#One with the clear lines of the arc or gate in the background

[completeoveranalysis]

[1]

Chapitre 205 - Divine Providence Broken

Splash Text: He knew the truth, that this peace would not last too long…

aka HIM. 

MR PROBLEMS HIMSELF. 

As usual he has more calm and grace than would be expected from someone who has caused so much trouble for literally every single living person - but of course he does, it’s Clow Reed. 

But Clow Reed aside there are some incredibly fun visual choices all over this. Beneath his robes you can see the same kind of traditional clothing that Lava Lamp and his father wore, tying the bloodline together in a way you can actually see. He also has butterfly clasps holding the robe closed, which evoke Yuuko Ichihara but also a bit of Watanuki, who is just as much his descendant as Lava Lamp is (and there are two butterflies, which would match their duality). 

Clow himself gazes peacefully out at scenery that we can’t see, but we CAN see the bare branches of a tree with three birds perched nearby. The birds could easily be argued to be a sign of anyone you really wanted it to be. Is it the remaining Tsubasa family - Fai, Kurogane, and Lava Lamp? Is Lava Lamp on a separate branch because he’s the only one of them who comes from a different timeline?

Is it maybe the three Syaorans, with Watanuki and Lava Lamp on one branch and our Clone Syaoran on another (or the other way around?)? Or is it the Sakuras, with the original ‘Sakura’ frozen in time on her own branch, while the other Sakura and her clone sit on the other?

Are the branches of the tree a sign of diverging paths in time? Of timelines cut off and restarted and choices leading into different directions? Is the number of birds a representation of that original timeline (ie, 1 bird) has now become a new timeline altogether, but resulted in more birds than there were originally due to the disturbance? Or is the fact that we see BOTH scenarios at the same time a sign that the broken universe can still be mended, and the three as a whole will grow again in the future? Or perhaps a sign of how Clamp's future vision worked, seeing multiple paths and timelines at once? 

OR. Are they just pretty birds? The most deceptive option?!

Either way, we’ve had several other covers of the Tsubasa family standing in a dead-looking tree, and here we have Clow Reed calmly watching the same kind of tree - but from a distance.

Because he’s dead now. c:

[amuseoffyre]

Since insomnia is kicking my arse of late, I naturally tilted into the thoughts about the nature of the 3-act structure and why S2 of OFMD may have felt off and incomplete to a lot of people.

I am fully in agreement that we lost a lot of valuable time with only 8 episodes and a lot of it did feel rushed, but for the amount of story and set-up and growth and development they needed to fit into 4 hours of television, they did astonishing things.

DJenks has said from the very start that this is a story that has been planned out to take 3 seasons. It's literally a 3-act play and we are currently right in the middle of the worst part of that timeline according to every traditional 3-act structure.

Act one/season one is self-explanatory. Like New Hope in the Star Wars Trilogy or Fellowship of the Ring, this is the set-up. We're introduced to our protagonists and antagonists, the relationships are given a foundation.

The beginning is Stede's journey to becoming a real boy. The inciting incident, the one that actually pushes his change beyond "playing pirates" is meeting Ed. The second thoughts come together in episode 8/9 after his confrontations with Jack and Chauncey and episode 10 is the climax.

Act 2/season 2 is never going to be as smooth and simple as act 1/s1. A big part of the A2/S2 job is set up for A3/S3 and this is what we're seeing and why a lot of story threads seem to have been left dangling.

Again, to call back to Empire Strikes Back and The Two Towers, the structure is much the same: the original batch of people are divided and scattered, the big enemy from A1/S1 is looming, new allies make themselves known. In SW, this meant the introduction of Lando and Yoda as allies plus the hint of the Emperor lurking in the background. In LotR, we have the Rohirrim, Gondor and the Ents as allies and the expansion of Sauron's forces in Helm's Deep, Osgiliath and the winged wraiths.

There's a clear trajectory following the A2/S2 structure:

obstacle 1 - the crews separated and struggling

obstacle 2 - the end of episode 2 and the repercussions of his actions

twist - just when things start to settle, the Ned Low situation happen and Stede kills for the first time

obstacle 3 - Ed's struggle with his identity leading to him leaving

disaster - Ricky's assault on the Republic

crisis - do-or-die battle because they have no other choice

climax - the last 15 minutes of ep. 8 live here.

As with SW and LotR, there's an ending, but weighted with the knowledge of a story that is meant to continue. Each of those act 2 films end with the heroes still aware of the looming threat, some of them heading out on new missions, and some of them resting and healing. There's brief pause, brief respite, a moment to take a breath.

We have all the characters in place now and the battle-lines have been drawn. Luke still needs to confront Vader (I see you, impending Ed and Hornigold confrontation), Frodo still needs to destroy the ring, Aragorn still needs to lead the army against the Black Gate, the second Death Star is still hanging in the sky.

I'm so excited to see what S3 brings because we have so many arcs ready to go: Zheng's vengeance trip, the inevitable enforced out-of-retirement arc for Ed and Stede, Hornigold, Ricky trying to maintain his tenuous control of the republic given how many of his people were killed when the crew escaped, the pirate rebellion gathering forces.

Also how often do we get shows/films where the supporting cast are given this much storyline? We have a named/speaking-role cast of upwards of 15 central characters. That is a staggering amount of people to work with, when most shows would only focus on the leads and a couple of their friends. Six is the average for most TV shows, while comedies can inch higher because ensembles, but most ensembles don't get as much as our crew did.

I know a lot of people aren't happy about Izzy's death. I know I would have liked to see him a lot more, because he's such a grumpy old bitch and I love him and him affectionately roasting Ed and Stede would have made my entire month. But I'm also aware that narratively, as a figurehead of the old ways of piracy and "we were Blackbeard", it was a symbolic death as well - a sign of the death of the old ways of piracy and of Blackbeard as was.

(Also, they Obi-Wanned him. I'm not over that. Gave him the "if you strike me down I will become more powerful" speech. I'm just... guys, your star wars nerdery is showing XD)

So while it was flawed in places and pacing, given the scale of the story they're telling, the number of pieces and characters they had in play, and the arcs they have been setting up while also still keeping the humour, I am giving a standing ovation for a remarkable piece of work.

[arktaisch]

Finally finished "I Became a God in a Horror Game" ("GHG"), and wow!

Best novel I read (well, started reading) in 2024. This is one I definitely want to reread from the beginning, since the plot is so complex and there was so much introduced early on that is only fully understood when you have the context from later arcs. The characters are built up piece by piece, not just the main character, but the ML and all the side characters, too. I loved them so much! Some of them I disliked at first, but eventually the author led me to sympathize with all of them, even the killer clown. Even the main villain (whom I hated), despite being a heartless evil bastard through and through.

Special shout-out to Fang Dian! You did not let me down!

It's as much (more?) a "found family" story as a romance, and both develop slowly (the romance a little later in the story). The romance is there, but characters have their memories erased, so it's hard to see, and the impact from some things is only clear in hindsight. It's an intensely painful, angsty romance, but by the end I was really rooting for them.

[SPOILERS AHOY!]

Had to take the last few chapters slowly: the knives kept coming and every single chapter/death was devastating. And then, when I thought we were done, that there was no one left… there was one. Bai Liu himself! Bai Liu and his younger self, before he met Xie Ta, and how his younger self reacted… another knife right through the heart.

The last three chapters were a bit rushed, to get to this happy ending (and I missed seeing some of the side characters, like Hearts, Georgia and Armand, Du Sanying, Phoebe, even Daniel). And I'm still not sure how Fang Dian pulled off her "cheat" (so she and LYZ and Spades had their memories) --- maybe I missed something. But it doesn't matter that much to me, since to me Bai Liu's side (humanity) already won when he reset the world lines, removed Bai 6, and locked the gate, and that part was basically set up through the whole novel up to there, so yeah.

While it was set up from the beginning, the beginning (first couple of arcs) is misleading. It gives the impression (well, it did to me) of being a "normal" infinite flow with a game set-up, where the main character is a typical Gary-Stu but is otherwise a regular player just like anyone else in a regular (for the genre) kind of game. Then in the third game, you notice that it's strangely personal… is it just coincidence that it seems to be based on the character's real life childhood?

Then comes the Heretic Handling Bureau and Rose Factory arc and Tang Erda's POV and everything blows up. We gradually realize the game we thought we were seeing is not the true game. Bai Liu isn't just a Gary-Stu, he really IS the center of the universe and all the games he enters really are arranged specially for him (and the people around him). The spectator gallery scenes are toned down a bit, as are the "gaming mechanics" bits (like filling out the monster books, getting special rewards, level ratings and mortality rates, stat sheets, etc.) and "normal" human players fade into the background as we go deeper into Bai Liu's plot.

Bai Liu's "bad luck" thing was also mostly dropped, which is just as well --- I didn't think it was convincing or worked well in the first place. To me, the "luck" plot device only worked as part of Du Sanying's tragic life. Du Sanying didn't get as much of the spotlight as other side characters, but the bits he did get were interesting with how "luck" had affected him.

I felt the pacing of the story was well done. While it was really long, I don't think there were any superfluous arcs (the few bits of fluff in between were needed as a breather between the heavy stuff) and each arc, while they also tended to be long, still moved along and continued to hold my attention. I tend to drop a lot of novels when I get bored or I feel it's getting too repetitive or pointless, but I didn't this time, even though I ended up reading the last few arcs in Chinese which slowed me down considerably! (Though now I have experienced a new form of typo, in which an entire word can be deleted from a text… the chapter with "不" and "了" missing really confused me at first.)

The arcs got shorter towards the end, which I felt was a good thing, because it's time to focus in on the conclusion, and when it gets to one-chapter-one-death, that focus made each chapter hit harder.

So basically, Bai Liu is like the kinder, gentler Satan where everyone is glad they sold him their souls, and as a reader I'm sobbing when those souls get destroyed and Bai Liu has to see the paper soul banknotes fall out of his soul-containing wallet and burn to ashes in front of him. Damn you, Bai 6!!! But for ten years of family, friendship, romantic love, Bai Liu will guard the gate forever and protect the people he cares about even after all memories of him have been erased from the universe…

[He has countless soul notes, money, honors, victory. He has everything.

He lost his best friends, family, himself. He has nothing.] (Chapter 580)

But…

[Don't be afraid of parting from your loved ones. In the end we'll meet again.]

So yeah, even if the end was a bit "and then a miracle occurs…" it's beautiful and I love it.

[fregata-magnificens]

I recently finished Dragon Age: The Veilguard, and, after digesting a little, want to share some of my (disorganized) thoughts.

I'm coming to Veilguard as a casual Dragon Age fan: someone who's played and enjoyed all of the previous DA installments, but who's also not super invested in what's going on outside of the story that's explicitly told in the games themselves. What follows is from that perspective.

Mild spoilers ahead.

Here's what I liked:

The visuals. The art design as a whole was bright, appealing, and cohesive. Each character was visually distinctive. I really enjoyed the change from the more "photorealistic" palette and animation of Inquisition to something more vivid, and almost cartoony.

The level design. I appreciated the more linear nature of each environment, especially after playing so many huge and desolate-feeling open world games. Even though exploration was limited, there were still plenty of nooks and crannies to poke around in.

The voice acting and dialogue. The talent for most of the main cast and much of the supporting characters felt like a step up from previous Dragon Age games. Conversations (for the most part) felt more natural, and dialogue that sounded stilted or (inappropriately) hammy was few and far between. I chose the British Male voice for my Rook, and he was nice to listen to for my whole playthrough.

The character creator, and the ability to tweak your Rook's appearance right out of the gate. When my Rook ended up with cheeks that were way too puffy, I was able to go right back and fix his face without losing my progress or spending any resources.

Assan and Manfred!

What I disliked:

The slow start. Right off the bat, the stakes are so comically high that I had trouble really buying in. Plus, the game is never really clear on why Rook is there, or qualified to lead a team of experts. Yes, I know that all that information is explained or implied in your character background, but I feel like such an important piece of the story shouldn't be buried in the character creator. I didn't feel invested in my Rook's story, which at times led to me becoming disengaged from the narrative as a whole.

Character interactions. "Eavesdropping" on my party was cute, but I otherwise found the relationships between the characters kind of flat. There was definitely potential that wasn't realized. I felt a lot like the characters were written separately, like the writers didn't actually get to talk outside of a few meetings during production.

Grinding. Sure, there was limited level grinding, as most story-relevant enemies scaled to your Rook's level, but completing small quests and selling items for favor with your allied factions felt like a chore.

The handling of nonbinary identity (mostly). Queerness in the Dragon Age universe is mostly unremarkable: even outside of Rook's ability to date any of their party members, the game references multiple queer relationships, and at least one minor they/them character. So why, in 2024, did the writers feel the need to explain nonbinary identity as if the audience had never heard of it before? Nearly every time the word came up, I felt like I was in a Very Special Episode of a children's TV show.

Dragon fights. For being the game's title monster, dragons were boring enemies. Once you fought one of them, you've fought all of them.

Lucanis's romance arc. I wasn't initially sure which character I wanted my Rook to date, so I went through the trouble of having each of them ask him out one by one. In the end it came down to a choice between Lucanis and Emmrich, because that's what I felt like he'd be most into. I weighed my options and chose what I thought would be a more robust and interesting romance; Lucanis seemed like he was custom-designed for Bioware fans. But his romance arc consisted of maybe a few extra lines of dialogue and one sex scene. It was so disappointing that shortly after I finished the game, I loaded an old save so my Rook could romance Emmrich instead; I'm finding it to be way more satisfying already.

Other random thoughts:

I want a scented candle that smells like the Rivain coast environment: warm sandstone, ocean air, and pine.

