What’s your pitch?

That’s all Comic Con is. One BIG sales pitch. We get so caught up in the artistry of TV we forget it’s a product like any other commodity. It’s no different than buying a car. Writers, producers and actors are trying to convince you to watch their show. They are selling the show. Why? Because of advertisers. Advertisers pay networks and pay shows for ad time. More viewers means more advertisers. It’s supply and demand. The higher the demand for the show, the more advertisers will want to purchase an ad spot. More viewers means the networks/shows can charge the advertisers higher prices for an ad buy. 

Bottom line? Money. The cast of Arrow, it’s writers and producers all have talking points for S3. They all have their “pitch” to get us to watch the show. How do we know this? Because they sell the same points over and over and over again in every interview. Those are the agreed upon “spoilers” or “talking points” or “pitch” (however you want to phrase it) that the writers and network have agreed on to entice viewership. 

What were the talking points we heard over and over again? Oliver loves Felicity. A life beyond The Arrow. How can Oliver be Oliver Queen and The Arrow? Identity. One woman. One woman. One woman.

There is a shift coming in Arrow S3. Arrow is a hero’s journey. Like I said before, in every hero’s story there’s one person the hero loves. In every hero story, the writers choose a lane. The Arrow writers and Stephen Amell are saying Arrow is telling that part of the hero’s tale THIS SEASON. That’s why it was a talking point. Oliver is choosing one woman to love and that woman is Felicity.

So what makes the interviewers question so brilliant? Because of the words still out there. Still out there includes this season of course, but beyond S3 as well. Sara and Laurel will always be OUT THERE. Stephen was explaining whatever Oliver tells Felicity in the premier is a game changer.  If the writers give Oliver random love interests (new and old) it under sells what Oliver tells Felicity in the premiere.  It under sells the STORY the writers are now telling in Arrow. Which is Oliver has committed to being a hero and he’s committed to loving one woman. Now how does he reconcile those two things? This ties into the Identity theme. Stephen was explaining the premiere is a statement of that choice. He tells Felicity the truth. He tells Felicity he loves her. Oliver won’t go back on that. Why? If Oliver has continual back & forth love interests it marginalizes the moment he has with Felicity and the sincerity of his love. 

Now, the Lauriver ship is holding on tightly to two phrases: This season and I don’t think.  I’ve already explained how the interviewer slyly side stepped the first phrase.  Lauriver’s argument is that when Stephen says I don’t think he’s simply stating an opinion.

Except Stephen Amell doesn’t give his opinion. Not about relationship preference. He refuses to choose. In fact the night before, Stephen was asked his personal opinion about Laurel and Felicity. Which one did Stephen think Oliver should end up with? He refused to answer because it was his personal opinion.

The very next day was the media blitz. Oliver & Felicity. All. Day. Long. One huge statement after the next. From writers and Stephen Amell. Why? Because those were the talking points. That was the pitch. They weren’t talking about opinion. They were talking about what was happening on the show and why we should watch. Why we should buy Arrow next year.  So anything Stephen was saying at that media blitz was approved by the network, creators and writers. It had to be. He was selling the show.

Furthermore, sometimes I don’t think is word filler. Same as when people say ummm, or uhhh, or like. Word filler is the brain trying to connect trains of thought. It doesn’t necessarily mean the person is stating their opinion.

Also, I don’t think wasn’t his only statement. Right before that Stephen says definitively the ship has sailed. Boom. No caveats. No filler. 

To play devil’s advocate, let’s just agree with Lauriver and say Stephen was just giving his opinion.  Do you know why I put more weight on Stephen Amell’s words than any other actor or actress on The CW right now? Stephen Amell is the face of DC television. Right now, DC has five properties launching because of the success of Arrow. Stephen is a very large part of that. The way he sells the show is a very large part of that success as well. So, even if it is his opinion, it carries more weight than say Ian Somerholder or Paul Wesley or Sarah Michelle Gellar or Katie Cassidy. Stephen Amell is not only selling Arrow, he’s selling the DC brand. There’s a lot of money at stake and he’s careful. So when he makes a statement like that, I believe it’s because that’s the way the show is really going.

