Armitage “characters who go nowhere” [spoilers for previous and future roles]

The exceedingly apt quotation above stems from Frenz. So, spoilers for a lot of stuff, really.

Gratuitous eye candy from Project magazine — but I hope he got to keep the leather jacket. It really suits him. Source:

Gratuitous eye candy from Project Magazine — but I hope he got to keep the leather jacket. It really suits him. Source:

Again from the Project Magazine interview, here’s Richard Armitage quoted as responding to a question about whether it’s annoying to be killed off, as he was in Spooks:

“I’d kind of decided that it was time to go [from Spooks], so I told them, ‘do what you will’. Which is exactly what they did. There’s a satisfaction in playing a bad guy. You know they’ve got to get it, but the fun part is seeing how that happens. I’ve been shot in the head and jumped off a building, and I love my death in Captain America.”

We assume that the shot to the head occurs in Strike Back, and the jumping off the building we know occurs in Spooks 9.8. Armitage characters have also chewed on a cyanide capsule, been shot in the chest, shot in the abdomen, and speared through the torso. Dying can be a great opportunity, of course, to show off your acting chops. It’s also, one imagines, really difficult, as one sees so many unconvincing screen deaths. How well does Armitage do it? And what, if anything, do these clips suggest about how he will perform the upcoming deaths in Strike Back and The Hobbit?

[Note: I probably won’t get to see Strike Back until the UK broadcast. But I have read the spoiler.]


Now, many of his characters have survived, but recently we’ve witnessed a lot of deaths. As far as I know, an Armitage character dies in five video productions that we’ve seen so far (and presumably, also, in Strike Back). I am not considering potential deaths in voice work. Here’s a look back at those deaths, in Ultimate Force, In Divine Proportion, Robin Hood, and Spooks. I don’t have a clip of Heinz Kruger’s death scene in Captain America, nor any information on Strike Back: Project Dawn.

I also want to admit that my first two plot summaries are lame because I have only seen the death scenes in these productions; I haven’t watched the entire shows. Have to save some new material for the next year, right?

For each death I’ve given the script a grade and Armitage a grade, with an explanation after the clip.

First, Ultimate Force. Armitage’s first screen death in 2003, pre-North & South, so no one knew who he was. Captain Ian Macalwain, played by Armitage, has always stuck out like a sore thumb in Red Troop for his insistence on adherence to protocol, covering his own *ss, and following procedures and the technical chain of command, preferences that quickly place him at odds with Henno Garvie, Red Troop’s leader but an NCO. Ian falls for Laurie Twamley, the unhappy wife of SAS Red Troop member Pete Twamley, Henno’s best friend, who’s developed PTSD as a result of events on a mission to Bosnia. Mrs. Twamley confides some of Pete’s more disturbing behaviors to Ian, who wants to rescue her from what he sees as a dangerous situation, but won’t take “no” for an answer when Laurie tells him their romantic interlude was a mistake. When Henno gets wind of their secret liaison at a hotel while Red Troop is on assignment, he decides to take matters into his own hands — with the tacit consent of Red Troop, none of whom like or respect Macalwain.

Grade for script: C. Like everything that involves Chris Ryan, Ultimate Force seemed to involve improbability after improbability, and series 2 involved a number of plots that strained credibility, except, perhaps, if you were a macho guy engaged in seriously violent wish fulfillment. The point of killing Macalwain seems to have been to show in yet one more way the extent of Henno’s twisted inhumanity, despite his gifts as a soldier. It’s hard for me to credit that such a successful soldier could be such a destroyed soul, and because Henno has so few redeeming qualities, it’s even harder to accept his flaws. Most of this series was a cartoon for me.

Grade for death: B. We really don’t get to see much acting here — Henno simply guns Ian down. Effective falling, but scream perhaps just a little too loud? Macalwain in the cooler at the end is, dare I say it: chilling? I’d be amused by his angelic look if I weren’t so disgusted.