I wish there were more reason to hang out in the Crossroads; it was visually one of my favorite environments.

It would have been so cool if each type of combo detonation looked different.

[altschmerzes]

Curious what your thoughts are on Zava? I was initially really annoyed by him, then appreciated the potential storytelling potential especially as it concerned Ted and Jamie, and now I’m back to being annoyed and wondering what the point was at all….maybe this won’t be the true end of Zava, but I’m still just kind of…..perplexed by it all

yeah perplexed is about where im at, i think!! i was saying to a friend the other night that i felt like the way that arc was executed was kinda misplayed? like it was a HUGE thing at the jump, we spent basically a whole episode focusing on how he’s dominating every moment of every match and every minute they were in the locker room too, it seemed like he was going to be a major issue and he was! for that episode at any rate! but the way that he came off - narratively speaking - in that first episode with him on the team made such a powerful and overwhelming impression and then just sorta petered out. they came out of the gate really strong with that one and then he kind of faded and became a non-issue. to the extent that he was barely in the subsequent episode (shouts out to the passion speech “it is also a fruit” that was one of the funniest lines for me this season. the delivery was choice.) and then the resolution was just…. anticlimactic?

like i felt pretty much the same, he was a Lot pretty much immediately but i was intrigued to see where things went with him and then they just kinda…. didn’t? even when the coaches were talking about oh man is zava gonna go along with whatever this plan is…. to my recollection just kind of was a nonissue. imo they’re trying to do a lot at once right now in this season and paring it down is the right call but the way the whole thing comes together is a little bizarre. if you ask me they ought to have seen out that plot line with him causing serious problems and being a major narrative force or they should’ve reined it in at the outset and either way would’ve fixed the weird energy for me. especially with how clear the story was during that one episode where they went on the cinderella run that jamie was extremely uncomfortable and unhappy with the guy and was feeling isolated and pushed out and wasn’t being heard when he tried to express concerns about the situation. and colin had a stake in that narrative arc too, literally being replaced on the starting lineup. makes me wonder why that whole thing was a Thing if the dude was basically just gonna chill out into the background then throw up a peace sign and dip, basically.

of course it’s entirely possible he’s gonna come back and there’ll be some kind of fallout we haven’t seen yet! it’s hard sometimes to talk about narrative arcs of a season of tv that’s still airing but it’s far enough into the season now that im solidifying some opinions and this is one of them.

[quirkwizard]

Quirk Analysis on Warp Gate?

I really like this Quirk. Portals are one of those innately cool powers, and "Warp Gate" just turns that up to eleven. It's got a fantastic design, being this omnious fog that is spreading out over the area as objects mysteriously move around, and it was used in a lot of interesting ways, such as redirecting the attacks of Toga, Dabi, and Tomura. And while Kurogiri is a simple character, I do think that we can extract some connection between him and the Quirk. He's someone that acts as Tomura's impulse control, always thinking in the long term. That's reflect is his far reaching Quirk that requires precise measurements or a clear line of sight for it to function.

However, it does feel like it was pretty wasted. I think that it was used well in the USJ Arc. Separating all the students, completely devastating Thirteen, putting the Nomu into advantageous positions against All Might, threatening to cut All Might in half. It's all great stuff. But after that point, Kurogiri doesn't do a lot. He keeps Dabi, Toga, and Tomura from killing each other, but that is about it. He's only used as a glorified taxi for LOV and for Tomura to bounce his character development off of, then he's shipped off to prison. If anything, Monoma has used it more effectively than Kurogiri, playing a big role in separating all of the villains during the War Arc. And I get why. Kurogiri is supposed to be Tomura’s defender, staying in the background unless Tomura is attacked. But you think there could have been more done with it.

[davidmann95]

Superman 2021

The beginning of the epilogue era for this blog - I promised I would do one last 'State of the Union' for Superman, and I actually took notes this year to make sure I wouldn't miss anything substantial so I'd just as soon not let those go to waste. Which is good because otherwise something definitely would have gotten lost in the shuffle of what's been on balance the best year for Superman since 1978.

Now, the qualifier there is 'best year for Superman since 1978' would be 'above average!' in Batman terms, but looking at the across-the-board success with a minimum of things going horrifically wrong (the only thing I recall landing with a total splat this year was Conner Kent's inclusion in the Suicide Squad book and Injustice)? It truly feels like the powers that be shook their heads, opened their eyes, and remembered that Superman is not in fact by definition a cursed albatross, but rather a really big deal worth capitalizing on in a variety of ways to make a shitload of money. I suspect this is a matter of the new ownership going "...wait. We have Superman, and pretty recently he was a significantly lower priority than this guy?" Not that I'm inclined to salute the beneficence of corporate decisionmakers, but I'm glad the dominos at least fell in a good direction for once that seem to be setting up my favorite character for a vibrant, fascinating near future.

Comics

* The year kicked off with Future State, where for once Superman was the pretty clear winner of the line. Phillip Kennedy Johnson came out of the gate strong, Mark Russell and Steve Pugh reunited for Superman vs. Imperious Lex, Superman of Metropolis and Superwoman, Kara Zor-El were both solid, Gene Yang kicked off his brief tenure in the line with Batman/Superman, and Dan Watters and Leila Del Duca's Superman/Wonder Woman was for my money easily the best Jon Kent story to date.

* PKJ briefly took over both the primary Superman titles, remaining on Action Comics on a longterm basis; while news of his tenure was initially met with little excitement his work ultimately won over readers in a huge way, in no small part thanks to the unbelievable interior work of Daniel Sampere (who while leaving will soon be succeeded by the incredible Riccardo Federici) and the astounding variant covers of J. Totino Tedesco. Meanwhile Tom Taylor and Jon Timms launched the long expected Jon Kent Superman title as Son of Kal-El, which has varied significantly in critical response from issue to issue but grabbed mainstream headlines for having Jon be revealed as bi, making a queer Superman one of DC's flagship characters. And acting as springboard for the new status quo was not only Grant Morrison's return to the character but apparently truly final farewell to superhero comics (outside the occasional new installment of Klaus) in Superman & The Authority with Mikel Janin.

* In the 'family' of assorted Superman titles were Tom King and Bilquis Evely's gorgeous, melancholy Supergirl: Woman of Tomorrow, Gene Yang and Ivan Reis' beautifully clever The Archive of Worlds arc on Batman/Superman, and Robert Venditti's solid and fan-favorite work on Superman '78 with Wilfredo Torres and the newly-launched World of Krypton with Michael Avon Oeming. Also while it has yet to hit the states Superman's secured a manga series in Superman vs. Meshi, a series of him flying around Japan trying different local cuisines, and I want it immediately.

* In the more 'prestige' corner, Superman at long last received his own counterpart to Batman: Black and White in Superman: Red and Blue, which churned out a fistful of all-timer short stories; John Ridley, Giuseppe Camuncoli, and Alex Dos Diaz's long-awaited The Other History Of The DC Universe used Superman as one of the main ongoing background figures, presenting him in a shockingly critical and nuanced light; Superman vs. Lobo marked Superman's second time up under Black Label, to...mixed results.

* Superman held a presence in assorted team and event/Elseworlds titles such as Justice League, Infinite Frontier (which resulted in Brandon Thomas and Valentine De Landro's spectacular President Superman story) and Justice League Incarnate, Event Leviathan: Checkmate, Justice League: Last Ride, Dark Knights of Steel, Justice League Infinity, and in a truly unexpected move made seemingly to delight me and me alone, RWBY/Justice League. Alongside all that, Lex Luthor is the anchoring figure of Tom King and Greg Smallwood's The Human Target.

* On the analogue front, Utopian II headed up the hilariously timed Jupiter's Legacy: Requiem, while Steve Orlando presented Prizefighter and the eponymous Patron in the excellent Commanders in Crisis and Project Patron.

Mass-Media

* While CW's Supergirl concluded this year with its sixth season, it had already given birth to its successor series in Superman & Lois, the first live-action show starring Clark Kent as Superman in over two decades, debuting to about as close to universal acclaim as any mass-media Superman project has received since at least Superman: The Animated Series if not in fact the original Christopher Reeve movies (though with behind-the-scenes controversies that mustn't be ignored). Notably it found far greater ratings success in streaming and BBC rebroadcast than on the CW proper.

* After years of sustained and severe agitation on social media by fandom in the name of the 'Snyder Cut' - received depending on who you ask as a united front in the name of a mistreated creator who had suffered horrific personal tragedy, a crazed and gleefully virulent broad harassment campaign, or indeed some of both columns - Warner Brothers announced it would allow Zack Snyder to complete editing and VFX work on his original vision of Justice League (before the infamous reshoots and substantial alterations by Joss Whedon seen in the 2017 release) as an HBO Max exclusive. Zack Snyder's Justice League, ultimately running $70 million and a theatrically unthinkable four hours, was released to shockingly widespread approval including from many who had disdained the director's previous work with the characters.

* Superman appeared in Fortnite, which according to people much more tuned-in than me as to what video games are actually popular these days is a Very Big Deal, so that's cool. That suit's grody as hell though.

* Idris Elba was the lead of The Suicide Squad as a Superman villain. Bloodsport of all dudes, but.

* An Injustice animated movie dropped, with Superman also appearing in Justice Society: World War II.

* The overtly Superman-inspired Invincible debuted on Amazon Prime to massive success, immediately being renewed through season 3. Netflix's somewhat similar project in Jupiter's Legacy debuted to...less.

Comics Announcements

* After over a decade away from DC Comics as a result of internal politics Mark Waid is returning, with an ongoing Batman/Superman: World's Finest title illustrated by Dan Mora, and a 3-issue large-format Black Label miniseries drawn by Bryan Hitch and inked by Kevin Nowlan acting as a sequel to Superman: Birthright and exploring a 'grown-up' take on Superman's refusal to kill.

* Scott Snyder revealed in a podcast interview that his eventual return to DC Comics is planned to include a Superman-led event book acting as a companion and thematic trilogy-capper to the Batman-centric Metal and Wonder Woman-focused Death Metal.

* Superman & Lois: Ignition by Collin Kelly, Jackson Lanzing, and Vasco Georgiev was placed in the running for DC's controversial Round Robin contest, with the couple on an interstellar odyssey to survive a boobytrapped solar system. While as expected from the beginning the Robins title easily won the vote, the editors behind the project noted their intent that some of the other proposed titles could still ultimately be published, and with Kelly and Lanzing's star rising with the upcoming Batman Beyond: Neo-Year miniseries hope remains that the title could see publication.

Mass-Media Announcements

* Famed author and journalist Ta-Nehisi Coates is scripting a new Superman movie produced by J.J. Abrams; apparently apart from the shared universe of DC films in the same fashion as The Batman and Joker, it will reportedly star a Black Clark Kent and may be a period piece.

* Sasha Calle will be debuting as a new take on Supergirl in 2022's The Flash.

* Michael B. Jordan will be executive producing and possibly starring in an HBO Max Val-Zod series written by Darnell Metayer and Josh Peters.

* My Adventures of Superman, an animated reinterpretation of the character's early years focusing on Lois, Clark, and Jimmy as a trio apparently in a post-Steven Universe/Infinity Train vein, will debut on HBO Max and Cartoon Network in 2023 with an initial two-season order. Cartoonist Jake Wyatt and frequent DC animation director (as well as Voltron: The Legendary Defender, Rise of the Teenage Mutant Ninja Turtles, She-Ra and the Princesses of Power, and The Venture Bros.) Brendan Clogher will be co-executive producing with She-Ra head writer Josie Cambell producing, and with Jack Quaid and Alice Lee starring as Clark and Lois respectively.

* DC League of Super-Pets will debut theatrically in 2022, with Dwayne The Rock Johnson as Krypto and John Krasinski as Superman.

* Battle of the Super Sons will be DC's first CG-animated DTV movie in 2022.

* There will be Superman and/or Lois Lane narrative podcasts on Spotify alongside the upcoming Batman Unburied.

* Superman will be one of the initial characters in the upcoming free-to-play fighter MultiVersus.

* Brian Bendis is writing for an HBO Max Legion of Super-Heroes adult animated series based on his reboot of the concept with Ryan Sook, presumably starring Jon Kent in the lead role.

Other items of note

* Tom Welling and Brandon Routh have both expressed interest in returning to (or in the former's case donning for the first time) the cape in future projects, both actively pursuing the prospects with Welling and Michael Rosenbaum apparently pitching an animated Smallville revival.

* Lavender Jack cartoonist Dan Schkade shared his personal project David Lynch's Superboy on Twitter.

* Karl Kerschl posted a Superman short story illustrated from a Scott Kurtz script shared 8 years earlier.

* Vladimir Nabokov's unpublished 1942 Superman poem The Man of To-Morrow's Lament was discovered.

* Lead developer Salvatrix revealed details and footage from the infamously cancelled Factor 5 PS3/Xbox 360-era Superman game codenamed 'Blue Steel'.

* Character designer Phil Bourassa shared several images from a scrapped Superman project starring an older Man of Tomorrow and several young new members of the Superman Family.

* Gabriel Hardman revealed pitch art from an unrealized Elseworlds Superman OGN.

* Giant Panda King, creators of the elaborate coffee table book fan project Gotham: 1919-1939, have expressed their intent to follow it up with Metropolis: 1925-1945.

* Ritesh Babu, Sean Dillon, and I each had work published on the subject of Grant Morrison's Superman this year, with my piece including spectacular commissioned art by Max Kay. Elsewhere in the critical sphere ComicsXF published Zack Rabiroff's essential Superman The Jew: History Of A People Through The World's Greatest Hero.

* @khancrackers revealed on Twitter details and early artwork for his planned Superman/Multiversity inspired TTRPG Up! Up! And Beyond!

