More recovered screenshots from da long lost Fall Out Boy Cartoon Network Special
Aqua Utopia|海の底で記憶を紡ぐ
Cosimo Galluzzi
styofa doing anything
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Kaledo Art
todays bird

if i look back, i am lost

tannertan36

Kiana Khansmith
taylor price
Peter Solarz
"I'm Dorothy Gale from Kansas"
Today's Document

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Origami Around
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@redpajamas
More recovered screenshots from da long lost Fall Out Boy Cartoon Network Special
GREASE IS THE WORD #1
Grease: Rise of the Pink Ladies - S01E03
THE T-BIRDS Richie, Gil, Potato and Shy Guy.
Grease: Rise of the Pink Ladies - S01E07
GIL and OLIVIA Grease: Rise of the Pink Ladies - S01E08
manacled hermione ghost wrote this about manacled draco
Good day Mr Flanagan. please what does "the rest is confetti" mean to you and in the context it was used in hill house??
Okay, here we go. Buckle up for a long read.
To answer this, I've got to explain a little bit about what was happening and where I was when I sat down to write episode 10 of The Haunting of Hill House.
Hill House was not a fun shoot. The picture above is from very early in production, when I was still chubby and happy.
It was my first foray into television. I was absolutely terrified that I'd mess it up. So I'd opted to direct all of the episodes myself, figuring that - if nothing else - I'd have no one else to blame if it went south.
It was the most grueling professional experience of my career. The shoot was by no means a smooth one, every day was an uphill battle from a budgetary perspective, and between the three giant production entities involved with the production, I spent a lot of time fighting over the creative and logistical elements of the series.
I began losing weight. I was smoking two packs of cigarettes a day.
By the end of the shoot, I had dropped almost 40 lbs.
I was very depressed. Every day was a battle, and for the first time in my career, I wasn't excited to go to work in the morning. We were fighting for basic resources, fighting for the show we wanted, and even fighting amongst ourselves by the end. It was grueling.
We hadn't written all of the scripts when we started production. I believe we had finished through episode 7, but the rest of the scripts had to be finished while we were already shooting.
We'd mapped everything out in the writers room, and I had great support on the other episodes, but I was writing the finale solo. I'd thought I'd be able to juggle it with everything else. I quickly fell behind.
I finally got to the script about halfway through production. I'd work on it between takes at the monitor, and then get home to our tiny rental house in Atlanta, where Kate was waiting with our baby son. (One of the rare bright spots of this shoot came when Kate found out she was pregnant about halfway through production. We even named our daughter Theodora, in honor of her origins.)
I'd typically fall down from exhaustion when I got home, but I had to push through it and work on the script. My weekends were spent shotlisting and prepping for upcoming episodes. We didn't have enough time to stay ahead of prep, so every available day was used for that... I went three months without a single day off at one point.
I'd sit up late staring at the script. I was in a dark, dark place. Overwhelmed, exhausted, and feeling like I lived in an eternal present. Each day bled into the next and it didn't feel like there was an end in sight. That feeling of unreality was heightened because we kept returning to the same sets, same locations, and even the same scenes throughout the 100 shooting-day production. Stepping back into the exact room we had shot in days or weeks or even months ago made the whole thing feel absolutely surreal. Making movies is always an non-linear experience, but this one felt particularly so... it was like the days of our lives were happening to us all out of order.
I remember feeling something like despair creeping into my daily experience on the show. And I remember dwelling on that when I got into the scene work of episode 10.
As I worked through the draft, I recall that despair coloring a lot of what was on the page. My filter was breaking down. There's a monologue at the beginning of the episode where Steven's wife Leigh (played by my dear friend Samantha Sloyan) spews out a torrent of eviscerating insults about Steve's value as a writer. That is just me vomiting onto myself. She was voicing all of my deepest insecurities about myself at the time, and of what I was doing with this series.
