Last Letter Episode 1
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Ines Kahnwald has possession of the letter after the suicide. She broods over it in her apartment, perhaps to the detriment of everything else, awaiting the described time and finally opens it and reads it.
The suicide note is created by Mikkel/Michael based on the letter that Jonas shows him in 2019. It is left on the counter in his workshop when he commits suicide, and Ines picks it up before anyone in the family can see it. Ines keeps it until the \"open by\" date on the front of the envelope (five months later, in November), at which point she opens and reads the letter.
About a week after she opens the letter, a young Jonas confronts her about what she knows about Mikkel being Michael. She shows Jonas the suicide note, to which he comments, \"I burned this.\" He reads the letter and holds on to it.
Jonas has to then hold on to this letter for another 33 years. At which point, he'll travel back to 2019 and have Regina deliver the note to the young Jonas, so he can read it and burn it, just before going to Ines and getting the 5 month old version of the letter, thus completing the loop.
The 76-minute episode, titled \"Long Long Time,\" tells the story of Bill (Nick Offerman) and Frank (Murray Bartlett), a gay couple who lived for two decades by themselves in a post-pandemic small town outside Boston. It's both a moving love story and a pretty hard gut punch, made all the more emotional by the little details sprinkled throughout.
One of the final elements you might have missed near the end of the episode The ending of Bill's final letter to Joel (Pedro Pascal), who he'd made reluctant acquaintances with after Frank and Tess (Anna Torv) had covertly become friends over the radio.
\"This isn't the tragic suicide at the end of the play,\" says Bill. \"I'm old. I'm satisfied. And you were my purpose.\" The last we see of Bill and Frank is their retreat to the bedroom to die in each other's arms.
At this point Ellie abruptly stops reading, anticipating the emotional impact of the end of the sentence, and Joel takes the letter from her to read himself. We see a brief close up, and the words \"Tess safe\" are clearly visible in Bill's hand.
The letter only goes on for a few more lines and Joel's hands keep us from reading it in full. But we can see \"and she decide you're\" on one line, followed by \"I recommend pairing\" on the penultimate line. On the last line we see a word that looks like a type of wine, possibly \"Bordello\".
When Naho gets to school, she reads the letter. It states a couple of things: Future Naho has many regrets; a new transfer student is coming to her class; and that she should not invite him to hang out with her that day.
The letter ends up being correct and a boy named Kakeru Naruse sits next to her. Naho is unable to stop Kakeru from hanging out with the rest of her friend group. The friends show Kakeru a tour of the new town and have fun with him. Kakeru doesn't show up at school for two weeks later on.
After that, Naho's class participates in a sports game. The letter says that her class is losing in softball, and her classmates ask her to bat. However, she decides not to and the class loses. The letter asks Naho to say \"yes\" this time around. It also says that this was the day she fell in love with Kakeru.
Later on, the letter's contents become true. Naho's class is losing in softball and she's asked to bat. Her classmates persuade her, but Kakeru says that her foot is hurt and that she shouldn't go. However, Naho manages to must up the confidence and takes on the position. She hits the ball and their class wins.
The 76-minute episode, which tells the story of Bill (Nick Offerman) and Frank (Murray Bartlett), a gay couple who lived for two decades by themselves in a post-pandemic small town outside Boston, is both a moving love story and a pretty hard gut punch, made all the more emotional by the little details sprinkled throughout.
Shudder's Queer for Fear: The History of Queer Horror started off with a beautiful and important dive into gothic literature's part in the foundation of the genre and what constitutes \"other\" in our society. This first episode spent time examining the works and adaptations of Mary Shelley, Oscar Wilde, and Bram Stoker.
Spending time working through the deeper historical contexts regarding iconic releases of Dracula, Frankenstein, The Picture of Dorian Gray, and others was at the center of this first episode of Queer for Fear. Seeing such a strong queer female presence like Mary Shelley be discussed and adored in such a way was so impactful. Before I knew it, tears started rolling down my face because this was someone I had studied back in college and whose voice became a powerful tool for horror and queer writing so early on. To listen to those being interviewed discuss her and other prominent figures during her time was incredible. Also, the discussion of those after her was a perfect setup for introducing the absolute queerness inherently in horror to those familiar with the genre and those who aren't.