* Ed Pinsent and Mark Robinson's cult classic fancomic Silver Age Superman was finally reprinted nearly 30 years later.

[spicycreativity]

Flufftober Day 1 - Winning a Tedddy Bear for the Other

This is the only October prompt fic I was able to write, so uh. Hopefully you enjoy it!

2.5k words, pairings are pre-Logince, Dukexiety, and pre-Moceit

Nobody actually wins a teddy bear for anyone, despite their best efforts

Truly have no idea if this is solely an American hick town thing or not, but where I'm from, all the summer drama took place at the county fair; the hook-ups and break-ups and all the stuff that people would gossip about at the beginning of the school year. Except! The crew have just graduated and this is kind of their last hurrah before college and work and what have you.

Roman closed his eyes and tried to focus. He turned the basketball over in his hands, privately grossed out by the weird, sticky texture beneath his fingertips. He let the ambient noise of the county fair fade into the background. Focus. He just had to focus.

Then Virgil's voice shattered his concentration: "You know this game is rigged, right?"

Roman opened his eyes and, catching an annoyed glance from the carnival worker, sighed and hurled the ball at the hoop. It soared a neat arc and fell neatly through the center of the hoop. Ha. "I'll have you know I played basketball in middle school." He puffed out his chest a little and raised his arms so Virgil could admire his killer delts. 

"And how old are you now?" Virgil leaned into Remus, who was lurking over his shoulder like some kind of lanky cathedral goblin. How Remus had landed a boyfriend before he did, Roman would never know.

The worker handed Roman another ball, which Roman accepted with a half-hearted "Thanks."

"It's true, though," Remus said, placing his chin on Virgil's shoulder. "The hoops are ovals."

"Everybody knows that," Roman huffed, and threw the ball.

"Yeet!" said Remus. Idiot.

The ball bounced off the rim. "You distracted me!" Roman huffed. The carnival worker held out another ball, but Roman dismissed him with a wave of his hand. "Oh, forget it!" Two baskets would only get him a stupid Minions keychain, and he definitely didn't want something that cursed in his possession. He turned and walked away, half-hoping Remus and Virgil wouldn't follow him. 

"Dude, you paid for three tries," Virgil said.

Roman stopped and turned around and nearly got trampled by a herd of excited pre-teens. "You don't get it!" He gestured at Virgil and Remus' intertwined fingers, even now unable to fight back the wave of jealousy and longing that rose up inside him. "You guys already have your fairy--" He paused, corrected himself. "Your weird, creepy, Tim Burton fairytale dream. I have one shot to impress Logan tonight and I need to make the most of it!"

"Hold on, hold on, hold on!" Remus grabbed Roman by the wrist (ewww, Roman, just try not to think about where his hands have been) and dragged him over to a bench. "Your grand plan is to win Logan some lame carnival prize before he even gets here?"

"Oh, buddy." The mocking pity on Virgil's face was enough to make Roman blush. Jerk. All he'd had to do was sit around and wait for Remus to make the first move. "What makes you think that's even going to work?"

Roman stood up again, motioning for Virgil and Remus to stay seated. He'd had enough. "Because it's a grand, romantic gesture and I am a grand, romantic prince. Now leave me alone! You're wrecking my concentration and I'm supposed to meet Logan in an hour!" And he stalked off, soon getting lost in the crowd.

Virgil looked at Remus, who was wearing a look of undisguised masochistic glee. Still, Virgil ventured, more to soothe his own conscience than anything, "Should we try to help him?" 

"Look!" Remus shot to his feet, pointing off into the distance. "Deep fried pickles!" He took off, nearly jerking Virgil's shoulder out of socket.

Virgil dodged an elderly woman and nearly tripped over his boots. "Roman?"

"No, I'm Remus."

"No, I mean, should we try-- Oh, forget it." Virgil wrapped his free hand around the back of Remus' and let Remus yank him through the crowd. There was a long line for the cart selling deep fried monstrosities because this was the county fair and people lost their humanity upon stepping through the gates. Not Virgil. He would sooner lick the door of the horse barn than consume anything from this horrorshow of a food cart. That was one thing Virgil and Roman could agree on: fair food was disgusting. Ah, poor Roman. "You do have to feel a little sorry for him, though," Virgil said, admiring the shiny piercings decorating the shell of Remus' ear.

"Who?" said Remus, standing on tiptoe and examining the crowd. 

"Ro--"

"Oh, Roman?" Remus landed hard on his heels and nudged Virgil with his hip. "No I don't. A little heartbreak might take Sir Brags-a-Lot down a peg." Something caught his eye and he jerked his head away with a smile. "Hey. V. I'd like to dip my pickle in your deep fryer."

Virgil made a face, but soldiered on. "But he's had a crush on Logan since, what? As long as I've known him."

"Longer." Remus stuck out his tongue. "He and Logan were lab partners Freshman year. And I had to hear about him every single night." He lowered his voice into a passable imitation of Roman's, gesticulating with abandon. "'Ugh, Remus, this boy in my science class is so annoying; he knows about dumb shit like protons and covalent bonds. Who even cares about that? I don't. So I'm gonna keep talking about it for the entire bus ride home.' Nightmare."

"Exactly!" said Virgil, though he had kind of forgotten what he was getting at. What had he been getting at? He shuffled forward as the line moved and turned his fractured attention to the menu.

"Hey," said Remus, now drumming on Virgil's shoulder with his fingertips. "When was the last time you saw Pat and the Hat?"

"Who?"

"Come on, that was clever."

Virgil tapped his lower lip. "You mean Patton and Janus?" Remus just blinked at him. "I dunno, didn't they say they were buying tickets?"

"Yeah, like, 30 minutes ago.

The line moved forward again. Remus ordered his horrifying hell-pickle. Virgil ordered a lemonade, knowing full well that Remus would insist on paying anyway.

"Maybe," said Virgil, side-stepping away from the order window and deliberately ignoring the way Remus was running his tongue all up and down his deep-fried pickle, "they went to the petting zoo."

"Well, let's go get 'em," Remus said. "They don't get to ditch us just because Patton wanted to see the bunny rabbits."

The setting sun painted the clouds a brilliant orange. Patton sighed and stared out at the expanse of the fairgrounds beneath him. One by one, rides were starting to turn their lights on. It was exactly the most romantic time of evening, exactly how he'd wanted things to go when he suggested they take a quick ride on the Ferris wheel before tracking down the others.

Well.

Almost exactly.

"I should sue," Janus said. Again. He looked over the edge of their basket where it dangled almost exactly at the top of the Ferris wheel. "How long would you say we've been stuck up here?"

"Um," said Patton, trying to wiggle his phone out of his pocket.

"What if I was diabetic, hm? What if one of us needed to take life-saving medication and couldn't because we were stuck at the top of this death trap?"

"But Janus." Patton waited for Janus to meet his eyes, then smiled. "We don't."

The magic didn't last. "It's the principle of the thing!" Janus said explosively, looking away in obvious agitation.

Patton rallied and tried again. "You don't think it's kinda romantic? I mean, look out there." He gestured at the lit-up fairgrounds and the golden haloes of clouds.

Janus huffed and didn't look. "I don't see what's so romantic about a potential reckless endangerment lawsuit." And he was off again, ranting about confusing legal concepts and other things Patton wouldn't care about, except that they were important to Janus.

Oh, well. He sighed and watched the blinking lights of El Niño. If they got down soon, maybe he could win Janus a teddy bear or something and make his confession then.

"What color?"

Roman ran a hand through his hair. Of all the games to have a knack for, he hadn't expected darts. "Pink, I guess-- No, wait, the blue one."

The attendant nodded and handed Roman a flimsy acoustic guitar. "Congrats, man."

"Thanks." Roman turned to go. He had to meet Logan at the gates soon. At least he wasn't doing it empty-handed, not that a barely-playable guitar was a particularly romantic gift. Realy, who was he kidding? Logan didn't want the guitar and Logan didn't want him.

The fairground lights lit everything up a sickly green. Roman scanned the crowd at the midway, trying to determine the best way through, when his gaze fell on a familiar pair of glasses.

He was still trying to decide how to react when Logan reached him, his arms full of brightly-colored stuffed lemurs. "Hello, Roman."

"How long have you been here?" Roman demanded. The idea that Logan had been sneaking around, avoiding him, sat heavy in his stomach.

But to Roman's surprise, Logan blushed. "Not long," he said, shifting his weight. "I wanted-- Well, it seems foolish now."

Roman forgot his anger in an instant. "What? C'mon, Lo, I don't think you're even capable of being foolish."

"I had thought," Logan dropped his gaze to the stuffed lemurs in his arms, "I had thought that if I came early, I might be able to win something big and--" He cleared his throat. "And give it to you."

"Why?" Roman demanded. Why would Logan copy his plan? 

"Well, Roman," Logan said in such a clipped, professional voice that he might have been delivering the weather report, "traditionally, winning a large prize for your sweetheart at the county fair is a romantic gesture."

"But I'm not your sw-- Oh." Roman's jaw dropped. The guitar's strings dug into his fingers. Then he started to laugh. Logan's expression hardened, but he stayed put, staring intently at Roman. "I'm sorry!" Roman choked out, brandishing the guitar at Logan as some sort of peace offering, though Logan didn't have a free hand to take it. "I was--" Tears streamed hot and ticklish down Roman's cheeks, his entire body still spasming with stifled laughs. "I was trying to do the same thing! That's how I got this stupid guitar."

"Oh," said Logan. "Oh, dear."

"Come on, let's sort this out." Roman stood on his tiptoes, spotted an empty bench, and led Logan to it.

"This is terribly awkward," Logan said, adjusting the lemurs in his arms. "Do you even want these?"

"Not really," Roman said. He held up the guitar. "Do you want this?"

"I don't."

They smiled at each other. "You know," said Roman, hurriedly counting Logan's stuffed lemurs. "You can trade six of those in for a kiss."

"Piercings!" Remus tugged on Virgil's sleeve and gestured at the booth. 

"I thought we were looking for Patton and Janus," Virgil said, already trying to think of a way to keep Remus from getting an ill-advised piercing.

"Forget them! I wanna get my tongue done."

"Here?" Virgil asked as Remus tugged him closer and closer to the piercing booth. "We're, like, six feet away from a horse barn. You're gonna get an infection."

"Damn, V, it's not like I'm gonna French kiss the horses."

Virgil bit his lip and made a second attempt. "Don't you have enough holes punched in yourself?"

"Nope!" They reached the booth and Remus bounced on his toes while he studied the laminated photographs pinned to one of the tent walls.

"Fine, but don't expect any kisses until that piercing is fully healed," Virgil said, struck by an eleventh-hour moment of genius.

"Hold up." Remus turned around and stared at Virgil. "What?"

"You heard me." Advantage secured, Virgil relaxed a little and even managed a sneer. "No kisses until I'm 100% sure you're not gonna get blood or anything else in my mouth."

"Baaaabe." Remus wrapped his arms around Virgil's shoulders and let Virgil take some of his weight. "You're killing me! What about my self-expression?"

"You can get your tongue pierced," Virgil said, "just not at some shady horse barn-adjacent piercing booth run by a bunch of traveling randos."

"I'm an American," Remus mumbled into Virg's collarbone. "It's my God-given right to die of a horse infection because I got my tongue pierced at a-- Whatever you said."

"C'mon." Virgil stood Remus upright and took him by the hand. "I'll pay for you to get your tongue pierced at that nice place downtown. Or I'll get Janus to pay for it. Next birthday. I promise."

"Thanks, I guess," Remus muttered. He was obviously trying to pout, but his face kept cracking into a smile.

"And as for your self-expression…" Face-painting booths were a dime a dozen at the fair; you practically couldn't turn a corner without running into some kid with their face painted to look like Spider-Man. Virgil pointed to the closest one and continued to lead Remus toward it. "I'm thinking spider eyes for me, kraken for you?" Remus took a breath, but Virgil knew better. "There's no way anyone is going to paint a photorealistic dick on your face."

"Alriiiiight," Remus said. "Kraken it is."

The sun was now nearly gone over the horizon, only visible as a faint golden line. Janus had finally worn himself out and gone silent, though even in the darkness, Patton could see the annoyance smoldering in his eyes.

Oh, he was so cute. Even when he was annoyed. Which, granted, seemed to be most of them time, although some of it had to be an act. He smiled sometimes, when he thought Patton wasn't looking.

It was those secret smiles that had given Patton the courage to make this plan. He jiggled his leg and swallowed as nerves sent flutters of nausea through his belly. "Um, Janus?"

"Hm?"

"I mean," Patton started, "since we're stuck up here and everything."

"Don't remind me."

"I mean, you know, It's not all bad. If I have to be stuck at the top of a Ferris wheel, I'm glad it's with you. I… I'm glad it's us."

For a moment, Janus was silent. Then he said, in a tone of suspicion: "You're trying to cheer me up."

Patton sighed. As smart as Janus was, he just didn't seem to be putting the pieces together. Although, that was as much Patton's fault as it was Janus'. Well, it was mostly Patton's fault. He just had to be brave. "Look, Janus, I had this whole plan where we were gonna ride the Ferris wheel together and it was gonna pause at the top and while we were looking out over the fairground, I--" His breath hitched.

"...Was going to push me over the edge?" Janus asked.

"I was gonna do this." Rainbow lights from the Ferris wheel spokes danced across Janus' face. Patton leaned over and took his hands. "Janus, I really like you. And I want--"

"Yes," said Janus. "Whatever you're about to say, yes."

So Patton kissed him. 

[imaginariaextraordinaire]

So much of this episode is about the unacknowledged labour of women, the sexism they face in different areas and the various methods women adopt to negotiate it.

