ADEX🕴️ retweeted
Kate Winslet and stephenathome settle the
age-old "Titanic' debate - could Jack have fit
on the door with Rose?
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
This is one of those short clips that shows the difference between just stretching and actually training mobility.
She’s holding a deep hinge with one leg nearly vertical while a coach stabilizes the hip and thigh. That position isn’t passive. The standing leg has to stay strong, the core has to brace, and the raised leg has to stay controlled instead of just collapsing into the stretch. The hands aren’t random, they’re giving her external support so she can stay in the range longer without fighting for balance.
Early on her face is pure focus. By the end she’s smiling and says, “That was very refreshing. Thank you.” That’s the part a lot of people miss. A good coach-client moment often ends like this: the hold lands, the tension releases, and there’s a quick acknowledgment that the work was useful, not just hard.
Most people see the flexibility. The real detail is the controlled assistance and the calm finish. That’s what separates a random stretch from intentional training.
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
Mike Ehrmantraut has always been a man who survives the unthinkable. In this powerful scene from Better Call Saul Season 5, Episode 4 (“Namaste”), we see just how far that survival instinct is pushed.
After a vicious street attack leaves him brutally beaten and stabbed by a gang of men, Mike is left unconscious and near death. The violence is sudden, merciless, and personal, a stark reminder that even the most careful operators can be caught off guard.
When he finally opens his eyes, he’s no longer in Albuquerque. He’s in a modest pueblo in Mexico, his wounds carefully treated by local strangers who ask no questions and expect no payment. The quiet of the room, the simple surroundings, and the absence of chaos create a rare moment of stillness for a man whose life is defined by control, calculation, and quiet violence.
This isn’t just a recovery scene. It’s a turning point. A brief pause between the storm that nearly killed him and the storm that is still to come.
Jonathan Banks delivers a masterclass in understated intensity, conveying pain, disorientation, and the slow return of that familiar, unbreakable resolve with barely a word.
A quiet, haunting, and deeply human moment in a series full of them.
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
Every family has a version of themselves they keep away from the outside world.
The funny part is that fame does not make those stories disappear. Bryan Cranston can play a man who manufactures meth, but his real-life Uncle Bob still managed to provide material that sounds almost too strange to write. Ryan Reynolds grew up around an uncle who treated Elvis performances like a family obligation.
These stories work because the celebrities are not the unusual ones for once. They are just relatives trying to explain the people who embarrassed them, surprised them, or made ordinary family gatherings unforgettable.
You can control your public image. You cannot control the stories your family tells about you.
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
Jennifer Lawrence got hired by Abercrombie, played football on the beach like she was actually trying to win, and they never used a single photo.
On Graham Norton she said the brand wanted “real people.” They handed everyone a football. The other models played pretty. She went full contact, red-faced, nostrils flared, sweating. One girl yelled to get her away. The campaign never ran. Most people would have called that a disaster. She just said she didn’t even try to give a picture.
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
THIS WEDDING TOOK A SHOCKING TURN! Just when everyone thought the ceremony was going smoothly, another woman suddenly walked up to the groom! What happened next left everyone stunned, and that final reaction says EVERYTHING! Watch till the end!
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
SHE JUMPED FROM THE TOP…
What she did next left the entire circus frozen.
DON’T SKIP—WAIT FOR THE FIRE HOOP!
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
“Drake could have booked almost anyone for his birthday… but the Backstreet Boys got THIS reaction out of him 😭 Some childhood memories never leave you.”
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
Craig Ferguson keeps a footstool under the desk for Tom Cruise and still needed it for her.
She sat down and her feet didn’t touch the floor. He stood up, pulled out the stool he said he keeps ready “in case Tom Cruise is ever on the show,” and slid it under her. She laughed and said they were making memes of themselves everywhere they go. From there the conversation jumped to her tiny dog Beezy, who gets washed in the sink every three days, and how the name is a funny version of Bridget. He asked if she’d been to Donegal. She said she tries things even though she’s “not very bright.”
Most hosts would have pretended not to notice the chair. Ferguson made the height the joke and kept the stool ready for whoever needed it next.
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
Conan didn't waste time on Carmen Electra before treated it like she was defusing a bomb.
Carmen reply is so wild on Conan.
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
Mickey Rooney got so lost in the middle of his own story that Conan O’Brien and the audience could barely hold it together. Sometimes, forgetting what you're talking about becomes the funniest part of the conversation.