She says "Is anything real before you write it, Steve? The things you write about, they're real. Those people are real, their feelings are real, their pain is real - but not to you, is it. Not until you chew it up, digest it, and shit it out onto a piece of paper and even then, it's a pale imitation at best."
This was the mindset I was in for a lot of the shoot. The writing became a reflection of a lot of that turmoil, and I knew who I was referring to in that monologue - I was talking about my family. I was talking about how much of their lives I'd used as building material for this show. I was talking about the fact that I'd lost two loved ones to suicide, and seen what it had done to my mother in particular. And I knew I was using - possibly even exploiting - those people for this series.
There's a lot of despair in this episode. The Red Room, as we conceived it, was a place that would feed upon those emotions. Grief, sadness, loss... those were the real ghosts of our series, and where our characters find themselves at the start of the finale. They're being slowly digested - eaten alive - by those feelings.
So finally, it came time to write Nell's final scene with her siblings. I knew from the outline we'd constructed in the writers room what this was supposed to accomplish - she was supposed to be their salvation. She was supposed to take all of these feelings that we'd been wrestling with and finally provide catharsis... finally say something that would free everyone.
I remember sitting with a blinking cursor for a long time. The Crain siblings had just turned and seen Nellie standing by the door, and suddenly were able to hear her speak. But what should she say? What would I say? What would I want someone to say to me?
What she ultimately says lays bare a lot of what I was thinking about when it comes to grief. It exists outside of linear time, much as I felt I existed at the time. That sense of eternal present, that sense of a nonlinear eternity of moments and memories - it all came out in her speech to her brothers and sisters.
I remember feeling, looking at my insane present and looking back at my past, how strangely overwhelmed I was by memories. That I wasn't experiencing time in a straight line, and hadn't been for a while - for the better part of a year, I'd felt more like I was standing in a whirlwind of moments. "Our moments fall around us like..." Nell said, and I recall sitting back and trying to find the words.
"Rain," for certain, but there was something too uniform about that. The moments of life as I experienced them weren't that orderly, they weren't that small. They didn't fall the same way. Some sailed by, fast and unremarkable, while others lingered in front of me, twisting and stretching. So it was a good word, but not the right word. I left it on the page though.
"Snow" was my next attempt. Better, in that I imagined the snow blowing in the wind, swirling and dancing and feeling more organic. More chaotic. More like life. But for some reason, the word that stuck with me, the word I felt Nell Crain would connect with was...
"Confetti."
And that was because I was thinking not of Victoria Pedretti at this point, but of Violet McGraw.
Violet played Young Nell, and I wondered what she might have said if she experienced time this way. As an adult, Nell was despairing. Nell was overwhelmed. But as a child... there was an innocence to the word. There was a joy to the word.
I imagined moments falling around her, this little girl with the big smile and the wide eyes. Her moments would be colorful. They would be of different shapes and sizes, some falling fast and some falling slow, flipping and turning and dancing in the air, independent of the others. Sparkling, whirling, doing lazy summersaults as they sauntered down to Earth.
I thought of myself, and of the members of my family. I thought of those we'd lost. I realized what I hoped for them, and for us all, in the end... was to look upon that mosaic of experience, that avalanche of days and minutes and moments... and to smile with some of the joy we had as children.
And this, I thought, was something that gave me hope. This gave me a glimpse of some kind of salvation for them. This was also how I hoped my life might seem if I was a ghost - a cascade of color and light and shape and movement, something I could dance in.
So Nell smiled and said... "or confetti."
It stuck with me. The rest of her monologue gets heavy again, and gets to the real point of the show - the point of the whole series, if I'm honest - and that's forgiveness.
I figured the only thing that would let the Crain children out of the Red Room was to be forgiven. I thought of the losses in my own family, and I thought of what I wished for my mother and for my aunts and uncles and cousins and I tried to pour that into her final words.