Ji-Woo is such a great character because the show takes the idea of a film star and layers it with angularities and tenderness. She's well aware of what she's sacrificed on the personal front to become the successful professional she is in the present. I love how she's neither ashamed of it nor does she ignore that its a choice that came with lots of unpleasant baggage. We get a sense of this awareness in the conversation she has with Seon-Gyeom in the parking lot (it's also striking me as I rewatch the show that there's a beautiful little arc of Seon-Gyeom and Ji-Woo building a mother-son relationship almost from scratch).

The church scenes are also a great example of show-don't-tell storytelling. While Assemblyman Ki has to bribe and flatter people in order to get their attention, adoring gazes turn to Ji-Woo seemingly automatically. Except of course, it's not automatic, as the conversation with Ms Dong reminds us. Her fame as an actress is the result of hard work and putting everything else aside. I love the easy understanding between Ms Dong and Ji-Woo — both working women, both mothers. There's no shame in Ji-Woo asking Ms Dong to look out for Seon-Gyeom and no recrimination when she says Seon-Gyeom is closer to Ms Dong than he is to his mother. It takes a village, people.

In Ji-Woo and Seon-Gyeom's chance meeting at the parking lot, there's something tentative and formal about them. They're both putting up façades — Seon-Gyeom's polite mask, Ji-Woo's tinkling laughter — although she does allow him to glimpse what lies beneath. Ji-Woo only drops a vague mention of Assemblyman Ki making life miserable for the rest of the family because Seon-Gyeom isn't falling in line. It's obvious from both mother and son's body language that she doesn't need to elaborate. What's lovely though is that there's no complaint in her tone. She isn't telling Seon-Gyeom this detail so that he feels guilty; quite to the contrary. The laughter and ease of her body language is reassuring, as though she's subtly telling him that she can handle this.

While we're on Ji-Woo, how great is her barely-concealed impatience with all the smiling and greeting and praying in church!

I'm not sure what I love more — the shot of a the stained-glass Jesus, looking pained while the minister thunders out a prayer for Assemblyman Ki; or the fact that the very next scene shows a kid throwing a tantrum in a supermarket. It cannot be a coincidence that this is the one time that Seon-Gyeom is filmed from an angle that makes it look like he's descending down upon the kid (whom he bribes with a chocolate bar). Particularly love the longing on the kid's face as she stares at the retreating figure of the divine Seon-Gyeom.

The scene between Mi-Joo and Seon-Gyeom outside his hotel is so heartbreaking to watch and it's the first time we understand just how hard Mi-Joo is on herself. All this began with a drunk professor making offensive, sexist comments that demeaned Mi-Joo, but to explain all that to Seon-Gyeom feels almost indulgent so she takes the blame. She's the disappointment — for being poor, for being seen as someone who can be bribed, for having taken the money. She doesn't hear him when he places the onus of the blame on his father. It's so achingly obvious that all her belligerence is posturing and she's ending the budding relationship between her and Seon-Gyeom because she doesn't think she deserves him.

Thank the gods for May. Even if she and Mi-Joo start off at odds, it takes only seconds for them to be in sync. God bless the womance.

You've got to feel thankful for the family of choice when Dan-Ah bumps into human-trash brother. He's a strong reminder of the everyday sexism in society and how privilege doesn't mean you're protected from this venom.

Over the course of Run On, Dan-Ah figures out how to fight her battles in her own way, rather than by employing toxic methods, like putting her (half-) brothers down because society considers them illegitimate. At this point though, while her brother is disgusting and Dan-Ah is obviously nothing like him as a person, the weapons she uses to fight him — hierarchy, contempt, violence — are the same as those he uses on her.

In the middle of all these tortured, messed-up men, the kids are alright. We know this from not only the way the schoolkids whom Seon-Gyeom coaches react to the bullying scandal — interesting that the children have more perspective than the grown-ups who care about appearances rather than the truth — but also thanks to Yeong-Hwa.

I love Dan-Ah trying to subtle suss out exactly how young Yeong-Hwa is when he and Ye-Joon come to Dan-Ah's office. I also love how not for a second does Yeong-Hwa, for all his puppy-eyes, call her "noona". There's no ambiguity about this relationship. Also, while I still can't find anything remotely good to say about those wretched paintings, the idea that art forges connections irrespective of social convention/ hierarchy is one that has my heart.

If the Gyeommi couple is all about being heard and understood, the Danhwa couple is all about being seen for what you really are.

Speaking of Gyeommi, how cute is it that Woo-Sik is the one playing Cupid! In this episode, Seon-Gyeom is frequently reminded of how alone and solitary he is, but what we also see is that he's building friendships. The relationship with Woo-Sik changes from that of a senior with a junior colleague to something softer, warmer. With Mi-Joo, particularly at the dinner that Woo-Sik organises, you see Seon-Gyeom finding companionship as they attempt to set aside their attraction and actually understand each other. This is a relationship that works because they're so different. The fact that they don't think alike is why she can offer him the piercing insight of, "Why not include your failures as a part of your process?"

Also, what a bombshell to drop on audiences in a country (and continent) known for its fiercely competitive spirit... .

Rewatching this episode, Mi-Joo running back to home to translate the article in which Woo-Sik clears Seon-Gyeom's name reminded me of how different this is from the marathon run. Both times, she's running towards Seon-Gyeom, but this time it's more adrenaline than anything else and it's for him. It's the unthinking running that Seon-Gyeom told her about during their first drinking session — you're just running ahead, without looking back, focused on one external goal. The marathon run is much more internal as it pushes Mi-Joo to make peace with her past before she decides what she wants to run towards.

Also, looping back to that idea of unacknowledged women's labour, Mi-Joo works HARD to make sure the article goes viral and she claims no credit for it. She only tells an online group that she translated it because she knows that they will circulate it with more gusto if they know it's her work. This little snippet is also a good reminder that rarely do things go viral without a whole lotta effort from people in the background.

Finally, this hug in the rain turned me into full mush. By now, we know that Seon-Gyeom has grown up with very little affection. He prefers a hotel room to the family house. The only person he's felt comfortable enough to hug is the housekeeper. As far as he can tell, he has no friends (Woo-Sik and Yeong-Il will eventually set him straight on that account, but for now, he's utterly alone). At this point, the hug from Mi-Joo is something much more tender and basic than romantic love or sexual chemistry.

MJ: Don't tell me you don't know what I'm doing.

SG: I know. You're comforting me.

MJ: Correct.

I can't help but remember the later scene when they'll be on either sides of metal gates, when she won't reach out to him and he'll be upset that she won't trust him. Perhaps that's the difference between finding friendship and falling in love — they both can make you stronger, but the process is very different.

[elizabeth-against-the-universe]

My ‘Candace Against the Universe’ Thoughts (Obviously Spoilers!)

Here is my ‘running commentary’ from my second watch through of CATU. I wrote it down in a notebook while I was watching (back on release day!) but only just got a chance to type it up! 

Obviously spoilers after the break

Such a Beautiful Day is SUCH a great start to the movie. It’s catchy, a really lovely song, and is the perfect example of a classic Phineas and Ferb song; great melody, and some kinda weird lyrics.

I noticed that the kids’ bikes were all strewn about on the drive as Candace runs in through the gate, super cute!

Phineas ran into the house to get started on Candace’s gift, while Ferb walked. Such an energetic boy.

I love that Vanessa made a U-turn instead of just reversing or stopping further up. It’s like she needed to check that it was actually Candace sitting on the steps.

ALSO what day does the majority of the movie take place? Is it the day after the giant juggling clown? Because if not, that’s a longgg day

Already lots of Ferb lines only a short way into the movie! I know David Errigo Jr. had a couple of lines in the MML crossover, but he’s really getting a good Official PnF debut!

Everyone has Smartphones! Instead of the flip phones everyone had in the series! That’s what we call progress!

The canoe is ridiculous from the get-go! I love it.

Even Perry’s watch has been upgraded!

Poor DE Inc is always getting damaged. Doof’s insurance must be through the roof (if he still had a roof)

I love the Alexa/Google Home jokes!

The whole smoothie scene is ridiculous, I love it a lot

You can hear Isabella arguing with Doof in the background about ‘starboard’, but Doof makes a good point, just say left or right!

The ‘Unsung Hero’ scene was really good, but it was hard to hear that actual song with all of the action noises going on. But the visuals were great to watch! 

The Welcome Song was ridiculously funny. 

FLOSSING! 

The song ends so abruptly, which is weird. Very PnF, but weird. And the door scene was funny but went on a few seconds too long.

The meaning of ‘Candace’ is so dumb, I love it. You can tell it was a joke made in the writers’ room and they were just like ‘we need to include this’

Candace, honey, you’re actually super special, don’t put yourself down!

Who else called it early on that Candace wasn’t actually ‘The Chosen One’, and that other humans would have the Remarkalonium as well? Because I called it straight away. 

The Space Adventure jokes fell a bit flat for me – Baljeet is too smart for the running joke to make any sense.

Every Isabella and Doof interaction is GOLD!

Why was there no payoff for the building noise joke (how Buford couldn’t hear the noise)?

The first time I watched, I didn’t notice that the funnel was present for loads of scenes (like most of Girls Day Out) before the scene in the dining room.

Also, Girls Day Out is a cute song!

I know Doof not knowing what a ‘click’ was was supposed to be funny, but what IS a click?

Adulting is one of those really dumb songs that is SO FUNNY that it’s good.

They do love geysers in Phineas and Ferb

Super Super Big Doctor and Candace’s handshake was cute.

WE DESERVE THE POWER BALLAD WE WERE PROMISED!

Obsessive, volatile, enchanting? Candace. (Aka Isabella, Baljeet and Buford nail the ‘describe Candace in 3 words’ thing)

The canoe smacking Doof in the face is so funny.

“Super Super Big Doofus” – one of my favourite lines. Isabella is just SO done.

“Okay, Isabella, while I love ominous patch related threats more than anyone” *Ferb clears his throat* “Right, apart from Ferb. Big fan.” – My FAVOURITE line from the movie! And 2nd favourite line overall, behind the one about ant pheromones. Phineas gets all the greatest lines.

Isabella has a Swiss Army Knife! Reminds me that she falls into the ‘looks like a cinnamon roll but could actually kill you’ category.

Aww Baljeet so desperately wants to be in Buford’s gang in prison

Major Monogram has AWFUL timing.

The whole escapee scene was SO dumb. (I wrote on my notes that it was funny, but it kinda dragged. It was funny, but it was SO LONG) (We could’ve had a tiny Phinabella scene in the amount of time that scene dragged on for!) (Or Canderemy or Ferbnessa, literally anything) 

“I’m not… not… special.” Yes Candace, you ARE special! You just don’t need to be used to feed a mind control plant, is all!

The Battle Song was really silly and I found it so funny. Also, SSBD is dumb!

#BuildingMakesWeirdTone

Isabella giving Doof a patch is such a cute, quick little scene!

I LOVED the super-meta 4th wall gag.

16-year-old Vanessa can do Adulting, while the kiddos must wait until they’re 18.

“Selfie mode!” on the Chicken-Replace-Inator makes me giggle

The Axe-Inator and the ‘hidden’ self-destruct button made me snort SO HARD. I loved it.

Anything Phineas says is a good idea, usually (in reference to Phineas using a Space Adventure episode to help them out of a sticky situation. Obviously Phineas knows what’s a good idea and what isn’t)

Kitty Isabella robot! (I saw Carly reference this on Twitter and I was so confused until this scene)

Jeremy: “There’s an alien invasion?” I snorted again.

The double canoe payoff! Also “Yeah, yeah, I’ll make you a patch!”

When Candace ran off crying! No, honey, it’s okay!

“I don’t even drink coffee, I can’t do anything right!” Candace, honey, you don’t have to drink coffee out of a mug, you know.

I want the mug please. Can the Disney store please sell it. I saw Vincent Martella had one, please someone sell me one!

Why does Jeremy have gas masks in the Slushy Dog van?

The Jeremy and Stacy interaction was so funny! Especially Stacy’s teasing!

All main evil villains on Phineas and Ferb get redemption arcs. Doof, 2D Doof, SSBD. You’re not a main villain unless you get a redemption arc. You’re just a secondary villain if you don’t get one.

The ‘Vroblok’ joke at first was really weird, but when the boys did the thing for ‘Vlorkl’, it really gave the joke a great payoff

“OH!” as someone (was it Jeremy and Stacy? I didn’t note it down!) goes through the ‘O’ of the radio tower. So punny!

Candace is the best big sister, not busting the boys because it truly wasn’t their fault.

I LOVE Us Against the Universe! The choreography where they jump forward with their hands on their hips is so cute, I love that move so much, I’m not sure why, but it’s great!

Perry dancing in UATU! So adorable!

Bad timing again, Major Monogram.

And for the end scene: Hmm, why did they make the portal out of such flammable materials?

I loved the movie! Yeah, a couple of things were a bit weird, it dragged a little in some places, but overall it was AMAZING, and it was super funny! I really hope we get another movie! 

[kumeko]

Title: an eye for an eye

A/N: For the second @misteriida zine, which sadly got cancelled due to covid. The theme was Bnha Fantasy, so I couldn’t resist covering Iida’s arc in this world.

Summary: Paladins upheld the law. Paladins strove for justice. Yet, as Tenya held his brother’s limp hand, all that burned within him was a desire for revenge.

…

…

…

…

Standing in the middle of the hallway, Izuku glanced at the wooden door in front of him, and then at his best friend Uraraka. She looked just as nervous as he felt, her teeth worrying her lip as she slowly nodded. Turning back to the door, he timidly knocked. It was strange. Very strange. Usually it was the reverse; Tenya knocking on Izuku’s door to make sure he wasn’t just on time but early for their paladin lessons.

