silver gene

5

Alright, kids, let me tell you about one of my favorite movies, SUMMER STOCK!

For those who haven’t seen it, or even those who have, it’s a fucking weird plot.  Judy Garland runs a farm (I mean, sure, did you see the overalls?) and her overly-dramatic sister, Abigail (played by the thoroughly lovely Gloria De Haven), brings an entire musical theater troupe (headed by the perfect talent and sex machine that is Gene Kelly and his goofy buddy Phil Silvers) to the family farm to use the barn for rehearsals.  Joe (Gene Kelly) is engaged to Abigail, and Jane (Judy Garland) makes everyone help out on the farm, which, as actors and dancers, they are horrible at in the most comedic fashion.  Eventually Abigail leaves the show with the show’s star, and Jane takes her place.  Obviously Joe and Jane fall in love because after a straight-up tap dance battle in the barn, how could you not fall in love?  The most well-known thing about the movie is probably the “Get Happy” scene where Judy Garland sings one of her best-known songs in a hat and jacket with men falling at her feet (see picture bottom right).

Beyond the music and cast and cute (stupid) story, I love this movie because of the backstage stories.  Facts about production include:

  • No one wanted to hire Judy Garland because she was fat and a complete drug addict (story of Judy’s fucking life). Gene Kelly was hired first, because Gene Kelly is a fucking genius of song and (mostly) dance and has charisma like no one else.  He and Judy had already done two movies together (For Me and My Gal, which was Gene’s first film and I’m pretty sure his only B&W movie, and The Pirate, which is a triumph of nonsense which is only worth seeing a scene where Gene Kelly dances all sweaty in REALLY short shorts.  God bless.), so Gene knew Judy’s talent and loved her and they were friends.  He put up his OWN MONEY and made sure the producer and director knew Judy and loved her like he did.  Gene wanted Judy for the movie and wanted to make sure she would be comfortable and supported.
  • As I said, Judy was fat in most of this movie.  “Hollywood fat” which in the 1950s and on her five-foot-tall frame with her round face just makes her look kinda pudgy and cute.  Why was she “fat”?  Because she was trying to get sober.  She’d been on uppers her whole life to keep her dancing and singing for literally 12-20 hours a day.  So she was trying to wean off the pills, and it ruined her metabolism and she got “fat.”
  • Despite being “fat” she dances like no one’s fucking business.  Gene Kelly is arguably the greatest dancer on screen of all time.  And in the dance battle scene in the barn (photo below left of the movie poster), she matches him step for step PERFECTLY.  Like they are 100% equally matched.  Except for probably Cyd Charisse, or maybe Ann Miller, I’ve never seen anyone dance with Gene Kelly as masterfully as Judy Garland does.  And she does it about 3 dress sizes above her normal working-weight.  Size obviously has zero to do with talent or ability, but for someone who is definitely not used to dancing at that weight, she does it better than I’ve ever seen her in any film.
  • THE NEWSPAPER DANCE.  Gene Kelly, as is a staple of his movies, does a solo dance number.  This one (pictured bottom left), is done with a sheet of newspaper, a squeaky board, and two stairs on a stage.  And it’s brilliant and perfect and so creative.  The athleticism of it is astounding (and a huge turn-on).
  • There is one scene in the movie where Judy magically loses like half her body mass (only to regain it one scene later), and that is the Get Happy number.  After the first screening of the film, everyone decided Judy needed a big solo.  She has a few songs in the movie, but nothing that really pops.  So they gave her Get Happy and choreographed and filmed the number a few months after the film wrapped.  It was inserted near the end, and other than the fact that Judy lost all the weight in the interim, you’d never know it wasn’t originally intended to be in the film.  It was rumored that this scene was actually filmed for another film years before, but that isn’t actually the case.  It was intended for Summer Stock, it was just an afterthought.  And it’s the best afterthought ever, and one of Judy Garland’s most iconic music numbers from her adult career.

In conclusion, this movie is great and the best part about it is the fact that everyone involved literally made it to save Judy Garland’s career because they loved her and believed in her talent.

10

Favorite musical numbers

Dig-Dig-Dig Dig For Your Dinner, Summer Stock (1950)

THE SIGNS AS QUEENS OF THE SILVER SCREEN

ARIES: Marlene Dietrich
TAURUS: Ingrid Bergman
GEMINI: Barbara Stanwyck
CANCER: Gene Tierney
LEO: Rita Hayworth
VIRGO: Vivien Leigh
LIBRA: Grace Kelly
SCORPIO: Bette Davis
SAGITTARIUS: Lauren Bacall
CAPRICORN: Joan Crawford
AQUARIUS: Audrey Hepburn
PISCES: Myrna Loy

anonymous asked:

how do the passing of powers work in red queen? Like if Marecal happened what could their children do? Also does maven have anything from ELARA?