Does it alienate Lauriver fans? Sure. Absolutely. However, this was always going to happen. One of the two fandoms was always going to be alienated. It was just a matter of when. Why? Because Arrow isn’t The Vampire Diaries. The love triangle won’t last forever and it shouldn’t.  It’s a hero’s tale and every hero’s tale picks a lane. Furthermore, the idea that Arrow is the first CW show to end a love triangle early on is ludicrous. Reign anyone? Reign ended the love triangle half way into it’s first season. They did it and they did it successfully.  Not all TV shows on the CW need a love triangle. Arrow will survive because it’s not predicated on a triangle like The Vampire Diaries. Neither was Reign. While Arrow constantly fights comic book canon Reign has to battle ACTUAL FUCKING HISTORY.

In fact, a love triangle was never Arrow’s intent. It’s original intent was ALWAYS one love - Laurel. It just didn’t work. It didn’t resonate with the larger audience. So the love triangle was a happy accident because Felicity was a happy accident. By choosing one love, Felicity, Arrow is returning to the story they always wanted to tell. They just changed the character they are telling it with.

Comic Con is about increasing viewership. Selling the show. Somewhere along the line there was a calculated business decision that going with Oliver & Felicity will result in maintaining or increasing viewership more than Oliver & Laurel. 

However, if love triangles is what you want then fine. The Arrow writers ended one with Oliver making a choice about who he really loves in S2 finale (Felicity). But they are teeing up another one - between Oliver, Felicity and Ray Palmer. So there’s your love triangle. Felicity will have to decide the way Oliver decided.

So bottom line, why was Stephen able to say the ship has sailed on Laurel and Sara? Because it wasn’t his opinion. It what’s happening on the show. He could say it because Olicity is part of the marketing strategy.

Finally, if what Stephen said about the ship sailing on Laurel/Oliver and Sara/Oliver wasn’t true or in fact just his opinion and the writers were concerned about alienating the fan base…Stephen Amell would have walked it back by now. He would have rephrased the statement. He hasn’t. There’s a big difference between alienating a fan base because of the direction of the show versus stating an opinion. Stephen Amell’s standing by it because it’s the truth - not his opinion. It’s just what’s happening on Arrow.

I will use any opportunity to use a Walter White gif. Any.

Ain’t That A Bitch

So man that episode was something alright, but at the same time it wasn’t, and that seems to be the main thing people didn’t quite like about it. All of us wanted to see Tucker being a fucking badass in Maine’s suit, or Grif finally getting to use the Grifshot again. We wanted to see our favorites fighting their way out and generally being awesome. We wanted that visual of them. And we didn’t get it, so maybe we all feel slightly cheated. 

And so I thought about it for a few hours, and now I like how much is left to fan speculation. For all we know, Epsilon may have miscalculated and they all could be dead, or maybe they did win and the good guys did kick ass, but we won’t know. The trilogy is never resolved and we’ll have all these questions of what happened. We don’t know if the main villain of the past three seasons is ever caught. All that hype builds up to nothing. So yeah, I admit that it was kinda lazy, but it also felt like that was the point of the ending. That we won’t know what happens, just as Epsilon won’t know what happens. And that anger and frustration we feel at this unresolved ending is what Epsilon feels. So yeah, both Epsilon and the fans are angry at how we won’t find out. 

“No matter how bad they seem, they can’t be any better, and they can’t be any worse, because that’s the way things fucking are, and you better get used to it Nancy. Quit yer bitching.” - Church, s3 eps14

And that’s the point. That anger we all feel is the point. Epsilon can’t change things and find out if his friends make it out ok, just as we can’t.

