#aside from One Scene this episode is PERFECT

[avoicebehindthestars]

On Rob's Good Omens sweaters...

Bluesky has some photos of Rob Wilkins wearing these two holiday sweaters:

At the first glance you go "awww, how perfect, I need those sweaters!" but then you're like "hold on a second!"

For the sake of this meta, I'm going to assume the designs are deliberate, and not just idk cheap fakes ordered from temu lol.

Let's start with stating the obvious. The red sweater has the characters' roles reversed - Crawly is sheltering Aziraphale. It's not a "book thing" either - there, Aziraphale held his own wings above himself. This is a minor detail, but Crawly's stance is also different than in the show - his legs are apart, in a position indicating strength, confidence, and protection. Meanwhile, the blue sweater has what looks like angel!Crowley sheltering a black-haired fallen angel. My first thought was that is could be Satan and this might be a hint that we're going to see Crowley's fall after all. But now I think different.

Regarding the red sweater in particular, my thoughts immediately wandered towards the multiple Edens theory and the two Crowleys theory. Just to quickly recap: discrepancies in the details on the walls of Eden have been spotted, and at one point someone from the crew mentioned that there were "many Edens" in existence (possibly testing grounds before the real one? Or several different enclosures for the first breeding pairs? We never found out). As for Crowley - many people have noticed differences in his looks throughout season 2. Most notably, his sideburns have differing length and it shifts within the same scene, e.g. the sideburns are long in the pub, but short when he leaves the pub; they are short during the "exactlys" argument, but long when Crowley snatches his sunglasses while storming out of the bookshop. Bildad the Shuhite also has two different hairstyle (one is shorter, more evenly cut and carefully combed, whereas the other is longer and a bit more "windswept"). There's also the matter of different camera filters, which is a commonly used technique to show different worlds (think Supernatural, and I think also some MCU films?), and the disappearing props.

So, taking the sweaters into consideration, could the world of Good Omens be comprised of multiple realities? The novel is one. Season 1 is another. Season 2 shows TWO (!), which are almost identical. Who knows, perhaps the Crowley with the short sideburns managed to sway Aziraphale in the Final Fifteen, or even changed his mind and hopped on the lift at the last moment? What if, presented on the sweaters are two more? On, in which it was Crawly offering shelfter to Aziraphale, and another one in which it was Aziraphale who fell (and his hair blackened in the process). Perhaps there are versions of this (sorry, couldn't resist!) in which they both fell, neither did, or they were an established couple by season 1?

It this were to prove true in the movie, it will have some pros, of course. Firstly, it would legitimise virtually all headcanons you might have (I was a little upset when s2 finale made it clear they weren't secretly a couple before). It would also boost creativity for all the reverse!Omens fic writers. And, of course, it would explain many things fans have noticed, especially about s2.

However, other than that, I don't think I like it that much. Above all, I simply dislike multiverse - I find them often too convenient narratively, while also needlessly convoluted. But aside from that, I wouldn't be happy to see that particular take in the movie. If we were getting out 6 episodes, it would be fun to watch particular scenes and increasingly go "huh?" as we spot consecutive discrepancies and minor details that don't work. And by the time it was revealed it would feel really rewarding that you have spotted the details, even if you failed to work it all out. Within mere 90 minutes… it just doesn't feel like enough time to drop enough hints, or, alternatively, the movie would be oversaturated with them. Finally, it would mean less screentime for the mercilessly truncated Aziracrow reconcilliation arc (which I am still grieving over), as instead we would receive glimpses of different universes, while still navigating the complex Second Coming plotline. Also, what would be the endgame? All the Aziraphales and Crowleys combining their forces to beat heaven and hell/the new christ/god herself? That's a bit too Marvel if you ask me, and with all my reservations about the movie, I rather trust Narrativia to offer us something much more original.

[wileycap]

So, uh, Netflix Avatar, huh? Yeah. I guess I'll make a really long post about it because ATLA brainrot has is a cornerstone of my personality at this point.

So.

It's okay. B, maybe a C+.

That's it.

Now for the spoilers:

The biggest issue with the Netflix version is the pacing. Scenes come out of nowhere and many of the episodes are disjointed. Example: Aang escaping from Zuko's ship. We see him getting the key and going "aha!", and in the next scene he's in Zuko's room. And then he just runs out, no fun acrobatics or fights, and immediately they go to the Southern Air Temple where he sees Gyatso's corpse, goes into the Avatar state, and then sees Gyatso being really cheesy, comes out of it, and resolves that conflict. Nothing seems to lead into anything. The characters don't get to breathe.

