Owl Club Casino and Restaurant - World Casino Directory

(SELLING) BIG LIST OF CHEAP 4K/HD/SD MOVIES [VUDU/MA/ITUNES/GP] PLENTY OF $2 TITLES

Prices are firm.
📽
4K UHD
Aladdin [animated] $5 (iTunes/ports + 150 points)
Alien Covenant $3 (iTunes/ports via foxredeem.com or HD MA)
Daddy's Home 2 $2 (iTunes)
Divergent $2 (iTunes)
Dracula: Untold $4 (iTunes/ports)
Fast & Furious 6 [Extended] $3 (iTunes/ports)
Hidden Figures $3 (iTunes/ports via foxredeem.com or HD MA)
Independence Day: Resurgence $3 (iTunes/ports via foxredeem.com or HD MA)
Joy $3 (iTunes/ports via foxredeem.com or HD MA)
Miss Peregrine's Home For Peculiar Children $3 (iTunes/ports via foxredeem.com or HD MA)
San Andreas $5 (MA)
The Divergent Series: Allegiant $3 (iTunes)
The Huntsman: Winter's War $3 (iTunes/ports)
The Purge: Anarchy $3 (iTunes/ports)
War For The Planet Of The Apes $3 (iTunes/ports via foxredeem.com or HD MA)
Why Him $3 (iTunes/ports via foxredeem.com or HD MA)
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HDX
12 Rounds 2: Reloaded $3 (MA)
300: Rise Of An Empire (MA)
Baggage Claim $4 (MA)
Ballers Season 3 $4 (Vudu or iTunes)
Barbie: Spy Squad $3 (MA)
Before I Go To Sleep $5 (MA)
Bullet To The Head $3 (MA)
Casino Royale $3 (Vudu)
Columbiana [Unrated] $4 (MA)
Broken City $4 (MA)
Diary Of A Wimpy Kid 1 $4 (MA)
Diary Of A Wimpy Kid: The Long Haul $4 (MA)
Disneynature: Born In China $4 (MA+points)
Django Unchained $3 (Vudu)
Doom Annihilation $4 (MA)
Get A Job $3 (Vudu)
Getaway $3 (MA)
Green Lantern + Emerald Knights $4 (MA)
Hitman Unrated + Hitman: Agent 47 $8 (MA)
Honey 3: Dare To Dance $4 (MA)
Hugo $3 (Vudu or iTunes)
Isn't It Romantic $3 (MA)
Jersey Boys $3 (MA)
Justin Bieber's: Believe $3 (iTunes/ports)
Keanu $3 (MA)
Last Vegas $4 (MA)
Legend Of The Guardians: The Owls Of Ga'Hoole $4 (MA)
Mamma Mia! Here We Go Again $3 (MA)
Maze Runner: The Death Cure $4 (MA)
Me Before You $5 (MA)
Mechanic: Resurrection $3 (Vudu HD or iTunes 4k)
Midnight Special $4 (MA)
Parker $4 (MA)
Pet Sematary [2019] $3 (Vudu HD or iTunes 4k)
Pompeii $4 (MA)
Pulp Fiction $4 (Vudu)
Resident Evil: Damnation $5 (MA)
Ride Along 2 $3 (iTunes/ports)
Rob Zombie Trilogy $5 (Vudu)
Robocop [2014] $3 (Vudu)
Rocketman $3 (Vudu HD or iTunes 4k)
Run The Race $5 (MA)
Show Dogs $4 (MA)
Speed Racer $5 (MA)
Spiderman [2002] $3 (MA)
St. Vincent $3 (Vudu)
Stalingrad $5 (MA)
Star Trek [2009] $3 (Vudu)
Storks $3 (MA)
Thank You For Your Service $4 (MA)
Texas Chainsaw $3 (Vudu or iTunes)
The Adventures Of Tin Tin $3 (Vudu or iTunes)
The Angriest Man In Brooklyn $3 (Vudu)
The Book Thief $5 (MA)
The Breakfast Club $3 (iTunes/ports)
The Conjuring $2 (MA)
The Darkest Minds $4 (MA)
The Fighter $3 (Vudu or iTunes)
The First Purge $3 (MA)
The Gambler $3 (Vudu)
The Good Lie $3 (MA)
The House [2017] $3 (MA)
The Hunger Games: Mockingjay Pt 2 $3 (Vudu)
The Lego Batman Movie $3 (MA)
The Magnificent Seven (2016) $3 (Vudu)
The Scorpion King: Quest For Power $3 (MA)
The Shack $3 (iTunes)
The Sisters Brothers $5 (MA)
The Strangers Prey At Night $3 (MA)
Triple 9 $3 (MA)
Unsane $5 (MA)
Vice [2018] $4 (MA)
War Dogs $3 (MA)
What Men Want $3 (Vudu or iTunes)
X-Men:Dark Phoenix $5 (MA)
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Misc SD 5 Film Collection: Romance [The Philadelphia Story/Cat On A Hot Tin Roof/Splendor In The Grass/You've Got Mail/Nights In Rodanthe $6 (MA)
My Girl 1 & 2 Double Feature $5 (MA)
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$2 HDX
A Very Harold & Kumar Christmas (MA)
Argo (MA)
Ballers Season 3 (GP)
Chips (MA)
Deadpool (MA)*no iTunes option
Fist Fight (MA)
Focus (MA)
Get Hard (MA)
Going In Style (MA)
Gravity (MA)
Hail, Caesar (MA)
Hell Or High Water (Vudu)
Horrible Bosses (MA)
Horrible Bosses 2 (MA)
Kidnap (iTunes/ports)
Live By Night (MA)
Logan Lucky (MA)
Mission Impossible: Fallout (Vudu HD or iTunes 4k)
Mission Impossible: Rogue Nation (Vudu)
New Years Eve (MA)
Now You See Me 1 [Extended]
Oblivion (MA)
Sex And The City: The Movie (MA)
Sherlock Holmes: A Game Of Shadows (MA)
Snitch (Vudu)
Tammy [2014] (MA)
The Hangover Part II (MA)
The Hunger Games: Mockingjay Part 1 (Vudu)
The Last Stand (Vudu or iTunes)
The Perks Of Being A Wallflower (Vudu or iTunes)
The Spongebob Movie: Sponge Out Of Water (Vudu or iTunes)
Thor: Ragnarok (GP)
Trainwreck (iTunes/ports)
Unforgettable (MA)
What To Expect When You're Expecting (Vudu)
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$2 SD
Annie [2014] (MA)
Bloodshot (MA)
Don't Breathe (MA)
Elysium (MA)
Imperium (Vudu)
Insidious: Chapter 2 (MA)
Last Vegas (MA)
Nerve (Vudu)
Parker (MA)
Proud Mary (MA)
Risen (MA)
Sicario: Day Of The Soldado (MA)
Surf's Up 2: Wave Mania (MA)
The Losers (MA)
Total Recall [2012] (MA)
Zero Dark Thirty (MA)
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$1 HD
Magic Mike (MA)
Star Trek: Into Darkness (Vudu)
The Hunger Games $1 (Vudu HD or iTunes 4K)
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$1 SD
Family Guy: The Blue Harvest (iTunes)
Spiderman: Far From Home (MA)
Step Up: Revolution (iTunes)
The Hangover 1 (iTunes/ports)
PayPal F&F, FB Pay, Cashapp or Venmo Pm if interested Thanks!
submitted by mthw704 to DigitalCodeSELL [link] [comments]

Waiting for the Sun's Light

Sitting, Singing, Laughing all day. Watching Light Break, Void in the sky, dots staring into my eyes. Slowly going mad, is it going to come back? Light, dim and void of color. What would happen if the sun never came around again?
Oh how the sun shades us from the fear of empty infinity. Protects us from falling. Keepings our food growing just so we can be all knowing. Lonely moon looking down at us. What has happened, am I going mad? False lights shine through neon signs. Wild men run loose and wild. Aimless drivers zigzag through town driving out loud. Headlights clearing the way lacking the day. Taking the long way home on free friday nights. Deep slumber calls me, craving to the bone. Eyes grow heavy, thoughts run wild like feral dogs chasing a lone heir. Faces around the campfire trying to stay warm. Faces morphing in the mirror. Unwanted thoughts and realization of the day come true. Long nights filled with music or changing television screens lay on the walking dead apperence of those night owls who stay up at night. Welcome to a new realm, of shift workers and ruined circadian rhythms. Grown tainted looking men walking to corner stores purchasing vices for the bodies crave. Pills that will help one to sleep and others a forceful pillow. Waking up another day just to do it all over again. Why this cycle? forever changing, light to dark. Planet stuck in a loop of an orbit never stopping until the bulb burns out. Sneaking into the kitchen late at night for a snack, a stroll through empty quite city streets and dim lights. Feeling unique in the world, just to see a night sky and realize there are many more beyond us somewhere. Pale Blue Dot orb shines alone in which ever direction it may be thrown. Lonely nights spent alone, craving for lovers to share warm beds, pillows hugged tight and earplugs drowning the noise. Friends gather, boozer and grass shared. Older slumber party emerge. Words on text electronic paper merge and spill down screens. Used car salemen go spend their hard earned money at night opened casinos. Women of the night look for mates, not all ways for love, sometimes just money. Night, where true faces take off their persona masks. Return to me day, cast this devil out, this darkness, this void looking down upon me. What have you done with the sun? People dying each night, being born each day. Cycles of new begin to take hold. Wild monkey men gather at clubs hearing songs to drive their buzz. Playing their ears and pulling them into dance hypnosis. Dawn is just a feeling with the heat warming me from the cold void. Laying still in bed waiting for this deep slumber to take me hold. Foolish man, climbing the highest hill just to see dawn peak, afraid of the darkness.
The light, the origin of all. Guide me through this darkness of world. Shapes and objects hard to navigate. Key to that can be seen. Shine through me so I may find the way, Far from this ugliness and confusion. Guide me like the music, the music that guides my hearing through soft sound emotion. May this light help me travel, before night comes. Building up the hours watching the sun play till the end of day. Oh sun light where have you gone? it's been weeks, you haven't returned, people have been going mad. It's the worlds end. People are starting to wake up, the beast that sleeps within at day, the wondering mind that we hush in our sleep. Trying to take hold of us before it's too late. How long do we have? With no light the mind runs wild, order and chaos brews. World never seeing daylight again trying to climb up to the sky stealing the stars way above. Fear of the unknown, may you be lit up so I can see you're maze like halls. Dark room, slowly taking hold, wild imagination dying old. Dream like state I was in or colors morphing to make reality? Universe slowly burning out.
We wake up to light white and all the colors bleeding out of it just to fade dead to black.
submitted by Keyboardtyper57 to u/Keyboardtyper57 [link] [comments]

Lucky Thrillz Casino 100 free spins and 100% free bonus code

Lucky Thrillz Casino 100 free spins and 100% free bonus code

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submitted by freespinsbonus to u/freespinsbonus [link] [comments]

Which Director had the best run in the 90s?