 In fact, this morning, as Izuku tumbled out of bed, he had been afraid he’d overslept and missed Tenya’s knock. Only that wasn’t the case, Iida had been nowhere in sight when he and Uraraka left the dorms. The only answer, as impossible as it felt, was that he’d overslept.  

 “Tenya?” Izuku tried, knocking a little louder. There was no response, not even the sound of someone fumbling for their clothes. He bit his cheek. This was starting to feel serious. “Do you think he left early?”

“Maybe?” Uraraka reached for the doorknob. It turned easily. “It’s unlocked.”

 “He wouldn’t leave it like that.” Swallowing, Izuku pushed open the door and stepped inside. Morning light shone in through the window, revealing a sparsely decorated room. There was a well-organized desk, carefully hung clothes, and a neatly made bed; all hallmarks of Tenya. “He’s not here.”

 “That’s strange.” Ururaka followed after, glancing around the room. Her hands gripped the hem of her shirt. “He wouldn’t leave without us. Did he forget to do something?”

 “Maybe? We should go—” Spotting an envelope on Tenya’s pillow, Izuku raised a brow and picked it up. “A letter?”

 “What’s it doing there?” Uraraka peeked over his shoulder.

 Flipping it over, Izuku’s eyes widened as he saw his name neatly written in black ink. He couldn’t explain it, the sense of foreboding that washed over him at the sight, only that he felt  something heavy in the pit of his stomach over it. “It’s addressed to me.”

 “Open it,” Uraraka murmured, her voice barely more than a whisper. He wondered if she could feel it too, this dread that refused to leave. “It might be important.”

 “Yeah.” Mouth dry, he opened the envelope and pulled out a letter with a trembling hand. There were two pages filled with Tenya’s cramped writing. Taking a deep breath, he read the contents aloud. “To my friends, Uraraka and Izuku.”

 I am sorry for any hurt I am about to cause you. I know that I am doing something wrong. Many times over the past few weeks, I contemplated telling you. You both give good advice, and I am sure that it would be the same in this matter. If I had told you, you might have talked me out of it. Yet, I do not know how to explain this to myself, let alone you. I have never been good with words, I am only friends with you because you reached out to me. Even writing it down now does not clear my thoughts. Where do I even start? As you know, my brother had been injured last month by the paladin killer, Stain…

 -x-

 Gripping his wooden sword firmly, Izuku swung down quickly. It hit the practice dummy with a satisfying thwack and small bits of hay floated to the ground. His armour clanked as he slid back into position. Looking over his shoulder, he asked, “How was that?”

 “Great!” Tenya smiled broadly at his friend, giving him a thumbs up. Honestly, it was impressive how far Izuku had gotten in the span of a few months, especially since his background had nothing to do with any form of skilled fighting. Crossing the training ground, he stood next to Izuku and slowly adjusted his stance. “If you stand like this, though, you’ll be able to transfer your power better.”

 Izuku frowned. “I knew something felt off.” He looked down, adjusting his footing to match Tenya’s. “This better?”

 “Yeah.” Nodding, Tenya stepped back. There was something really fulfilling about teaching Izuku; maybe it was how quickly he picked things up or maybe it was just how open he was to suggestions.

 Holding her practice sword loosely, Uraraka left her target and approached them. Mirth coloured her voice as she added, “That’s our class leader for you, noticing the smallest of issues.”

 “It’s an important detail,” Iida countered, pushing his glasses up. This wasn’t the first time he’d argued this point, and it probably wouldn’t be the last. If more paladins noticed these things, they’d be better at their jobs. “It can mean the difference between life and death.”

 Izuku nodded. “It does.”

 Uraraka sighed. “Right, right. This is why people think you two need to lighten up.” She shrugged. “Anyways, Tenya, you really do have the best form.”

 Iida flushed, pleased. He wasn’t a prideful man, but it was nice to hear someone had noticed all his hard work. Rubbing the back of his head, he thanked her before glancing at Izuku. “Though I think Izuku has the strongest attack.”

 “W-w-what?” Flustered, Izuku shook his head rapidly. “The strongest? Me? T-that’s not…”

 It wasn’t good to be humble to the point of ignoring your own strengths. Honestly, anytime they praised him, Izuku would immediately panic, as though they’d found out a great secret. It was strange.

 Before he could ask, one of their instructors sprinted past them, heading toward the school’s front gate. Tenya barely turned around in time to catch two more instructors following after, one of them yelling for someone to get the school’s healer.

 “What was that?” Uraraka asked, squinting toward the front gate. As the tall, imposing doors opened, they could hear a huge uproar as people poured in.

 “It’s Stain!” someone yelled, their voice startling clear amidst the clamour. “He’s killed again!”

 “Killed?” Izuku paled, glancing at them.

 Without another word, they sprinted toward the gate. Iida had heard rumours about the paladin-killer Stain, that low villain who struck paladins in the middle of their rounds. There was no honour in his attacks, just a body count that was now in the double digits.

 And now he had another death on his hands.

 At the gate, one of their teachers, Kayama, was clearing a path through the students crowding the way. Unlike her usual playful expression, her face was tight with worry. Fiercely, she shouted, “Keep back. We need to get him to the medic.”

 Behind her, Tenya could just barely make out Yagi and Aizawa. As the crowds thinned, he caught glimpses of a stretcher, of gleaming silver armour, of red blood.

 “Who do you think it is?” Uraraka whispered, instinctively reaching for his hand. She trembled; he could feel the vibrations through his arm. Or maybe it was him shaking.

 “I don’t know.” Izuku stood on his toes, straining to make out the injured paladin. “We’d have to check who was out on patrol.”

 Tenya rubbed his chin as he recalled the patrol schedule. ��If I remember correctly, Jean, Endeavor, Tensei…” His voice caught as he uttered his brother’s name. The stretcher cleared the crowds, providing him with an unobstructed view of the victim. A mop of black hair, the insignia of the runner, Atlanta, carved onto the breast plate, the Iida family sword lying next to him.

 For a second, Tenya couldn’t breathe, couldn’t hear. In slow motion, he saw Uraraka gasp, felt Izuku grab his arm. Aizawa looked at him, pitying, before turning straight ahead.

 Tensei groaned. In an instant, everything came rushing back and Tensei started to run. “Tensei!”

 “I’m sorry.” Kayama stood in front of them, her trademark whip wrapped around her arm. Blood flecked her cheek and she shook her head. “You have to wait till our healers have checked him.”

 “Tensei!” Tenya yelled again, trying to push past her. His world narrowed to just his brother’s form, quickly carted away to the school building. “TENSEI!”

 “You can’t!” Izuku pulled him back, his voice thick with concern. “W-we have to wait.”

 “Yeah.” Clearly shaken, Uraraka grabbed his other hand. “Let’s wait, together, okay?”

 Kayama grabbed his cheeks firmly, forcing him to look at her. “Listen to your friends. I’ll get you the second it’s safe.”

 Tenya looked at his brother one last time before slowly nodding.

 -x-

 Or maybe I should go even earlier than that. The Iida family have been paladins for generations, a line that’s been unbroken. Tensei has always been the ultimate paladin, the very person I aspire to be. My brother used to come back from the school, training me on his holidays…

 -x-

 “You ready?”

 Standing in the middle of the armoury, Tenya adjusted the collar of his leather armour uncomfortably. At twelve, he was taller than almost everyone in his class, but still his brother’s hand-me-downs were a size too big. “I think so.”

 “You think so?” Tensei poked his head in. Catching sight of Tenya, his eyes widened a fraction before he burst into laughter. Doubling over, he wheezed, “You look like you’re playing dress up.”

 “Hey!” Tenya tugged on his armour again, trying to get it to fit on his frame properly. His cheeks burned red-hot as his brother continued to laugh. This was not how he expected today to go. “It’s…it’s just a little big.”

 “More than a little.” Calming himself down, Tensei wiped the tears from his eyes. He straightened up and appraised Tenya. His lips quirked as he tried not to laugh. “Come here, I’ll fix it for you.”

 Puffing his cheeks, Tenya trudged over to his brother. “It’s not that bad,” he mumbled.

 Realizing he’d gone too far, Tensei tried to mollify him. “You’re right, it’s a good attempt.” He crouched, loosening and retying various straps.

 Despite himself, Tenya could feel the difference. The leather clung to his skin tighter, though still not enough to be called a proper fit. When Tensei finally stepped away with an approving nod, Tenya begrudgingly admitted, “It’s better. Thanks.”

 “Yep, you look like a proper paladin now,” Tensei replied, grinning brightly.

 Tenya bounced on his feet, his fists shaking excitedly. “Really?”

 “Really. Just missing one thing.” Tensei glanced around the armoury, at the spears and swords proudly displayed on the walls. Heading over to a small trunk, he opened it up and pulled out a wooden sword. “Your weapon.”

 Eagerly, Tenya grabbed it. Sure, it wasn’t a real weapon, but it was the next best thing. Maybe, just maybe, if he impressed his brother, he’d even be able to hold one today. He could dream, at least.

 Now properly suited, they headed over to the stables. In the paddock, Tensei had set up a single training dummy. The straw-stuffed humanoid-on-a-stick looked a little worn; no surprise, considering how many times Tenya had fought it with a stick.

 But he didn’t have a stick now. No, he was using an actual wooden sword. Standing in front of it, Tenya frowned as he stared down his enemy. “You will be defeated today.”

 “Good fighting face,” Tensei praised, crouching down next to him. His cheek twitched from supressed laughter but at least he was taking it seriously now. “Do you remember the stance I showed you?”

 “Yes!” Iida held out his sword and adjusted his feet, shifting his weight so it distributed more heavily on his back foot. His armour bumped against him slightly as he moved.

 “Close!” Resting a hand on Tenya’s arm, Tensei gently bent the elbow. “You need to relax your stance a little. If you’re too rigid, you can’t strike with enough force.”

 Tenya tried to keep his expression serious throughout the training lesson, but it was hard. His brother only had so much time at home, and he chose to spend it training him. There was nothing more amazing than that. His brother was the greatest paladin of all time.

 -x-

 I can already guess what you’re thinking. The teachers and other paladins can handle this. Maybe. My brother is not the first paladin to fall to Stain’s hand. Even with all those injured, we still haven’t been able to catch him. No one knows where he goes or when he’ll appear. Besides, even if we did, they will try to capture Stain alive. To give him a fair trial, as our laws entail.

 My brother is not the first to fall but I want him to be the last. It is not the paladin’s way to demand revenge. Justice, sure, but not revenge. I fear I desire nothing but the latter.

 Iida paused at those last words, not sure how to continue. Where to continue. He leaned back into his chair, staring at the paper on his desk. He had spent the last few hours trying to find the right way to say goodbye to his friends, but that was impossible. There were no words to describe the strange mess of anger, fear, and loss that settled in the pit of his stomach. What could he say, to explain the way he felt when he sat in the recovery room, clenching his unconscious brother’s hand? Tensei’s pulse had been faint, so very faint. Even now, he could feel it, as soft as a bird’s wing. Death had been in the room that day and it was only a miracle that it hadn’t taken Tensei away.

 His brother was alive, but only just.

 Tenya picked up his pen again. Would his friends understand? Food had lost its taste, sight its colour. There was only the red of blood, the red of hatred, the red of revenge. It left a bitter sensation in his mouth but it was something at least.

 No, there was no way he could describe the white hot anger that burned inside him, threatening to consume him whole. It was something that could only be experienced and he hoped they would never understand.

  Outside, an owl hooted. Tenya looked outside his dorm room window at the night sky. It was a cloud night, the stars barely visible. This was it. The hour was late and if he wanted to avoid the night patrol, he had to leave now.

 Quickly, Tenya scrawled his name at the bottom of the letter before folding it into an envelope. Setting it on his pillow, he stared at his friends’ names. They would be hurt. They might never forgive him.

 That was fine. This was more important than his own happiness.

 Steeling himself, Tenya removed his paladin badge from his tunic. It was the last, final step. There was no going back now. The school would never take him back if he succeeded. And if he failed…

 Before he could second guess himself, Tenya whirled around and left. One way or another, he was going to end it.

[panharmonium]

some disjointed thoughts about stranger things 2 under the cut (concealed to hide spoilers from my sister)

so, season 2!

i’ve gone into every season of this show knowing absolutely nothing about it.  i’ve had no exposure to the fandom or to reviews or anything that would indicate what it was about or how good the seasons are in relation to each other, which i like, because i know my opinions are my own.  season 1 i watched back in the winter, i think, and it was amazing.  blew me away. 

i just finished season 2 and i’m like...not as into it?

and i’m glad i had no preexposure to anything, because if i had, i’d worry that i was just being influenced by other people’s opinions, but i genuinely don’t know what people think of the various seasons.  i’ve been stringently avoiding anything about this show, have it blocked on tumblr, etc, so i could watch it cold.

i’d have to watch it again to really pin down the places where my investment was flagging, and i’ll probably do that eventually, because i know my roommate will want to see it, but my general impression was this: they had me hooked in the beginning, and then they started to lose me.

- i feel like overall it was 9 episodes where very little substance actually happened.  plotlines were stretched out over a reallllllly long period of time and became paper-thin.  like nancy and jonathan?  the only thing they really did over those entire nine episodes was make a tape recording and send it to the paper.  that was their whole story, and it could have fit in one episode.

- and what did happen felt like it suffered from a lack of focus.  can i explain this in more detail without watching the show again?  not really.  but i just mean that in S1, i could tell you what each of the main character’s arcs were, and i could lay out how those arcs had clear beginnings, middles, and endings.  in S2, i can really only do that for El (and even that i feel like got messy by the last third).  