The show's worst mistake (aside from Iroh fucking murdering Zhao) is its' first one: they start in the past. Instead of immediately introducing us to our main characters and dropping us into a world where we have a perfect dynamic where Aang doesn't know the current state of the world and Katara and Sokka don't know about the past, thus allowing for seamless and organic worldbuilding and exposition, they just... tell us. "Hey, this is what happened, ok, time for Aang!" There's no mystery, no intrigue, just a stream of information being shoved down the audience's throats and then onto the next set piece.

The visuals are for the most part great, but like with most Netflix productions, they just don't have great art direction. It feels like a video game cinematic, where everything is meant to be Maximum Cool - and none of the environments get to breathe. It's like they have tight indoor sets (with some great set design) and then they have a bunch of trailer shots. It's oozing with a kind of very superficial love.

Netflix still doesn't know how to do lighting, and with how disjointed the scenes are, the locations end up feeling like a parade of sets rather than actual cities or forests or temples. As for the costumes, Netflix still doesn't know how to do costumes that look like they're meant to be actually worn, so many of the characters seem weirdly uncomfortable, like they're afraid of creasing their pristine costumes.

The acting is decent to good, for the most part. I can't tell if the weaker moments come down to the actors or the direction and editing, but if I had to guess, I'd say the latter. Iroh and Katara are the weakest, Sokka is the most consistent, Zuko hits the mark most of the time, and Aang is okay. I liked Suki (though... she was weirdly horny? Like?) but Yue just fell kind of flat.

The tight fight choreography of the original is replaced with a bunch of spinny moves and Marvel fighting, though there are some moments of good choreography, like the Agni Kai between Ozai and Zuko (there's a million things I could say about how bad it was thematically, but this post is overly long already.) There's an actually hilarious moment in the first episode when Zuko is shooting down Aang, and he does jazz hands to charge up his attack.

Then there's the characters. Everybody feels very static - Zuko especially gets to have very little agency. A great example of that is the scene in which Iroh tells Lieutenant Jee the story of Zuko's scar.

In the original, it's a very intimate affair, and he doesn't lead the crew into any conclusions. Here, Iroh straight up tells the crew "you are the 41st, he saved your lives" and then the crew shows Zuko some love. A nice moment, but it feels unearned, when contrasted with the perfection of The Storm. In The Storm, Zuko's words and actions directly contradict each other, and Iroh's story gives the crew (and the audience) context as to why, which makes Zuko a compelling character. We get to piece it out along with them. Here - Iroh just flat out says it. He just says it, multiple times, to hammer in the point that hey, Zuko is Good Actually.

And then there's Iroh. You remember the kindly but powerful man who you can see gently nudging Zuko to his own conclusions? No, he's a pretty insecure dude who just tells Zuko that his daddy doesn't love him a lot and then he kills Zhao. Yeah. Iroh just plain kills Zhao dead. Why?

Iroh's characterization also makes Zuko come off as dumb - not just clueless and deluded, no, actually stupid. He constantly gets told that Iroh loves him and his dad doesn't, and he doesn't have any good answers for that, so he just... keeps on keeping on, I guess? This version of Zuko isn't conflicted and willfully ignorant like the OG, he's just... kind of stupid. He's not very compelling.

In the original, Zuko is well aware of Azula's status as the golden child. It motivates him - he twists it around to mean that he, through constant struggle, can become even stronger than her, than anyone. Here, Zhao tells him that "no, ur dad likes her better tee hee" and it's presented as some kind of a revelation. And then Iroh kills Zhao. I'm sorry I keep bringing that up, but it's just such an unforgiveable thematic fuckup that I have to. In the original, Zhao falls victim to his hubris, and Zuko gets to demonstrate his underlying compassion and nobility when he offers his hand to Zhao. Then we get some ambiguity in Zhao: does he refuse Zuko's hand because of his pride, or is it his final honorable action to not drag Zuko down with him? A mix of both? It's a great ending to his character. Here, he tries to backstab Zuko and then Iroh, who just sort of stood off to the side for five minutes, goes "oh well, it's murderin' time :)"

They mess with the worldbuilding in ways that didn't really need to be messed with. The Ice Moon "brings the spirit world and the mortal world closer together"? Give me a break. That's something you made up, as opposed to the millenia of cultural relevance that the Solstice has. That's bad, guys. You replaced something real with something you just hastily made up. There's a lot of that. We DID NOT need any backstory for Koh, for one. And Katara and Sokka certainly didn't need to be captured by Koh. I could go on and on, but again, this post is already way too long.