There is no way to kill off a character that’s been driving a show for practically 13 years, so the ending is imperfect (and Jess writes this better than I can). Throughout the season, I wondered how they’d pull it off. How were they going to pull off killing such an iconic character in the show? And they can’t. But the way it’s written, that it acknowledges its imperfection, is what makes it so good. Burnie and Miles know there isn’t a way to kill such an important character perfectly. No matter how they do it, it’s not gonna be good enough for Epsilon. So they chose to admit that it won’t be flawless, wrapped up in a neat and tidy bow, with the perfect ending.  And that concession on their part, shown in the way they write the ending, is why I think the ending was perfect. Because it wasn’t.

But with this open ending, we can come up with their reactions ourselves. Your headcanon is that Carolina cried when she heard Epsilon’s message? Wonderful. You think maybe they all went on an adventure to try to bring him back? Great! Maybe you think that they let him go. Awesome. Or maybe a few of them died in the fighting. Cool! It’s open for fandom and individual interpretation and I love it. This is a goldmine of fanfic, fanart, headcanons, and more. It can be as happy as you want, or it can turn out as terribly as you want. 

I feel like all the flash and bang was used in the earlier episodes. At the end of the day, when all the high stakes fighting winds down, all we have left is calmer and heavy stuff, and so I didn’t feel like seeing this fight was necessary. Sure, they could have squeezed one last action packed fight in there, but did we really need it? We already had plenty of that. Just as in s10, after the big fight with the robots, Epsilon wrapped things up with Beta, and Carolina let the Director go. And so now, after the big fights with Carolina and Sharkface, the freelancers vs the mercs, the fight to take down Felix, we’re good.

But at the same time, I’d love to see Hargrove get a shotgun to the face. And so, to me, the reds and blues kicked some ass, found Hargrove, and killed his lil bitch ass. That’s my personal headcanon for what happened. 

So, this ending felt perfect to me.

Anita Anderson (Cait’s Make Up Artist for Outlander) | Twitter Q&A | Nov. 20-21, 2016

FAN: So it’s not her own hair then #1968 ? It was in S2 finale, right?
ANITA: #Outlander S3 we are using a wig. S2 was Caitriona hairs, however the weather conditions made it impossible to  maintain high standards!

wig oven ?
Yes,basically a metal box with a heating element.

how many wigs does she have?
At the moment, full wigs, 2, with 1 stand by, all for 20th century

That 60’s ‘do is absolutely beautiful @caitrionambalfe wears it well
Thank you, she certainly does. I think the 60’s is my favourite 20th century look.

you’d never know Cait has a wig on.
Thank you. That’s great to hear.

Oh. I could’ve sworn Diana said Claire’s 60’s hair was hers just REALLY teased and sprayed.
Yes it was in S2. However, we decided that due to weather conditions, I could get the desired style I wanted more consistently with a wig.

it’s the smart thing to do if you want to protect your own hair… Re: Julianna Margulies
Yes, that is also a “plus point” of using a wig.

how often does it get washed and “baked” ? Verra fascinating!! 
That depends on several factors, so there are no hard and fast rules.

does cait wear a wig when Claire is curly as well?
Not for 1940’s. Wefts and back pieces were used for 18th century due to time, weather conditions.

surprised that she’s wearing a wig! I loooove that grey streak. So sophisticated
That’s her own hair in S2. Glad you like the streak.

WOW amazing work!! Did @caitrionambalfe wear a wig on S2? If so, couldn’t tell at all!!
Not for the 60’s. But i used several wigs for Versailles incorporating Caitrionas own hair. Also back pieces for 18th century down style

why do you have to bake it?
To dry it thoroughly and set it smoothly

how long does it take to attach a wig? (Sorry about my layman’s language!)
Well, the hair needs to be “prepped” 1st. Then full wigs needs to be attached using pins & glue. So it varies depending on several factors.

Do you style Jamie’s hair? With Sam’s haircut, will you also be doing weaves, wigs, extensions? Isn’t dying hard on it?
I don’t look after Sam, therefore sorry, but I can’t answer any questions pertaining to him.

I assume the heat sets the curls ?
Exactly. Its equally important to let the set cool completely before beginning to dress the wig.

Aaargh Scottish weather! #workwithwhatisgiven
Yes, but we are very lucky that we don’t have dangerous extreme weather that many countries in the world experience.