- the horror vibe was different this season.  it was LESS scary, to me.  S1 was a CREEP factor that had my skin crawling - it wasn’t like...creature horror - it was the unsettlingness.  the whole parallel world thing was so - well, the only word for it is unsettling, like.  you felt like you could take a step and accidentally wind up somewhere no one should be - the idea that you can be trapped so close to somebody and yet so far away - you just felt like the world was inside out (or upside down, if you will).  and so much of the fear in the first one came from how incomprehensible and uncertain the entire situation was - you didn’t know how things worked and nobody believed you when you tried to tell them what was happening.  that scene where the christmas lights spell out R-U-N?  scariest fucking thing i’ve ever seen.  but S2 changed it to be like...it felt like more of a monster flick.  like a zombie movie or something - lots of creatures running around that you can just shoot with a gun - that’s just not really the same vibe as the first season, and i didn’t find it quite as interesting.

- i don’t want to be That Person, because i liked maxine as a character in general, on her own terms, but from a writing perspective - what even was the purpose of her introduction?  her and her brother both, honestly, the whole family.  i feel almost bad for saying that, because i can guarantee that there were people out there complaining about her being introduced because “they just wanted to have another girl; it’s so stupid, blah blah,” cue more sexist stuff, etc, and that’s really not where i’m coming from, but for me, from a general storytelling perspective, i don’t understand why she or her family were introduced.  they were superfluous to the story.  they didn’t need to be there.  and since i don’t even feel like the returning characters got enough development this season (see point #2), i don’t understand why we spent so much time on her/her family/her introduction to the Party.  it felt like filler.

- stranger things S2 did that thing teen wolf does where 2/3 of the way through the season it drops a tonally-different expository/flashback episode that does a lot of the legwork tying other shit together while also being completely disconnected from the rest of the plot, which is basically an info dump and is my least favorite way of relaying plot/getting characters to the spot the writer wants them to go.  i think kali was the most interesting new character we met this season; i was rapt every time she was onscreen, but i don’t love the “we’re going to shove all of the character development and background info into this one episode and at the end El has had her turnaround and goes back home.”  it didn’t feel believable to me.  are we ever going to see those people again, or were they just a plot convenience to serve the aforementioned purpose?  (idk, i haven’t watched S3 yet, so...we’ll see.)

- some weird...minor tonal changes/dropped plots?  in S1 one of the running undercurrents was how mike and nancy’s mom wanted them to talk to her and she really did care about what was going on but they couldn’t connect to her and that bothered her, whereas in S2 it’s like - that theme has been dropped; she’s not involved in their lives really at all, and her and ted’s spousal relationship is just being played for laughs, and there was that REALLY weird scene with her like...lusting after billy??????  that was so fucking bizarre.  

and until one line in the very last episode, they dropped the whole thing about hopper’s daughter, too - the way they wove that into the first season was brilliantly done, and just - you don’t see a bit of it in S2, and that felt off, to me.

- killing bob was a bad call.  it was gratuitous, AND it was contrived - who the hell is running for their life and then just stops dead in the lobby to smile at their girlfriend?  ANY SENSIBLE PERSON WOULD KEEP RUNNING FOR THE DOOR.  like - bob died, but the doctor survived????????  the doctor, who was attacked and immobilized and defenseless in a stairwell, somehow wasn’t killed??????  of course not, because he needed to survive, so he could get El her papers later....that entire thing irritated me.  it made no sense.  that was actually the point where i said to myself “uh-oh.  first Bad-with-a-capital-B decision this show’s made.”  

- lack of consistency in terms of how, exactly, Stuff Works.  in S1 it was like - the Upside Down is everywhere.  the demigorgon could come through anywhere, if you were unlucky.  that was part of what made it so creepy - there’s this whole other world and it is RIGHT THERE with you, and sometimes the fabric separating the two universes gets scary thin, and bam, you’re somewhere no human has any business being.  whereas in S2 it’s like - ok, things are coming through this one portal and spreading through tunnels underground, in our own dimension???  like at first i thought hopper had actually entered the Upside Down in the tunnels, but then it seemed like the tunnels were still on our plane, just gross-looking.  so why in S1 could the demigorgon come through the ceiling of will’s house, or through that tree in the woods, or take barbara through the pool?  why did the lab people think burning that little gate would help, when the first monster from last season was obviously popping into our dimension from all sorts of other places?  

- this is a minor quibble, but it was driving me up the WALL in the last couple of episodes - what in god’s name were they injecting will with???  and HOW.  mike just grabs that syringe off the counter like “we need to make will go to sleep” - there is NO reason that anyone in the room would know what was in the syringe or what the correct dosage was or HOW TO GIVE AN INJECTION IN THE FIRST PLACE.  joyce gives it???????  by stabbing straight down????????  into will’s arm????????????  what the hell kind of injection technique is that?!?!?!  that’s not....how that works.  ever.  and maxine does it to billy too, in his NECK - just straight in there.  there is no....look, people in human medicine can weigh in better than me here; maybe things are different, but just from the veterinary perspective, you can’t just stab a creature any old place you want, and giving something via any route that isn’t intravenous isn’t going to drop an animal immediately, AND you do not have control over how long they’re going to be out.  if you give a sedative, you can’t just wake an animal up by wafting ammonia under their nose.  AND the animal is likely not going to be actually asleep until you also give an anaesthetic induction agent, and if you do give an anaesthetic induction agent, you’d better have some monitoring equipment and a breathing apparatus hooked up to your patient!

look, it just - the “go to sleep” injection was used to solve too many critical situations for me to just ignore it.  it bothered me.

anyhow.  overall, i didn’t hate it.  but i thought it was way less cohesive than the first season, and therefore way less effective.  i’m still curious to see what happens in S3, but my expectations are lower now. 

[if you wanna talk to me about this, you have my permission, but ONLY if you’re able to do it without talking about S3 in any capacity, including your own personal evaluation of how good/bad it is in relation to the other seasons.  i like to watch without knowing other people’s opinions of things, otherwise i feel like my viewing experience is colored by what i hear.  thanks! :) ]

[twdmusicboxmystery]

Arcs From Episode 10 to Episode 10

Okay, so last week I posted THIS about Episodic Patterns in Episodes 8-10, right? Well, while writing this post, I noticed something else. I didn’t want to include it in that post because it’s a little bit different and that post was already long. This is just yet another way of looking at things.

What I noticed is that we often see arcs that run from episode 10 to episode 10. They’re somewhat in line with what I posted last week, but they’re also their own thing. Let me illustrate.

We have to disregard season 1 here, since that season only had 6 episodes. But let’s begin with S2. 

2x10: 18 Miles Out:

Obviously an important Beth episode. In terms of the entire group, it’s important to note how cohesive they WEREN’T at that point. Rick and Shane were fighting (literally) over what to do about Randall. 

Hershel was still demanding Rick’s group leave the farm. Maggie and Glenn were having a relationship, but still figuring out what it would be, and semi-hiding it from Hershel. Daryl and Carol were still dealing with the fallout of Sophia. Daryl was existing away from the group, literally refusing to be a part of them. Carol was keeping an eye on him, but he wasn’t being terribly receptive to her. And remember that when Lori asked Daryl to go find Hershel because Beth was ill, he categorically refused.

So, you see what I mean. Definitely NOT cohesive.

So I would submit that this was the beginning of an arc where the group wasn’t terribly cohesive and loyal to one another as a family should be, but this arc was them moving slowly toward that.

3x10: Home

By the time we get to 3x10 (my fave episode of S3) we see that they definitely have become a family. Think about everything that happened in the interim. They lost the farm and had to survive on the road together all winter. That’s naturally going to form bonds. They clear out the prison together and build a home (more bonds). And we can see their loyalty to one another in how they deal with the inmates, always putting their group first. 

They rescue Maggie and Glenn (much family loyalty there) and are fighting the Governor, which will also cement them together. When none of the group wants Merle at the prison, Daryl naturally falls into his old ways of going wherever Merle says. 

But in Home, he realizes he doesn’t want that life. That’s not who he is anymore. In the end, he literally tells Merle that he’s going back where he belongs. So, through Daryl and Merle, they illustrate the theme that home is where the family is, and for Daryl, that’s now with Rick’s group. So they’ve gone from not being a cohesive family unit, to being a very cohesive one.

And what do you know? Beth is a part of the plot here again. She talks to Carol about Daryl and how he’s part of the family now and they need him. 

It’s also important to note that, while in 2x13, Carol suggested she and Daryl leave the group together, she no longer feels that way in 3x10. If you read between the lines, she even suggests that Daryl leaving wasn’t the right thing to do. She certainly doesn’t condemn him, saying that, because of Ed, she understands that people like Merle can get into your head in a bad way. But by extension, she’s saying that Daryl leaving wasn’t the best solution, but she understands why he did it.

So, 2x10 was the beginning of the arc of them becoming a cohesive family. 3x10 is the beginning of the arc where they ARE a cohesive family, and work together to get things done. Things like defeating the Governor in 3x16 and then building up the prison as a thriving community. That’s why everyone was so happy and well-adjusted in 4x01. They were all genuinely in a good and healthy place.

Unfortunately, the prison goes down in 4x08 and they scatter. So the new arc begins in:

4x10: Inmates 

And what do we have right away? 

Beth’s voice over talking about a new home (connection to 3x10) and the group being together (family; which wasn’t the case in 2x10). So 4x10 begins an arc where they’re still family, still emotionally loyal to one another, but they aren’t physically together and they’ve lost their home, becoming nomads. In this arc, they find one another (Terminus) and deal with problems (Termites/Father Gabriel/Grady) while having no home base to go back to.

The nomad arc of course, lasts until:

5x10: Them

When Aaron shows up. This is the new arc of finding a new home and getting settled at Alexandria. I’ll go through these a little faster now.

The arc of 5x10 is them finding and adjusting to their new home. It culminates in 6x09 when they fight, together with the Alexandrians to keep their new home standing. 

6x10: The Next World

Then, in 6x10, they meet Jesus. This new arc is them branching out to meet other communities, which will eventually include Alexandria, the Kingdom, and Oceanside. And unfortunately the Saviors, who obviously present a major problem.

That arc lasts until 7x10.

7x10: New Best Friends

Here, they meet the Scavengers. 

Now, there are really two things to mention here. I talked LAST WEEK about how meeting the Scavengers started an arc that helped TF defeat Negan, which is true. I also think this was the very preliminary beginnings of introducing us to the helicopter group. At this time, we had no idea that Jadis was connected to them. We just saw the Scavengers being their odd selves in the junk yard. But here’s the kicker:

We meet the Scavengers in 7x10. What happens in 8x10? 

8x10: The Lost and the Plunderers

The Scavengers all die. 8x10 is the episode where Simon kills them all and Jadis sends them into the meat grinder. 

So the Scavenger arc literally lasted form 7x10 to 8x10. Coincidence? Definitely not.

It’s kind of hard to explain what the arc from 8x10 to 9x10 was in a single sentence. It’s basically the aftermath of both Negan and the Scavengers. For Jadis, it’s her journey to the helicopter people. She tried to go with them right after her people died, but it didn’t work out. She became part of TF for a time, but eventually made her way to the helicopter group, taking Rick with her.

For the rest, Simon killing the Scavengers led directly to Jadis (and therefore Rick) ending up with the helicopter people. Which is how we think Beth will return as well. Carl’s death (in the previous arc) is why Negan survived after he was defeated, and that definitely shaped the communities after the war and is impacting current events on the show. So 8x10 kind of began the arc that led to both the Whisperers and the helicopter people.

9x10: Omega

9x10 officially began the Whisperer arc when Alpha showed up at the gates of Hilltop.

So what’s up for 10x10?

In terms of this pattern, I don’t think Alpha will be defeated in 10x09 or 10x10, but I think the group will discover a new community that will help them defeat her. So, just as them meeting the Scavengers in 7x10 was a catalyst for defeating Negan, so this next group (maybe Virgil’s?) will help them defeat Alpha, which will probably happen in the season finale, just as Negan was defeated in the season finale.

BUT there’s also the fact that Beth has figured heavily in episodes 10 throughout the season. 2x10: suicide attempt. 3x10: Crushing on Daryl/Home theme. 4x10: Inmates. ‘Cuz obviously. 5x10: Music box. 

After that, it’s more symbolical. 6x10: they meet Jesus on the road. Beth is the Christ figure. 7x10: Jadis and especially Tamiel/Boots had TONS of Beth symbolism around them. Including cats, a helicopter in the background and a foreshadow of Rick’s death fake out arc. 8x10: Again, helicopter group. Other heavy symbolism. 9x10: Prisoner exchange involving Enid and Lydia that heavily paralleled Grady. Tons of symbolism around Daryl/Henry/Lydia.

And of course there’s the 10:10 clock on the wall when Beth wakes up at Grady. Juuuuust saying. 😉

[hellyeahomeland]

“Chalk One Up” | Directed by Seith Mann, Cinematography by David Klein

The episode opens with Carrie arriving from a long night out doing… God knows what with God knows who. We love the starkness of this close-up on the exterminated motorcycle light. According to Lesli Linka Glatter, this mode of transport is based on a real life story: 

“The scene where she gets out of the embassy was based on the real agent who Carrie is based on. She was based in Iraq at the time and that’s how she got out: by dressing as a man and traveling on a motorcycle. So, we used that for this. Also, you can’t leave in Kabul without an armored vehicle.”

...as the camera slowly pans up to reveal it’s Carrie underneath that (gigantor) motorcycle helmet, the question becomes clear: where the fuck was she? 