"I loved you completely, and you loved me the same," she said, "that's all." And this was the point I wanted the most to make. That at the end of our life, if we can say this about each other, the rest doesn't matter. The rest is that rainstorm, or that blizzard, that fell around this one central truth, and maybe built itself in piles around it, to the point we lost sight of it along the way.
And I thought again of that little girl, and almost as an afterthought, wrote "The rest is confetti."
I liked the way it sounded, but I was insecure about the line. I almost took it out, in fact. I remember asking Kate to read the scene and talking about that last line with her. "Is it too cute?" I wondered. She was on the fence. "Depends on how it's acted," she said, and I figured she was right. We could always take it out if it didn't work. The scene could end with "I loved you completely, and you loved me the same. That's all."
Why not shoot it and see what happened.
I turned in the script, we published it quickly so that we could start breaking it down and prepping it. And the next morning I was back on set. I'd deal with episode 10 when it came down the pipe again, sometime in the coming months. We had a lot of shooting to get through before I had to worry about it.
I recall Netflix asking me to cut a lot of that monologue, and I remember them also having questions about the "confetti" line. I pointed out that it didn't cost us any extra to shoot it all, it was only words, and fought to keep the script intact.
Ultimately, they insisted I make a series of cuts on the page. I begrudgingly agreed, but left Nell's speech alone. I made superficial cuts around it, throughout the draft, and even considered changing the font size to fool them into thinking it had gotten shorter (I ultimately was told I wouldn't fool anyone and not to risk starting a war). But Nellie's final goodbye stayed intact.
It must be said - Victoria Pedretti SLAUGHTERED this scene.
By the time we got around to filming it, things had never been worse for the production. There was almost nothing left for a lot of us. Tensions were sky-high, resources had been exhausted completely, and we were all ready to give up.
Filming in the mold-ridden Red Room was depressing, morose, and led to a lot of arguments and unpleasantness. The room itself just felt gross, always, and we were in there for days at a time. The last thing we had to shoot in there was Nellie's goodbye.
Victoria came to set having to push through pages of monologue, and she did so with captivating bravado. I recall being teary-eyed at the monitor watching her work. And when we finally made it to the last line, I watched her deliver it with... a smile. A sincere, innocent, longing, joyful smile. A smile informed by the sadness, grief, and loss of her own situation, of her own life... but a smile that finds forgiveness and grace after all. Pedretti knew how to say the line, and how that word would work.
And as she said it, I knew it would stay in the show.
Over the years, that sentence has become something of a tagline for The Haunting of Hill House. I'm always a bit mystified and touched when I see people approach me with the line on T-shirts, or even tattooed on their bodies.
I started signing it with autographs back in 2020 after enough fans asked me to. Now it's my go-to when I sign anything related to Hill House.
The line, for me, represents a lot of things.
It's about the insane, chaotic, non-linear experience of making that show. It's about trying to find and hold onto joy, even in the grips of despair.
It's about the way the moments of our lives aren't linear, not really, and how we may be unable to understand them as we exist in their flurry. It's about finding hope, innocence and forgiveness in the final reckoning.
And it's about how, outside of our love for each other, the rest is just... well, it's fleeting. It's colorful. It's overwhelming. It's blinding. It's dancing. And, if we look at it right, it's beautiful. But it's also light. It's tinsel. It flits and dances and falls and fades, it's as light as air.
The rest is the stuff that falls around us, and flits away into nothing.
It's the love that stays.
very random question but have you seen, and if so do you like, the hunger games movies? thank you for your time
I have actually never seen a Hunger Games movie. But my oldest just turned 12 so I imagine we'll be watching them sometime soon!
hi mike, saw someone say your ask box was open and i came running! have you ever had any ideas as to how the crain family would be getting on now a few years later/what they're doing? it's always in the back of my mind wondering if creators also wonder about those sort of things themselves once their project has ended. thanks so much & hope you have a great day!
I do think about that. Quite a lot, actually.