In this classic Late Night with Conan O’Brien moment, the legendary actor gets sidetracked while trying to remember an unusual piece of tabloid trivia. He searches for the details, struggles to get back on track, and somehow makes the entire situation funnier with every passing second.
Meanwhile, Conan and the audience are losing it.
What makes the moment so entertaining is that nobody could have planned that exact kind of chaos. The pauses, the confusion, and the desperate attempt to remember all become part of the comedy.
And honestly, we've all experienced a version of this.
You're telling a story, confidently building toward your point, and suddenly your brain decides to take an unexpected vacation. You forget a name, lose the details, or completely forget why you started talking in the first place.
For a few uncomfortable seconds, you feel like everyone is watching you struggle.
But here's the funny thing: those moments often make us more relatable, not less.
We spend so much time trying to appear intelligent, confident, and completely in control. Yet some of our most memorable interactions happen when that polished image falls apart and we simply laugh at ourselves.
Mickey Rooney didn't need a perfectly delivered punchline to entertain the room. The struggle itself became the punchline.
Sometimes, you don't have to be the most polished person in the room. You just have to be comfortable enough to laugh when things don't go according to plan.
Have you ever forgotten what you were saying halfway through a story and had to pretend you meant to do that.
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
Kate Bosworth cut a chunk out of her husband’s hair in Bali and they still called it the funniest night of the trip.
On James Corden she was asked for her pick for sexiest man alive and immediately said her husband Michael. James pulled up a photo of him giving the camera the finger. She explained they were in Bali, he asked her to cut his hair, and she’d never done it before. She told him she was nervous. He said she’d be fine. Everything was going well until the front, he asked for a little more off the top, and she panicked and cut straight to the root. A huge piece came off. They spent the next few hours dying laughing instead of getting mad.
Most people would have spent the interview defending the haircut or changing the subject. She owned the disaster and said the laughing made it worth it.
youtu.be/ajBJamgZ2nc?si=tGcW…
Tony Soprano can tolerate a lot of disrespect directed at himself. Bring his daughter into it, and suddenly the rules change.
When Tony confronts Coco, it isn’t a carefully calculated business decision. It’s personal, immediate, and ugly. Coco crossed a line by making Carmela and Meadow part of his disrespect, and Tony responds as a father before he responds as a mob boss.
That’s what makes the scene so revealing. Tony spends his life demanding that other people separate business from personal feelings, yet he abandons that principle the moment his own family is involved. He expects everyone else to control their emotions while treating his own anger as justification.
You can understand why he’s furious without pretending his response is normal or admirable.
Tony’s biggest contradiction is that he wants his family protected from the world he created, but he keeps bringing that world to their doorstep.
Source:
ADEX🕴️ retweeted
NEVER underestimate the power of a conversation in the locker room! Sometimes, all it takes is one unexpected comment to turn an ordinary moment into absolute comedy gold. 💀😭
The confidence, the reactions, the awkward moments, and the way everything unfolds make this scene even funnier! 😂🔥
You can try to keep a straight face, but some moments are simply impossible not to laugh at.
It's the kind of moment that reminds us why comedy hits differently when nobody is holding back. One thing is certain: the reactions alone deserve an award! 🤣
Watch till the end and tell me which moment got you laughing the hardest!