Sara loved these scenes between Samira and her friend. Homeland has depicted several cities in the Middle East over the years but has rarely given us glimpses into the world outside the walls of a hotel or CIA station, especially without our main characters. The market that Samira and her friend walk through is vibrant and filled with color, as are their outfits. It’s a stark contrast to the interiors of the CIA station. And Samira’s line that the Taliban didn’t go away but were no longer hiding proves remarkably predictive of the rest of the episode’s events.

The real highlight of the scene is the selfie, of course. We love the detail of the man on the far, far left being cut out. Samira’s friend is the master of the one-arm selfie! 

This shot of the various players at the Kabul station looking outward at Carrie is striking. It’s almost a reverse fish bowl. Carrie remains on the outside but everyone’s looks are in her direction. Jenna standing at the front of the room further suggests she was never “stuck in the starting gate.” She’s in the same position of power in that room as the Chief of Station and the commanding military officer at right. From afar, the dynamics are almost similar to early season one, Carrie running an ops meeting with Saul by her side. All of which is to say… is Jenna the Carrie to Mike’s Saul?

Dog.

This was such a specific detail that we thought it required pointing out, but 27 is not a significant number on this show (at least that we can remember), so we’re not sure why they bothered to show this. 

...unless it’s a reference to the general ominousness of the 27 Club and a hint that Carrie (who, to be fair, is far past the age of 27) is going to die. 

This week the show confirmed that Tasneem is the Director of the ISI. Which means that (after President Elizabeth Keane) she’s the second most powerful woman ever depicted on this show. And boy does she dress the part! 

Tasneem’s all-white ensemble is attention-grabbing and distinctive (the other women in this frame are dressed in dark clothes). It’s also visually similar--especially with her long, black hair peeking through the sheer fabric of her headscarf--to the dress worn by several other men at the reception.

Homeland has told lots of stories over the years--whether intentional or otherwise--about the challenges women face living in a patriarchal, misogynist society. Whether it’s Martha losing her career because her loser husband couldn’t stand having a wife who was more powerful and smarter than he…. Or Allison dying in the back of a car near the Russian border in an act of scorned lover revenge. Or Carrie, screaming and crying at the end of “The Vest”... but being right the whole time. 

Or, as Abigail Nussbaum said more elegantly than we ever could: 

“Carrie is, in many ways, a boogeyman; she is what professional women, and particularly ones in male-dominated professions, have been taught never to become - emotional, hysterical, crazy. Emotion is how women who want to be taken seriously are undermined and dismissed. Even if you’re perfectly sane, being emotional - and most especially, being angry - devalues you and your professional contribution. A woman can be called crazy simply for behaving like a normal human being rather than a robot (and of course, if she behaves robotically and unemotionally, she’s a cold bitch). But Carrie isn’t simply emotional (though she is that too, and worst of all, she allows her feelings for a man to cloud her judgment) - she actually is crazy and hysterical, in the proper clinical sense rather than the exaggerated one which attaches to any feminine display of emotion, and profoundly pathetic and unattractive in that state. And she’s completely right, the only person who figures out Brody and Abu Nazir’s plans and motivations, and the person who saves the day by being hysterical, infecting Brody’s daughter with enough of that hysteria that she calls her father and convinces him not to blow himself up.

It’s certainly possible to read this arc as purely tragic, Carrie’s self-destruction being the cost of saving the world (though this is a character arc that is applied to men as often as women, for example in Thomas Harris’s Red Dragon), but to my mind its effect is more complex. It makes a crazy, hysterical woman into a hero without in any way mitigating her craziness or hysteria, and thus defangs the argument that emotion in women is a weakness. It’s the rational, sane men around Carrie, who turn away from her unattractive mania with distaste and embarrassment, who are blind and incompetent, and it’s that same inability to look past surfaces that leads them to put their trust, wrongfully, in Brody - just as Carrie performs hysterical femininity, Brody performs stalwart masculinity. Both are misleading.”

All of which is to say, we’re really fucking pumped to see how Tasneem’s role expands for the rest of the season, and we think the array of women in Tasneem, Carrie, and Jenna and their varying degrees of power is going to be really interesting to see unfold. 

Sara is obsessed with this shot. She’s obsessed with the set design of Samira’s apartment. She’s obsessed with this moody lighting. She’s basically just obsessed. 

Last week we had a slow pan around Jalal to reveal Tasneem. This week we have a similar slow pan around Carrie to reveal Jenna. This definitely means that Sara’s theory that Jenna will “single white female” Carrie is right on track. 

Also, Gail hereby declares Carrie’s delicate silver jewelry her “FULL circle earrings,” because everything is coming full circle this episode, including accessories.

That said, we can’t deny the power of this shot. First, we have to note what’s going on in the background (which is actually in focus). President Beau has just arrived off Air Force One and immediately stops for a photo op with the Afghan president. From the beginning, the show is clear this is an optics-based trip. 

But we really love this image of Carrie and Jenna (out of focus, but in the foreground) side by side. Again, they mirror each other, but in opposite ways (“So they’re mirror opposites?” --Sara’s brain). Carrie’s light hair versus Jenna’s dark hair. Jenna’s light jacket versus Carrie’s dark one. It’s eerie.

On the podcast we talked at length about the scene between Beau and Carrie. It’s genuinely moving. The staging of it is unique as well. The camera shoots them both at the same height. They stand close together. Ironically, the power dynamic seems almost equal. He’s one of the few people who’s ever acknowledged the sacrifices she’s made in service of her country. 

Their twin smiles here are all the more tragic following the sequence of events that closes the episode. They all sincerely want peace. So many characters smile real, genuine smiles this week. That’s not a normal Homeland occurrence! 

And they all legitimately believe in what they’re doing. They believe they’re doing the right thing. Maybe they are. But partly out of necessity, and partly out of more selfish desires (Hayes later says it’s all about getting a second term), they get caught up in the theater of it all. They make poor decisions. They take the wrong risks.

Every so often in this series we have to abandon screenshots in favor of gifs in order to truly capture ~the moment~ and this is one of those times! The way Claire plays Carrie’s reaction here is so specific, so nuanced and strange and wonderful. These “lived in” moments are something we’ll really miss when the show is over.

IJLTP.

We’ve all been there, Carrie. 

This is another interesting shot choice. We’re not sure what its purpose is, other than to add interest to a fairly run-of-the-mill scene. But still, the set design! *heart eyes* 

Sara’s note for this shot was “Saul is so extra.” We talked about genuine and sincere smiles above and Saul’s here does qualify… sort of. This is halfway between genuine and self-aggrandizing. AKA “where Saul lives 100% of the time.” He looks like a director about to screen his short film at Sundance. The red curtains parting slowly behind him are Too Much.

Tasneem and G’ulom are the kids in the back of the classroom who are so fucking done with this shit but can’t leave because they’ll get detention. We will continue to stan. 

It’s a classic Homeland device to show a significant moment from a variety of perspectives, especially if those perspectives involve screens. The multitude of angles on Beau’s speech here reminded us a lot of Keane’s resignation speech in the Oval Office in “Paean to the People.” Coincidentally, that was her last hurrah as president too. 

(P.S. Another Saul over-the-shoulder shot!)

Two selfies in one episode! 

We loved the payoff to Max’s subplot. For once this season the weird LA filter actually looks nice! These are beautiful shots and the reflection in Max’s glasses is especially striking. 

The skull and crossbones on the barracks is an ominious detail. As is the rock labeled “Boredom Rock.” Death and boredom really have been the two extremes of Max’s stint at the combat outpost.

We’re still divided on the merits of the “Carrie has to save Samira” storyline, but the camerawork here, with Carrie’s armed hands appearing out of nowhere, was pretty cool. 

This RPG shot was one of the cooler special effects the show has done in a while. The entire sequence of Chalk One looking for Chalk Two was tense and thrilling and extremely well-executed.

Bringing us back to the ops room, the “LOSS OF SIGNAL” projected now for both helicopters is pretty chilling.

This is now Sara’s favorite shot of the entire series and we’d be remiss if we didn’t mention that it’s another over-the-shoulder Saul shot. This time he observes one of the crowning achievements of his long career literally blowing up in his face. 

Visually, this shot anchors the viewer back to the Carrie/Saul relationship, the central one of the show. The black blankness--and the failure it represents--engulfs the frame. 

We love the choice to end the episode on Carrie alone. It refocuses the event back to her. The horror in her eyes, welling up with tears, is palpable. How does Carrie feel? Alex Gansa explained that the writers wanted to create a new 9/11 with this maybe-assassination of the president. And it’s a fitting bookend for the show in many ways. In Homeland’s pilot, Carrie says she “missed something that day,” misdirecting blame to herself for not preventing 9/11. Now, in the final season, the show seems poised to tell a story in which Carrie is blamed for the “new 9/11.” 

Strap in, folks. It’s gonna be a rough ride. 

[whateverisbeautiful]

Reveling in Richonne

#140: The Ditch (9x04)

So in Rick’s final storyline before his final episode (cuz imo his final episode transcended story, it was an experience lol 💯) all I can say is my man is betrayed. 😑 😪 Like there’s no other way to put it.

The first time we see Rick, he’s looking at the bridge and the river rushing under it and isn’t happy that it’s going to pretty much put a halt on continuing the bridge. And for him, this feels like symbolically putting a halt on bridging the gaps between the communities like he’s been so determined to do, mainly to honor Carl’s memory. 

So Rick has his final exchange with Eugene which was actually pretty sweet and then we get an emotional final moment between Rick and Carol and this is all just sad. 😭 

In show context it’s sad, cuz Rick has to see pretty much everybody go and walk away from this project that he put so much hope in, but out of show context it’s sad cuz these are some day one season one characters and actors having their last on screen interaction.

Rick acknowledging that Carol figured out who she wants to be and Carol reminding him they all did was a nice way to comment on the arcs they’ve both had. It’s been quite the journey for the two of them. 

And it’s extra sweet when Rick tells Carol, “If anyone gives me hope for how things can turn out it’s you.”  At one point Homeboy kicked Carol out of the community for burning people and now she stands before him as this woman with a son and a kingly husband so she’s definitely shown you can come a long way. 

Carol is one of the few people who didn’t try Rick and Michonne too much this season so I’m glad she voices to Rick that she is one of the people who really did want this to work out like he did. And it’s a heartfelt moment when he smiles and tells her he knows. ☺️

Jerry informs Rick that Maggie is on her way to Alexandria so Rick quickly gets on his walkie to let people know that if Maggie Rhee shows up to Alexandria don’t let her in without an escort and “alert Michonne right away”. Partners. Who handle things together. 🧲 Here for it.

But y’all… who’s sitting/lurking in the background like a snake waiting to attack his prey??🤨 (Disclaimer: I love Daryl and he’ll always be part of the family. But you gotta call out the siblings when it’s right👌🏽).

And you gotta admit, they legit filmed this like a snake preying in the background, as Daryl watches Rick give these orders. 

Then Daryl stands up and “casually” asks, “Hey. What’s going on?” even tho he knows good and well what’s going on. 

Rick explains that Maggie is headed to Alexandria to potentially do something she’ll regret. So Daryl tells him to hop on his bike cuz he’ll take him since it’ll be faster. The deceit is just so calculated. 😒 I think that’s the part that just doesn’t sit well. It’d be bad enough if Daryl just asked him to stick around to help with something and “distract” him, but for him to straight up say I’ll take you there knowing he had no intention of doing that...it’s a breach of trust that is pretty tough to swallow.

And of course Rick agrees to this because that’s his brother…why would he lie. So he hops on the back of Daryl’s motorcycle and they ride off for Rick’s betrayal.  

When they cut back to Rick and Daryl, Daryl revs up once they get to the crossroad where they should’ve turned, because he has no intent of getting Rick home. And y’all, I felt tried because it’s already bad that he’s ditching the turn they’re supposed to take...but then Daryl gotta be extra with it and pop a wheelie or something to really make a statement. 😟😂 I was like...

Rick tries to tell him that they passed the way back home but when Daryl doesn’t listen Rick seamlessly transitions to cop mode and tells Daryl to pull over. After yelling it a second time, Daryl finally stops and Rick quickly gets off the bike. They face each other and Rick knows something shady is up.

Rick asks him what this is and Daryl points at Rick and says, “You know exactly what this is” and I do too; betrayal. 🙃 Rick informs Daryl he already called it in so Maggie’s not making it through those gates. And I know that part of why Rick feels so confident about that is because he’s confident Michonne will handle it.

But Daryl reveals that he and Maggie’s plan was real planned out cuz that call didn’t go through. Rick realizes they messed with the relay so he’s about to get on the walkie again but Daryl knocks it out of his hand. And as it so often goes with these two brothers, they end up in a scuffle that has them tumbling into a deep ditch. I mean when Rick said you’re my brother in season four he wasn’t kidding because these two truly do get into it like siblings. 💯

What always hurt the most about paving Rick’s exit this way, is knowing that he wanted to go home. 😭

He was headed home to Alexandria and would’ve got home if he had taken his horse. But Maggie and Daryl’s scheme kept him from getting back home and getting back to Michonne which is a special kind of frustrating. It be your own day one friends. 😒

In the ditch, Rick jumps up to try and grab a root but it doesn’t work and he asks Daryl if he set up the root falling too. 😂 Petty Rick had to make a final appearance lol. 😋 

Rick tells Daryl, “You know what keeping Negan alive means to us.” And it’s interesting that he says “us”. In my Richonne brain I feel like at least part of that means him and Michonne specifically, because what keeping Negan alive means to the two of them is honoring their son’s memory and what Carl wanted for them.