Best run in terms of anything
Quentin Tarantino: Pulp Fiction, Jackie Brown, and Reservoir Dogs.
Martin Scorsese: Goodfellas, Casino, Kundun, Cape Fear, The Age of Innocence, and Bringing Out the Dead.
Robert Altman: The Player, Short Cuts, Prêt-à-Porter, Kansas City, The Gingerbread Man, Cookie's Fortune, and Vincent & Theo.
Robert Redford: Quiz Show, The Horse Whisperer, and A River Runs Through It.
The Coen Brothers: Fargo, Miller's Crossing, The Big Lebowski, Barton Fink, and The Hudsucker Proxy.
Wong Kar Wai: Chungking Express, Days of Being Wild, Ashes of Time, Fallen Angels, and Happy Together.
Paul Thomas Anderson: Hard Eight, Boogie Nights, and Magnolia.
David Fincher: Alien 3, Se7en, Fight Club, and The Game.
Francis Ford Coppola: The Godfather 3, The Rainmaker, Jack, and Bram Stoker's Dracula.
Steven Spielberg: Hook, Jurassic Park, The Lost World, Amistad, Schindler's List, and Saving Private Ryan.
Claire Dennis: Beau Travail, No Fear, No Die, I Can't Sleep, and Nénette and Boni.
Richard Linklater: Before Sunrise, Slacker, Dazed and Confused, The Newton Boys, and SubUrbia.
Abbas Kiarostami: Close Up, Taste of Cherry, The Wind Will Carry Us, Life, and Nothing More..., and Through the Olive Trees.
Harold Ramis: Groundhog Day, Analyze This, Stuart Saves His Family, and Multiplicity.
Michael Mann: Heat, The Last of the Mohicans, and The Insider.
Wes Anderson: Bottle Rocket and Rushmore.
Todd Haynes: Safe, Velvet Goldmine, and Poison.
The Wachowskis: The Matrix and Bound.
Emir Kusturica: Underground, Arizona Dream, and Black Cat, White Cat.
Krzysztof Kieślowski: Three Colours Trilogy and Double Life of Veronique
Steven Soderbergh: Out of Sight, Gray's Anatomy, Schizopolis, The Limey, Kafka, King of the Hill, and The Underneath.
Jonathan Demme: Philadelphia, The Silence of the Lambs, and Beloved.
Robert Zemeckis: Forrest Gump, Death Becomes Her, Contact, and Back to the Future Part III.
Zhang Yimou: To Live, Raise the Red Lantern, Not One Less, The Story of Qiu Ju, Ju Dou, Keep Cool, Shanghai Triad, The Road Home, and Zhang Yimou.
Terence Davies: The Long Day Closes and The Neon Bible.
Clint Eastwood: Unforgiven, The Bridges of Madison County, True Crime, Absolute Power, The Rookie, White Hunter Black Heart, In the Line of Fire, and A Perfect World.
Lars Von Trier: Breaking the Waves, Europa, and The Idiots.
Hirokazu Kore-eda: After Life, However..., Lessons from a Calf, August without Him, and Maborosi.
Gus Van Sant: My Own Private Idaho, To Die For, Good Will Hunting, Psycho, and Even Cowgirls Get the Blues.
David Lynch: Lost Highway, The Straight Story, Wild at Heart, and Twin Peaks: Fire Walk with Me.
Amy Heckerling: Clueless and Look Who's Talking Too.
Kathryn Bigelow: Point Blank, Strange Days, and Blue Steel.
Thomas Vinterberg: Festen, Last Round, The Boy Who Walked Backwards, and The Biggest Heroes.
Julie Dash: Daughters of the Dust, Funny Valentines, and Praise House.
Pedro Almodóvar: All About my Mother, Tie Me Up! Tie Me Down!, Live Flesh, High Heels, Kika, and The Flower of My Secret.
Jan De Bont: Speed 1 & 2, Twister, and The Haunting.
Oliver Stone: JFK, Nixon, Heaven & Earth, Natural Born Killers, The Doors, Any Given Sunday, and U Turn.
Rob Reiner: Misery, A Few Good Men, The American President, Ghosts of Mississippi, and The Story of Us.
Paul Verhoeven: Basic Instinct, Showgirls, Total Recall, and Starship Troopers.
Danny Boyle: Trainspotting, Shallow Grave, and A Life Less Ordinary.
Tim Burton: Edward Scissorhands, Ed Wood, The Nightmare Before Christmas, Sleepy Hollow, Batman Returns, and Mars Attacks!.
Ang Lee: Pushing Hands, Sense and Sensibility, The Ice Storm, Eat Drink Man Woman, The Wedding Banquet, and Ride with the Devil.
Jane Campion: The Piano, An Angel at My Table, The Portrait of a Lady, and Holy Smoke!.
Frank Darabont: The Shawshank Redemption and The Green Mile.
Lasse Hallström: What's Eating Gilbert Grape, Once Around, The Cider House Rules, and Something to Talk About.
Jim Jarmusch: Dead Man, Ghost Dog: The Way of the Samurai, Night on Earth, and Year of the Horse.
M. Night Shyamalan: The Sixth Sense, Praying with Anger, and Wide Awake.
Luc Besson: La Femme Nikita, Atlantis, Léon: The Professional, The Fifth Element, and The Messenger: The Story of Joan of Arc.
Alan Parker: The Commitments, Evita, Come See the Paradise, Angela's Ashes, and The Road to Wellville.
Terry Gilliam: The Fisher King, Fear and Loathing in Las Vegas, and 12 Monkeys.
Mike Leigh: Naked, Secrets and Lies, Topsy-Turvy, Life Is Sweet, and Career Girls.
Peter Jackson: Braindead, Heavenly Creatures, Forgotten Silver, and The Frighteners.
Martin Brest: Scent of a Woman, Meet Joe Black, and Josh and S.A.M.
Woody Allen: Everyone Says I Love You, Alice, Shadows and Fog, Husbands and Wives, Manhattan Murder Mystery, Mighty Aphrodite, Celebrity, Sweet and Lowdown, and Deconstructing Harry.
Ridley Scott: Thelma & Louise, G.I. Jane, White Squall, and 1492: Conquest of Paradise.
Bryan Singer: Apt Pupil, The Usual Suspects, and Public Access.
Kenneth Branagh: Othello, Much Ado About Nothing, Hamlet, Mary Shelley's Frankenstein, In the Bleak Midwinter, Dead Again, and Peter's Friends.
Theodoros Angelopoulos: Eternity and a Day, Ulysses' Gaze, and The Suspended Step of the Stork.
Spike Lee: Crooklyn, Malcolm X, Girl 6, Summer of Sam, Get on the Bus, Clockers, He Got Game, Mo' Better Blues, and Jungle Fever.
Radu Mihaileanu: Trahir, Bonjour Antoine, and Train of Life.
Richard Attenborough: Grey Owl, In Love and War, Chaplin, and Shadowlands.
Tony Scott: The Last Boy Scout, True Romance, Crimson Tide, The Fan, Enemy of the State, Days of Thunder, and Revenge.
Eric Rohmer: L'Arbre, le maire et la médiathèque and Les Rendez-vous de Paris.
Jacques Rivette: Up, Down, Fragile, Secret Defense, La Belle Noiseuse, and Joan the Maid.
Edward Yang: A Brighter Summer Day, A Confucian Confusion, and Mahjong.
Michael Haneke: Benny's Video, Funny Games, and 71 Fragments of a Chronology of Chance.
Farrelly brothers: Kingpin, Dumb and Dumber, and There's Something About Mary.
David Cronenberg : Naked Lunch, eXistenZ, Crash, and M. Butterfly.
Takeshi Kitano: Sonatine, Fireworks, Kikujiro and Kid's Return
Alex Cox: El Patrullero, Three Businessmen, The Winner, and Death and the Compass.
Atom Egoyan: Calendar, Exotica, The Sweet Hereafter, Felicia's Journey, and The Adjuster.
Manoel de Oliveira: The Divine Comedy, The Letter, Anxiety, Voyage to the Beginning of the World, Party, A Caixa, Abraham's Valley, The Convent, No, or the Vain Glory of Command, Day of Despair, and The Letter.
Dardenne brothers: Rosetta, Je pense à vous, and La Promesse
Jacques Rivette: La Belle Noiseuse, Top Secret, Up, Down, Fragile, and Joan the Maid.
Kiyoshi Kurosawa: Cure, Charisma, The Guard from Underground, Barren Illusions, and License to Live.
Jafar Panahi: The White Balloon and The Mirror.
Tsai Ming-liang: The River, Vive L'Amour, The Hole, and Rebels of the Neon God.
Hou Hsiao-hsien: The Puppetmaster, Flowers of Shanghai, Good Men, Good Women, and Goodbye South, Goodbye.
Leos Carax: Les Amants du Pont-Neuf, Sans Titre, and Pola X.
John Woo: Hard Boiled, Bullet in the Head, Hard Target, Once a Thief, Face/Off, and Broken Arrow.
Olivier Assayas: Cold Water, A New Life, Irma Vep, Tous les garçons et les filles de leur âge..., Paris Awakens, Cinéma, de notre temps, Alice and Martin, Man Yuk: A Portrait of Maggie Cheung, Late August, Early September, and Filha da Mãe.
Roman Polanski: Bitter Moon, Death and the Maiden, and The Ninth Gate.
Brian De Palma: Carlito’s Way, The Bonfire of the Vanities, Raising Cain, Snake Eyes, and Mission: Impossible.
Werner Herzog: Lessons of Darkness, My Best Fiend, Little Dieter Needs to Fly, and Scream of Stone.
Cameron Crowe: Singles and Jerry Maguire.
Alexander Sokurov: The Stone, Whispering Pages, Mother and Son, Moloch, and The Second Circle.
Mohsen Makhmalbaf: Hello Cinema, Gabbeh, The Silence, The School the Wind Blew Away, Tales of Kish, A Moment of Innocence, Time of Love, Images from the Qajar Period, The Nights of Zayande-rood, Once Upon a Time, Cinema, Actor, and Stone and Glass
Hayao Miyazaki: Princess Mononoke, Porco Rosso, and On Your Mark.
Jean Luc Godard: Nouvelle Vague, JLG/JLG – Self-Portrait in December, New Wave, Hélas pour moi, For Ever Mozart, Germany Year 90 Nine Zero, Les Enfants jouent à la Russie, and Histoire(s) du Cinéma.
Alexander Payne: Election and Citizen Ruth.
James Foley: Glengarry Glen Ross, The Chamber, Two Bits, After Dark, My Sweet, The Corruptor, and Fear.
Whit Stillman: The Last Days of Disco, Metropolitan, and Barcelona.
submitted by Britneyfan456 to criterion [link] [comments]

Which Director had the best run in the 90s?

Best run in terms of anything
Quentin Tarantino: Pulp Fiction, Jackie Brown, and Reservoir Dogs.
Martin Scorsese: Goodfellas, Casino, Kundun, Cape Fear, The Age of Innocence, and Bringing Out the Dead.
Robert Altman: The Player, Short Cuts, Prêt-à-Porter, Kansas City, The Gingerbread Man, Cookie's Fortune, and Vincent & Theo.
Robert Redford: Quiz Show, The Horse Whisperer, and A River Runs Through It.
The Coen Brothers: Fargo, Miller's Crossing, The Big Lebowski, Barton Fink, and The Hudsucker Proxy.
Wong Kar Wai: Chungking Express, Days of Being Wild, Ashes of Time, Fallen Angels, and Happy Together.
Paul Thomas Anderson: Hard Eight, Boogie Nights, and Magnolia.
David Fincher: Alien 3, Se7en, Fight Club, and The Game.
Francis Ford Coppola: The Godfather 3, The Rainmaker, Jack, and Bram Stoker's Dracula.
Steven Spielberg: Hook, Jurassic Park, The Lost World, Amistad, Schindler's List, and Saving Private Ryan.
Claire Dennis: Beau Travail, No Fear, No Die, I Can't Sleep, and Nénette and Boni.
Richard Linklater: Before Sunrise, Slacker, Dazed and Confused, The Newton Boys, and SubUrbia.
Abbas Kiarostami: Close Up, Taste of Cherry, The Wind Will Carry Us, Life, and Nothing More..., and Through the Olive Trees.
Harold Ramis: Groundhog Day, Analyze This, Stuart Saves His Family, and Multiplicity.
Michael Mann: Heat, The Last of the Mohicans, and The Insider.
Wes Anderson: Bottle Rocket and Rushmore.
Todd Haynes: Safe, Velvet Goldmine, and Poison.
The Wachowskis: The Matrix and Bound.
Emir Kusturica: Underground, Arizona Dream, and Black Cat, White Cat.
Krzysztof Kieślowski: Three Colours Trilogy and Double Life of Veronique
Steven Soderbergh: Out of Sight, Gray's Anatomy, Schizopolis, The Limey, Kafka, King of the Hill, and The Underneath.
Jonathan Demme: Philadelphia, The Silence of the Lambs, and Beloved.
Robert Zemeckis: Forrest Gump, Death Becomes Her, Contact, and Back to the Future Part III.
Zhang Yimou: To Live, Raise the Red Lantern, Not One Less, The Story of Qiu Ju, Ju Dou, Keep Cool, Shanghai Triad, The Road Home, and Zhang Yimou.
Terence Davies: The Long Day Closes and The Neon Bible.
Clint Eastwood: Unforgiven, The Bridges of Madison County, True Crime, Absolute Power, The Rookie, White Hunter Black Heart, In the Line of Fire, and A Perfect World.
Lars Von Trier: Breaking the Waves, Europa, and The Idiots.
Hirokazu Kore-eda: After Life, However..., Lessons from a Calf, August without Him, and Maborosi.
Gus Van Sant: My Own Private Idaho, To Die For, Good Will Hunting, Psycho, and Even Cowgirls Get the Blues.
David Lynch: Lost Highway, The Straight Story, Wild at Heart, and Twin Peaks: Fire Walk with Me.
Amy Heckerling: Clueless and Look Who's Talking Too.
Kathryn Bigelow: Point Blank, Strange Days, and Blue Steel.
Thomas Vinterberg: Festen, Last Round, The Boy Who Walked Backwards, and The Biggest Heroes.
Julie Dash: Daughters of the Dust, Funny Valentines, and Praise House.
Pedro Almodóvar: All About my Mother, Tie Me Up! Tie Me Down!, Live Flesh, High Heels, Kika, and The Flower of My Secret.
Jan De Bont: Speed 1 & 2, Twister, and The Haunting.
Oliver Stone: JFK, Nixon, Heaven & Earth, Natural Born Killers, The Doors, Any Given Sunday, and U Turn.
Rob Reiner: Misery, A Few Good Men, The American President, Ghosts of Mississippi, and The Story of Us.
Paul Verhoeven: Basic Instinct, Showgirls, Total Recall, and Starship Troopers.
Danny Boyle: Trainspotting, Shallow Grave, and A Life Less Ordinary.
Tim Burton: Edward Scissorhands, Ed Wood, The Nightmare Before Christmas, Sleepy Hollow, Batman Returns, and Mars Attacks!.
Ang Lee: Pushing Hands, Sense and Sensibility, The Ice Storm, Eat Drink Man Woman, The Wedding Banquet, and Ride with the Devil.
Jane Campion: The Piano, An Angel at My Table, The Portrait of a Lady, and Holy Smoke!.
Frank Darabont: The Shawshank Redemption and The Green Mile.
Lasse Hallström: What's Eating Gilbert Grape, Once Around, The Cider House Rules, and Something to Talk About.
Jim Jarmusch: Dead Man, Ghost Dog: The Way of the Samurai, Night on Earth, and Year of the Horse.
M. Night Shyamalan: The Sixth Sense, Praying with Anger, and Wide Awake.
Luc Besson: La Femme Nikita, Atlantis, Léon: The Professional, The Fifth Element, and The Messenger: The Story of Joan of Arc.
Alan Parker: The Commitments, Evita, Come See the Paradise, Angela's Ashes, and The Road to Wellville.
Terry Gilliam: The Fisher King, Fear and Loathing in Las Vegas, and 12 Monkeys.
Mike Leigh: Naked, Secrets and Lies, Topsy-Turvy, Life Is Sweet, and Career Girls.
Peter Jackson: Braindead, Heavenly Creatures, Forgotten Silver, and The Frighteners.
Martin Brest: Scent of a Woman, Meet Joe Black, and Josh and S.A.M.
Woody Allen: Everyone Says I Love You, Alice, Shadows and Fog, Husbands and Wives, Manhattan Murder Mystery, Mighty Aphrodite, Celebrity, Sweet and Lowdown, and Deconstructing Harry.
Ridley Scott: Thelma & Louise, G.I. Jane, White Squall, and 1492: Conquest of Paradise.
Bryan Singer: Apt Pupil, The Usual Suspects, and Public Access.
Kenneth Branagh: Othello, Much Ado About Nothing, Hamlet, Mary Shelley's Frankenstein, In the Bleak Midwinter, Dead Again, and Peter's Friends.
Theodoros Angelopoulos: Eternity and a Day, Ulysses' Gaze, and The Suspended Step of the Stork.
Spike Lee: Crooklyn, Malcolm X, Girl 6, Summer of Sam, Get on the Bus, Clockers, He Got Game, Mo' Better Blues, and Jungle Fever.
Radu Mihaileanu: Trahir, Bonjour Antoine, and Train of Life.
Richard Attenborough: Grey Owl, In Love and War, Chaplin, and Shadowlands.
Tony Scott: The Last Boy Scout, True Romance, Crimson Tide, The Fan, Enemy of the State, Days of Thunder, and Revenge.
Eric Rohmer: L'Arbre, le maire et la médiathèque and Les Rendez-vous de Paris.
Jacques Rivette: Up, Down, Fragile, Secret Defense, La Belle Noiseuse, and Joan the Maid.
Edward Yang: A Brighter Summer Day, A Confucian Confusion, and Mahjong.
Michael Haneke: Benny's Video, Funny Games, and 71 Fragments of a Chronology of Chance.
Farrelly brothers: Kingpin, Dumb and Dumber, and There's Something About Mary.
David Cronenberg : Naked Lunch, eXistenZ, Crash, and M. Butterfly.
Takeshi Kitano: Sonatine, Fireworks, Kikujiro and Kid'sReturn
Alex Cox: El Patrullero, Three Businessmen, The Winner, and Death and the Compass.
Atom Egoyan: Calendar, Exotica, The Sweet Hereafter, Felicia's Journey, and The Adjuster.
Manoel de Oliveira: The Divine Comedy, The Letter, Anxiety, Voyage to the Beginning of the World, Party, A Caixa, Abraham's Valley, The Convent, No, or the Vain Glory of Command, Day of Despair, and The Letter.
Dardenne brothers: Rosetta, Je pense à vous, and La Promesse
Jacques Rivette: La Belle Noiseuse, Top Secret, Up, Down, Fragile, and Joan the Maid.
Kiyoshi Kurosawa: Cure, Charisma, The Guard from Underground, Barren Illusions, and License to Live.
Jafar Panahi: The White Balloon and The Mirror.
Tsai Ming-liang: The River, Vive L'Amour, The Hole, and Rebels of the Neon God.
Hou Hsiao-hsien: The Puppetmaster, Flowers of Shanghai, Good Men, Good Women, and Goodbye South, Goodbye.
Leos Carax: Les Amants du Pont-Neuf, Sans Titre, and Pola X.
John Woo: Hard Boiled, Bullet in the Head, Hard Target, Once a Thief, Face/Off, and Broken Arrow.
Olivier Assayas: Cold Water, A New Life, Irma Vep, Tous les garçons et les filles de leur âge..., Paris Awakens, Cinéma, de notre temps, Alice and Martin, Man Yuk: A Portrait of Maggie Cheung, Late August, Early September, and Filha da Mãe.
Roman Polanski: Bitter Moon, Death and the Maiden, and The Ninth Gate.
Brian De Palma: Carlito’s Way, The Bonfire of the Vanities, Raising Cain, Snake Eyes, and Mission: Impossible.
Werner Herzog: Lessons of Darkness, My Best Fiend, Little Dieter Needs to Fly, and Scream of Stone.
Cameron Crowe: Singles and Jerry Maguire.
Alexander Sokurov: The Stone, Whispering Pages, Mother and Son, Moloch, and The Second Circle.
Mohsen Makhmalbaf: Hello Cinema, Gabbeh, The Silence, The School the Wind Blew Away, Tales of Kish, A Moment of Innocence, Time of Love, Images from the Qajar Period, The Nights of Zayande-rood, Once Upon a Time, Cinema, Actor, and Stone and Glass
Hayao Miyazaki: Princess Mononoke, Porco Rosso, and On Your Mark.
Jean Luc Godard: Nouvelle Vague, JLG/JLG – Self-Portrait in December, New Wave, Hélas pour moi, For Ever Mozart, Germany Year 90 Nine Zero, Les Enfants jouent à la Russie, and Histoire(s) du Cinéma.
Alexander Payne: Election and Citizen Ruth.
James Foley: Glengarry Glen Ross, The Chamber, The Corruptor, Two Bits, After Dark, My Sweet, and Fear.
James Mangold: Heavy, Cop Land, and Girl, Interrupted.
Whit Stillman: The Last Days of Disco, Metropolitan, and Barcelona.
submitted by Britneyfan456 to flicks [link] [comments]