孤児の涙 ― 第6話
翌朝、シンシアは立ち上がることさえできなかった。
体は熱く、全身が高熱に襲われていた。唇は乾き、目は赤く充血していた。廊下に敷かれたマットから起き上がろうとしたが、足に力が入らず、倒れそうになった。
最初に彼女を見つけたのは、グレートネスだった。
「お母さん! お父さん! 来て! シンシアの体がすごく熱い!」
彼女は大声で叫んだ。
オラジデ氏が慌てて飛び出してきた。シンシアの額に手を当てた瞬間、あまりの熱さに思わず手を引っ込めた。
「昨日、この子に何をしたんだ?」
彼は初めて、怒りに震える声で妻に問いただした。
「わ、私は少し罰を与えただけよ。あの子が生意気だったから……」
「生意気だと? 雨の中、濡れた服のまま膝をつかせたんだぞ! この子を見てみろ! 頬を見てみろ! 誰がこの子を殴ったんだ?」
妻は黙り込んだ。
部屋の隅では、エリックが落ち着かない様子で身じろぎし、父親と目を合わせようとしなかった。
オラジデ氏はシンシアを両腕で抱き上げた。
ここ数か月で初めて、誰かが彼女を父親のような優しさで抱きしめてくれた。
彼女の体は驚くほど軽かった。
あまりにも軽すぎた。
「グレートネス、車の鍵を持ってきなさい。今すぐ病院へ行くぞ!」
彼はそう告げた。
病院へ向かう車の中で、シンシアは意識がもうろうとしていた。
眠りの中で、彼女は何度も名前を呼んだ。
「お母さん……お父さん……ジェームズ……」
オラジデ氏の目には涙が浮かんだ。
彼は亡き弟、ハリソンのことを思い出した。
そして、もし何かあったら弟の子どもたちを必ず守ると約束した日のことも思い出した。
自分は、その約束を守れなかったのだ。
病院に到着すると、医師はシンシアの様子を確認し、首を横に振った。
「旦那さん、この子は十分に食事を与えられていませんね。マラリアに加えて、雨に濡れたことでひどい風邪を引き、疲労も限界に達しています。13歳なのに、10歳くらいにしか見えません。この子に食事を与えていないのは誰ですか?」
オラジデ氏は何も答えられなかった。
恥ずかしさと後悔が、彼の心を覆い尽くした。
シンシアはそのまま入院することになった。彼女の手には点滴がつながれた。
グレートネスはベッドのそばに座り、シンシアの手をしっかりと握っていた。
そして、静かな病室で、グレートネスはついに父親へすべてを打ち明けた。
「お父さん、昨日だけじゃないの……。お母さんは毎日のようにシンシアを殴っているの。食事も十分に与えていない。朝5時には店を開けさせて、夜9時まで働かせているのよ。お客さんを呼び込むために、炎天下でも雨の中でも立たせているの……」
オラジデ氏の手は震えていた。
グレートネスは、さらに話を続けた。
「それに、エリックも……。お父さん、エリックは夜になるとシンシアの部屋に入っていくの。あの子に不適切な接触をしているのよ。誰かに話したら家から追い出すって脅しているの……。エリックの友達のジョンも彼を止めようとしたの。それで、ジョンはもうエリックと話さなくなったのよ」
オラジデ氏は立ち上がった。
顔は怒りで赤くなっていた。
彼は病室を出ると、すぐにエリックへ電話をかけた。
「エリック、今どこにいる? すぐに病院へ来い。今すぐだ!」
1時間後、エリックがやって来た。
彼は心配しているふりをしていた。
しかし、彼が病室に入った瞬間、父親はドアを閉め、厳しい表情で向き直った。
「エリック、ひざまずけ」
オラジデ氏が言った。
「お父さん……」
「ひざまずけと言ったんだ! シンシアに手を出したのか? お前のいとこだぞ! 私が守るために家へ迎え入れた、まだ13歳の孤児なんだぞ!」
エリックは汗をかき始めた。
「お父さん、そんなの嘘だよ。グレートネスが嘘をついているんだ。ジョンは僕に嫉妬しているだけで……」
パシッ!
鋭い平手打ちがエリックの頬に飛んだ。
それは、以前シンシアが店で受けた平手打ちと同じだった。
「私を愚か者だと思っているのか? 私はお前を、立派な人間に育てたつもりだった。獣のような人間に育てた覚えはない!」
父親は怒りを込めて言い放った。
「今日から、お前はこの家に住むことを許さない。私がどうするか決めるまで、村にいるおじの家で暮らせ。もし二度とシンシアに近づいたら、私自身が警察に通報する!」
エリックは泣き崩れた。
初めて、彼はひざまずく側になった。
初めて、自分の行いを恥じたのだった。
グレートネスはベッドのそばで、その様子を見守りながら、シンシアの手をさらに強く握った。
そのとき、シンシアがゆっくりと目を開けた。
彼女は、自分を守ろうと立ち上がった叔父の姿を見た。
自分のために涙を流すグレートネスの姿も見た。
この1年間で初めて、彼女の心に小さな希望の光がともった。
もしかしたら……。
天国にいる両親は、決して自分を見捨てたわけではなかったのかもしれない。
シンシアはかすかな声でつぶやいた。
「おじさん……ありがとう……」
オラジデ氏は彼女のベッドに近づき、優しく頭をなでた。
「いや、シンシア。よく今まで耐えてくれた。私こそ、お前に許してもらわなければならない。すまなかった」
彼は涙をこらえながら続けた。
「今日から、お前はもう私の家の使用人ではない。お前は私の娘だ。もう二度と、こんな苦しみを味わわせない。お前の苦しみは、今日で終わりだ」
病院の外では、彼の妻が何度も電話をかけ続けていた。
しかし、オラジデ氏は携帯電話の電源を切った。
その日、初めて、孤児の涙は痛みだけを表すものではなくなった。
それは、苦しみから解放された喜びの涙でもあった。
ADEX🕴️ retweeted
Patrick Stewart told them to fly his wig to London and they still came back for the bald version.