Rick says he’s not blind as to why Maggie would want to kill Negan, and Daryl says he’s been acting blind. And then Daryl gets personal by telling Rick that he wouldn’t even be alive without Glenn. And it’s true but um…Glenn wouldn’t even be dead without Daryl so let’s not go there. 🙃 

Then Daryl just wants to keep pouring salt on the wound by telling Rick that without Glenn he wouldn’t have found Lori (😑) and Carl or any of them and he asks Rick if he’s forgot what Glenn did for him. 

I wasn’t feeling Daryl throwing that in Rick’s face like Rick doesn’t know or appreciate what Glenn did for him. Especially cuz we know from 7x12 how much Rick remembers and carried the guilt of all Glenn did to save him, so it was a low blow to accuse him of forgetting that. 

I get Daryl’s hurt, he has a right to be, but not like this. Not where he hurts the man closest to him. 😣

When he has the nerve to ask if Rick’s forgot how instrumental Glenn was, the petty in me wanted to ask Daryl if he forgot when Negan said, in the clearing, if anyone steps out of line again he’ll kill somebody. 😑

Rick reminds him that he of course remembers and even thinks about it every day.The parallel to Rick and Michonne both saying they think about what they lost everyday is tough cuz it shows they carry it with them. But it also speaks to their resilience to be able to constantly think about those they lost but still focus on the family they still have too. R&M have been able to move forward and heal cuz they don’t run from the grief anymore. 👌🏽

So then Rick and Daryl proceed to argue about what keeping Negan alive is really symbolizing to people; is it hope that things can be different or hope that one day things will go back to the same. 

It’s sweet that Rick says, “Michonne talked to her. She came to camp. She was coming around.” I think for Rick, it’s already been established that he believes Michonne can do anything and so he was probably like if Michonne took care of it and spoke to Maggie then it’s settled. He’s probably thinking why wouldn’t someone change their ways after a Michonne conversation, since Michonne-talks is all it takes for this wonderfully whipped man to change. But Michonne knew in 9x03 that Maggie wasn’t as resolved with everything as she appeared. 

So as they talk, Rick tells Daryl that if Maggie kills Negan then everything was for nothing and then the most emotional part is Rick saying that if Negan dies then, “Carl died for nothing”. 

It’s heartbreaking to hear Rick say this and to know that more than anything what has fueled Rick’s drive to keep Negan alive was his want for Carl’s death to mean something. 

Carl’s death was so unrelated to the Saviors so I’m personally a bit confused as to why he’d have died for nothing if Negan dies. I guess it’s saying that Carl was so adamant to prove that there are good people left who need their help since the Negan war had everyone against each other, which is what had Carl out there with Siddiq hoping to prove a point. 

Regardless of the exact meaning of Carl dying for nothing, it’s a true statement because Carl did not have to die. Period. So he did seem to die for nothing. The only truer statement Rick could have said would have been, “Carl died for shock value.” 😅 

Daryl tells Rick what about us, and how Rick hasn’t been having enough faith in them and what they can handle. Rick tells him that’s not true because I think for Rick, having faith in his people is a huge part of him.

Daryl says he would’ve died for Rick and for Carl.  And then he lets Rick know, “But you gotta hear me. You’re chasing after something that ain’t meant to be.”

Daryl tells Rick, “You just gotta let him go. Let him go” and I felt it was very interesting for him to tell Rick this when Daryl refused to even let the death of his acquaintance Denise go. 🙃 Like my pal Daryl is kinda the master of not letting things go so I was just like... 

But I’ll give him the benefit of the doubt and guess that this is more Daryl speaking from lessons he’s had to learn himself, cuz letting go was not his strong point, which makes it hard to then ask Rick to do the same when it comes to letting go of a much closer relationship; the one with his son.

I do like the line when Rick tells Daryl, “I never asked anyone to follow me.” Cuz leadership is something that found Rick, not something he demanded. He’s expressed this sentiment many times before of how it’s not like he was itching to be the leader of everyone. 

Even during the Ricktatorship era, he initially gave people the option to leave (and send him a postcard lol) and didn’t force anyone to follow him. But because he’s a real one, he has stepped up to the plate and led, and because he’s human it’s not like that leadership has always been perfect. It’s like Danai described; he’s a man burdened with leadership but taking it on out of his love for his people. 

And I like Daryl saying, “Maybe you should’ve” cuz don’t get me wrong as much as I’m on Rick and Michonne’s side always, I also agree that Rick should’ve asked them what they felt was best and made a joint decision that everyone could feel good with when it came to Negan.

So then the brothers work together to get out of the hole even despite the walkers that tumble in and it’s this whole little action sequence. The most meaningful part comes from when Rick gets out first and then Daryl’s struggling to get up so Rick steadies him by saying, “Brother, take my hand.” 

Rick really is a real one for being so forgiving and putting all that serpentry aside to help his brother and to let Daryl know all is forgiven. This moment also connects to something Merle told Daryl in season two. 

When Daryl had to climb a similar cliff in search of Sofia he was badly injured and hallucinating Merle. Merle taunted him to take his friend Rick’s hand. And it’s just cool that, throughout all these seasons, Rick really has proven to be a true brother to Daryl. The brother he needed.

So Rick pulls him out and they leave the area and then the fakest friend of all shows up; that white horse. 😒 That white horse is the ultimate traitor lol.

Rick sees that the herds of walkers have merged and so he tells Daryl he’s going to lead the herd away, which will clearly lead to a not so happy ending. Daryl tries to convince Rick not to go the way of that herd but Rick refuses to give up and let this herd ruin the bridge. 

Y’all, I’ll be honest in this moment I was looking at Daryl like, you better go with him then Mr. I’d Die For You. 😑 Like I get Daryl wanted to get back to the camp and check on everybody but Rick, while very capable, is about to go into a huge herd alone. It could’ve been a two-person job and Rick wouldn’t have been alone to meet his fate. 

But at the end of the day things went the way they went, cuz Rick had to be written out one way or another. So Daryl and Rick’s final dialogue ends with Daryl saying, “Be safe.” And Rick saying, “You too.”

As Rick leads the herd away, this fake friend horse gets spooked and bucks Rick off of him like season one. Except here he lands alone in the middle of rocks and gets gruesomely impaled. 😖 

And as he lay there, we pan away with herds forming on both sides of him and we’re set up for Rick’s final episode, of which he endures like only Rick Grimes can. 👌🏽💯👑

gifs source: @michonnegrimes @coffeeandmusic82 @hilariesjeffrey

[ladyloveandjustice]

Fall 2018 Anime Overview: Zombieland Saga

Sakura Minamoto wakes up in a creepy old mansion one day to find out she’s a zombie with no memory of her past life. What’s more, a mysterious and obnoxious man has gathered her and a bunch of other zombie girls because he wants them to become pop idols who will revitalize the Saga prefecture. 

Zombieland Saga lets you know right out the gate it’s all about the unexpected, when it interrupts the typical “cute clumsy girl following her dreams” anime schtick with a (literally) heart-stopping surprise. It’s a show that celebrates the unusual and features some of the most loveable and charming characters of 2018.

ZS sort of straddles the line between being an affectionate parody of idol shows and a quirky celebration, but whatever its goes for, it’s always an entertaining, wacky romp. The first episode sees this gang of zombie girls doing a heavy metal concert, the second features a rap battle and the fifth episode involves the girls running around in ungainly chicken costumes. ZS also fully plays up the body-horror-comedy potential of its zombie cast- expect to see some eyeballs flying. It’s wild, weird and colorful.

But wacky hijinks aren’t enough to carry a show, it has to have character and heart behind it, and this show fortunately has plenty of that. I love this gang of misfit girls. The zombie idol group Franchouchou includes a former child star, 19th century courtesan, biker gang leader and one shambling classic non-verbal zombie who remains shrouded in mystery, on top of idols from different eras and what not. Needless to say, it’s a cast from far more varied backgrounds than most idol shows and they all have a fun dynamic.

Saki was definitely a big fave, because I absolutely adore aggressive delinquent girls and the show clearly does too, glorying in her tough girl ridiculousness. Her focus episode, rather than fully condemning her delinquent lifestyle, celebrates her individuality. Though one of her friends is happy leaving delinquency behind settling down to what she calls a “normal” family life, Saki’s response is “what even is normal? I don’t think I’ll ever get it.” She attracts biker girls to the audience and gives a performance where all the girls join in on her sukeban style. The message is clear- Saki is happy living an unconventional life and she’s not going tone down her vulgar attitude as an idol either, in fact, she’ll flaunt it. 

And happily, the show really puts its money where its mouth is in showing an idol group that accepts all. If you’re big into the anime community, odds are you’ve heard that one of these girls is revealed to be trans. It’s handled better than most would expect from a comedy anime- the girl is a full rounded, realized character, she comes out and reveals her past on her own terms and the other girls ultimately accept her and support her, saying they won’t treat her any differently.

 Which isn’t to say its unassailably perfect by any means- the depiction of her dysphoria might be considered too slap-stick-y, she’s thrilled with being a zombie because she was concerned about her body changing which ignores that there are medical options for that way preferable to y’know, dying young (still, nice she found an upside to her situation), the girls are obnoxious about it when they first find out, with one even going into a laughing fit about the “manliness” of her dead name, though they are at least called out and settle down about it- but all in all, its a sympathetic portrayal and just presented as being a new facet of an already great character, and that’s sadly rare to see in anime and media overall with trans characters.

The show could have focused solely on teamwork and cooperation like a lot of its type, but I think the fact it puts a lot of emphasis on individuality and people from all walks of life coming together is what allowed me to click with it a little more than I have with other shows in the genre. This is reflected in Franchouchou’s fans- because the girls are so versatile, they end up with an audience that included death-metal-heads, the elderly, pre-teen girl gangsters and so on. As one of them puts it “More weirdos! That’s what Franchouchou’s all about!”

The show’’s got more going on than that too. There’s some gentle jabs and examination regarding the business side of the idol industry- two of the zombie are former pro-idols from different eras, and clash over how the business has changed in with how it involves the fans over the years, which is an interesting aspect to see. There’s some faint zingers thrown in occasionally too, like a flippant comment that at least as zombies they can’t die from overwork, and stuff about staying “in-character”. It’s nothing too challenging, and is ultimately the show is very glowing about idols overall, but it’s at least interesting to see these things acknowledged. There’s also stirrings of a larger plot starting to unfold with hints about how the girls may have become zombies, reporters noticing fishy things and mysteries abounding. It makes me look forward to seeing where the show goes- anything could happen, honestly.

Though I do admit there are some faults. The girls’ manager, Kotaro, was always a bit of a sticky element in the show because he’s a raging asshole who has gathered all these young girls to do his bidding, without giving them any info about what’s going on or how they ended up here. I was okay with it because the girls basically always snapped back at him, treated him as the shady weirdo he is, didn’t have any regard for his orders and did what they wanted, and even beat the shit out him when he went too far. It IS really weird they don’t demand more answers from him, instead just accepting the status quo, and the whole thing kinda falls apart if you think too hard about it, but, you can roll with it.

What I can’t roll with is how Kotaro just kind of makes the transition from horribly obnoxious shady person no one trusts to quirky-mentor-who-is-extra-but-means-well without really earning it. He’s still keeping the girls in the dark, he’s still a jerk, he’s done nothing to clarify or make up for his earlier behavior, but the show seems to expect me to accept him as a benign cryptic ally after a few pep talks and it uh, doesn’t really work for me. 

And then there’s the final episodes, which revealed something potentially very concerning. Major spoiler territory here for a bit, so watch out.

I did find the last arc, which focuses on Sakura’s angst over her memories of her past life and wanting to quit the group, a bit predictable and “meh”, though it wasn’t bad by any means. I was probably a little disappointed because there were other characters who hadn’t been explored at all  who I really wanted to see more of, but the show’s almost certainly getting a second season, so I should be patient, I guess.

Our first hint of Kotaro’s backstory is given in these final eps and it’s...a little troubling. It could go in some bad directions, some of which would have to potential to break the show. It turns out he was a classmate of Sakura’s when she was alive, and he’s kept this from her, which makes the dynamic between them even more screwed up. Especially since Sakura had been agonizing about not remembering for so long while he said nothing, and clearly doesn’t remember him even now. Why did he bring her back from the dead? If it turns out he had a crush on her when they were kids and WORSE, if we find out that crush persists even now that she’s still a teenage zombie and he’s an adult and this is framed as okay- yeah, that would be a reason to drop the show for sure. 

I’m hoping it doesn’t go there. ZS is all about playing around with expectations after all- the first episode already took a piss on the idea of a romance by having Kotaro get all up in her face and seem like he was talking seductively and giving her the doki dokis...only to show she was actually just freaked out this weirdo had fried squid in his pocket. (And later it’s shown throughout the show Kotaro does his up-close-and-personal thing with anyone, regardless of age or gender, so presumably he doesn’t mean it romantically and it’s just how he is.)

But still, Sakura being the one of the girls most willing to go along with Kotaro’s bullshit and accept his orders makes this revelation even more troubling, the power dynamic between them is BADLY unbalanced and Sakura is in a very vulnerable position.

I AM intrigued how the hell Kotaro went from “apparently regular high school student” to “weirdo who knows how to raise the dead” and what his connection to the other characters are (especially the mysterious man in the bar), so provided they DON’T go a super creepy direction with it and he IS called out properly for his deception it could be a really interesting plotline. So, we’ll see I guess.

spoilers over

Overall, Zombieland Saga wasn’t a perfect show, but it was a fun time with fun characters, and that’s exactly what it set out to be. The show’s also mercifully light on fanservice and other nonsense, which is a plus. If you like zombies, hijinks, friendship, zany comedy and awesome girls, this is definitely worth a look.