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[S2E10] What's My Line (2) _TOP_


Sharon heads directly to Ted's house (she has him working on 4-7-8 breathing, which, by the way, I recommend) and by the time she gets there, he's started to calm down. He offers her tea, which she declines, saying tea "tastes like a wet paper bag." This, of course, causes Ted the tea-hater to trust her.




[S2E10] What's My Line (2)


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I do think they're still doing a great job with Ted and Sharon, though. That hug is very well-earned, exactly because for the last nine episodes, Sharon has been gradually trying to gain Ted's trust. Even for a seemingly emotionally open guy like Ted, it took a long time to be willing to talk about anything as personal as the death of his father. I also was glad that the first line he drew between his father and the person he is now was not about him being harmed or broken; it was about the fact that because he now knows his father was hurting. And now, he never forgets that people might be in pain and you might not know. That's how he's always treated, among others, Jamie and Roy and Rebecca.


It's not unusual for densely packed seasons full of stories to look a little like they're careening toward the finish line a little too fast and not entirely in control, and when that happens, they often bring it home just fine.


Luckily for the MPs, Philo manages to warn them just in time and lock themselves inside the debating chamber. As the Sparas is about to kill Philo, Tourmaline magically connects with it and remotely attacks it.


Kind of ridiculous the writers pulled the woke rubbish with Lesbian Vignette/Tourmaline. I guess they think it will now qualify for some low-rent awards show. I was hoping Philo would get a fae wings transplant.


"Yousaf" felt a lot like a first season episode of the show, by which I mean it was full of Spy Stuff. The extended sequence where Larrick broke into a house so he could follow the junction box (after getting the information from the telephone company by posing as a police officer) was chilling, and reminiscent of Emmett and Leanne's death along with their daughter: going about their business as an assassin stalked in the shadows. The scene when Larrick came upon the Soviet communications man was straight out of Bond. He shoots him, but not before the man can hit a self destruct button on the equipment (it was a cool moment). Unfortunately for the Soviets, Larrick was able to piece enough of it back to get a line to Kate, and who knows who else. The Jennings may be his ultimate target, but he'll surely take out as many as he can until then.


Oleg talks to Nina about balance, and there doesn't seem to be much of it with the Jennings at the moment, despite their time together to bookend the episode. Philip acquiesced to Paige's Christian summer camp, while Elizabeth put the kibosh on it without discussing it with him. She told him she'd rather have Paige drink or do drugs than go to the camp, which makes Elizabeth seem as hard-lined as she's ever been this season (whereas Philip, after a violent and explosive time last week, seemed to have calmed down entirely to meekness). Are these meaningful character changes, or just unevenness in the writing? Paige is right to call our her parents' hypocrisy, though: Henry got off with a warning for a break-in, while she's mopping floors through the night and taking out all of the trash because she wants to be a camp counselor.


This season of The Americans has been deep and layered emotionally when it comes to the Jennings work and marriage, but things had stalled out regarding Stan's suspicions of them (or his knowledge of any current Soviet plots). Meanwhile, Larrick has been a wildcard all season -- did he kill the other couple? Regardless, how much destruction will be wreak before attempting to kill the Jennings? "Yousaf" was important in establishing these last few lines of inquiry as being extremely important as we move into the last few episodes of the season. The Jennings have grown somewhat complacent, focused on their other missions. Now they have become the prey.


That day in October 2015, Ali was looking at a photo lineup that law enforcement had used to implicate Flowers in the Tardy case. And there he was. Marcus Presley, the gunman in the Alabama crime spree, was staring up at Ali from among the six photos in the lineup.


"It just kind of jumped out," Ali said. For Ali and the other lawyers working on Flowers' appeal at the time, this was a significant revelation. The presence of Presley in the lineup raised some questions about the testimony of law enforcement witnesses who'd said under oath that Presley was never a suspect in the Tardy case.


The Punisher season 2 episode 10 opens with Frank and Billy going through some sort of hazing type of drill, where they work their way through a crowd of soldiers taking whatever beating they are given until they are able to get through the line. Both tough their way through it, with Billy cheap-shotting Frank at the end before embracing.


Following the somewhat lengthy recap that covers the events of the whole of the season, we're right back where we left off last week, with our peppy band of timeline polluters at Château Picard pondering their next move after Agnes Jurati (Alison Pill), who is now more or less fully integrated with the Borg Queen, stole La Sirena and took off, leaving everyone else stranded in La Barre, eastern France, in 2024. But not for long.


