paul hawley

Nick & Norah's Infinite Playlist Soundtrack (in order of appearance)
  • 1. Speed of Sound: Chris Bell
  • 2. Lover: Devandra Banhart
  • 3. William Tell Overture: Traditional
  • 4. Screw the Man: The Jerk Offs
  • 5. Twilight: The Raveonettes
  • 6. You Don't Have To Love Me (io che non vivo senza te): Dusty Springfield
  • 7. Xavier: The Submarines
  • 8. Middle Management: Bishop Allen
  • 9. Fever: Takka Takka
  • 10. Sonido Total: The Pinker Tones
  • 11. Our Swords: Band of Horses
  • 12. Snoopy: The Playboys
  • 13. Go Deep: Silas Hite and Mark Mothersbaugh
  • 14. Boys Don't Cry: John Enroth
  • 15. All the Wine: The National
  • 16. Insistor: Tapes 'N Tapes
  • 17. Just the Way You Are: Billy Joel
  • 18. Wannabe: Spice Girls
  • 19. After Hours: We Are Scientists
  • 20. Kennedy: Ratatat
  • 21. Negative: Project Jenny, Project Jan
  • 22. Very Loud: Shout Out Louds
  • 23. Where There's A Will There's a Whalebone: Islands
  • 24. Why: Colin Kiddy
  • 25. Slight of Hand: Army Navy
  • 26. Trust your Stomach: Marching Band
  • 27. 12 Gays of Christmas: John Cantwell
  • 28. Baby You're my Light: Richard Hawley
  • 29. Karate: Kennedy
  • 30. Little Motel: Modest Mouse
  • 31. You Sexy Thing: Hot Chocolate
  • 32. Riot Radio: The Dead 60s
  • 33. Silvery Sleds: Army Navy
  • 34. How to Say Goodbye: Paul Tiernan
  • 35. Last Words: The Real Tuesday Weld
  • 36. Ottoman: Vampire Weekend
  • 37. Electro Socket Blues: Rogue Wave
Okay, here we go,” he said. “Terence Paul Winter. A real Boy Scout, this guy. And I mean that literally. He was an Eagle Scout with Troop Eighty-Seven out of Davenport, Iowa. Member of the Future Farmers of America. Never in trouble with the law. Went to Iowa State. Double-majored in business and Asian studies with an emphasis on Chinese. Got his MBA in international business at Stanford then started consulting in the logistics industry.”
“How would a guy like that wind up associating with a scumbag tweaker like Alexi Hawley?”
“I’m getting to that. After he did his time as a consultant, he caught on with OOCL, Oriental Overseas Container Line. They’re one of the real big boys in global shipping, as I’m sure you know. And then…” Bryan started chuckling.
“Oh. Oh, Storm. You have really outdone yourself this time.
—  Heat Storm, Richard Castle

anonymous asked:

It's funny -- this time last year, the entire fandom was in agreement that the hold-out for S8 would be Fillion, and it seemed to be pretty much universally accepted that Katic would sign. It's strange, how much has changed in the fandom (and the show) in the past eight or so months.

I think a lot of fans look at Stana Katic’s love of her character, the love she has for her fans, and her overall excitement for the show and they’ve taken that to mean that she’d never, ever entertain the idea of leaving before the show ended. To a lot of them, these episode where she’s been absent have been her being forced out or bullied by Nathan or Alexi Hawley/Terrence Paul Winter because the idea of Stana wanting time to do other things is unfathomable. She’s a shipper like us, she’s a fan like us, and that means she loves the show just like we do and would want to do nothing else. 

You can love the show, your character and your job with every cell in your body but there comes a time when you want something different. Change isn’t the monster that people want it to be, and neither is feeling that you’ve done all you can do in a role and that its best you find other pastures to ply your trade. 

You also have to consider the fact that Stana got married last year, and I presume she wants to go spend time with her husband that doesn’t involve sitting in her trailer waiting for the next scene to roll. And there is nothing wrong with that. She’s given seven and a half years of Kate Beckett to us, and while I’m sure we all would love a few more, she’s actually under no obligation to give it to us. She’s the one working 60 hour weeks where she wakes up at 6 a.m. and goes to work, and then collapses into bed at 11 p.m. (if she’s lucky) completely exhausted while still trying to cram lines into her head for the next day. She’s the one who has lived with Kate Beckett day in and day out, the one who has put blood, sweat and tears into a character. Sure, we all feel ownership of Beckett because we love her but, at the end of it, Stana Katic is the one who brought her to life and should get to decide when she can no long continue to be fulfilled by doing so. 