More hours in hair/make-up for @caitrionambalfe then?!
Not necessarily! Wigs often make “call times” shorter for the actors but more work hours for the MUA’s! #makeupartist

is it synthetic? When I was looking at wigs for chemo patients natural hair was considered difficult to deal w/
All our wigs are real hair. Which ensures a realistic look & they can be styled using high heat.

why would a wig be more consistent, it’s hair too and responds to wind and rain, doesn’t it?
Yes, it is. However the hair and amount chosen for a wig can make it much more resilient to weather conditions.

Are you responsible only for Caits/Claires hair and make-up?
Yes, on the odd occasion i get to help out with other actors, which is fun.

do you have a favorite season for hair and makeup ??
One without wind and rain, sleet and snow!!

Claires hair and make-up - your ideas?
The research and ideas are collaborative. #teamwork

which lip color did you mainly use for Claire in S1? #myfave #naturalbeauty
Clear lip balm in 18th century

so she’s wearing a wig in S3 during all her 60s scenes?

I can usually tell a wig a mile off but had no idea cait was wearing one
Thank you. That is always a big challenge to make it look like the actors own hair.

for reals? She had on a wig? I never knew!! That’s so awesome!  to you!
Thank you.

is there anything Cait DOESN’T wear well? Haven’t seen her not rock any hair/makeup/costumes yet
No!! She’s looks awesome in everything! And the camera loves her!

You mean Cait wore a wig or hairpiece thru all of S2 or just the 1960’s parts?
1968 in S2, was Caits hair. Versailles was  wigs with her hair. Hair down in S2 were back pieces.

I meant when Claire is back to 18th century ,Cait’s gonna carry on wearing a wig?
For S3 18th century, I shall use, wigs & back pieces. Which to use, depends on the scenes, scene changes, weather & time restrictions.

Don’t they make your head itch?
They can be hot in warm climates

For sexy time or strenuous scenes, (like Faith) u have to use xtra clips/pins for hair pieces?
I just go with whats required on the day.

What if they get wet? Hold up better in rain than own hair? Or, be the same?
Chemically Pre curled hair maintains a curl, to a point, in the rain. Therefore its more resilient than hair curled simply by heated methods

what’s a “back piece” ? Like extensions?
More of a wig without the front section

so its more on the crown of the head?
They can be made to fit which ever area is desired.


GUYS, PLEASE! Calm ur metaphorical (or literal) tits.

Fam. Family. Friends. Listen to Indy. I have wise words for you.

*takes a deep breath*


*Jumps on table, banging pots and pans*



Guys. Y’all are acting like the sky is falling. It is not. Tree’s comment about Bellarke’s dynamic not yet being determined is a GOOD THING. It means that their relationship has not (and probably never will be) put into a neat little box labeled “just friends” or “like siblings” by the writers. You feel me? That comment was off-hand, meaningless really. He doesn’t know about bellarke’s future either right now, and he won’t until he’s asked to either write a romantic score or something more Platonic™.

Goodness people, they’ve barely broke story for S4! The truth is, NO ONE, INCLUDING THE ACTORS, KNOWS WHAT THEIR PLAN IS FOR BELLARKE RIGHT NOW. Hell, even the writers might not really know yet. They’re probably still hashing out the MAIN story line for the whole season…

And I can also hear y’all whispering now: “but c/exa was talked about all over the place! The actors and writers all promoted it! They never talk about Bellarke because they hate it!!11!one”

To this I say: There is a reason that they were all blabbing about C/exa but they all clam up when it comes to Bellarke. IT’S BECAUSE THEY KNEW WHERE C/EXA WAS GOING TO END UP. They (the writers/actors/crew) knew that c/exa was not an endgame pairing, but they also knew it was popular, so they talked about it. A LOT. They didn’t care about spoiling it or over-hyping it because, while it was an important part of Clarke’s story and development this season, it was not integral to the overall story, like BELLARKE IS.

It was okay for the writers to hype C/exa. Hyping Bellarke now would SPOIL THE WHOLE DAMN STORY BECAUSE THEY ARE OUR TWO MAIN CHARACTERS WHO DRIVE THE MAIN PLOT.