New Music Friday: April 17th, 2020

Playlist for Albums

Playlist for Singles

Albums

Westside Gunn - Pray For Paris
DaBaby - Blame it on Baby
dvsn - A Muse In Her Feelings
R.A. The Rugged Man - All My Heroes Are Dead
Tech N9ne - ENTERFEAR
Kenny Mason - Angelic Hoodrat
Don Toliver - Heaven Or Hell (CHOPNOTSLOP REMIX)
Buddy & Kent Jamz - Janktape Vol. 1
Avantdale Bowling Club - LIVE
Shabazz Palaces - The Don Of Diamond Dreams
Lil B - Gutta Dealership
Robb Bank$ - No Rooftops 2
Peter Cottontale - CATCH
Berner & B-Real - Los Meros
Fredo Bang - Most Hated
The Four Owls - Nocturnal Instinct
BigBabyGucci - Teen Spirit
J Stalin - Bay Area State of Mind 2
RJMrLA & Royce The Choice - Rich Off Mackin 2
RJD2 - The Fun Ones
The-Dream - SXTP4
Jungle Brothers - Keep It Jungle
Damedot - Mafia Lord (Chapter I)
Alph Tha Alien - Black Tax

EPs

Novelist - Rain Fire
VIK - Blue Bottles
Babyface Ray - For You
Jarreau Vandal - Bad Shit Remixes

Singles

Kid Cudi - Leader of the Delinquents
Playboi Carti - @ MEH
21 Savage - Secret (feat. Summer Walker)
MAVI - fire alarm (!) [feat. Maassai]*
Joey Bada$$, Curren$y & Guapdad 4000 - Rona Raps 5*
Future - Coming Home*
Desiigner - Survivor
The Streets - Call My Phone Thinking I'm Doing Nothing Better (feat. Tame Impala)
Kodie Shane & Lil Uzi Vert - I’m So Gone*
The Kid LAROI - Fade Away (feat. Lil Tjay)
JPEGMAFIA - HTBAR 6*
Bryson Tiller - Slept On You*
Lucki - Faith
Lil Tecca - Out of Love (feat. Internet Money)
Tom Misch & Yussef Dayes feat. Freddie Gibbs - Nightrider
Bishop Nehru - Meathead (feat. MF DOOM)
Thaiboy Digital - Yin & Yang
Navy Blue - baby navy (J Dilla Tribute)
Deante' Hitchcock - I Got Money Now (feat. JID)
Student 1 - Nippy
Jonathan leandoer96 (Yung Lean) - Evil
Lil Yachty, Rich Brian, Guapdad 4000 - #STAYHOME Cypher | Rona Raps 4*
The Weeknd - ‎Blinding Lights (Major Lazer Remix)
Machine Gun Kelly - In These Walls / Pretty Toxic Revolver
Guapdad 4000 - Embezzle (feat. Jigga Juice)
Lil Keed - No Dealings
Ian Dior - Sick N Tired (feat. Machine Gun Kelly, Travis Barker)
Lil Gotit - Never Legit
Spark Master Tape - PNNBL (feat. INDIKKAWCH & FLMMBOiiNT FRDii)*
Jon Connor - Priceless
Y2K, The Kid LAROI, blackbear, Bankrol Hayden - Go Dumb
Nafe Smallz - Quarantine Freestyle / Part Of The Plan (feat. M Huncho)
Ashton Travis & Chase B - CASINO
Trouble - Medusa (feat. Jeezy)
A$AP Nast - Designer Boi (feat. D33J)
IC3PEAK - TRRST (feat. ZillaKami)
Yung Pinch - Illusion
Rvssian, Anuel AA & Juice WRLD - No Me Ame
Fukkit - Multiply
Fenix Flexin - RIP Mac P Dawg
Blueface - Tour (feat. Asian Doll, Glokk 9, NLE Choppa, Sada Baby & Kiddo Curry)
MASN - Psycho! (Remix) [feat. Trippie Redd]
Jackboy- Like A Million (feat. Kodak Black)
Marlon Craft - Team Goals
Headie One - Told (Brian Eno Remix)
TyFontaine - Huh?!
JON BELLION — TANGLED WEBS
Ufo361 - Fokas auf die Zukunft
Finesse Cobain - Danny Phantom (feat. Soulja Boy)
K CAMP - Lottery (Renegade) [Remix] {feat. Quavo}
Lenzman & Break - Quarter to Quarter, Sampler 1 (feat. IAMDDB)
French Montana - That's A Fact
Ethereal & Lord Narf - Adding Up
MXXWLL & John Givez - LIGHT TURN GREEN (feat. Rae Khalil & Carrtoons)
YehMe2 - Keys to the Jeep (feat. Rome Fortune)
La Roux - Automatic Driver (Tyler, The Creator Remix)
Samica - Wreck (Remix) [feat. Jelani Aryeh]
Jack Gilinsky - My Love (feat. Don Toliver)
Gianni & Don Toliver - De La Hoya
K Check - On Me
John Legend - Bigger Love
Bari (of Zero Fatigue) - Delirious
Trife Gang Rich - John Wick (feat. A-Wax)
RiFF RaFF, Brray & Juanka - No Te Tardes
Daniela Andrade - Bad Times Are Good Times (feat. Sean Leon)
Hargon - Breeze (feat. Mick Jenkins)
Chloe x Halle - Catch Up (feat. Swae Lee & Mike Will Made It)
Bishop Nehru - Meathead (feat. MF DOOM)
Jalen Santoy, Ctrlgang & happytree - 60+
Big Baby Scumbag - Free Joe Exotic
Naji - Acab
Myla 9 - Upliftment (feat. Dj Zole & Derek Armstrong)
Mace the Great - Scheming & Plotting (feat. Manga Saint Hilare)
KAMAUU - Far Rockaway
Kaash Paige - Frank Ocean
Jucee Froot - Eat Itself (from Insecure soundtrack)
Joël - Woes
Skip Marley - Slow Down (Remix) [feat. H.E.R. & Wale]
Slicklaflare - I Pray (feat. 24hrs)
Buju - Lenu (Remix) [feat. Burna Boy]
Mercston - Daily Duppy
Aash - Late Nights in Tully (feat. Don Toliver)
Cashus King - Nirvana ('95 Remix) [feat. Blu, Yamin Semali & Jeff Johnson]
Wesley Eisenhauser, OK, Parade & Astronautalis - How We Wanted It
Telly Mac, Randomm Witeguy & 40 Cal - All I Know (feat. LV tha Don)
Jona - Tired (feat. M.I.A.)
Sad Boi - Kill 'Em (feat. A$AP Twelvyy)
Joey Fatts - Brand New AMG (feat. Larry June)
Kehlani - Everybody Business
Cambatta & Apollo Brown - Nightmare
Y2K & The Kid LAROI - Go Dumb (feat. blackbear & Bankrol Hayden)
Chris Webby - Ganja Man (feat. Smoke DZA, B-Real & Alandon)
Stephen Redhead - Always Right (feat. Masta Ace)
Amber Mark - Waiting (Demo)
TRIPLEUP KO - Bet It (Remix) [feat. Poplord & Young Dro]
Popcaan - Here to Stay
A-Wax - Trukfit
Yung Lean - Violence
Too $hort - Pull Up (feat. Trae tha Truth)
VéFROMLA - Eastside
Melo & KnowKnow (from Higher Brothers) - Daili
Cantrell - Crown Me (feat. Mick Jenkins)
Fernado Pey - Insane (feat. King Louie)
Mirzy Manson - Bad Guy (feat. 40 Cal)
1010 Benja SL - Dobby
snny - Somewhere in Brooklyn
Ralphy Davis & Mafi D - Saucy & Bossy (feat. Larry June)
MARTIN $KY - Never Lost (feat. Leaf Beach)
CHLOBOCOP & Lee Scott - Bell Me Back
Abm - May May (feat. Looney Lu & Cash Kidd)
Reed - I Love You (feat. Nef the Pharaoh)
Alan Love - Guilty

First Impressions Threads

Westside Gunn - Pray For Paris
if you make one i'll add it
submitted by TheRoyalGodfrey to hiphopheads [link] [comments]

Love? Give it six months

Love? Give it six months

Warning: this story will contain mentions of unhealthy relationships and adult themes. The main character also has some character traits that may differs from your own, please do keep that in mind.
Review and comments will be appreciated
(Customisation)
There once was a dashing bachelor
(That looked like )(uses the OH male feces)
Face 1
Face 2
Face 3
Face 4
(Hairstyles)
James Bond (black slick backed)
Don Diego Vega (dark brown wavy hair slicked back long neck)
Steve Rogers (Short blonde side swept hair)
Agent J (Short kinky curls)
Is this him?
Yes
No (go back to customisation)
What is his name?
(Default: George)
(Surname)
(Default: Bishop)
There he meets
A beautiful woman
A handsome man
A beautiful woman
Face 1 (Asian; has pale skin, dark almond eyes, straight black mid-back hair with a mid-part)
Face 2 (Hispanic: has tan skin, deep brown eye and over shoulder-length volumes wavy hair with side bangs.)
Face 3 (Afro-American: dark skin, expressive brown eyes with long blackish brown chest-length kinky curly hair.)
Face 4 (Caucassian: pinkish skin with freckles, clear blue round eyes, collarbone length layered dirty blonde hair)
A handsome man
Face 1 (Asian: pale skin, dark almond eyes, straight black hair put up in a pompadour style)
Face 2 (Hispanic: tan skin, with slicked back wavy hair that always looks like it is coming undone.)
Face 3 (Afro-American: dark skin, expressive brown eyes, with a crewcut with tight natural curls.)
Face 4 (Caucasian: pinkish skin with freckles, clear blue eyes, dirty blonde hair in a Taper haircut.)
As the two peoples eyes lock across the room. The sensation of a pull drives them to get closer to one another.
As the dashing bachelor offered his hand his partner gladly accepted it. Leading into a dance that lasted the rest of the night.
The whole world faded away to the sound of the Jazz band, their breathing and their dancing.
As their lips moved to meet...
???: “Oh come now Joanna, you know that is no way that would ever happen.”