Powers are passed through patriarchal hereditary. So father to sons and daughters, but the daughter might not necessarily pass the ability to her child. Her child would inherit the father’s ability. So for example: the calore family is a family of burners while the Jacos family is a family of Singers. Maven and Cal’s father was a burner, he passes his ability on to his sons. Now, say Coriane passed her ability onto Cal (which is very rare to the point that I believe graveyard said it was unheard of) he would be a member of the Jacos family and not the Calore family. He would still be the heir though, until Maven comes. If Maven is born with the burner ability, he will be king, because the king is always a burner from House Calore. I would love to speculate on Marecal children, but the best I can gives is three possibilities: 

1. Cal’s genetics are dominant and the ability remains hereditary and the children are burners. 

2. Mare’s mutation with her ability is genetically dominant, and the children are new bloods with an infinite number of possible abilities. 

3. The genetics mix, or Mare’s Red genes mask Cal’s silver ones and the children have no abilities at all. (think Mendel’s pea plants where the red and white mix and make pink)

Now it would be interesting to see if the children were red or silver blooded, but I have a feeling they would be red, simply because the gene for red blood appears to be dominant while the gene for silver blood appears to be in a recessive form of some sort. As for maven having anything from Elara, I highly doubt he has any whisperer abilities. Victoria has confirmed multiple times that no one has two abilities or any small parts of another ability besides their own. 

Genetic theory of Red Queen on Newbloods, Silver and Reds

Ok, so I have this theory since last year, and I didn’t know where I could share it, so this is it.
I just love genetics, and I tried (and succeed) on applying it to Red Queen world. I checked with my biology teacher, and she said it’s ok.
This is it. We have two kinds of blood (red and silver) and two kinds of state of power (active and inactive). I believe the red blood is the dominant gene, whereas the silver one is recessive. Therefore, I will represent the red blood as A and the silver blood as a. I also think the inactive power is the dominant gene and the active power is the recessive. So I’ll call the inactive power gene B and the active power gene b.
So, this how it looks like:
Red people: AABB, AABb, AaBB or AaBb
Newbloods: AAbb or Aabb
Silver people: aabb
Considering this, I was able to make some statements.
1) the Red-Silver segregation begun through a genetic mutation, either natural or induced (I believe it was induced, because technology has been improving so much for the past few years, and I wonder what we could do in the future)
2) Newblood would be Reds’ AND Silvers’ grandchildren. Aristocracy men used to sexually use poor women in the past, and the Silvers do think themselves as superior people. What would stop them? And think with me: a Red woman (AABB genes) and a Silver man (aabb genes) have a baby. This child will be AaBb, by the rule of Punnet’s square. The child would be a powerless red. But he/she would carry the genes with him/her. At a given time, they or their decedents would cross among each other (AaBb x AaBb) and there’s a chance this baby would be a Newblood. This is how the gene has been carried through generations and no one saw it coming until a red child have powers. Until Mare.
3) the absence of powerless Silvers can be explained by two forms, despite the fact the nobility and royalty have all aabb genes and have children among each other. The simplest one is lethal gene, which means that a fetus with aaBb or aaBB gene would be naturally aborted or could be a stillborn. The other explanation also explains why no Red woman had a child with silver blood (it could be possible if you cross AaBb x AaBb). It’s similar to the one when an Rh negative woman gives birth to a Rh positive child (she produces antibodies and the next child, if it’s also Rh negative, will be anaemic). So, a woman with AA of Aa genes cannot give birth to a child with aa genes, because it would kill the baby, naturally aborted or a stillborn.
4) as I said before, the recessive genes were passed through generations without being noticed, so it’s possible, as we see in the books, to ordinary red parents have a Newblood child. Let’s take the Barrow family as an example. Mare and Shade have the A_bb gene, so both Daniel and Ruth have the b gene, only one each other, which means their genes are A_Bb. They passed the b genes to Mare and Shade, but to Tramy, Bree and Gisa, at least one of them passed the B gene.
5) it’s possible the red blood has something the silver one doesn’t have. Julian tells Mare she’s Red and Silver, and stronger than both. So, Newbloods are more powerful than Silvers. This means that, in the Silvers’ blood, the b gene doesn’t manifest as it could. But, in the Red blood, it can fully developed, making the Newbloods more powerful. For example, Maven and Cal can only handle fire, whereas Mare can not only handle electric energy, but create it from the energy present in the air, as Elsa does in Frozen (a hell of example, huh). Another things that make me believe this is that, in the Silvers’ blood, the power is trapped to hereditary. Cal and Maven are siblings and inherited their power from their father, who inherited from his father, and so it goes until the begging of the Burning Crown. Otherwise, Mare and Shade are siblings, and their powers are completely different, once she’s an electricon and he’s a jumper. This makes me believe that the Newbloods’ powers are developed by a psychic and psychological condition completely susceptible to their mindset and personality.
So, that’s the way I found to explain to myself and whoever want to hear what’s the relation between Newbloods, Reds and Silvers. Of course, it’s up to Victoria to decide if this theory, a bit crazy but plausible, is correct or if I’m just out of my mind. Perhaps she has another theory, one she’s always based her book on and it’s going to tell us about it in the forth book.
Thanks for reading, seriously. I know it was a very long post, but I had to get it out of myself.