But I also think there is a current culture that Stana maybe cares less because she’s been more open about her life and her travels outside of Castle this season. She’s had more time off than I think she’s ever had during the season but, alternately, Nathan FIllion has also done a lot of short weekend trips and jaunts that he’s been open about. While Stana is gone for longer stretches, she’s not the only one out there finding a life that doesn’t revolve around a television show. 

The fact is that things change. Actors are nomads. They start craving something new and different and, if they are lucky, they get the opportunity to say enough is enough and leave a show and a role on their own terms. That’s a gift that most actors don’t get. Hell, Nathan Fillion’s ass is still chapped that Malcolm Reynolds was taken away from him. Rightfully so. He loved Mal, he didn’t get nearly enough time with him. But I think you wouldn’t hear him say as much about Richard Castle. He knows Castle and while it might be bittersweet to let go, I think he would be pleased at the run the character had and the time he had to bring him to life. 

Now, don’t get me wrong, not that much has changed in the fandom. The same group of people who were adamant that Stana had to wait to sign her deal because Nathan was priority still hold to that argument. The people who think that Nathan is a bully and kicks her out of scenes and episodes at will still believe that without hesitation. I think what has changed is that the blinders have come off and more people realize that Stana Katic has a life that she genuinely enjoys outside of Castle and, until recently, she only got to really live it a few months a year. Likewise, I think the changes in Nathan’s personal life have sort of shifted opinion of him and why he’s wanted the work hours that he’s wanted for so long, despite his personal life having nothing to do with it back in the day. 

But the important thing to remember is that these actors are people first. They have family and friends who they want to see. They want to go to a concert or stay up late talking to a friend who is visiting in town, not running off to learn lines or having to postpone dinner because they didn’t get done on time. I do understand that they’ve signed up for this life and agree they need to fulfill their contract, but there is nothing wrong with deciding that they no longer want to live that life or work those hours. Above all, we have to respect the right they have to their choices and appreciate the time they gave to us. 

But I also think you have to accept that if one (or both) of them leave, then it’s not ABC or Hawley/Winter that should be blamed for the necessary changes the show would have to make. I expect it only matters if one of them doesn’t come back, but if Stana Katic were to decide she doesn’t want to return for season nine and ABC elects to continue with the show, the show will have to change. It’s not the fault of anyone at the network, or the show runners, or even Stana. It’s just life. Things change, people move on, and things adapt to that change. Respect the process. Appreciate what you were given. Stop stressing about things you cannot change and demeaning the people in whose shoes you have never walked. 

anonymous asked:

Other than 'Cops & Robbers' and 'Live & Die in LA" what other great shipper moments have the new showrunners given us in the past? (I dont consider 'The Blue Butterfly' fantasy a shipper moment. Thanks

None. I mean, really, Hawley and Winter are the worst at shipper moments. It’s like they have no idea what they are doing. 

Except I’m totally lying. 

Season Two: 

‘Fool Me Once’ (2x04): Page 105

‘Kill The Messenger’ (2x08); “Are you two together?” 

‘A Rose For Everafter’ (2x12): “He’s all yours.”

‘The Third Man’ (2x14): That time when they went on dates and ditched them for case work and, then, went on an actual ‘date’. 

Season Three: 

‘Under The Gun’ (3x03): Beckett’s motorcycle.

‘Anatomy of A Murder’ (3x05): “I don’t believe in much, but I believe in us…and no matter the obstacles, no matter how hard you try you’ll never get rid of me. I love you.” 

‘Lucky Stiff’ (3x14): The time Castle overheard Kate giving Martha advice and they flirted at a club and when Castle opened a scholarship fund in Johanna Beckett’s memory. 

‘Law and Murder’ (3x19): “You’ve never seen Forbidden Planet?” 

Season Four: 

‘Kill Shot’ (4x09): “Just waitin’ for my partner; maybe you’ve seen her? Pretty girl, thinks she can leap tall buildings in a single bound, carries the weight of the world on her shoulders yet still manages to laugh at some of my jokes.” 

‘The Blue Butterfly’ (4x14): “I can’t give you anything but love.”  and “Kate’s heart quickened.” 

‘Headhunters’ (4x21): “You did this for me? All this time you’ve had my back.” 

Season Five: 

‘Secret’s Safe with Me’ (5x03): Best handshake ever and possibilities for joy

‘Significant Others’ (5x10): “I’m not gonna leave you just because your daughter is sick.” 

‘The Wild Rover’ (5x18): “You’re right, Castle, it does change how I see you; it makes me like you just a little bit more.” 