(Record Scratch)
Joanna: “Oh for craps sake, George I was getting to the best part.”
George: “Forgive me for finding it uncomfortable that you have decide how my love life is going to go.”
Lance: “He does have a point there sis.”
Joanna: “Way to stand up for your sister Lance.”
Lance “Look I’m all for love conquers and all that jazz but it is kind of difficult to make a love life for someone else.”
George: “Thank you.”
Lance: “I mean he isn’t a completely lost cause. I’m sure some desperate soul will take him.”
Lance: “I mean he’s got dads looks, and he managed to get with mom when they were young.”
Lance: “That might make up for his zero tact.”
George: “Your faith in me is awe inspiring.”
Lance: “Oh cheer up. With your upcoming trip to Vegas, maybe you’ll have luck in love and not just on the poker table.”
Joanna: “Maybe you’ll meet someone special!”
You snort, finding the idea silly.
George: “I wouldn’t bet on it.”
Chapter 1: One night in Vegas
In an underground speakeasy decked out in old decor from the 20th centuries first half. You sit there nursing your drink. After a long day at the office you love nothing more than when you can enjoy your secret fancy. Dressed up in an old-fashioned pinstripe suit and a fedora. You feel like a king, this little piece of haven in Chicago that seemed to be frozen in time.
You feel your friend beside you stir, he himself having to relax from work as well as dreading an upcoming event.
After his fifth sight you opt to actually talk about it.
You take a swing of your drink and decide to talk about the elephant in the room.
Or more accurately you decide to talk about the issue in pre 1940’s slang
George: “Your bear cat of a sister still giving you a hard time?”
Jeremy: “Noneofya.”
He mumbled.
George: “Look Pally, I known you since we were scrubs and had squat. What's eating you?”
Jeremy: “That dame will chisel me out of every dime I own.”
George: “Stephie acting like a Big cheese cause she is getting hitched?”
Jeremy: “She wants everything spiffy and I’m quite sure her ankle biters will be paying the bills. My folks are on my case regarding my dame.”
You think for a moment. Jeremy and Katie had been together for four years. They got one another, they lived together.
George: “Stephie’s lucky her guy thinks she’s the Cat's meow.”
You said reflecting on everything you ever heard regarding Darren, he was a good guy. Definitely not the smartest but he loved Stephanie like she was the only woman alive. You just wondered why anyone would want to spend time with that woman.
Jeremy: “Alright, real talk.”
Jeremy said as he dropped ‘the act’, we were no longer hot shots in the prohibition era. We were now just George Bishop and Jeremy Jackson a financial advisor and a computer wizard.
George: “In all do honesty I do not see why you need to go there? Aren’t bachelorette parties strictly female?”
Jeremy: “They used to be, but I am quite sure I am not going with them to be pampered like the bridesmaids.”
George: “Then your function is?”
Jeremy: “If I were to guess, fall guy and pack mule.”
Jeremy: “I think she is also doing it to brag, that ‘she did it first.’ To rub it in Katie’s face.”
George: “You never really care what your sister does. Why now?”
Jeremy: “Because they are pressuring me and Katie. Not just my family but next to everyone we know. ‘When is the wedding? What is the venue? How many guests? Are you going to have it this year?’ Look I love my girl, but none of us is in rush to walk down the aisle.”

Yeah, you know, you were the first one Jeremy told about his plan to propose. You were happy for him but at the end of the day it was up to Katie and Jeremy. Not you or their families. However the rest of the world seemed to think differently.
Mom: “Oh sweetheart, happy valentine’s day! Are you spending it with someone special?”
George: “Mom, you know I am not looking for someone.”
Mom: “Oh, don’t worry, I’m sure you’ll find that certain someone sooner or later.”

Yeah, it isn’t enough your sister is married and your brother is utterly twitterpated with his boyfriend. You need to ensure your oldest is also with someone.

Boss: “Mr. Bishop, I must say. I am impressed with your work ethics, but we have decided to go with Mr. Robinson as the face of the company.”
Never minding the fact that you worked twice as hard as said college.
George: “I understand. May I ask what made you choose him?”
Boss: “We did research and found that your college would be favourable, due to circumstance.”

Translation: we wanted a man that was married and not the workaholic bachelor.


Stranger 1: “You see that guy over there?”
Stranger 2: “You mean the one with the RBF?”
Stranger 1: “Yeah, probably one of those loners, will never find anyone.”
Stranger 2: “I mean who goes to a restaurant like this alone?”

Honestly? You can’t have a meal alone?


George: “Yeah, I know that feeling.”
Jeremy: “Seriously.”
Both of you take a sigh.
Jeremy: “But in all honesty. Thank you for coming along, I really appreciate it. Would probably loose my mind if I went alone.”
George: “Of course.”
  1. It would be a shame to lose my partner in crime.
  2. My boss would be pissed if I didn’t.
  3. Who would turn down free drinks?
Jeremy: “Yeah sounds about right.” *Choice 1*
George: “Remember how we got back at Marcus Thatcher?” *Choice 1*
Jeremy: “Oh, I remember. Too bad he didn’t check the file we sent, it might have saved him some embarrassment.” *Choice 1*
George: “Big tough football star being fooled by ‘two scrawny’ freshmen.” *Choice 1*
Jeremy: “And we were hailed as heroes for a month.” *Choice 1*
Jeremy: “Wait, don’t tell me HR department has been on your case.” *Choice 2*
Geroge: “Yep, too much overtime.” *Choice 2*
Geroge: “Never mind I make sure that everything is quality controlled.” *Choice 2*
Jeremy: “Geesh. Well glad to know I could be of service.” *Choice 2*
Jeremy: “Ah there it is, I knew you had a hidden agenda. *Choice 3*
George: “Jeremy, Jeremy, Jeremy, when have I ever hid something from you?” *Choice 3*
Jeremy: “Alright fair, you are honest to the point of insult.” *Choice 3*
Geroge: “You asked for my opinion, besides those shoes where ugly as sin.” *Choice 3*
Both of you laugh, you had been in each other’s life since kindergarten. You where the odd ducks, most kids and adults always considered you to be cold or judging. Even if neither of you had that intention.
Jeremy raises his glass.
Jeremy: “To intellectual companions.”
George: “To intellectual friends.”
You said as you raised your own drink in a toast.


The weekend finally arrived for the trip. You arrived at O’Hare airport with a good three hours to spare. You crack open the book you brought with you.
It was a supernatural detective story you received as a gift on last birthday a few months back. While you applaud your sister for trying, it was still jarring to follow all the supernatural deus-ex-machinas that discarded real detective work.
So that is how a 31 year old was reading a supernatural book in broad daylight.
George: ‘ with gun drawn, Duskraven made her way down the basement, the surroundings smelled of blood and muck.’
Geroge: ‘Romano’s empire was now in full display in front of her. Fae, lined the walls, eyes hollow and only the movement of their chest indicating they were still alive.’
George: ‘Duskraven took out her polaroid camera, it was a risky but if this would ever have a chance to justice. Her leads and information would need to be solid if she wanted to take down the vampire cartel. She just hoped the light for the camera would be noticed.’
George: ‘With a blinding light the entire basement lit up temporarily blinding her, when she regained her sight again a new horror met her eyes. Multiple pairs of hungry red eyes.’
Jeremy: “George!”
You tear your eyes away from the book in your hand.
There is Jeremy and Katie, hand in hand. Seeing them together was always a happy occasion.
Katie and Jeremy met at your favourite speakeasy a few years back. You didn’t blame your friend for becoming interested in the ICU nurse. Curly red hair and big blue eyes. Even if the courtship had started out rocky due to both of them being so shy. They overcame that hurdle and found something they wanted.
Sometimes however you wished you didn’t feel like you were interrupting them.
George: “Good morning, is Stephanie and her friends also here?”
Katie: “No they had a sleep over at Daria’s house. So they will be carpooling.”
You look at your clock and it was about two hours before the plane would take off, your bags where checked in and you were ready to leave and get to the section where the gates would be. But there was still no sign of Stephanie.
As you though you heard a rumbling sound.
Both you and Katie looked at Jeremy as a sheepish grim grew on his face.
Katie: “Told you, a ham sandwich wouldn’t hold.”
Jeremy: “It will hold till lunch, which is a few hours away.”
George: “You sure that is a good idea?”
Jeremy: “Tell you what, I’ll go if you come with me and Katie.”
Katie: “So what do you say?”
McDermott's
· Sure, I could have a bite. (💎12)
· Perhaps we shouldn’t
Diamond Choice:
George: “Alright, let us have something to eat.”
Jeremy: “Good! Airplane food leaves much to be desired.”
Katie: “You always think with your stomach.”
Jeremy: “Yet you love me.”
Katie: “Yes, odd isn’t it?”
You make your way inside and stay in line.
You look at the menu and order
· Breakfast burrito
· Bacon and scrambled eggs
· Fruit and oatmeal
You order your food along with a big coffee. You all slide into the booth, Katie had her yogurt in hand both of you looked worryingly at Jeremy’s breakfast.
(Tilting tower of pancakes)
(Holy crap!)
You swore for a moment both you and Katie was reading each other’s mind.
‘He is going to puke.’
George: “Hey Jeremy, think you can get some napkins?”
Jeremy: “Sure.”
As he left you plied a few pancakes away, making sure that you saved the top one so he wouldn’t notice. Katie making sure the tower didn’t fall.
She gave a thumbs up, thanking you.
George: “So Katie, how have you been?”
Katie: “There is always a lot of things to do at the ICU, sometime I wonder where humanity is headed.”
George: “Really, that bad?”
Katie: “How would you explain having a locomotive lodge up your rectum?”
George: “How did that happened?”
Katie: “They claim they fell on it, if I had a dollar every time this happened I wouldn’t have any student debts.”
You shake your head, you have been thinking a bit about what Jeremy said at the Speakeasy. You had also noticed that something was up with Katie, she was on edge.
George: “Katie…”
1. “Did you want to go on this trip?”
2. “Has Mr and Mrs Jackson been pressuring you?”
3. “Do you want to get married?”
Katie: “In all honesty no, but Stephanie has made me a bridesmaid. I need to partake in these things. Even if I wish I didn’t.” *Choice 1\*
George: “Why?” *Choice 1\*
Katie: “I wish I could care as little about protocol as you do, but she is Jeremy’s sister, if I say no it might affect my relationship with Jeremy and his family.” *Choice 1\*
Katie: “Yes, I mean no, I mean… it’s complicated.” *Choice 2\*
George: “How come?” *Choice 2\*
Katie: “I’m 30 years old George, time is ticking. They want grandchildren to spoil.” *Choice 2\*
George: “And you have to be married to do that?” *Choice 2\*
Katie: “Of course I love Jeremy.” *Choice 3\*
George: “That wasn’t the question, do you want to get married?” *Choice 3\*
Katie: “It is just so big, all those expectations. I… it scares the crap out of me.” *Choice 3\*
George: “Listen, I will tell you something.”
You said using your stern voice.
George: “Jeremy loves you, he chose you. You chose him. That is the truth at the end of the day.”
Katie looked at you, a shy smile graced her lips. She mouthed a thank you.
Jeremy made his way back to you with a great pile of napkins. You all begin to take part of the meal. During the entire meal Katie and Jeremy’s shoulders touched and they looked as content as they could be.
(‘Loving it’ you had breakfast at McDermott)
None diamond choice:
George: “Let us just sit down and relax, we should be in Las Vegas at 1 am. Knowing Stephanie we will probably eat something there before heading to the hotel.”
Katie: “Maybe, I’ll get some water at least.”
Jeremy: “Good idea.”
(‘Not hungry’ you didn’t have a McDermott breakfast)
As all of you wait for the supposed ‘bride’ you hear commotion.
Sure enough you see a brunette with a close to permanent scowl on her face. Followed but two very flustered women.
“There you are! WHERE have you been?!”
Her tone is as pleasant as you remember, nails on a chalkboard.
Jeremy: “We have been here waiting for you.”
Stephanie: “You aren’t even going to help me with my bags. What type of brother are you?”
Jeremy: “Well we are here, we have about half an hour before the plane leaves. So let’s get to the gate.”
Stephanie just huffed. Storming away.
George: “Wow she is in a good mood.”
You state sarcastically.
Jeremy: “Yeah she gets like that some time.”
Jeremy: “Just try not to set her of, she can be a handful.”
Katie: “I mean how bad could it possibly be?”
You were never the very superstitious type, but you were quite sure that Katie just opened Pandora’s Box.


From the time the plane touched ground in Nevada everything that could set of Stephanie did.
Stephanie: “URRGH!!! where is that shuttle! He is LATE!!”
Jeremy: “They told us like five minutes ago there is traffic jam.”
Stephanie: “Then he should have planned it earlier!”
Stephanie: “I will not wait an hour! WE have a schedule to follow!”
George:’ This coming from the woman that almost missed the plane to her own bachelorette party.’
Daria: “They say it is only another 15 minutes.”


Stephanie: “I DON’T CAREEEEE!”
Stephanie: “What do you mean that our suits where not booked?”
Receptionist: “You never sent in the deposit for your stay.”
Stephanie: “THAT WAS GEMMA’S JOB!”
Gemma: “I told you, the suits needed to be paid for by the same person that booked them.”


Stephanie: “You are a bridesmaid, you are supposed to make things work!”
George: ‘Honetly…’
George: “Sigh…”
Stephanie: “THIS ISN’T WHAT I ORDERED!”
Waitress: “Yes it is, you wanted a calamari.”
The poor waitress looked exhausted and probably wanted to be anywhere but here, not that one could blame her.
Stephanie: “NO IT ISN’T! I wanted the pasta with bacon and cheese.”
Katie: “A cabonara?”
Jeremy: “Stephie we are at a seafood restaurant.”


George: ‘IS she ever satisfied?’
All of us where back at the hotel, Stephanie insisting that they ‘needed’ a new set of clothes for the casino and club they were planning on hitting. Jeremy looked ready to just give up.
George: “You know, you could simply say no to her.”
Jeremy threw an exhausted glair at me.
Jeremy: “If it was so simple neither me, you nor Katie would be here right now.”
George: “And you wouldn’t be here doing this Sisyphean task, which obviously brings you missery.”
Jeremy: “Yeah well, I still want my parents in my life, if I didn’t do this, they would never let me live it down.”
What to wear to the casino?
· Tuxedo 007 (💎 15)
· Basic black
Diamond option:
Jeremy: “You look like James Bond.”
George: “I’ll have a martini, shaken not stirred.”
You said and an amused smile spread across Jeremy’s face.
None diamond choice
“I Think I’ll stick with this.”
“Fair enough, I am too exhausted to care anyway.”