Fam. My peeps. My home-skillet-biscuits. Bellarke has A LOT going for it. It’s been built up for years. It has support from fans, even though we’ve been dragged through  all kinds of bullshit since the beginning. The two lead actors were just nominated for a chemistry award (whether rigged or not, it’s important that two lead actors have that chemistry if the writers want their relationship to turn romantic someday, and this nomination proves that Bob and Eliza work very well together on screen.)

And from where we’ve left off in S3, Bellarke’s relationship has pretty much reached the peak of its “platonic” development. The writers can either choose to leave it platonic and not develop it further (which is ALWAYS unwise and boring for a writer to do) OR they can start to develop it romantically which would lead to interesting developments for both characters and add a little something to the main plot (because you can’t have two main characters get romantically involved without it somehow affecting the main story. That’s just how it goes.)

The odds are in our favor right now, that is undeniable.

But, let’s say for one, teeny-tiny half-a-second that I’m wrong: that Bellarke will be forever Platonic™, that we’ll never see these two idiots make out on screen, and we’ll only ever see them platonically hug and hold hands and kiss each others cheeks (goodness, doesn’t that sound funny? lol so platonic).

To THIS I say: So what? Does it really matter? Do we really need to see something on screen in order to appreciate/ship it the way it deserves?


Look at all the various HUGE fandoms who ship pairings that were never (or are highly unlikely to be) canon? Zutara (the fandom I was personally involved in for YEARS, and it was the vast majority of the A:TLA fandom, and it never happened), Sterek, Destiel, Harmione…. There’s probably TONS more that I’m not thinking of too.

We don’t need Bellarke to be canon in order to appreciate how EPIC it is. When it comes down to it, sometimes writers have different opinions on ships than the majority of their fans. And THAT’S OKAY. Both of our favorite characters are still in the story, still interacting and growing and learning, and that is more than enough for me.

PLEASE don’t walk away from this fandom just because you feel Bellarke will never happen. That takes the fun out of it for the fellow shippers you’re leaving behind, too.

Breathe, fam. The sky is still firmly in place, and Bellarke is still more-than-likely happening. RELAX.

I’m gonna tag some peeps because I think hope they’ll agree: @rosymamacita @abazethe100 @jane-doe07 @spiderdoctor67 @spacexualkids @asweetdeception @dropshipbellarke @simplyslc

Hannibal Rewatch Recap: 2x11

**Warning: rewatch blogging, written with knowledge of the full series

David Slade directed this one!

I hadn’t remembered that but it’s very obvious now; so many scenes like panels from a particularly gorgeous graphic novel, can’t point a camera at Caroline and Hugh without catching tears in their eyes, Hannibal is very…. Madsy.

Let’s hop to it.

Season 2, Episode 11: “Kō No Mono”

Because Hannibal was seemingly participating in a 3-year-long series of escalating dares with American television network NBC, the episode cold-opens to Will tearing his way out of the belly of the Ravenstag, naked, crowned in sharp antlers, gasping and screaming in agony, while the Wendigo looks on. WHAT A CHILL MENTAL STATE, WILL GRAHAM. But he’s always been pretty aces at transmogrifying the woozy clusterfuck of cruelty that is his waking life into fantastical deer-based night terrors, so this is in keeping. Especially as what we’re keeping in with these days is consistently at the UPPER LEVELS.

Speaking of the heights of Hannibal, now a fluffy little bird is drowning in Armagnac while the Goldberg Variations play, so it looks like it’s time for our second sex scene in as many episodes: A Study In Swallowing.

same rn

Ortolan bunting is, thanks to this show, one of those things I have to diligently restrain myself from bringing up whenever Armagnac is mentioned in my vicinity. One time I had to Not Talk About Ortolan Bunting in a fancy chocolate shop, because one of the truffles had Armagnac in it. I’ve gotten pretty good at heading myself off like this. I had to, given that what I’d first gotten good at was describing it. Too good.

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