Second, In Divine Proportion, the first episode in series 4 of The Inspector Lynley Mysteries, which circle around characters created in a series of novels by Elizabeth George. This was Armitage’s first post-North & South appearance, so many fans would have seen this, and the series it was in was broadcast in the U.S., where it had a wide following as well. The main reason I haven’t watched this piece all the way through has nothing to do with Armitage — I was a huge George fan in the 1990s while in graduate school but her novels after about 2000 or so started to annoy me, and my ongoing frustration with her makes me less than eager to watch this material. At any rate, Philip Turner is a member of the local gentry run up against hard times, a man who’s had to sell his heritage to pay off his gambling debts. When a woman is murdered in his home, he comes under suspicion for having had an affair with her. In the course of the show, the protagonists, Inspector Lynley and DS Havers, uncover a history in which it turns out that the murder has been committed to cover up evidence of a much older murder in which Turner was implicated. The murderer of both the local woman and the earlier victim then shoots Turner in a dramatic closing scene that’s really about Havers’ capacity to overcome a previous work trauma. I’ve clipped the whole scene because the camera moves frequently to Armitage to show his reaction to statements by other characters.

Grade for script: A. What I’ve seen of this show suggests that it’s quite well written, and it doesn’t ask of the character in this case more bombast than one can take as a viewer.

Grade for death: A. As I said, the scene is really about whether Havers can take being in a stressful work situation again, and not so much about the effectiveness of Turner’s death, which is a collateral point to everything in the drama. Here we hear a clear signal from the Armitage distress register, which is the movement of his voice into the mid to upper ranges of his baritone register, with a corresponding growth in resonance that calls attention both to the quality of the voice and to the emotion felt by the character. We also see an effective portrayal, in the calm but forceful body language, of the self-contradiction of the character that Armitage exploits here: the dissolute son of the upper classes who finally finds it in himself to do something moral.

Third, Robin Hood. In the apocalyptic third season, Robin Hood, Guy of Gisborne, their newly-revealed mutual half brother, Archer, Isabella, and the Sheriff are all contending in various constellations for control of Nottingham. In a highly choreographed, quite dance-like fight sequence near the end of the final episode, both Robin and Guy are fatally wounded. Guy has just time to make his amends with Robin and declare his emancipation before he gives up the ghost. Armitage already had a rapidly expanding fan base by this point; 2.2 million viewers in the UK saw the final episode, which was well down from the show’s earlier ratings.

Grade for script: D. It’s hard for me to say anything positive at all about the RH series 3 scripts, except that they gave Guy a lot of screen time. The writers gave Guy the most stereotypical, unbelievable lines possible for a stock villain who has to show that he’s remorseful, so much so that you wonder how Armitage gets all this stuff over his lips without bursting into giggles. This reviewer thought Armitage could have performed this death effectively without words, and if no better words were available than the ones he was given, I have to agree. As it was, the script verged occasionally over into the realm of inappropriately Christlike, and it didn’t help that Armitage appeared to be channeling Robert Powell.

Grade for death: B+. Although in the end I was quite moved, it was probably because of my identification with and love of this particular character. This death started out poorly for me, with a scream that I again found too loud (was this a primal scream of annoyance with this script? one wonders) and a falling to the knees that the camera milked for every second it was worth, i.e., more than a few fractions of a second too long. This is one of those situations where the actor is unavoidably hampered by the script. That said, by the end of the scene, I think his understatement, his quiet voice, and then his limp departure with eyes starltlingly open are actually quite moving.

Fourth, the flashback to Lucas North’s attempted suicide in Russian prison in Spooks 8.4. By this point, Armitage has a clear audience dedicated to him that makes up a chunk of the people watching the show. Series 8, broadcast in 2009, started promisingly with an audience of roughly 6 million viewers and a 25 percent share in the UK, both of which dwindled rapidly toward the series end, I’d guess due to the increasingly incomprehensible scripts. Obviously, Lucas doesn’t die in this scene, but I include this because it’s an attempt at a death and a really convincing one, I find. After a scene in which Lucas must invite his former interrogator / torturer Oleg Darshavin (Emil Hostina) into his apartment in order to try to extract information from him about an impending terrorist attack, Lucas is confronted by memories of a moment at which, tortured beyond all tolerance by his Russian captors, he attempted to hang himself on some spare piece of ducting from the ceiling, only to be rescued by Oleg.

Trigger alert: suicide, hanging, torture.

Grade for script: A+, not only because he doesn’t say anything with his mouth, but everything with his eyes (Armitage himself noted that the script direction was extremely curt), but also because it’s the absolutely most believable death direction in all of the scenes discussed in this post in terms of context in the story narrative for the character, and in terms of the way that the flashback is embedded into the episode, so that we see at what cost Lucas interacts with Oleg in order to obtain the information about the terrorist attack.