Jeremy said with a tired smile. You both left the room, making our way to one of the pulsing centres of the strip.
There in the golden casinos you thought finally your luck would finally turn for the better. That the glamorous atmosphere would rub off on the soon-to-be bride. Causing her to stop doing her impression of a screeching barn owl and let ALL of them enjoy Sin City.
Well it seemed to have worked, for now.
Both you and Jeremy where at the black jack tables, enjoying yourself. While the ladies were back at the slots machines.
Jeremy folded a while ago, it is just you and one more. You looked down at your cards a jack and an ace. You opponent opposite you had this confident smirk on his face. But you saw how the sweat was running down his face. He was bluffing.
George: “Hum…”
  1. Act as if you have a bad hand
  2. Act arrogant and self-assured
  3. Do not react at all and watch the man squirm
You decide to let your brows furrow in what would look like frustration. The man opposite you lets the edge of his mouth turn in a smirk. His confidence boosting with every minute. *Choice 1*
You decide to put on the theatrics, giving a smile like the cat that ate the canary you look at your opponent. That is growing more and more agitated by the minute. *Choice 2*
You keep your face natural, a lot of people often comment that you look angry whenever they see you. You could only assume it was true because your opponent was practically squirming in his seat. *Choice 3*
When he reviles his hand, you pause for a moment before reviling yours.
You won.
George: “I’ll be taking these.”
You said as you dragged them back chips and split them evenly between you and Jeremy. You had started with the same amount of tokens. Even if you did work with money daily, this was one of those occasions you allowed yourself to be a bit more relaxed regarding that subject.
Jeremy: “Nice one.”
George: “All in a day’s work.”
Jeremy: “So what next?”
Before you could answer you hear commotion from the opposite side of the casino. The screeching voice meant that Stephanie was somewhere in the middle of it. Both of you sigh, knowing that your happy hour was over.
Sure enough there at the era leading into one of the shows where Stephanie and her entourage, all of them except Stephanie wearing baby pink dresses and Stephanie herself wearing a sash reading ‘all hail the bride’ along with a tacky tiara probably worth a five dollar bill at most.
She was screaming at a bouncer, while all the others tried in vain to calm the soon-to-be bride.
Stephanie: “You are an idiot! What service is this!?”
When we had arrived there was already an audience forming. Yeah this was common whenever Stephanie was involved. ‘Drama Queen’ had been your nickname for her during high school for a reason.
Jeremy: “What happened?”
Bouncer: “Your friend here slapped one of your dancers, something about them stealing from them.”
Stephanie: “I am the BRIDE! I am not supposed to have to pay for anything during my bachelorette party.”
Jeremy: “Stephanie, what about we get some fresh air, okay?”
Jeremy said as he tried to deescalate the situation. He gently grabbed her arm, but Stephanie was having none of it.
It felt like it all happened in slow motion, Stephanie turned around and a closed fist and rage connected it with Jeremy’s face. Your friend flew back and hit his head on the floor pretty hard. Stephanie didn’t even care to check what state her brother was in. Katie flew to her fiancés side and the sight of your friend’s bleeding face was enough to make you see red.
George: “Alright enough.”
  1. Scold her
  2. Embarrass her
  3. Give her the evil eye
George: “Stephanie, you are way out of line.” *Choice 1*
Stephanie: “No I am not!” *Choice 1*
George: “You have taken no responsibility during this trip, you have been rude to every member of the party, you have caused a scene at every place we have been to. Do I need to keep going?” *Choice 1*
Your voice is like ice, you swear the temperature just dropped a few degrees. As you pointed out everything she has done during the less than 24 hours you been together. *Choice 1*
Stephanie looks angrily at her bridesmaids as is she is waiting for them to defend her. *Choice 1*
They do not, they know you are just stating the truth. *Choice 1*
George: “Your own brother did not want to be on this trip, he begged me to come along. Doesn’t that tell you just how vile you have been acting?” *Choice 1*
Stephanie: “You listen here…”*Choice 1*
George: “No you listen for once in your life!” *Choice 1*
You rarely let your emotions out but Stephanie was a special case. *Choice 1*
George: “If this is how you treat people, do not be surprised when Darren leaves you at the altar. He deserve better than this.” *Choice 1*
With that as a closing line you left, Jeremy might need to get to the hospital. He was worth more than Stephanie would ever be in your eyes. *Choice 1*
As you leave you are quite sure you hear someone applauding. *Choice 1*
With determined steps you made your way to one of the waitresses. *Choice 2*
George: “Excuse me.” *Choice 2*
You hand her a 50 dollar bill as you grab a big jug glass filled with beer and briskly walk back to Stephanie that is still screaming profanities. Because of her back being turned to you she didn’t see you. You saw how people began to take out their cameras and phones. No one made a move to stop you. *Choice 2*
With one quick movement you had poured it over her and a shriek of surprise entered your ears. *Choice 2*
Stephanie: “What the fuck is wrong with you!?” *Choice 2*
George: “Are you done with your little temper tantrum?” *Choice 2*
Stephanie: “What!? How dare you!” *Choice 2*
George: “You have been acting like a spoiled five year old since the moment we landed. I am surprised no one has done anything until now.” *Choice 2*
Stephanie: “You are so not coming to my wedding!” *Choice 2*
George: “It isn’t a loss, I was never here for you. Now excuse me I have more important things to deal with.” *Choice 2*
You left Stephanie to deal with the people that had gathered for the ‘show’ and she began to scream at them and calling them all sorts of names. But no one was intimidated, they found it hilarious. *Choice 2*
You grab hold of Stephanie, until she has no choice but to look at you. She is screeching, calling you every slur and bad name in the book. Your hands are firm on her upper arm, you just hold no squeezing, no pushing. You keep your eyes locked on her, you must have stood there quite a while until finally her defiant stare became weaker and weaker. *Choice 3*
You kept hold of her until she burst out into tears. At that point you let her go. Knowing you had knocked her down a peg. *Choice 3*

But Stephanie wasn’t your main concern, Jeremy was. You moved to stay with Katie and Jeremy, the crowd parted as the red sea as you walked by. All in stunned silence. *Choice 3*


George: “Are you sure you’ll be alright?”
Jeremy grimaced at the questing, blood still trickling down his face from where he had been punched. Luckily the nose would heal, the only question was what colour it would be in time for Stephanie’s wedding.
Jeremy: “I’ll be fine, Katie is here too. She knows what she is doing.”
Katie: “Having your fiancé being a nurse does have its perks huh?”
Jeremy: “Yeah one of many.”
The two of them smile at one another, before Jeremy turn back to you.
Jeremy: “Think you can manage your own?”
George: “I think I can stay out of trouble for one night.”
Jeremy: “Maybe, see you tomorrow George.”
Katie: “Have a nice night.”
With that the two of them made their way up to the hotel rooms.
You decided to check out the hotel bar. Despite being 10 o’clock it was surprisingly empty. Some people where there, some having already had a few to many.
But what caught your eye was a stranger sitting at the end of the bar.
There sitting in a knee-length ocean blue dress was a woman, leaning over resting her elbows at the counter. She had a faraway look in her face as she absentmindedly stirred her drink. *♀*
There sitting a young man, nursing his drink. His blue vest and slacks combo suited him well with the crisp white shirt. His attention seeming being elsewhere. *♂*
You sit down by the bar and is about to call on the bartender when I noticed a man, clearly intoxicated made a move on the man/woman at the end of the bar.
Drunk Idiot: “Hello there, did it hurt when you fell from heaven?”
The person in question just rolled hehis eyes. Clearly not in the mood to be the object of drunk admiration.
Drunk Idiot: “How about you and me go up to my hotel room and get to know each other a bit more.”
Haven seen the man/woman in question do every none-verbal que but slapping the idiot you decide enough was enough. He had disturbed you and the rest of the bar enough.
With the smoothest and coolest tone of voice you could muster you cleared your throat to get the drunk man’s attention. It wasn’t appreciated to say the least.
Drunk idiot: “What the hell do you want prick.”
The smell of alcohol radiating off him, one would think he had bathed in vodka. It was surprising no one had tossed him out from being a nuisance earlier.
George: “I do believe that you are bothering him/her. Please stop.”
George: “Look we are old friends, its noneofya business so bug off.”
George: “Oh really, then what is your friends name?”
Drunk Idiot: ”What?”
George: “What. Is. your. friend’s. name? If you are old friends you should surely know it.”
Drunk Idiot: “It’s ummm… Terry.”
???: “That is not even close.”
With both of you staring straight into him, mentally cornering him.
Drunk idiot: ”Screw this.”
The man declared in frustration and with that the idiot stormed off leaving both of you alone.
After making sure the guy was out of sight you turned back to the stranger.
He/She gave you a grateful smile.
???: “Thanks’ I really appreciate that?”
George: “It was nothing.”
You said making yourself ready to go back to your seat.
???: “Wait!”
The stranger called after you, out of sheer politeness you turned back around.
He/she Seemed a bit nervous, what now?
???: “Can I at least buy you a drink?”
You thought for a moment. You were on your own, Jeremy was probably nursing the bruise with some painkillers and you did not want to risk running into Stephanie or any of the bridesmaids. It also felt wrong to not take the opportunity to experience Vegas however.
So you accepted.
???: “Well What’s your poison?”
He/she asked in a joyous tone.
  1. Matrini
  2. Old Fashioned
  3. Red Wine
With a quick wave they called the bartender over.
???: “So what brings you to Vegas?”
George: “Bachelorette party.”
???: “Did it have anything to do with that brunette that slapped one of the dancers and had security physically lift her out?”
George: “Bingo.”
???: “No one got seriously hurt?”
George: “Thankfully no.”
With that the bartender served the drink and the stranger slipped a 50 dollar bill.
You lift the glass in a gesture for a thank you. And let the beverage slip down your throat. It was nice, it was a good year and the taste was strong but not overpowering.
You noticed that his/her eyes were on you, almost as if they were trying to decipher your character.
George: “What are you doing?”
???: “Trying to get a read on you, some say what you order is often an indication of who you are.”
George: “Really? Then what can you say about me?”
You asked, deciding to humour them.
???: “I can say that that you are a man that know what he wants and how you want them.” *Martini*
???: “You are an old soul, you probably know your liquor well. My guess you have a great library at home.” *Old fashioned*
???: “You are quite classy, and you can find a way to get drunk before noon.” *Red wine*
With that you give an amused chuckle.
George: “Well there is some truth to that statement.”
You take a look at the drink they self are nursing.
(Dark n Stormy)
(Humm...)
George: “If I were to do the same to you, I guess you have a sweet tooth and might have wanted to be a pirate at some point.”
At that comment the stranger began to laugh. It was the infectious kind of laugh that made someone warm form the bottom of their stomach.
???: “Alright you got me there.”
He/she then stuck out their hand.
(My name is..)
(Default name: Skyler)
George: “‘Skyler’ it is a pleasure to meet you.”
You said as you shook it.
You take in Skyler’s look. You had to admit that they were an attractive specimen of a man/woman.
George: “The name is George Bishop.”
Skyler: “George Bishop, how professional sounding.”
He/ she said as if they were tasting your name in their mouth.
George: “Well I do hope so, would be difficult to be an advisor if people believed I was a joker.”
Skyler: “Ah, so you are one of those people that look at you and stamp ‘rejected’ on every paper?”
George: “I believe that I am fair in my judgement.”
George: “How about yourself?”
At that their eyes fell.
Skyler: “Right now, I’m a 30 year old trying to figure out my next move.”
George: “How come?”
Skyler: “Lost my job due to relationship issues between my manager and her boyfriend. Apparently, me being friendly was mistaken for flirting.”
Skyler: “What, they want a grumpy Greeter at the door?”
George: “That is unprofessional.”
Skyler: “Yeah, well relationships are messy.”
George: “Agreed.”
Skyler: “I must say the way you handled that woman, it was surprising.”
Skyler said in a genuinely impressed voice.
George: “You were watching?”
Skyler: “Kind of hard not to, I’m surprised half the hotel didn’t hear her.”
George: “Someone had to show her she isn’t the Queen of Sheba.”
Skyler: “What are your thought on marriage?”
You shoot up a bit, a bit startled by the blunt question.
George: “My thoughts?”
Skyler: “You seem like a guy that know what he thinks. I want to pick that brain a bit.”
It had been a while since someone had so blatantly flirted with you. To be fair you were a bit surprised. Dating had often been a minefield for you.
George: “Marrige…”
  1. It’s an institution
  2. It’s a partnership
  3. It’s indescribable
George: “Historically it was a way to ensure land, money and heirlooms where added into a new household.” *Choice 1*
George: “It was also a safety for children back in the day, since basterds often faced quite a few challenges from being born out of wedlock.” *Choice 1*
George: “It is a symbol of trust, that you do have someone that you can count on.” *Choice 2*
George: “But at the end of the day, if you are unfair to that partner hey might not stay.” *Choice 2*
George: “To describe marriage is like trying to describe oceans and water. Even with similarities we can see, gathering it all in an explanation would probably not give a fair judgement.” *Choice 3*
Skyler: “To me it’s a promise. ‘To have and to hold’ it is silly in this day and age were people divorce left and right for trivial things.”
Skylers eyes became dark, falling into deep thoughts. You had never been the poetic kind, but there was a sweet sentiment in Skyler’s view on things. Your parents where still married over 30 years now. Your sister was due some time in December, your brother was off celebrating a two year dating anniversary and your paternal grandmother still loved her deceased husband dearly.
To you it just never happened, perhaps it wasn’t for you.
George: “That we can agree on, people are so afraid they will settle. At the first sign of trouble they leave.”
Skyler: “So that woman form before… how long do you think her marriage will last?”
George: “If she acts like she did tonight, I wonder if her husband will even stay for the ceremony.”
You looked at your new companion and in an unusual turn of events you called the bartender over.
George: “Can I buy you a drink?”


With that Skyler smiled, deciding to keep you company.
Sometime later you awake to the sound of your alarm clock.
You feel a splitting headache, you drag you hand over your face as you do you feel a cold metal band around your finger. Pulling back as your eyes focus you see that it is a plain sliver coloured band.
(is that?)
· Oh no…
Feeling more sober than ever before you realised just what a mess you got yourself into.
George: ‘I just got married in Vegas.’
Well, you’re screwed.
submitted by ItLivesLover to Choices [link] [comments]

I like when my boyfriend loses money gambling.

