Prisspanem

“I've had a lot of ups and downs in my life. I'm still working through it personally, but the best thing about me is that if an alcoholic or drug addict comes up to me and says, 'Will you help me?' I will always say, 'Yes, I know how to do that. I will do that for you, even if I can't always do it for myself! So I do that, whenever I can. In groups, or one on one.

And I created the Perry House in Malibu, a sober-living facility for men. I also wrote my play The End of Longing, which is a personal message to the world, an exaggerated form of me as a drunk. I had something important to say to people like me, and to people who love people like me.

When I die, I know people will talk about Friends, Friends, Friends. And I'm glad of that, happy l've done some solid work as an actor, as well as given people multiple chances to make fun of my struggles on the world wide web...

but when I die, as far as my so-called accomplishments go, it would be nice if Friends were listed far behind the things I did to try to help other people.

I know it won't happen, but it would be nice.”

- Matthew Langford Perry

[insp.]

+ happily answering Aziraphale's questions

At the beginning of the movie, when Alma is telling her story to a very young Mirabel, these are some of the visuals that accompany it:

They're vague and in a way, gentle. We know what is happening here is very sad, but it also feels distant, something that happened so long ago that it doesn't feel close and personal. Which is exactly how you would tell a story like this to a young child.

These are the visuals that accompany the story the second time she tells it, this time to an older Mirabel, as she reveals exactly what this experience did to her:

The story isn't different. We're shown a bit more of Alma and Pedro's relationship and life together, but it's nothing that we couldn't have inferred from the first telling. But this time, Alma is letting Mirabel, and the audience, see the full extent of her pain. Notice how raw and visceral the emotions are in the second version. How Alma and Pedro are clearly terrified when they realize they've been found. The sword glinting in the moonlight. And Alma doesn't just reach for her husband, she screams in anguish as he is killed. Even though we technically already know this story, this moment hits like a sledgehammer to the gut. Because now we, like Mirabel, understand exactly what Alma went through and why she is so terrified of losing everything again. The pain is no longer distant or in the past. It is very close and very much in the present. Something that Alma never wanted to admit to her family.

God only knows what the context of this is

“Do you really think our respective offices are going to care?”

“Well, no. I’m just saying it’s not my fault. Anyway, he was a saint to his parish and a demon to his housekeeper. Makes him a double agent. So we’re both doing the right thing.”

“And both doing the wrong one.”

“Well. I suppose you could make that argument.”

“How deep do you think we need to put him?”

“I wouldn’t know, I’ve never hidden a body before. I still don’t see why we can’t miracle him away.”

“Audits, my dear. I’m not sure how your side is about it, but my side audits miracles. Unless you’re really sure about that “both doing the right thing” argument.”

Read this to others.

hoarder