All in all, it's a very mixed bag. Still, it's better than the first season and perhaps this will fare better upon a more condensed rewatch. Without any doubt, Q's dialogue and performance was the highlight, even if it was in stark contrast to his earlier behavior. Plus questions remain unanswered, as they tend to do when you muck about with the timeline. What happened to former FBI Agent Wells (Jay Karnes) for instance? Was he eradicated when Q did his Thanos thing?


RF: My dad would occasionally come home and say, "Hey, let's look at the lipids in the family," and, and we'd line up and my mom would draw our blood, because she felt she was better at it than my father, and he'd bring it down to the lab and look at our lipid profiles.


RF: You know, at a certain point, universities make a decision to throw things out that they think are just taking up space and nobody's gonna do anything with them anymore and what's the value in preserving all these old things? And so it turns out that my father felt that was just a huge mistake, that why would you ever throw away the raw data?


- [aja monet] I'm so excited to have you join me for this conversation. It is a real joy and treat to always be in conversation with you. I was sharing a little earlier that every time we speak, I feel like we both grow a little bit and think somehow either differently or just more expanded in our conversations with one another and our ways of seeing the world. So I'm just honored to have you with me and I wanted to just give you an opportunity to share how you're feeling right now, what's going on in your heart and mind at this current moment.


- [Hank Willis Thomas] The People's Wagon. And Hitler, Adolf Hitler, is a person that said that everyone in his country deserved to have an automobile called the People's Wagon, the Volkswagen and what was a Nazi vehicle throughout the entirety of World War II, 20 years later it was rebranded as the Love Bug. And we would look at Star Wars and Darth Vader and the Empire, and you see like Nazis, the Nazis are still alive because the branding was so good. And what's scary to me about branding is that we can buy into all kinds of unhealthy things all the time. Because at the end of the day, we are attracted to labels and storytelling that makes us believe that life is simple. And part of what I've always been interested in as an artist person is that ability for me to adapt that language of advertising. They talk about things that advertising couldn't responsibly talk about no matter how hard it tried, because it's necessity to be reductive.


- [aja monet] That's interesting because then it means branding is an artistic practice for some, I guess I wonder what is that fine line between what is art and what isn't? Is there a line? Do you see all art as political? Can art be, even the non-conceptual art is it conceptual in its very nature. I wonder as there are artists who I know believe that they're creating art just for art's sake, just for the sake of beauty, do you find that to be political in some way? Or that there is a concept even in the work that aches to not have a concept?


- [Hank Willis Thomas] For Freedoms is a organization that I co-initiated. F-O-R Freedoms. So we're F-O-R Freedoms, not F-O-U-R Freedoms because we are for freedoms that we may not even agree with now but may evolve to. We recognize that when we talk about art, we're talking largely about a 30,000, 40,000 year conversation between human beings and different generations, different backgrounds, et cetera. And each adding to the next, most of what we know about previous societies is through the art that they left. We don't know much about the languages, sometimes we don't know much about how they lived, where they lived, but we do know about their art. And so there's reason to believe that once we're dead and gone, most of what people will remember with us, it's not what's on our computers, it's gonna be what we leave behind as art. And our art will take the shape of McDonald's arches and Nike swooshes because, as well as all the things that are artifacts in museums and buildings. But I really came to the realization that as artists we actually are the voice of our era, of our epoch. And that we have a very cherished role in history always. And it just so happens at this moment, art has been seen as a sideshow or something that can only be applied in the service of commerce. But there's so, so much more to what we do. When we're in our studios, we're actually conjuring something. Like I believe that we, well I know that all artists live in the future because nothing we make is for right now, it's always for the future. It's all for the future audience, for the future people, for the lasting impact that it might have on somebody when they read it long after we're gone. We're time travelers, we're psychics, we're shamans. It's pretty dope to be an artist. And when I talk about everyone having the capacity to be an artist, is that it's true. When we call something art, it allows us to think creatively about things that we already know. Much like when we call something political, it implies that there's something at stake to the larger society in whatever's being discussed. And so within context of For Freedoms, we've decided to use art as an engine to put critical discourse into political discourse using fine art thinking by moving away from the black and white, left and right, a political kind of ways in which we've been conditioned to see ourselves instead acknowledging that all of us are spheres that are organic, that are prickly in some areas and smooth in others and fuzzy in others. And that there's no simple list of theoretical possibilities that are gonna define us as individuals. And so we're acknowledging that a lot of the things that the Democrats are fighting today, like mass incarceration and defense of marriage, and many, many other issues are issues that, welfare reform, are issues that like Democrats like Bill Clinton actually put into place. And it's not to critique him as an individual, it's just that what was seen as progressive yesterday is seen as conservative today. And so there's a lot of opportunities. 041b061a72


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