Look at my life. Look at my choices.

Here’s Professor Sakuragi and his daughter Koharu with her partner Yamper. This is his research lab that he built in the Kanto region.

... oh boy. Here we go again.

“He’s got balls, this, uh … what was his name again?”

Keyblade Wielder Esmeralda!

Her keyblade is Notre Dame, while the blade itself consists of the spire and the candle stick she fought Phoebus with in the Church! The keychain is the map pendant she gives to Quasimodo.

Malvolio’s Revolve

The joy of Shakespeare is that even if you see the same play dozens of times, each production is its own, unique experience.

Having said that… there are certain bits of stage business that often crop up in numerous productions. One of my favorites is Malvolio’s revolve.

Just for fun, here are various examples of Malvolio’s revolve that have been captured on film. (If the gifs don’t work, check out my original post here.)

Alec Guinness in the 1970 ITV Saturday Night Theatre production  does the classic dubious, self-conscious revolve, although Sir Toby and his gang are safely behind a hedge and don’t have to hide.

Nicholas Pennell in this 1986 filmed production at the Stratford Festival of Canada executes a confident and rarely-seen double revolve, forcing his peanut gallery to duck out of sight.

In this filmed version of the Renaissance Theatre Company’s 1988 production, Richard Briers executes a very slow , dubious revolve that is notable for being counter-clockwise. In my experience, most Malvolios revolve in a clockwise direction.

Finally, this Stratford Festival production milks the revolve for all it’s worth, with Tom Rooney’s Malvolio turning at just the right speed to miss Sir Andrew’s desperate dash across the stage.

Because Mustang wasn’t trying to fight Scar.

Ed being saved at the last second is excellent dramatic tension, but ignore the storytelling stuff and look at the scene from a tactical perspective. Scar can destroy/kill anything he touches. His hand is literally inches away from Ed’s face, and Ed can’t even get to his feet, let alone defend himself. Scar’s really fucking fast, and the backup is standing a good twenty feet back. Which is why everyone stands there and lets him have a little monologue, because this isn’t a showdown with a serial killer; it’s a hostage situation. If Scar went for the kill, they wouldn’t be able to stop him. They’re not going to talk him down, Ed’s not going to escape, so the immediate priority is to make Scar move away. Ideally without alerting him to the fact that he’s got a hostage at his feet.

So Mustang hands Hawkeye his weapon and steps up as a shiny distraction, trying to get Scar to walk away from the helpless Fullmetal Alchemist and come fuck up the Flame Alchemist instead. Note that Hawkeye doesn’t move until Scar’s begun walking forwards; she’s not going to make any sudden moves while the serial killers got a victim in arms reach. But one Ed’s out of immediate danger, she’s charging in to cover Mustang, and shots get fired.

Also notice how Ed doesn’t react to the situation until Havoc’s helping Ed sit up? Yeah, that also seems… purposeful. When Scar’s giving his short monologue, he’s literally standing over Ed. Of course Ed’s going to be silent and stay perfectly still - if he draws Scar’s attention, then he’ll be killed or used as a hostage. So he just keeps laying there while Scar’s standing over him, and doesn’t try to wiggle away or say anything, because it would be a very bad time to be noticed.