Grade for death: A+ as well. It’s still hard for me to watch this episode because I know this scene is coming. It’s so utterly convincing. When I overcome my reluctance to watch the episode, I’ll write a longer analysis with discussion of microexpressions, but everything about the body language from the position of the shoulders and the shaking of the jaw to the alternately wild and dead expressions in the eyes is spot on. This scene sends shivers down my spine on the rare occasions when I can force myself to watch it.

Fifth, John Bateman’s death scene in Spooks 9.8. Pushed beyond all reason by the death of his lover, Maya, as they attempt to escape from the UK, John Bateman (he as was Lucas North) lures Harry onto the top of a London building, threatens to kill him, and then, when Harry challenges him to get it over with, apparently jumps off the building.

Grade for script: B-/C+. As I believe my episode by episode reviews show, I actually wasn’t as completely bothered by the Spooks 9 scripts as the average Armitage fan appears to have been — two or three episodes I found excellent, actually — but I wonder again why (as we saw in the death sequence for Guy in Robin Hood) why it is that writers who are capable of perfectly nuanced moral positions and vocabularies suddenly turn to big, vague, abstract nouns when they start writing death scenes. Does anyone of Lucas / John’s intellect really say things like, “I was bad,” or “he gave me a chance to mean something / do something”? Did John really lose 25 IQ points in this scene, as the script implies? I say more about this script in my original episode review, but I find this scene hugely frustrating to watch even though I wasn’t per se an enemy of the Bateman story line.

Grade for death: A-/B+. This is also a scene that’s going to get an extensive chew-through one of these days, but I find that Armitage is really struggling with the script here, and also with the control and presentation of the typical distress signals in his repertoire. That the scene doesn’t read as completely overwrought is surely due only to his self-control, but he seems to be maintaining it only tenuously in some points, with his voice not completely under control — something out of character for Armitage the actor — at all points in the scene.

And then there’s the death that Armitage loved: Heinz Kruger in Captain America. After Kruger blows up Dr. Erskine’s lab in order to destroy the Super Soldier program, he attempts to escape, chased by Captain America, who destroys his submarine and halls him back up on land for questioning. Kruger, seeing there’s no escape, bites down a cyanide capsule, yells, “Hail Hydra!” and dies.

Seconds before Kruger’s death: Richard Armitage as Heinz Kruger in a promo still from Captain America. Source:

Grade for script: A. Typical over the top cartoon style, but completely effective within that context. The villain is captured, explains his plan / contributes his bit to the plot, and is swept off the screen. No fat in this scene — economical and effective. Fantastic.

Grade for death: A. This is the highest energy death we’ve scene from Armitage yet. I can see why he likes it. We’re ready for histrionics but the whole event is delivered with such celerity that we’re almost surprised when Kruger foams at the mouth and his head sinks bank. Wait? Did he just kill himself? My heart is still pounding.

Unbaked summary: One thing that’s interesting about many of these deaths is the way they are scripted as putting an end to obsessions or craziness or unreasonable determination of some kind. As would any actor, Armitage does better with a better script. We can also say that with exceptions, the deaths tend to be under- rather than over-played — he’s definitely not using the fact that he has the audience’s attention to draw out our patience — he stays faithful to the role and gets the character dispatched with the proper tempo and mood. When he’s dying effectively, Armitage’s deaths spotlight our awareness of the contradictions he’s built into the characters he’s playing.

In other words: he dies well. It seems a bit superstitious of me to want to correct that to: Armitage performs death well. The more scholarly language doesn’t seem to have the same impact as the inaccurate but more stark generalization.


Happy Birthday month Richard Armitage! In honor of this event, consider donating your time, energy, and thoughts / prayers to an effort that’s meaningful to you. If you need a suggestion, here’s a link to Mr. Armitage’s recommended charities at JustGiving, as well as a link to means of generating a charity contribution on his behalf at, and a link to Act!onAid, a child sponsorship organization for which he recorded a voiceover in December 2010. Donate to Christchurch Earthquake Appeal here.

~ by Servetus on August 13, 2011.

54 Responses to “Armitage “characters who go nowhere” [spoilers for previous and future roles]”

  1. He does indeed do death well. No chewing of the scenery, no sense he’s trying to show off; being the journeyman actor he is, he works hard to get it right in the context of the character. His scripts have certainly done him no favors at times. *rolls eyes*

    (BTW, I also used to love Elizabeth George’s books, but fell away from reading them as well. )

    Re Lucas, to me, it seemed as if the man who threw himself off the roof was not a man, certainly not the intelligent, mature if damaged man we knew as Lucas North, but a tortured, rather sniveling adolescent, and perhaps that was due in part to the bad lines he was given. There were definitely moments in S9 where I thought Richard felt the script was straining all credulity.– moments when it seemed to me he was thinking, “I can’t f**king believe I have to say/do that . . . how I am going to pull this off without laughing?”

