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PolarBears Alasdair Wilkins 4/14/15 10:24pm That final scene was absolutely beautiful. In the end, they were the closest things each had to a best friend, and it was a wonderful way to bring the series full circle. Farewell, Justified, you and your endlessly quotable lines and unique setting and perfectly cast group of characters and witty banter, your awesome showdowns and badass villains and will they-won’t they tension between Raylan and Tim. From the first “fire in the hole” to the last “we dug coal together”, you delivered some of the most entertaining, compelling, and beautifully constructed television I’ve ever seen. May people realize in the future what they missed out these last six years, may Wynn Duffy live long and prosper in Fiji, and may Tim and Rachel save the world.

"You run into an asshole in the morning, you ran into an asshole; you run into assholes all day, you’re the asshole."

https://www.theatlantic.com/entertainment/archive/2015/04/justified-a-rebel-of-golden-age-television/390486/ http://uproxx.com/sepinwall/goodbye-to-justified-a-sharp-tongued-quick-drawing-pleasure-to-the-end/ https://tv.avclub.com/justified-honored-elmore-leonard-by-making-great-not-re-1798278619 https://tv.avclub.com/justified-the-promise-1798183438

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"character is fate"

https://kellydeanjolley.com/?s=Chuck&submit=Search

https://www.glamour.com/story/outlander-season-3-episode-9-recap-claire-jamie-at-sea

things zach woods came up with tonight: -(as a father to his struggling daughter) you're just a non-native species to middle school. -(as an awkward date) i'm not very good with humor. i know it's important to a lot of people, but when i do it just sounds like a bad lie. you know what i like about your face? i just want to smash it - in a good way - into a parallelogram. (as a little girl's dog's ghost) "well, god told me to stay, and he meant forever."

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4. Write plays in order to organize despair and chaos. To live vicariously. To play God. To project an idealized version of the world. To destroy things you hate in the world and in yourself. To remember and to forget. To lie to yourself. To play. To dance with language. To beautify the landscape. To fight loneliness. To inspire others. To imitate your heroes. To bring back the past and raise the dead. To achieve transcendence of yourself. To fight the powers that be. To sound alarms. To provoke conversation. To engage in the conversation started by great writers in the past. To further evolve the artform. To lose yourself in your fictive world. To make money.

8. Embrace your writer's block. It's nature's way of saving trees and your reputation. Listen to it and try to understand its source. Often, writer's block happens to you because somewhere in your work you've lied to yourself and your subconscious won't let you go any further until you've gone back, erased the lie, stated the truth and started over. 10. Rhythm is key. Use as many sounds and cadences as possible. Think of dialogue as a form of percussive music. You can vary the speed of the language, the number of beats per line, volume, density. You can use silences, fragments, elongated sentences, interruptions, overlapping conversation, physical activity, monologues, nonsense, non-sequiturs, foreign languages. 11. Vary your tone as much as possible. Juxtapose high seriousness with raunchy language with lyrical beauty with violence with dark comedy with awe with eroticism. 12. Action doesn't have to be overt. It can be the steady deepening of the dramatic situation or your character's steady emotional movements from one emotional/psychological condition to another: ignorance to enlightenment, weakness to strength, illness to wholeness.

15. Write from your organs. Write from your eyes, your heart, your liver, your ass -- write from your brain last of all. 16. Write from all of your senses. Be prepared to design on the page: tell yourself exactly what you see, feel, hear, touch and taste in this world. Never leave design to chance, that includes the design of the cast.

23. Theatre is the explanation of life to the living. Try to tease apart the conflicting noises of living, and make some kind of pattern and order. It's not so much and explanation of life as much as it is a recipe for understanding, a blueprint for navigation, a confidante with some answers, enough to guide you and encourage you, but not to dictate to you. 24. Push emotional extremes. Don't be a puritan. Be sexy. Be violent. Be irrational. Be sloppy. Be frightening. Be loud. Be stupid. Be colorful.

28. Think of information in a play like an IV drip -- dispense just enough to keep the body alive, but not too much too soon. 29. Think of writing as a constant battle against the natural inertia of language. 30. Write in layers. Have as many things happening in a play in any one moment as possible. 31. Faulkner said the greatest drama is the heart in conflict with itself. 32. Keep your chops up with constant questioning of your own work. React against your work. Be hypercritical. Do in the next work what you aimed for but failed to do in the last one. 33. Listen only to those people who have a vested interest in your future. 34. Character is the embodiment of obsession. A character must be stupendously hungry. There is no rest for those characters until they've satisfied their needs. 35. In all your plays be sure to write at least one impossible thing. And don't let your director talk you out of it. 36. A writer cannot live without an authentic voice -- the place where you are the most honest, most lyrical, most complete, most creative and new. That's what you're striving to find. But the authentic voice doesn't know how to write, any more than gasoline knows how to drive. But driving is impossible without fuel and writing is impossible without the heat and strength of your authentic voice. Learning to write well is the stuff of workshops. Learning good habits and practicing hard. But finding your authentic voice as a writer is your business, your journey -- a private, lonely, inexact, painful, slow and frustrating voyage. Teachers and mentors can only bring you closer to that voice. With luck and time, you'll get there on your own.

http://birthmoviesdeath.com/2017/03/30/game-realities-mcelroys-and-the-power-of-meta-narrative http://birthmoviesdeath.com/2017/03/21/film-crit-hulk-smash-storytelling-vs.-movie-essence

https://medium.com/@jokewriting/writing-jokes-with-jill-twiss-54e57c4e16ed

Also funny jokes, I think, are this weird Venn Diagram with an overlap between “References The Audience Understands” and “Things The Audience Hasn’t Thought Of Yet.” If no one gets the reference then it’s not funny. And if everyone gets the reference and made exactly the same observation you did, then it’s not funny. So it’s a very tiny overlap of “Thoughts I Understand Yet Have Not Had Yet.”

https://www.glamour.com/story/outlander-season-3-episode-8-recap-claire-meets-jamies-other-wife-and-things-get-bloody http://www.outlandertvnews.com/2017/11/the-show-only-sassenach-outlander-episode-308-review-first-wife/ http://www.outlandercast.com/2017/01/outlander-action-around-scotland-on-the-hunt-for-season-3-filming.html

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