I mean, I don’t. Like not in itself. Obviously when he loses money and is sad, I’m sad too. But he makes more money from his job than I do in mine, which means he has a higher gambling budget than I do. He also enjoys the vibe at casinos far more than I do. I think it’s fun for an hour or two and then I get tired of being on my feet and losing money, or I try to quit while I’m ahead and then refuse to play anymore games because I’m worried about losing money (because I don’t have very much disposable income).
He’s more ok with taking a loss because his budget is higher, as I said above. And he doesn’t seem to get as tired as quickly as I do. And especially right now, when we go to casinos, it’s not a romantic couple activity where we can spend time together because we have to social distance so we always have to stay 6+ feet apart, even if we’re playing the same game or sitting at the same bar and if I choose not to play a table game, I can’t really watch because I’ll be asked to back away from the table to abide by social distancing rules.
We’ll go at like 8pm and I’ll think that since we’re arriving so early, we’ll leave before midnight and I’ll actually get to spend time with him, but if he’s doing well and winning all night we could end up being out till 2am.
We’re at a casino together now and I’m standing 6 feet behind him, typing this, after a long week at work (in person, going into the office at my first full time job) and he just turned around and told me, excitedly, that he’s up $75 and is happy about it. Which means he’ll be here gambling until he’s lost at least $75, I’m up $15 and done gambling for the night, but I don’t want to be the curmudgeon who ruins his night. He’s having fun and I want to be happy about that, but I’m not and that feels selfish.
It’s easier for me when he loses $100 immediately and decides to bail before losing any more and then we can just go home and be comfy and cuddle or watch a movie or drink.
We’re both extroverted night owls who enjoy nightlife, but there isn’t much nightlife available right now and he enjoys gambling. I like dancing and drinking and clubs. But those aren’t open. I’m risk-averse and don’t like gambling. But I get that this pandemic has been a struggle for him and this is his way of relieving stress. I just feel bad about being such a fun-killer with my downer feelings.
I wish I could enjoy gambling and casinos more so that I could be a better match for him.
submitted by aattanasio2014 to TrueOffMyChest [link] [comments]

purses, saying goodnight and richard's incineration

Part One: Mulholland Dr., Purses and Boxes
The blue box from Mulholland Dr. vs Diane's purse in P16. In MD, Betty removed the blue box from her purse and the box fell to the floor after Rita opened it. In P16, Diane went up to the FBI's hotel room and was given a drink by Albert. She held her purse on her lap as she talked about the night Cooper raped her, then reached for a gun, was shot and went to the red room (presumably). Her purse fell to the floor but we aren't shown it afterward, her drink was left intact. In season 3, instead of a blue box there is a glass box - it was shattered when the Experiment broke out to attack Sam and Tracey in P1 (the 'mirrored halves' of Diane may represent the glass box itself). Does this suggest an alt version of the P16 shooting where Diane (or a related character in a related scenario) was shot while holding a glass and it fell and broke on the floor? Do Diane the tulpa and Rita in MD go to a similar place after their exits and have similar fates?
At the end of Mulholland Dr., Diane Selwyn sat on her couch, staring at the key on the coffee table. There were knocks on her door and the tiny oldsters came in under the door and drove her to suicide (are the oldsters one and the same as Sam and Tracey? who 'kill' Diane in a version of the story, that is alternate to one where the glass breaks, where Diane is represented by the Experiment that kills them?).
In P7, the FBI duo knocked on the door of Diane's apartment. A sharp dressed fella let them in and before he left, he grabbed a set of keys from Diane's coffee table. In MD, Diane Selwyn didn't have a fella at her place, but a Cowboy fella peered into the bedroom (or the bedroom of a character called 'Blond in Bed') and told her it was time to wake up [The fella in P7 said "See you later Diane" and the Cowboy in MD said "You'll see me one more time if you do good, two more times if you do bad." The sharp dressed fella also resembles another sharp dressed fella with no tie, Detective Harrison. He's paired up with Detective Mackley (Briscoe) who was paired with Forster in MD, who wears a Cowboy hat in season 3].
In Diane's apartment, Albert and Gordon sat on the couch and she eventually brought coffee. [Different versions of this couch may show up in different places in season 3 where women live alone, such as Ruth's place in P1, Betty's place in P9 and Diane's house (not apartment) from her story in P16, "he sat on my couch"]. In Diane Selwyn's apartment, Diane prepared coffee and walked to the couch, but the scene morphed to her holding a glass and both her and Camilla were topless. [Her climbing over the couch parallels BOB in S2 (more on that below)].
Did the FBI come to retrieve Diane in another version of what happened at the end of MD, but rather than the suicide she was brought on the investigation? Did they cross paths with a different version of the Cowboy who also left Diane's place in MD? [The hotel room in P18 seems to resemble Ruth's bedroom (similar picture frames). In MD, after Rita vanishes, the box hits the floor and Ruth comes in to check on the noise. She sees nothing and the scene morphs 'through the wall' to Diane's bedroom where the corpse is on the bed. The POV entrance resembles P1 when the two officers walked towards Ruth Davenport's bedroom and found the corpse. This could suggest Ruth Davenport's place is figuratively next to the FBI's hotel room, which is shown to us angled similarly as the inside of Marjorie Green's apartment that is actually next door to Ruth's. Diane in her green top (P14) may represent Marjorie Green (in P14 Diane is asked about Major Briggs. M.Green also has the same initials as Melissa George, linked to the corpse in MD].
Becky, Shelly & Steven/Gersten. In P11, Shelly makes sure to take her black purse with her as she leaves the diner, in a hurry to attend to Becky's panicked call. When she arrives at Becky's trailer, she exits the car and Becky snatches the car keys and drives off. Shelly's purse must have been inside the car. Becky drives to Gersten's apartment and shoots the door as Gersten and Steven hide downstairs. The plot elements from these P11 scenes seem to be taken from Mulholland Dr. - Becky plays the role of Diane, but instead of shooting herself inside her own apartment she shoots the door of Gersten's apartment. The old couple play the role of Steven & Gersten, who instead of being the aggressors who sneak under the door are hiding outside of it. Becky's trip to the apartment may parallel the oldsters at the end of MD leaving the blue box and journeying to Diane's place out of our view. [Becky getting out the car is also hidden from our view - perhaps she metaphorically left from the inside of a purse (Ruth's brown bag = Shelly's car? (Tracey and Tammy also have similar bags) (Is there a version of the story where Ruth dropped her bag outside, with the blue box inside, represented by the blue chair in Ruth's place, got hit by a car and then went in a coma, watched over by the sharp dressed fella from P7?). If we take these elements and shuffle them again, maybe Steven or a related character killed himself when authorities were knocking at his door similar to Diane? He had murdered a woman at her place and then took his own life?] [Marjorie Green also has a paper bag (of groceries) in front of Ruth's apartment in P1, which is a similar to Gersten's].
More MD parallels: The stairs of sheriff's station, with the pitch-black sky and blue police car in the background behind the Brennans, resembles the blue box in its opened state. In that scene, Frank Truman is like Adam Kesher getting a stern lecture from the Cowboy at the range, so it's like a reversal of MD where the Cowboy was doing the lecturing. In P4, Wally B does most of the talking, but like the Cowboy in MD who says "there's sometimes a buggy" Frank wearing a Cowby hat says "may the rose ride up and meet your wheels." The duo of Andy & Lucy might be the oldsters, who came out of the blue box at the end of MD, in another form.
Limos, MD Camilla's ride vs P4 ride to the Jones house. The attempts on Dougie's life could mirror the hit attempt on Camilla Rhodes. [The limo crash in MD may parallel MrC's crash in the black Lincoln Towncar in P3. Cross those two scenarios: an unconscious Camilla Rhodes is found at the crash scene and taken into custody and an injured MrC walks off from the car crash like a zombie to the next part of the story (somewhere in Los Angeles - a vineyard? Officer parallels). Rhodes would have had, parallel to the contents in MrC's trunk - a gun, cocaine and probably something other than a dog leg (blue box or key?). Given the themes of comas, this Rhodes might have been in a coma from the crash. In P16, Cooper wakes up from a brief coma and Gerard says, "you're awake, finally." JaneyE (Watts) enters the room shortly after. In MD, Betty entered Ruth's bedroom after talking with Ruth on the phone and says "you're awake" to Rita. Rita with no memory (after the crash) and Cooper in his compromised state (before the coma) are two impaired characters that get paired with Naomi Watts characters. Both make love to her after a couple days on the job and Watts declares her love to each one.
If the MD parallel continues, it follows that the Cooper who was delivered to JaneyE in P18 turns out 'bad' like Camilla Rhodes did in the second part of MD. The 'nice' Rita who went into the blue box in MD may be the same as the red haired Diane in P17 who was trapped in Naido's head-prison and the mean Camilla at the end of MD may be the 'tulpa' Diane who was killed in P16. At the dinner party in MD, Camilla and Adam may be yet another version of the sinister oldsters. Bringing things full circle, Diane's drink in P16 that is metaphorically shattered when she's killed may correspond to the duo (Adam and Camilla) being killed by the jealous Experiment in P1 during the glass box attack (jealous Diane Selwyn = jealous Becky Briggs. Also, the oldsters (and Sam/Tracey) might be one and the same as JaneyE and Sonny Jim in the next scene in P16 after the Diane tulpa is killed, who are alive because the glass didn't shatter in that version (Cooper's farewell at the casino would be like Betty's farewell to the oldsters at the airport in MD). In this version, Audrey's story plays out, whereas in the broken glass version, Tammy might exist in her place. In P6, JaneyE pulls a roll of cash from her purse to pay the two doofus loan sharks. This could parallel Diane in MD paying the incompetent hit man, to kill her husband (in place of Camilla), who failed, which made her take matters into her own hands to finish the job, bringing the storyline in sync with the SinclaiMr Todd storyline. Jade and Dougie in P3 could again represent the oldster duo, but where the man is soloed out as the victim. [Since 'Dougie' is delivered to JaneyE in P4, there may be a loop that parallels a loop in MD where 'Rita' is delivered to her as Betty in a dream again and again after she makes a hit and then dreams].
Candy Shaker's hair and top of dress, resembles Diane Selwyn's hair and top of dress at the diner party.
Part Two: Saying good night to Sonny Jim
In P6, JaneyE is on the phone with the blackmailers/ loansharks, then goes upstairs to say good night to Sonny Jim. 'Good night,' GN = Great Northern (up). In P14, James is called 'Jimmy' by Freddie at the Northern loading dock. It's his birthday, as it was Sonny Jim's recently in the story. Jimmy wants a story from Freddie then goes inside the GN basement, finds the door, but we don't see what happens - instead the scene cuts to Sarah walking into a dive bar. She sits down.
This could tell us that after the phone call in P6, JaneyE left the scene and went through this Great Northern portal (presumably after telling a bedtime story to Sonny Jim). A few scenes later, Albert isn't shown in the same shot as Diane at the bar and what he tells Gordon differs from what we saw in a few ways, leaving open the possibility for a few versions of the meeting, including one where it's a different Diane. Albert said that it went "not well," a reference to Diane Selwyn? Max Von's could be another version of Club Silencio in MD. Thus, JaneyE from P6 could have went through the portal to become Diane Selwyn, sitting at the bar in P6 to meet up with Albert (which is reflected in a way yet to be determined in the P14 events involving James and Sarah - possibly another version of son and daughter, who switch roles).
In P16, Albert with Tammy shoots Diane after she told the story about the night Cooper raped her. Albert had brought her a drink in a glass. In MD, Diane Selwyn made coffee in her robe and then walked towards the couch and the scene morphed to her in jean shorts, topless, carrying a drink in a glass. She climbed over the couch similar to BOB in S2. Camilla was naked on the couch and Diane was sexually forceful. A difference between the two scenes was that Diane's scene was shown from an angle, which could link to Albert's comment in P7 about it being 34 degrees (and raining).
Putting it together, it follows that a version of Albert, with BOB, went to Diane Selwyn's place in place of Cooper going to Diane Evans's place, made himself a drink, and tried to rape her, but she shot him and the glass shattered. This replaces both the rape talked about by Diane in P16 and the subsequent shooting in P16. This version might correspond with Sam and Tracey's death where the glass box shattered in P1 vs the P16 version where Diane sets down the glass drink before she is shot on the (both may be linked to the transition scene in MD where Rita opens the box, she gets sucked in and it falls to the floor).
How might this hypothetical version Diane Selwyn linked to Albert get a gun? In MD, Diane makes a transaction with the hitman Joe who resembles Mike. If BOB is the rapist, it might follow that the spirit MIKE would want to stop him. The season 3 in-the-flesh Mike sells cars, but in a variation he might sell guns. After Mike's only scene in P5, we go to the station, where Lucy tells Frank his wife is arriving. and in P17 she shoots MrC in Frank's office (is the P5 scene a detour of the P17 scene, in Hawk's office...but both take place at 2:53 PM on the same day?). Lucy and Albert have a connection around 'well', as in Diane Selwyn. So Lucy might blend together with this gun purchasing Diane (is there a 'Lucy Selwyn?), representing the shooter (Lucy can also get to Mike's office via a Fargo connection. - Mike resembles fellow car dealer Jerry in Fargo and Andy & Lucy resemble the TrueCoat couple). Also, Camilla on the couch in MD lays with her hand out, in position to retrieve a gun handed to her by the Mystery Man off screen similar to how he handed Fred the blade in Lost Highway, so envision the MM's face over Camilla's face the same way it was over Renee Madison's face in bed. MIKE and the MM may be similar or one and the same. Renee also mentioned 'Moke's' as the place where she met Mr. Eddy, which could again link to MIKE.
In P16, Diane's drink was set down before she was shot (Diane S. also sets down her drink on the glass coffee table) and after the red room scene Cooper delivers JaneyE and Sonny Jim to safety. This version, where the glass does not break, might correspond a scenario where the Experiment does not break through in P1. Next in P16, we go to the Roadhouse where Audrey dances. Perhaps in this non-glass shattering storyline, she's being held captive. Since BOB was killed in the version where the glass does break, it follows that BOB is with Cooper or is Cooper in P16, and this CoopeBOB still has Audrey under his control.
Part Three: Richard into a Seed?
When Richard gets incinerated on the rock, the noises are similar to those during the breakdown of the tulpas on the red room chair in P3 and P16. In those scenes, a 'seed' first emerges from the tulpas as a cartoon sphere and then turns into a life-like gold bead on the chair when the smoke clears. Perhaps the breakdown of Richard is the same process but from a different perspective, like black lodge vs red room, and the gold seed remains on the rock after Richard is destroyed.
Since Jerry was around, it follows that he might have gotten the seed. What would Jerry do with it? Where else can we place Jerry? In P16, after the rock incineration scene at night, there's a cut to Lancelot Court. In P4, there's also a cut to daytime at Lancelot Court after a nighttime scene, at the station. At the Jones house, Cooper sits on the bed and Gerard appears, showing him the gold seed. In the previous scene, there are a few links to the rock incineration scene - Wally was out front talking about his shadow (Richard cast a prominent shadow as he was screaming and shaking) and Jesse came into the conference room and said "their son" (MrC in P16 said "goodbye my son"). Thus, the P4 station scene may overlap in time/space with the P16 incineration scene and Cooper in P4 at the Jones house may be another version of Jerry after coming into possession of the seed following the rock incineration.
In P10, after JaneyE kisses Cooper before taking him to work, there's a brief scene of Jerry in the woods. He says, "you can't fool me, I've been here before!" and then there's a cut to the station. Those two shots can be overlayed, so Jerry is in front of the station. Jerry could represent the "man out front" Jesse was talking about in a different storyline. Frank would then put Jerry into a cell and call Ben, in place of the sergeant from Jackson Hole calling Ben in P17.
Jerry in P1 says "R & D brother Ben," linking him to Ray and Darya, who are picked up two scenes later by MrC, driving George's Mercedes. In Ray's story, a guard gave him the owl ring, similar to Cooper getting the owl ring from Gerard at the hospital in P16, when the gold seed was also discussed. If Jerry has the seed in prison, perhaps he gave it to a guard in a reversal of that. The gold seed might be what lures MrC to the sheriff's station, the P2 version who killed Phyllis and who had George's car. In P2, George came to the Buckhorn police station to talk to Bill Hastings - might this be another version of MrC in P17 coming to talk to Frank? Jerry in the prison cell might be in the spot held by the vanishing woodsman a couple cells from Bill.
I previously speculated that Hawk's solo walk to the portal in P2 is continued by Cooper entering the door inside the Great Northern basement in P17, but Hawk is led to the Arm's room in the red room in parallel to Cooper being led to Phillip's steamy room at the Convenience Store complex. In P18, Cooper later wakes up at the motel. Since we're taken to the Buckhorn motel in P2 from the Arm's room, Hawk's trip to the portal could represent an entrance to Buckhorn, specifically the prison where Bill was held. In P2, there's a short scene where Hawk brings two boxes of evidence to the conference room sandwiched between Bill getting arrested and Bill getting questioned at the station. In Lost Highway, Fred Madison was replaced by Pete Dayton and it was real messy, but maybe this switch is as Mr. Eddie says is smooth like "shit from a duck's ass." Bill's head did messily get crushed, but outside of the Buckhorn station. Phyllis has similar hair as Hawk, so this 'Hawk in Buckhorn' scenario could tie back to the MD duo that appears in numerous iterations, with Hawk and Phyllis being one [In MD, the box hits the floor in Ruth's room, and the camera follows the invisible movement of oldsters leaving the room, then Ruth appears. This could suggest the two oldsters are Ruth. If they are also this P2 version of Hawk, his prison cell could be one and the same as Ruth's bedroom].
If Jerry had the seed, as mentioned before he can pass it on to a guard...Who? The story goes full circle if that guard was Richard, him before getting incinerated or another version of him. In P18, Cooper wakes up as a 'Richard.' Him waking up in P18 and turning to the side of the bed parallels Cooper in P16 after he awakes from the coma. In P16, Cooper got the owl ring from Gerard (like Ray got it from a guard). Perhaps in P18, this 'Richard' version of Cooper got the gold seed when he woke up, like how Jerry got the seed after the incineration (linked to P4). Richard showed up in P13 when Ray talked about getting the ring from a guard, so the scenario does seem applicable to Richard.
What would be done with the seed? After waking up, Cooper finds his way to Carrie who screams loudly at the end of the part. Perhaps the same seed that Richard turned into was then turned into a bomb or some kind of weapon involving Carrie. In P16, Diane goes upstairs at the hotel, presumably as an assassin to take out Gordon, linking to P10 where the Laura apparition appeared at Gordon's door, as the Sarah call for Laura was heard as it was at the end of P18. Was Carrie's piercing scream like a knife to Gordon's brain - a seed-bomb that takes him out? Gordon was drinking Bordeaux in his hotel room in P10. Was Laura turned into a deadly grape (Canadian Moonseed. P10 Log Lady mentions the moon shortly after Gordon's scene and later she dies. Adam and Eve thing going on at the end)? Gordon was poisoned in parallel to Dougie in P3? Was this Gordon linked to the vomiting Experiment in P8 who had BOB? "Before I came up" -- 'Before I threw up' P14. Since Gordon was talking to Lucy earlier in P14, maybe this Gordon had been with 'Lucy Selwyn' and raped her? (and then vomited in the bathroom - a variation of MrC's messy scene in P2 with Darya where MrC talks like Gordon "now this is something interesting to think about").
submitted by KarlosHungus36 to twinpeaks [link] [comments]