    One stops to think about just what he could accomplish with consistently good scripts and good direction and strong co-stars . . . oh, I have high hopes for Thorin.


    • I really came to think that Havers was the most sympathetic character in the series (couldn’t stand most of the toffs), and then became increasingly angry at the abusive way that George treated her. Treating your characters as if they are punching bags turns me off — it’s an exploitation of something that should be precious.

      He’s amazing when he’s got good material and merely great when he doesn’t 🙂


  2. He’s beautiful in death even in you know what (saw screencaps). I have been in tears all morning.


    • I haven’t been able to watch the second part yet — I think that’s where the death scene is — I only saw flashbacks in the first part. I was so frustrated by everything about the first episode that that bothers me even more than the fact that I’ll have to watch John Porter killed. If it were just Porter’s death, ok, but that I’m probably going to have to watch another hour of dribble to get to it? Bewahre.


      • Actually, his death is in the first 20 minutes of the show, so you don’t have to suffer through the whole ep. As I mentioned somewhere, I believe he actually has less screen time here than in CA.

        I kind of watched after the execution just in a vain hope it might get better and to see if anything else was said about John. Well, it didn’t get better IMHO and we only got some flashbacks to the moments before his death and soldiers drinking shots in his honor at a bar and wondering why he didn’t fight back harder *sigh*

        Yes, it is revealed he was using code to communicate with Section 20, so he didn’t completely die in vain, I suppose. Not that it’s much consolation to those of us who love JP. 😦


        • OK, now I’m confused as heck, because I watched the first episode from the cinemaxx page, and the stuff on the RAC page was definitely not in there.


          • OK, Cinemax made the first and second eps available to watch for free for US viewers–and while I haven’t seen the second ep (why prolong the torture?) apparently it includes yet more flashbacks of John’s torture and death–nothing new with RA in it. But he definitely dies within the first 20 minutes of the first ep. Section 20 is assembled after their disastrous attempt to rescue John and they all watch him delivering his final message and being shot on camera. Then they eulogize him at the bar.

            Don’t know why you didn’t see the execution–it is mercifully brief and shockingly realistic.


            • I’ll have to watch again. Maybe I was looking away from the screen that second. Or maybe they edited it out of the online version because of little eyes potentially watching?


              • Could be. I wouldn’t have wanted my young child to watch that, certainly. Think explaining what the nekkid man was doing to the nekkid lady–make that ladies would have also required some ‘splaining.

                I really sort of wish I hadn’t been watching when the moment came for John. Seeing the recognition in his eyes that he was about to die–oooh, poor John. Tearing up again. Damn.


  3. Oh, Nietzsche,

    I haven’t even been able to go to sleep yet. A hug across cyberspace. I’ve been crying, too.


    • I slept only fitfully all night long. Then I saw the caps at RAC. You know, I am a pathologist, and ironically, today I had to perform an autopsy for the first time in years (normally I do histology and cytology only, but today it couldn’t be avoided). I found the real blood much less shocking than this. I’ll have to imagine to put these images into a drawer, lock it and throw away the key (my memory functions like Lucas’s in Khandy’s tale). Had to tell my colleagues I had a cold to explain my swollen eyes. 😦


      • Oh, and I think you are spot-on with your post to Calexora’s site. That was revenge by TPTB.


        • There are times when I really hope I am wrong about things, but it’s what my gut tells me, Nietzsche, and it generally is on target. 😦

          I don’t know if you have ever seen that very famous photo from the Vietnam War era of a man being shot in the head. It’s one of those images that haunts you, and I have a fear this will be the same, only worse because I “know” John Porter.

          I am so glad I have nowhere I have to go today, as I am truly puffy-eyed this morning. I can only imagine my husband’s reaction when he sees me this afternoon. As understanding a fellow as he is, he can’t quite comprehend how much this sort of thing affects me.

          What a gentleman Richard is (and dedicated professional, of course) and once again I give thanks he gave us a heads up on this happening. It still was terribly shocking, but it it had all come out of the blue–oh, how much worse it would have been. Honesly, sometimes spoilers are NOT a bad thing.