On Graham Norton he explained the final Picard audition. Paramount wanted to see him with hair, so his agent asked if he had a piece. He did made from his own hair and they flew it over. He walked in wearing it, did the scene, and the executives seemed pleased. Then the hairdresser started taking it off and the Paramount people knocked and walked in. They stayed long enough to see him completely bald. His makeup artist told him right after: that’s why they came back. They wanted the version without the wig. He got the part.
Most actors would have kept the hairpiece on and hoped. Stewart let them see the real thing and walked out as Picard.
ADEX🕴️ retweeted
People become so fascinated by a person's position that they forget there is a person underneath it.
Prince William joking about wanting to be a policeman and briefly imagining himself as a DJ is funny because it takes us away from the royal image and back to something ordinary, a kid imagining different versions of his future.
Most of us had ambitions we eventually outgrew. The difference is that when you're born into a famous family, even those ordinary childhood dreams become part of your public story.
Sometimes, the most revealing moments in a celebrity interview aren't about fame or success. They're the moments that remind us the person came before the public image.
ADEX🕴️ retweeted
Francis Underwood doesn’t just defend himself, he puts the entire system on trial.
In this unforgettable House of Cards moment, the President turns a congressional hearing into a battlefield. He calls out the committee’s hypocrisy, exposes the “pay-to-play” game they all play, and delivers a cold truth, they don’t want a man of principle. They want a strongman who keeps the machine running.
Then he delivers the final blow.
“The age of reason is dead.”
In politics, there is no right or wrong, only who’s in, and who’s out.
Pure Underwood. Ruthless. Unapologetic. Unforgettable.
ADEX🕴️ retweeted
“A 3-year-old was scoring goals against older kids, and a youth soccer game ended with police being called. 😳
His parents say he was being targeted for being too good. The league tells a different story.
Watch the footage and decide: did the adults handle this properly?”
ADEX🕴️ retweeted
"As long as you're alive, you gotta chance." The realest words to a young man who thinks he doesn't have choices.
I actually teared up at this scene because I felt DW's desperate rage in his "acting" to save a young life. He is in a class by himself in his field and has the innate ability to call upon his emotions to portray what only a master performer can.
"Tell me what you see when you look at me"
The fact that he answered "I don't know" explains everything. Denzel knows he himself is a bad man based on his past. He knows that in the eyes of others he is death incarnate due to his skill set.
This boy is so naive and innocent that he can't even recognize death even when it's staring right at him with a gun pointed at his face. Denzel turns this into a lesson for him
"You don't even know what death is" is all he can say.
This is one of the most powerful moments in cinema history. It's really inspiring to young adults who don't have fathers as role models. Denzel's performance is spectacular and Antoine Fuqua did a marvelous job of sending a message about making the right choices in life.
For all those saying this is unscripted and improvised, this is something Denzel deeply feels, and he made a point of it to include it in this film. In a previous interview he talks about "little yummies", about the 11 year old boy, Robert Sandifer, nicknamed "Little Yummy" because of his love of cookies, who was gunned down by a rival gang.
In the interview Denzel goes on to talk about responsibility, about holding yourself accountable. I'm not saying that this isn't off the cuff, simply Denzel has had this conversation going on in his soul for decades, and it shows. Sure this is acting, but in this one part in the movie he bares his soul, and thereby gives this character profound depth.
ADEX🕴️ retweeted
That’s one hell of a hallucination!
House has a way of making you question what you’re watching before giving you enough information to understand it. A bizarre moment suddenly becomes a clue, and you find yourself replaying the scene in your head.
In “Not Cancer,” several recipients of organs from the same donor die, leaving House’s team racing to save the remaining two. That connection gives the episode its tension: they know where to look, but still have to figure out what they’re looking for.
Meanwhile, House is auditioning new best friends and having Wilson spied on. He can investigate a stranger’s symptoms with extraordinary precision, yet handles missing his friend with all the subtlety of a police operation.



