Season Six: 

‘Number One Fan’ (6x04): “Listen, I’m kind of looking forward to spending the rest of my life with you, so don’t do anything stupid in there, okay?” 

‘Deep Cover’ (6x12): “I keep making the mistake of thinking that he’s family, but he’s not. You are.” 

‘Veritas’ (6x22): “She’s proud of you. Wherever she is, she’s proud.” and “I can’t wait.” 

Season Seven: 

‘Once Upon A Time in The West’ (7x07): Beckett agrees to stay for Castle’s dream honeymoon. 

‘I, Witness’ (7x13): “Naps are good” 

‘Dead From New York’ (7x22): Dancing during a case. 

anonymous asked:

I think castle fans are usually not used to angst & given how Marlowe worked, they never expected it to happen. I admired Marlowe for that. But it's not his show anymore. Also would like to say just because they are separated ( with no real maliciousness involved), they aren't any less special now. Tv is full of great couples who went through separations, biggest examples like Merder and BB and came out of them wonderfully and more strong. Also it happens in real life & ppl go back to love.

Marlowe once went on record saying that he would never break them up once they got together (friendly reminder that they still haven’t broken up. They’re separated. There’s a difference.), and much like Beckett’s one and done comment from season one, people latched onto it like a lifeline. 

But you said it, Anon. It’s not Marlowe’s show anymore. Marlowe’s version of Castle became formulaic. Insert case of the week, preferably with a theme or a gimmick, add some wacky/lighthearted b plot. Solve case. Tag b plot with sticky sweet fluff. Roll credits. During sweeps you could vary it up, add some emotional issue and light angst, all of which would be resolved 95% of the time by a sticky sweet final scene and the problem never mentioned again. That’s fine for a while, but after seven seasons? Two of which the show phoned it in for at least half its run? It had gotten boring. Entertaining, yes, but making me feel things beyond fangirl squeeing at how cute Castle and Beckett are? Not so much. 

While I’m sure this is an vastly unpopular opinion, I’m glad that someone else has taken the reins. Don’t get me wrong, I have the upmost respect for Marlowe because he created these characters and a show that I love but from the back half of season five to the end of season seven, by and large, the show went stale around the edges. There are a host of comments from Marlowe throughout season seven in print and on the DVD commentary that tell me he had no plans of changing the formula. 

Yes, Castle is a procedural that is driven by a case of the week. That isn’t ever going to change but, where Castle initially differed from most other police dramas, was that they did it with a tongue in cheek attitude, lightning in a bottle chemistry, and b plots that connected into one another week after week and provided character growth and further serviced the story of how these two people fell in love and got together. 

Once Castle and Beckett got together, things got a little lazy. From one week to the next, they may or may not remember basic plot points or what they experienced the week previous. With the exception of the back end of season five and the first episode of season seven, if it couldn’t be solved with some fluffy cuteness and a joke, it wasn’t worth exploring. And even in both of those instances, one was solved with apparently nothing more than a proposal and a time jump, while the other was skimmed over until, suddenly, Castle had been having trouble sleeping from guilt, felt he wasn’t good enough for Beckett, and then learned that he was wrong/convinced her to get married. That season seven arc isn’t terrible, but it’s skipping a few key points that would have made it really hit home and sing, versus reluctantly whistling a tune. Additionally, we wasted a season on a b plot of nothing more than a wedding checklist that ended in a dramatic cliffhanger for a story that’s ‘resolution’ ended, as it began, with enough plot holes to sink the sky blue dinghy that Castle returned on. 

The concept of over arching plot and character development got shoved aside because, from Marlowe’s own mouth, the show has to be episodic and it’s better for viewers if there is no emotional hangover. I don’t know if it was job burn out (because show running is a bitch) or that he truly lost a grasp on how to write complex emotions, but there was very little of season six or season seven that made me feel anything beyond ‘oh, that was cute’. 

Cuteness and theme episodes became the crutch for the show. Has anyone noticed that in the past two years that this show has put in more thematic episodes than in the other five combined? Western, Ninjas, Time Travelers, 70s disco, Da Vinci Code spoof, The Devil Wears Prada spoof, Carrie spoof, Kindergarten Cop spoof, 80s Action movie spoof, telenovella, alternate reality, SNL, Space. Yes, Castle has always played on other popular television shows and genres, but when you spend the bulk of your season with that kind of stuff it reads to me like you are out of original ideas and have to cop someone else’s. 

Terrence Paul Winter and Alexi Hawley are recycling a plot. They absolutely are. But they’re doing it in a way that revisits some of the things that got dropped or glossed over in previous years because it went against the mold of the episodic nature Marlowe seemed to want.