The use of illustration alongside stories, reading such iconic and often missed love letters, and simple settings for interview time made Queer for Fear set itself apart from other docuseries that would attempt to touch on this big of a topic. The absolute passion flowing from the words spoken by interviewees about early gothic horror and the queer community was fantastic. This became a thorough introduction that should be a prime example of how to inform others in horror, film, and television studies. It wasn't only educational and inspiring to watch, but this episode included plenty of entertaining elements to mix in, in order to cope with the reality of the genre being a necessary creative outlet in times of ever-changing persecution of queer people.
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Sullivan Ballou was a successful, 32-year-old attorney in Providence, Rhode Island, when Abraham Lincoln called for volunteers in the wake of Fort Sumter. Responding to his nation's call, the former Speaker of the Rhode Island House of Representatives enlisted in the 2nd Rhode Island Infantry, where he was elected major. By mid-July, the swirling events in the summer of 1861 had brought Ballou and his unit to a camp of instruction in the nation's capital. With the movement of the federal forces into Virginia imminent, Sullivan Ballou penned this letter to his wife. His concern that he \"should fall on the battle-field\" proved all too true. One week after composing his missive, as the war's first major battle began in earnest on the plains of Manassas, Ballou was struck and killed as the Rhode Islanders advanced from Matthews Hill.Regrettably, the story of Sullivan Ballou does not end with a hero's death on the field of battle and a piercing letter to a young widow. During the weeks and months that followed the battle, Confederate forces occupying the area of the battlefield desecrated the graves of many fallen Federals. As a means of extracting a revenge of sorts against the Union regiment at whose hand they had suffered, a Georgia regiment sought retribution against the 2nd Rhode Island.Supposing they had disinterred the body of Colonel John Slocum, commanding the Rhode Islanders during the battle, the Confederates desecrated the body and dumped it in a ravine in the vicinity of the Sudley Methodist Church. Immediately following the Confederate evacuation from the Manassas area in March 1862, a contingent of Rhode Island officials, including Governor William Sprague, visited the Bull Run battlefield to exhume their fallen sons and return them to their native soil. Led to the defiled body, the party examined the remains and a tattered remnant of uniform insignia and discovered that the Confederates had mistakenly uncovered the body of Major Sullivan Ballou, not his commanding officer. The remains of his body were transported back to Rhode Island, where they were laid to rest in Providence's Swan Point Cemetery.Of the tens of thousands of letters written in the days leading up to the First Battle of Manassas, certainly none is more famous than the last letter of Major Sullivan Ballou. As poignant as it is prescient, Ballou's epistle captures not only the spirit of patriotic righteousness that led many men to the enlistment office, but it also drives home the stark reality that casualties of war were not confined to the battlefield. There were hundreds of thousands of soldiers who would not return to their families over the next four years, leaving behind a Sarah, or a Willie and Edgar who would \"never know a father's love and care.\" Very few, however, had the foresight or the eloquence to leave behind a legacy as touching as Sullivan Ballou's to his grief-stricken family.
Headquarters, Camp ClarkWashington, D.C., July 14, 1861My Very Dear Wife:Indications are very strong that we shall move in a few days, perhaps to-morrow. Lest I should not be able to write you again, I feel impelled to write a few lines, that may fall under your eye when I shall be no more.Our movement may be one of a few days duration and full of pleasure and it may be one of severe conflict and death to me. Not my will, but thine, O God be done. If it is necessary that I should fall on the battle-field for any country, I am ready. I have no misgivings about, or lack of confidence in, the cause in which I am engaged, and my courage does not halt or falter. I know how strongly American civilization now leans upon the triumph of government, and how great a debt we owe to those who went before us through the blood and suffering of the Revolution, and I am willing, perfectly willing to lay down all my j