The Crains took on lives of their own for me. I'd never written long form before, so it was the first time I lived with the same characters for that long, and for such extended arcs. Here's where I think they are, a few years later:
Shirley: I think that Shirley and her husband overcame her disclosure of infidelity. She'd been closed off for so long, after the series ended I think she found some peace in her life and opened herself up to her marriage. I think she also began to find kindness again. They ran the funeral home together, but Shirley found purpose in helping people handle grief and loss with empathy and kindness. Her oldest would be just about ready to start college now, and I think that would have her looking back and realizing that she always remembered her childhood as seemingly endless... but now she sees just how fast it truly goes by.
Luke: Luke stayed sober. He's six years into it now, and it's gone so well that he's also become a sponsor. That doesn't mean he's immune to the struggle, far from it. He still walks up to that edge sometimes. Oddly, it's in those moments that the "Twin Thing" kicks in... and he feels an inexplicable and complete sense of love. He knows that's Nell's, and that always pulls him back from the brink. He never did find Joey, or find out what happened to her. And sometimes he still wakes up with nightmares that he's on the floor of the Red Room, or that Joey visits him with her runny-egg eyes. But no matter how hard it gets, he feels what Nell feels for him... and that always pulls him through.
Theo: Theo and Trish got married, and moved far away from New England. They currently live in Portland. She still works with children, but enjoys a much smaller patient pool. She specializes in the kids who are hardest to reach, and she's sought after for her unique and uncanny ability to connect with them. She doesn't wear gloves anymore, but she still avoids the very crowded places. She and Trish take long hikes, grow their own pot, and travel frequently and spontaneously. They're considering a surrogate... and if it's a girl, they're going to name her Eleanor.
Steven: Steve and Leigh have two kids, and are thinking they might stop there. He never wrote about what happened at Hill House, but he still writes. Science fiction. Leigh recommended the genre as a way for him to focus on the future, not the past. He likes it a lot. It's pulpy, but it's earnest. He maintains Hill House, as it is his responsibility, but he doesn't enter the property beyond the gates. He has a rotating collection of people service the property itself, always during the day, and only for a few hours at a time.
Hill House stands quietly and silently in the hills. There is something different about it. Still the same energy, but without the malice. Steve assumes this is because of Hugh, Nellie and Olivia, who maybe curb the most malicious energies of the house from within. While shadows still walk in the windows at night, there are no living souls there to see them. Mostly, Steven imagines the spirits inside spend most of their days sleeping. And if they cannot sleep, he imagines Mrs. Dudley singing softly to them on the wind.
There is grief, for all of them. There are nightmares. Horrible dreams of moldy rooms and phantom hands. They meet twice a year, usually without spouses, to catch up and raise a glass to Nell, and their parents. There is a lot of healing still to do, a lot of therapy, a lot of introspection. But there is peace, too. There is love. There is forgiveness.
if The Great was on netflix, everyone would be obsessed with elle fanning and nicholas hoult playing murderous royal lovers right now
73 Questions with Jennifer Lawrence
The true AO3 experience is trying to remember a very specific fic you read some time between 2013 and 2019 but you can only remember two of the characters, a vague idea of the plot outside of one specific scene, and you have no clue what the tags could have been.
THG + HOGWARTS: THE QUILL 🪶🪶🪶
( Here is first chapter of this weird AU )
Pages to blossom #19: Watercolours by @alwayseverlark , Chapter 3
Next sketch for our project with @alwayseverlark ! ❤️ Katniss watching Peeta on TV for 18 months… ugh… my poor girl. Hope next chapter will be more kind to her ;) (yes, I’m weird, and read each chapter right before drawing it, month by month lol). 😘😘😘
before spotify wrapped comes out, y’all gotta realize that i went through approximately 20 personality changes and am not responsible for whatever song i looped for seven hours
my hand was the one you reached for all throughout the great war.
Mr. Sunshine (2018)