Maybe Kida being royalty gives her Herculean strength or something. It can still take place in Atlantis or the sequel, but Kida must make a deal with something or someone evil, Have Milo risk his life, have Kida bring him back from the dead via use of crystals or something. Prompt from Saphira Winters: But what about writing an Atlantis Kida and Milo Hercules au. Alternate Universe - Hercules (1997) Fusion.Geekygirl24 Fandoms: Atlantis: The Lost Empire (2001) If you are looking for a state-of-the-nation piece, it is here.And A Thousand Years, Would Be Worth The Wait It says profound things about the toll frontline jobs can take on our compassion and our morals how fragile every structure, from an individual’s psyche to society en masse, is without emotional, financial and political support and what happens when we become uncoupled from each other and have nowhere to turn. The Responder is as fast and riveting as a thriller and as harrowing as a documentary. In the therapist’s office, historical damage is revealed as the misery handed on from man to man is overlaid by new, more urgent problems. The torque on the remaining four episodes (I looked ahead – I was unable to look away) is phenomenal, as is the blistering humanity and desperation of it all. She hasn’t been robbed of the coke, either, as she told Carson. It is simply a recognition of the truth the public can usually ignore, but which he lives with every night and we have watched play out for the past uncompromising hour. It is a measure of the strength and beauty of the script and the performances that this isn’t a dramatic moment.
“I did a good thing – just a thing for somebody who normally doesn’t matter.” “Everyone matters,” she chides him, gently. He even tells his mother ( Rita Tushingham) when he visits her in her care home. He feels, for once, that he has made a difference. But rather than let Casey get beaten senseless by Carl, Carson gives her the money to get a train to Leeds and safety. It is clear that Carl is not just Carson’s friend, but also a dealer, with Carson at least half in his pocket.
Carson snarls: “Whose fault is it, then? Fucking Thatcher’s?” That line packs about 700 PhDs of sociopolitical discourse into seven words and should be revered by writers everywhere. She tells him she stole Carl’s stash of coke. Could he look for her? When Carson finds Casey, she says by way of greeting: “There’s no warrants out for me!” He replies: “Nobody wants you but me.” It is one of many tiny, bleak moments that hollow you out before you have time to register them fully. Town Centre Casey (Emily Fairn) – a local “baghead”, or drug addict – has gone missing. He gets a call from his slippery friend Carl (Ian Hart, of course – thank you, God and casting). He moves through a world of intended and unintended cruelties and ignores tirades of abuse from gangs of lads as he drives around the city. There is a good man suffocating under the emotional rubble.ĭuring the first episode’s night shift, Carson helps collect body parts at the scene of a road traffic accident, deals with neighbours’ disputes and attends the scene of a natural death. You can feel his dragging depression beneath the explosions of anger (generally aimed at the trackie moles, whose endless, futile criminality and lack of personal responsibility erode Carson’s restraint), the stress and frustration, the abraded conscience. Carson is a man comprising layers of rage, suffering and despair, and Freeman slowly illuminates each one he will surely win awards for his performance. Freeman – who must have fallen on it like a hungry dog – does every bit of it justice. The script (the first original work for the screen by Tony Schumacher, a former police officer) is an astoundingly tough, vigorous, sinewy thing without a wasted word or moment. Every night, there’s spit on my face and blood on my boots and it never stops.” He tells his therapist (Elizabeth Berrington) that he feels as if he is playing whack-a-mole. These could be anything – the constant state of readiness is as exhausting as it is exciting – but they are almost always a manifestation of poverty, inadequacy or desperation. His job is to respond to emergency calls.
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