          • No, I haven’t seen that photo, only the one of the running girl, and of course the gun pointed at the Vietnamese woman’s head.


      • the caps are really disturbing, I agree. As if US tv weren’t already violent enough …


    • Nietzsche and Angieklong, I’m all with you. So sad :-(. I’m all in tears just from looking at the screencaps- couldn’t bear to watch the actual scene! There would have been no need to show “it” so explicitly! And the ” eulogy” they make (I’ve only read it on Calexora’s blog)- OMG *rolls eyes*. His picture on the table * sobs*…
      When I look at the development of the show, I can only say ” Good riddance!” , but John Porter would have deserved a much better ” exit” than what they did here!


  4. I haven´t read your whole post yet (have to finish it later), but there are two things I need to get rid of: RA´s death in Ultimate Force hit me totally unexpected. It was brutally shocking and left me a couple of days in quite an uproar (maybe because I´m not so used to or familiar with military films??) Second, In Divine Proportion: RA as Philip Turner survived (as far as I remember?). He got shot, but nonfatally. Thank goodness!


    • Linda60, Ians death hit me as well.
      I knew or very much suspected from spoilers I had read before, that Ian would die in Ultimate Force. Still it hit me heavily and I kept the images in my head for days.
      I totally believed his death, even your ‘too loud’ shout, Servetus, I see somewhat as believable. With a shot through the stomach, the acid boiling up your insides, I would shout and scream like mad, presumably. It showed me again the hatred of his killer, who could have done it much more swiftly and painlessly for Ian, but did not. And as Strike Back showed us, the troops study how best to kill swiftly.
      I just recently saw Ultimate Force for Calexora’s collective watching event and was impressed by RA’s acting in that death scene, which was so early on in his career, but in my opinion shows the full capability of this impressive actor, who can transform a sketchy character into a believable human being. (In contrast to some of the caricatures of fighters anlogside.)


      • I thought Ian’s death was (no pun intended here) absolutely cold-blooded–performed by a sadistic psychopath I wouldn’t want in my army.
        And yes, Richard even in the early days of his career played it well. He was always a good actor who has only gotten better and better with each role. He can take dross and turn it to gold; he can take cardboard and transform it into flesh and blood and make us care.

        When they opened that freezer to fish out their drinks and laughed over his corpse–oh, I hated them ALL.

        And Linda, I think you are right. I have always thought Philip survived his gunshot wound IDP.


        • Angie, I fully agree with you. I would not want Ian’s murder in the army or near me either, perhaps in a safe cell in prison, where he never can get out, but nowhere near other people. The whole troop does justice as they see fit. What moral or sense for law and order, which they should enforce, do they have? None. Ian was the only one who felt responsibility, compassion and wanted to help, though perhaps at a place where the help was not wanted. He was prepared to follow suite with his feelings and leave the army for the woman he loved. This made me respect him.
          His attitude towards rightfulness and the right thing to do made the contrast to the other muddle brained soldiers, creating their own system of self-justice, the clearer.

          I thought that Philip survived as well. I am not sure, but I think I read or heard a comment about it somewhere in an interview about the film.


      • I think he did a good job of making Ian (another stock villain) believable. Something about the scream didn’t do it for me, though. I liked the scenes with Mrs. Twamley.


        • Our boy next door? 😉

          Ian was arrogant and a prat in some ways, but he had his good qualities and he certainly didn’t deserve to be killed in that manner by his own men.


    • OK, I’ll have to take this off the list of screen deaths, then, although it looks so much like he died that it can qualify, I think.

      I bought the DVDs of all of UF because had a sale on them at some point, so I got them all for five pounds. The first season wasn’t *so* bad, but the plotting just got more and more ridiculous as the episodes went on — things you’d never believe that an army regiment, even the SAS, would possibly do in real life, like kidnapping a safecracker to break into a bank for them in series 2, for example. I knew that Ian died in 2.6 but haven’t been able to bring myself to watch the whole episode because I know it’s going to be ridiculous. It’s just not credible that everyone in Red Troop would be so happy to see him go that they’d condone Henno murdering him in cold blood — esp not their superior (Dempsey?) Chris Ryan left the show after series 2, and maybe it was because of this ridiculous scripting.


  5. Such a good post and analysis! It really helps to put in context the development of a very good actor en route to outstanding actor.


    • Thanks, fitzg. It’s nice to watch the catalog in order, I think. I should do more of this as time permits, it was fun to write.