It's, um, very disappointing. A lot of telling and not very much showing, and I feel like all of the characters just... sort of end up in the same place they started out in. I feel like we don't see any of the characters grow: they're just told over and over again how they need to grow and what they need to do.

To sum it up: Netflix Avatar is a mile wide, but an inch deep.

[theminecraftbee]

iskall propaganda post: if you are going “geez, I want to watch a new hermit”, this is the GOLDEN AGE to get into iskall85.

in general, he has a very good sense of humor that’s a combination of pure silliness, mean girl energy, and dry humor, and I think his voice is nice. he’s also just here for a good time; there are very few iskall episodes where he doesn’t make himself crack up a little at least ONCE. he’s corny and goofy and as I said, a little playfully mean, and he’s FANTASTIC.

in his episodes, he has a fun editing style that often focuses on comedic timing and a fun energy, and if you have liked people like the boatem crew in the past, this makes him a good hermit for getting into. he’s also stated a goal for the season of less focusing on projects, more just having fun with his friends, so if you’re a big fan of big goofy collabs, you’ll LOVE “iskall and stress make each other lose their minds for ten straight minutes” or “whatever that base thing was from today, iskall that was hilarious and also I feel bad you have to live there now”.

however, this is the iskall golden age, yes? so you do not just have his episodes! if you’re a fan of people like doc or xb, who do long mostly uncut footage, can I introduce you to vodskall85? despite the name, this channel isn’t just stream footage; indeed at this point maybe less than a quarter of it is stream footage. instead, it’s mostly “behind-the-scenes” footage, or uncut bits he couldn’t put in his episode! want to see the full uncut take of group caving? want to see a hilarious demise bit? want to see iskall waffling at the audience about game design? want to see whatever etho and iskall have going on these days? vodskall is PERFECT for everyone who wants a taste of uncut hermitcraft joy in their lives!

and as an additional aside: iskall has been struggling with burnout for some time, which is why he hasn’t been around much the past two seasons. he’s also struggled with mental health due to being a Public Guy On The Internet, his comments having for a bit been notoriously bad. however, thanks to hermitcraft vault hunters, he’s reinvigorated and ready to go, and I’m SO EXCITED to see more iskall hermitcraft content! he’s one of my top hermits, and seeing so much iskall stuff lately has been so nice. and I’d love to help see more!

so what I’m saying is: GO WATCH ISKALL HE’S SO COOL! YOU WON’T REGRET IT,

[consoledacup]

In order to fully understand Colin's reaction to the Lady Whistledown reveal and how he processes everything moving forward, you have to think about the entire season, the entire series really, through his point of view. I have no problems with the part 1/2 split. It made the anticipation that much more intense, and it worked out perfectly with their love story. But you can't separate one part from the other when you're thinking about his character.

In Colin's mind, the end of episode 4 is his happily ever after. That's it. He did it. He took action. He was the Cupid to her Psyche and played god and rescued her from a loveless match. He made shit happen and told her how he felt and they shared that moment in the carriage, and he gleefully proposed. He saved the girl and got the girl, and what a remarkable, enchanting, beautiful girl she is.

And aside from Eloise and Cressida, everyone's obsessed with their relationship. They're the true love match with a great story, and how lucky he is to fall in love with his best friend. And she's showing hints of unease, but maybe that's just wedding jitters. Or maybe she's mourning her relationship with Eloise which is why he keeps trying to get them to make up. Or maybe she doesn't feel as secure with him as she would've with Debling, even though she'd never tell him that. He is the third son after all. And he still has no idea how in love with him she is.

So when she tells him how she's always loved him, he's warmed but also wracked with guilt. Because if he had only taken his stupid head out of his ass, he would've figured out why her letters meant so much to him or why he was eager to participate in an investment with her family or why her lack of response the past summer devastated him. He thought he was the instigator of their love. He's the one who laid himself bare and was like, is it possible you feel a fraction of what I feel for you? And to find out that she did always love him made him feel so undeserving. Because why would this exquisite siren still want anything to do with him after all that he put her through?