Potential Tokyo Trip In September

Hello! My friend and I are planning a trip to Tokyo for the middle of September (we already pushed it back because of you know what, so we’re hoping to be able to get there by this timeframe). I have been perfecting our itinerary and I would love some opinions on our activities. I’m also interested in any spots we may have missed!
I will be marking down time based on Japan Time Zone. Also, we do not have our reservations made (lodging, plane tickets, etc), however we are keeping track of that rn. We are interested in lodging near Shibuya or Akihabara. We are also trying to get SIM cards and traveler’s insurance for the trip.
September 13 (JP Time) - arrive at Haneda Airport around 4 pm - get cash exchanged (we have a layover in Toronto where we could possibly exchange for cheaper, however it’s only for an hour, so we may have to wait to get to Japan to do that) - purchase Passmo/Suica cards - go to AirBnB - explore Shibuya ~ Disney Store (my friend wants to get a pin) ~ Tokyu Hands ~ GU (I love GU!!) ~ Mega Don Quijote ~ Don Don Down on Wednesday ~ Genki Sushi for dinner ~ Walk Center-gai ~ Shibuya 109 ~ Find Hachiko
September 14 - head to Ikebukuro ~ Mister Donut for breakfast ~ Sunshine Aquarium ~ Sunshine City - head to Shinjuku ~ Yayoi Kusama Museum (there’s a a chance this may be closed on Mondays; need confirmation. If it is then we’ll hold off on it for the last full day) ~ Aburasoba for lunch ~ Try cream puffs at Beard Papa’s ~ Maruhan Casino (my friend wants to play pachinko) ~ Cat Cafe Mocha Lounge ~ Hanazono-jinja Shrine ~ Walk Golden-gai ~ Thermae Yu Sento
September 15 - head to Harajuku around 9 AM (it’s gonna be a long day) ~ Meiji Jingu ~ Yoshinoya at start of Takeshita Street for brunch ~ Go along Takeshita Street (there are MANY stores I want to visit along this path, someone please tell me how long you spent on this street) ~ Go to sevens thrift store, DOG, 2nd Street, Kinji, and Nadia ~ Laforet ~ Sailor Moon Store ~ Visit Tokyu Plaza - walk to Omotesando ~ Kiddyland ~ Walk Cat Street ~ Ragtag thrift store ~ Asoko - head back to Airbnb to drop off stuff - train to Shimokitazawa ~ Hiroki for dinner (Okonomiyaki) ~ Stick Out ~ Chicago ~ Garage ~ Flamingo ~ Haight and Ashbury ~ New York Joe
September 16 - head to Tsukiji Market early in the morning - head to Asakusa ~ Get fitted for kimono/yukata ~ Senso-ji ~ Nakamise Street ~ Ueno Park ~ Return kimono/yukata ~ Imahan for lunch (sukiyaki) ~ Kakimori stationary store - head back to AirBnB - Gonpachi (Kill Bill restaurant) for dinner - Find a karaoke room and sing to our hearts content
September 17 - head to Odaiba and go to TeamLab Borderless - head to Akihabara ~ Yamashiroya ~ Hard Off Hobby Off ~ McDonald’s for lunch ~ Gamers ~ Super Potato ~ Mandarake ~ Animate ~ Taito Station ~ Gashapon Hall ~ Muji ~ Coco Ichibanya for dinner
September 18 - Find a Lotteria to get breakfast - Head to Mitaka and visit Ghibli Museum - Head back to AirBnB and order Pizza-La for dinner - Go clubbing
September 19 - check out of AirBnb and check into a capsule hotel - go to a ramen shop for lunch ~ Kikanbo (Ikebukuro) ~ Menshotaketora (Roppongi/Ginza) - free-ish day (places listed below are optional) ~ Geisha Experience with Kaiseki set (Asakusa) ~ Owl Cafe (Harajuku) ~ Peanuts Cafe (Daikanyama) ~ Flamingo Cafe (Shibuya) ~ Gotoukuji Shrine (Setagaya) ~ Shirohige’s Cream Puffs (Setagaya) ~ Bape Store (Shibuya) ~ Cup Noodle Museum (Yokohama) - places we have to visit today ~ Parco (Shibuya) ~ Kiki2 (Koenji) ~ Jojo’s Bizarre Adventure bar (Nakano)
September 20 - check out of capsule hotel - get lunch at Mentsudon (udon) - spend time in Tokyo for two hours - head back to Haneda 2 PM - return Passmo/Suica cards and head home
submitted by clocke3 to JapanTravel [link] [comments]

Welcome to the B.L.o.K. (Big List of Kelowna)

Tons of posts are asking about this town (mine included), so I decided to go through the /kelowna history and put all the responses in a central place. It can be a guide for visitors and Kelowna newbies in general. All the information has been gathered exclusively from posts here. If you'd like to add anything to the list, or see any errors, reply below and I'll add it to the main post below. (Mods, if this is long-term useful, you can sticky it.)

Activities & Things To Do

Indoor

Outdoor

Barber

Bike Rental

Breweries / Craft Beer

Camping

BC Parks Campgrounds Reserve

Other Camping

Concert Hosts / Weeklies / Promoter Events

Dispensaries

Dog Parks

Festivals & Annual Large Events

Fly Fishing

Food and Restaurants

Asian

Chinese

Dog-friendly

Good for Groups

Indian

Ramen

Thai

Brunch

French

Hamburgers

Italian

Mexican / Comida Latina

Pies

Pizza

Subs / Sandwhiches

Sushi

Tasting Menus

Steakhouse

Vegan & Vegetarian

Not Dedicated Vegan, but a Decent Vegan Selection

Wineries

Wings

Gaming

Gyms

Hiking

Ice Skating

Internet Service Providers

Live Music

Mountain Biking

Nightlife / Clubs

Places to Avoid

Real Estate Agents

Salons

Hair

Nails

Skiing & Snowboarding

Local, within 90 minutes

Within a few hours drive

Helicopter

Cross Country & Nordic

Strippers

Swimming Pools

Taxis / Driver Service

(There's no Uber or Lyft in Kelowna)

Tailor

Tattoos

Theatre

Thrift Stores / Consignment Stores

Veterinarians

Watch Hockey

Wineries

Yoga

submitted by Indy_Pendant to kelowna [link] [comments]

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submitted by freespinsbonus to u/freespinsbonus [link] [comments]

Red v. Blue: Color Symbolism & Americana in Twin Peaks

Note: I'm writing this as someone who has watched the entire original series, Fire Walk With Me, The Missing Pieces, and The Return, as well as other features from Lynch's filmography (Lost Highway, Mulholland Drive, Elephant Man, Blue Velvet, Eraserhead); marked for spoilers now, do not proceed if you haven't seen them all. This is a longpost for Twin Peaks-obsessed nuts like me.
One of the things that remains a statement of the original incarnation (and thus, a statement by being substituted with HD digital cameras in The Return) is Twin Peaks's absolute mastery of the highly saturated 4:3 box TV aesthetic. I've heard Lynch was adamant the color palette not be corrected to a grittier, desaturated version when execs received the tapes. It's part of what's made so many iconic sequences and shots from the original run hallmarks of Tumblr and Instagram accounts aplenty. Twin Peaks came (and could be argued, ushered) on the precipice of a major shift in the television format. We would see the contemporary form of television media developed further with shows like The Sopranos in the HBO prime cable era, or The X-Files (no wonder Chris Carter plundered Twin Peaks's cast for his own attempt). As a marker for the end of the 80s and its preceding decades though, in many ways Twin Peaks to spoke to a form of TV largely since faded: soap operas and sitcoms and serials. It's part of why I loved the metatextual inclusion of the soap opera Invitation to Love, allowing the show to reference its own stylized dramaturgy.