  6. I thought Philip survived, too. However, perhaps the Ytube version abridged the end?

    Still like Elizabeth George, though prefer Havers to the unrealistic stereotype “toffs”. They’re better on TV. 🙂


    • I have the whole video but admit I haven’t watched it. Have really come to dislike George, frankly (see comment above). Her abuse of Havers is the biggest piece of it, but I’d add to the list self-indulgent writing and frequent cultivation of racial and other prejudices that I find unacceptable. But I guess it sells.


      • I just feel the overall quality of the books has diminished. as the years have passed. I love Havers, too, and agree she has been treated shabbily by her creator.


  7. The problem is inspite of doggy scripts he makes us care about these characters! Watched SB 2 up until they blew Porter’s brain out, watch a bit more and then was like why am I wasting my time watching this shite? Turned if off.


    • That’s it in a nutshell, Rob. He. makes. us. care. After Porter died in such a brutal on-air manner, I didn’t switch off the TV but I no longer really cared what happened to anybody on that screen, other than to see if any other mention was made of Porter. Once that happened, I tuned it out in my mind. Twas a tale told by an idiot, full of sound and fury, signifying nothing. Shite.


    • agree. I don’t especially like Ian but I don’t want him to die.


  8. Too much blood, boobs and bombs for my taste, but I don’t think we are the target demo. I am sure men will prob love it????


    • Oh, yeah, boys only stuff as far as I’m concerned. I have thought of asking Benny to watch it just to gauge his reaction. He is much more into boobs, bombs and blood (great description) than I am. 😉


    • @Rob,

      Those Project photos are just scrumptious. I love the clothes, I love the beard, I love the little vid of him pulling the jacket over his head and then pulling it back–the expression in those eyes as his face is revealed. Oh, mama!

      (BTW my Jane Eyre DVD has shipped. I should get it Tuesday :D)


    • I agree that we’re not in the target demo, @Rob, and maybe that’s part of why they killed him off. A character with as much subtlety as S1 John Porter isn’t really appropriate for the target demo, either 🙂


      • I felt I would sound like a snob saying it, but honestly, it’s like Richard is for the finest of champagne tastes and this was for the Pabst Blue Ribbon crowd (apologies to anyone who loves the beer that made Milwaukee famous 😉 ) Pandering to the lowest common denominator with whom subtlety wouldn’t be understood or appreciated.


  9. Can we talk about that piccy of him from that Project interview? Hullo handsome!!!


  10. Here’s the link to the afore-mentioned video. I think I watched it ten times in a row after I first discovered it. *thud*


  11. *THUD* I am working today and this was a nice treat. Thank U. I love these vids. Can’t believe someone hasn’t cut them together into a little clip.


    • It is surprising they are only in separate clips. I enjoy them all, but I particularly like THAT one, perhaps because I love that photo so much.



    • To clarify: they’re separate because these were clips I created from rips I made at home or pirated. Many of these scenes are available on youtube in other places integrated into their respective series. I’m trying a bit to keep my youtube channel primarily accessible only from this blog to prevent challenges over copyright, so these are not tagged or connected to other vids on youtube.


  12. Smart thinking, S, re the vids.

    I really do love that whole Project magazine shoot, both the stills and the video clips. I love him at rest and in motion. Oh, heck, I just love him, period. Such a nice bloke.


    • it’s getting harder. Some of them are getting enough hits that youtube’s offered to put ads on them, but I figure doing that is a sure step to getting them removed.


      • I’ve already got one strike against me at YT so I am no longer a member in good standing. We had a wrangle over one of my vids–I stood up for it on principle, and of course, lost–and they removed it and gave me a black mark. I don’t even bother to post anything anymore I think they will likely block, I just put it on vimeo. A lot of my vids are blocked in Germany, so I figure that is why I have so many Vimeo viewers in Germany–more than the US>


  13. […] ego says: Two reasons: first, on some of these, I’m avoiding seeing an unhappy ending. Secondly, I’m afraid that if I have seen it all, a day will come where I really need […]


  14. […] Number of your screen deaths we’ve seen so far. […]


  15. […] at Fili’s death; and once at Thorin’s death. Armitage has come a long way in terms of his skill at realistic death scenes since Guy of […]


  16. […] Dying. Although he’s gotten better at this over the years, too, still it’s a bummer to keep watching his stuff only to witness his demise. Hopefully, […]


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