Jade & Emerald... Jade give two rides, hm?
Very specifically, I find the series loves to riddle blue and red, like one oni to another. Fire and water. Hot-cold (like the shivery feeling Audrey gets when she holds an ice cube on her bare skin for a long time). The red and blue on Mike's TP varsity letterman jacket could be the most striking and concise marriage of this dynamic pairing. Donna & Maddie dive into this in the season 2 opener, scheming at the Double R (docked points for the silly jailhouse seduction routine by Donna, though). Subtler in palette but more obvious in Americana, Major Briggs's omnipresent blue uniform incorporates red in his breast patch (and Don S. Davis's ruddy-warm complexion, imo) speaking to his inherent patriotism as part of the Air Force. On more than one occasion Big Ed is spotted with a red & blue flannel.
Much to be said about the pairing of Bobby & Mike, comparing to BOB & MIKE; MIKE saw the face of God, but Bobby is the one who saw the light in this duo.
The flashing lights of a cop car. Dr. Jacoby's iconic 3D glasses-flavored shades (note that Jacoby and Ben both hailed from the Robert Wise-directed 1961 film adaptation of West Side Story, the famous 50s musical depicting rival gangs experiencing a Romeo & Juliet plot amidst culture clash in NYC). Lil the Dancer, communicating through expressive dance a coded message in FWWM. A barbershop quartet in the background behind Coop & Albert in "Coma".
I believe it's The Secret History of Twin Peaks book that is paired with red and blue filter lenses, so you can view certain hidden information? Either way, Lynch likes his 50s/60s Americana; reminds me of Castle Horror gimmicks.
The blue flower was a central Romanticism symbol; as blue roses don't occur in nature, they hold an air of mystery and fantastic possibility. Tennessee Williams used the blue rose to symbolize the fragile & unique character Laura(!!) in The Glass Menagerie.
The sign outside One-Eye Jack's. Red pairs often with green or black in gambling/casino situations; from the card deck motif for the sex workers to the mix-match patches of a roulette wheel. The malfunctioning lift for Leo in "The Orchid's Curse." The stage behind Julee Cruise during Roadhouse performances, especially "Lonely Souls." Even though the Red Room is known for its red, we see eventually that the Lodge holds strobing blue lights and the milky cataracts of doppelgangers. In a more peaceful sense, blue light washes over Laura as she smiles in the Lodge at the end of FWWM, reunited finally with her angel.
You can practically hear the buzz of the neon zapping into life from here. Knowing how important electricity is to Twin Peaks, these little details really stand out.
Ben and Jerry, at various times, switch between the two to complement each other much like the Miser Brothers. We also see it in Ben's interactions with Catherine; their affair in "Traces to Nowhere" finds Catherine clad in a powdery blue blanket, Ben's fiery tie, Catherine's ruby toenails (sidenote: not a fan of the Tarantino interaction). We see more of this Ben-Catherine color scheme in "Cooper's Dreams" during the Iceland convention with Leland's impromptu dancefloor breakdown. Ben, as central locus for Twin Peaks's criminal element, seems to be a lightning pole for these color dynamics. Notable is his integral need as a character to keep his publicly clean image and seedy underworld dealings separate, the perfect human symbol for Lynch's sequence in Blue Velvet's intro depicting the rotting & squirming insects buried beneath the idyllic Levittown surface of Lumberton. And Ben, even beyond his perennial cigar, enjoys many scenes by the fire of a hearth.
Ben floats through the two by himself on a regular basis, which I think ties into his role as the uber 80s corporate & cold American businessman, espousing social niceties & charm but hiding his sinister and impulsive skeletons in the closet. It's almost like he should be Lodge, but he's only run parallel to it as a human being.
Likewise, when it comes to the Lodge, BOB and the Man from Another Place/The Arm make a perfect red-blue pair. I noticed this especially in FWWM during the chaotic convenience store sequence. Given that during the night the sky can range from black as a cup of Coop's coffee to a Prussian shade, by following a Goethe color theory mindset, we can admit "Blue is a darkness weakened by light." BOB never comes off weak, but as a possessing spirit, for the viewer, his sudden appearances/reveals herald a (at times literal) spotlight into the black oil that is his essence (follow this link for a Youtube vid that informed some of my own theories). Goethe characterizes blue as common (think of country folk and bikers and truckers), as well as cold and melancholy, powerful. Red is much easier for The Arm; in addition to evoking the Christian iconography of a devilish imp figure, he is pure fire, the kind that truly walks with you (Goethe considers red as beautiful, dignified, closer to the essence of light; perhaps this echoes the Neoclassical Venus statue found often with Red Room curtains, or the red lipstick of the various beautiful women commonly prey to Twin Peaks).
BOB's always clad in blue denim to match The Arm's impish red suit. Noticeable since they remain the two most active agents as Lodge creatures, continuing the BOB/MIKE dualism that existed pre-show.
Given the only color left to throw in is white (HMM,, White Lodge? Sarah's pale horse? Leland's hair? The stuffed arctic fox in Ben's office? That weird long-faced elk thing at the Packard-Martell house? Pete and Coop enjoying/trying to order a mug of milk? The Tremond/Chalfont boy's white mask?) and you have the Star-Spangled Banner itself (the mini-flag at Twin Peaks Sheriff's office that flanks Coop while he's sitting across the table from Dr. Jacoby, as well as Coop's fixation on the full-sized incarnation while he's in the Bros. Fusco's office during his Dougie stint in The Return, are just two instances). Notable as a tri-color national aesthetic, red white & blue sometimes finds its way back in altered forms: straightforward visual representation with the Icelandic investors, as well as more tonally & artistically-derived influence from Lynch's favorite country (we'll forget the agonizing French hookup leaving scene from The Return and think more of Monica Bellucci's dream sequence, or Ben & Jerry orgasming over fresh baguettes with brie).
Great shot from Tim Hunter here.
Part 9, \"This is the chair.\" I remember this sequence being a spark of sorts, tantalizing to see Coop stir somewhat from his Dougie stupor.
While it should come as no surprise an American show would have many American-specific themes, I'm often convinced that Lynch is using the visual shorthand to simultaneously sing, criticize, celebrate, and reflect on what it means to be America. It is not coincidence that Dale Bartholomew Cooper's name reflects the notorious Pacific Northwest hijacker D.B. Cooper, or Harry Truman with the 33rd President (who, mind you, ordered the atomic bombs dropped in WWII). Or Franklin "Frank" Truman with the 32nd, for that matter. Coop openly ponders the Kennedy assassination (itself rife for conspiracy theories and speculation, much like TP) in a log to Diane, as well as Marilyn Monroe's involvement with the family; who else is Laura Palmer but a hometown Monroe?
Much like D.B. Cooper, Coop took a historic leap.
I would love to dig down deep and really review all of his work to understand more about Lynch's fixation on Lincoln (a portrait is in the Donna/James classroom when Laura's death is announced; a dramatic shot in Blue Velvet fixates on Lincoln Street which divides the town's good/bad parts & has an antagonist by the name of Booth; the "Gotta light?" Woodsman in The Return).
Now if someone could explain this connection... Dick says this right before the fire alarms go off and swamp Leland with water while BOB rams Leland's head in to break his last vessel and escape from justice.
Why Lincoln? I refer to it as The House Divided. Lincoln is one of the most recognizable presidents, partially due to his assassination (Kennedy echo), partially due to his role in the Civil War and how America resolved its most divisive internal conflict. He's emblematic of the Old America and the New America, slavery and post-slavery, secession and preservation. Somewhat like Republicans & Democrats, red v. blue. We know the toy Lincoln Logs, we hear the term Lincoln Lawyer, he's even one of the faces on Mt. Rushmore (referenced explicitly in The Return - "There they are Albert, faces of stone"- as well as compositionally in "Cooper's Dreams"); given the existence of both a Black Lodge and White Lodge in mythos, I think it's safe to draw at least some broad comparison to black America and white America (as well as Windom Earle's fetish for chess). Even as a goofier entry during Season 2's decaying period, Ben's mental lapse into General Robert E. Lee and fixation on the Civil War (mirroring Johnny Horne's fixation with the indigenous headdress and colonist America) gives some meat to this motif. Although it's never quite outright verbalized in show, one gets the sense that America is inherently built on some original sins. The water in the well was poisoned before the Trinity test
Notable too for the context of having Hawk (Nez Perce) included in this recreation. Mt. Rushmore was originally a sacred place for the Lakota Sioux; its present condition is considered desecration to their culture. America in its current incarnation was founded on the genocide and forced relocation of its indigenous peoples; Twin Peaks is loaded with Native American patterns and imagery, i.e. The Great Northern.
Note as well that red, by itself, can easily be tied to Twin Peaks's lifeforce, and by extension Lynch's entire repertoire. Fire. Red velvet curtains. Lipstick and nail polish. Blood. Pete's fisherman flannel. Audrey's heels, and her cherry trick. Norma's cherry pie. Log Lady's frames. "Let's rock" on Agent Desmond's car in FWWM. The women at One-Eye Jack's. The blooming roses peaking through white picket fences in Blue Velvet. The vast majority of neon signage (The Roadhouse especially). The traffic light at Sparkwood & 21. Leo's ostentatious Corvette. The lifeline zigzags on the high school walls. MIKE, in Philip Gerard, is fond of red tops, connecting him directly with The Arm. Much is made of Twin Peaks's proximity to Canada in the original series; the corrupt Mountie during the internal investigation arc stands out. The balloons at Dougie's corporate plaza. The Scarlet Letter. Lancelot Court, red door. Laura Palmer's Secret Diary.
Night time, my time. Red can be a carnal color, igniting passion, but also a warning to stop, turn back. Often we find it in the company of characters who have experienced a lot in Lynch's world, and not too much good.
And blue too. Blue is much more sparing in Twin Peaks, to greater mystical effect. Blue Rose. Laura's cold lips in the Pilot. Blue Velvet. Isabella Rossellini's dramatic eyeshadow as Dorothy Vallens. The waitress outfits at the Double R Diner. Leo's button-down when Shelly shoots him. The light in the morgue as Hawk tails Philip Gerard. The lifeline zigzags on hospital monitors (how they spike with Ronette, how they fall flat when Leland strangles Jacques). Ronette is swaddled in soft blue blankets during the S2 opener, her tilted head recalls Marian imagery (interesting from a Madonna-Whore complex standpoint); two episodes later her IV drip is tainted with blue dye, a visit from BOB. Maddie Ferguson's nightgown during her carpet-stain vision. Coop's iconic jammies. Rita's blue key & Betty's blue box in Mulholland Drive. The woman's hair at Club Silencio. Whenever television sets or camera footage shows up onscreen in Twin Peaks, there's a noticeable cool blue tint: think of that first tape, Laura & Donna dancing in the woods; the static showcased in the opening credits to FWWM; the footage of Coop gambling, obsessed over by Jean Renault. Gordon & Albert speaking together after meeting with Mr. C and watching Tammy walk away. Flashes of lightning. The sign at the Luna Lounge, where Fred Madison plays his discordant sax solo in Lost Highway.
Two dead girls wash up in the water. Calhoun Memorial's morgue stays bathed in blue light. Louise Bourgeois claimed it as hallmark, stating blue left behind \"the drabness of day-to-day reality\" for \"a world of freedom\", inner truths. BOB is certainly free.
Beyond red and blue, the colors I tend to notice in Twin Peaks are pink and green (notable for following a warm/cool polarization as well), which do not concern themselves to the same extent with Americana, if at all. Pink is much more sparse in its application, typically feminine: Nadine's prom dress during her suicide attempt in the S1 finale; Naido/Diane's bathrobe in The Return; the drapes behind the new One-Eyed Jack's girl Ben sleeps with in "Zen" (purposefully designed to evoke a vagina, in my opinion); fudging into purple, but we can count the Mauve Zone and Coop's run-in with Naido to an extent; Gersten Hayward's princess outfit during her piano performance for the Palmers; the trio of Candie, Mandie & Sandie; the gut-churning Pink Room sequence from FWWM with Laura & Donna.
Candie was a surprising standout for The Return. I felt these girls were a commentary on One-Eyed Jack's in the way the Mitchum Bros. were commentary on Ben & Jerry; where Ben & Jerry enjoyed public acceptance but indulged in dark secrets and ran through vulnerable sex workers, Bradley & Rodney have a dark reputation/entrance but ultimately possess hearts of gold, rescuing at-risk women like these three.
Green is more expansively utilized, and supernatural in tone: the billowing leaves of those Douglas firs in an ominous breeze; the iconic Twin Peaks font's outline; the guiding light we see through Dougie's eyes (which I assume has always been a part of Coop's psyche and intuition); Dougie's iconic oversized jacket; the infamous Owl Cave ring; the vintage lampshade adorning Ben's desk; the childhood bike Ben fondly recalls in The Return; the framed picture of the tall pine in the Sheriff's Department lobby; the tiny fir stuffed by the partition in the Palmer household; Jade & Emerald, even. Ben says to Leo, conspiring to burn the mill in "The One-Armed Man" - "Three nights, Leo. Green light." Something about it reminds me of Jay Gatsby's over-analyzed yearning green light from the F. Scott Fitzgerald classic; the idea of the American Dream with wanton capitalism, and how it's impossible to achieve (am I crazy for thinking there's a connection between Big Ed's Gas Farm's neon egg sign and the West Egg/East Egg class divide?).
Of course, the owls are watching. Much like the eyes of Dr. T.J. Eckleburg.
Ed's business harkens to how convenience stores (early-to-mid-century modernist American consumerism) were both the pumping blood and desiccated bone of our culture, as well as the Woodsmen womb. It also reminds me of old-style egg timers, and what is Twin Peaks but a show obsessed with the manipulation and perception of time? Was it the chicken or the egg that came first? Is it future or is it past?
By the time of The Return, we have lost these overly saturated tones, but the direct symbolic use of color is still integral to a Peaks viewing. I find it even more interesting that The Return made extensive use of black & white footage. Eraserhead and The Elephant Man alike (I've found both hold the spores for concepts and aesthetics fully developed in Lynch's later filmography, like the chevron Lodge floor pattern we all dearly love) were filmed in this manner; I feel Lynch chose this as nod to this earlier work, as well as the old formats of pre-color TV and film, like WWII newsreels. I find it relevant as well that older generations dream in black & white, a vanishing phenomenon which is directly related to the media of their era. B&W film informed the visual rhetoric of their unconscious minds; we, as younger Americans, dream in Technicolor.
This is the first shot we see of The Elephant Man. Notice how this is specifically his left arm, hand floating over the flame. Later in the film during a particularly moving sequence, Merrick first proves he is capable of speech for the first time by reciting the 23rd Psalm in a louder and louder tone, mirroring Annie Blackburn's prayers while Windom Earle led her bound into the Lodge.
The black & white sequences occur within the Lodge, relate directly to the Lodge - may Part 8 live forever in its atomic power - or otherwise involve unexplained phenomena (Cole's Monica Bellucci dream). By the time of The Return, a disconnect with the past and nostalgia is a core theme. The colors have faded. Coop, a half-baked shadow of himself, only gets restored by the chance mention of Gordon Cole's name in Sunset Blvd. Note Billy Wilder's 1950 film revolves around an aging actress lost in the reverie of her long-gone prime. (Also note her insistence, when William Holden's character asks her about the Salome film script, she's not conducting a "comeback" but a *return*; this, I feel, ties in as well to Major Briggs's underappreciated vision scene, emphasizing the idea of a return.) Although not shot in black & white, Pete, assisting Catherine as she tears apart their library, pauses for a moment during "The Last Evening" to linger on his high school yearbook. He's lost in the old pre-color photos, in the memory of Midge Jones, a man we never know. He's returned to a place in his youth, much like Garland's return to the gleaming, radiant marble of the fantastic palazzo in his S2 vision.
These two live in a retro-futurist Art Deco fever dream, accompanied the very appropriate Slow 30s Room soundtrack piece. Everything about the Fireman & Senorita Dido tells me of an America past its prime. I'm also convinced this was what Lynch envisioned for Briggs's palazzo; if only Don S. Davis was alive for The Return.
There's a plethora more I could get into, definitely for another thread: the preoccupation with trinities, animals, rings, technology, fine art references, and sonic elements are on my mind as well. I need to rewatch The Return again soon so more connections and thoughts are present. Let me know if you guys enjoyed this rambling mess!
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