There is an incredible scene that I think deserves a lot more gravitas. The minute Penelope mourns Lady Whistledown and burns her issues, it cuts to Colin getting over his writer's block as he writes with great enthusiasm. It's like, he's unknowingly siphoning her power. He is Cupid and a writer and her protector and her provider and so madly in love. And he will finish his manuscript, and he will make things right with Penelope and Eloise. And he and Penelope will have the perfect life together.

And then everything he thought he knew about Penelope, about friendship, about love, is completely shattered. She rips his power from him, and he is absolutely gutted. She has been the mastermind this entire time, and he was none the wiser. And what part of their love story was even real? At which point was he manipulated into doing what she wanted him to do? And while he was helping her with her confidence, and telling her how changed of an individual he was, she not only saw through him but broadcasted his insecurities to the entire ton?

He's still so desperately in love that he remains steadfast in marrying her. But he cannot get over his fury and hurt and betrayal at that point. Which makes so much sense. It's painful to see him lash out and withdraw from her, but he's absolutely reeling.

And on top of all that, he is humiliated. He thinks about everything she said about his own writing. She told him how he made it seem effortless, which is such a great compliment. And he's like, I don't want you to edit my manuscript because I want to prove to you that I'm worthy of you. And he might be thinking, I can even give her some pointers for her own writing! What fun we'll have with more lessons. To find out that she's the talented, sharpest, most prolific writer in the ton fully emasculates him. He feels like she was patronizing him all along.

He brings that part up, and she's like, no, I meant everything I said about your writing. But he doesn't believe her and immediately switches the conversation to her dangerous predicament, so he can at least, at the very least, offer himself up as her protector. It worked before when he danced with Penelope after Cressida ruined her dress, when he rescued Marina from Rutledge, when he helped save Daphne's reputation, when he saved Penelope's family from Cousin Jack, when he helped save Will's business, when he kissed Penelope, when he saved her from the balloon, when he defended her to her mother... If he can't be the provider, he can be the protector. And she doesn't even want that from him. She's the knight in shining armor. She's Don Quixote. Not him. Never him.

So he is grappling with his role in their union. He figures it out, but it takes him a little bit to get there. And in the process, he not only remains in love with Penelope the entire time, but he also falls head over heels for Lady Whistledown.

[rootspiral]

Agatha All Along deep dive: episode 2 part 2

(Wandavision entries: [1][2][3])

(AAA entries: ep1 [1][2][3][4] ep2 [1][2][3][4] ep3 [1][2][3] ep4 [1][2][3])

here's another Agatha reflection that I didn't notice yesterday - it's a theme, I tell you

she's essentially doing what she does at the beginning of Wandavision, although with no prep time and no magic for costume changes: a ditzy over the top wife with the made up farway husband

I'd get a couple more candles back there, Lilia. You missed a spot.

But jokes aside, you know what she's doing? She's taking the piss out of agatha. this is Lilia we're talking about, the Seer. her job is literally to See. she knew who and what Agatha was the moment she stepped in, and frankly it's insulting that Agatha would try such cheap tricks on her. this is a little "fuck you agatha" before they get down to business and lilia can tell her to fuck off too

and yes, agatha underestimates lilia from the start, which is the point of lilia's character and the lesson she has to internalize. but the thing is, lilia IS amazing, powerful and wise from the very beginning. this whole scene is Lilia being better, smarter and more powerful than Agatha, she just doesn't have the self-confidence to recognize it

(but WHY beauford?? best name she could have picked)

lilia IS in control. she sets the pace of this encounter. agatha is a step behind, which is rare for her

fuck off, look at that stupid condescending little face

YASSS read her for filth! but let's recap her exact words (so I have an excuse to listen again to Patti's exquisite delivery and voice control)

"You've been under the influence of another. Someone you hurt." Wanda. And we go back to Agatha torturing Wanda and what it's doing to her, the guilt she feels.

"They took your agency. For three years." Agency is one of the main themes of this show and something that will touch Lilia up close too.

"It's not the first time your witch kin betrayed you." Not the other way round! Yes, Agatha has betrayed, she has hurt and killed. But we need to acknowledge that she was betrayed by her kin, her coven, her community first.

"But you survive, in a way few do." Agatha is a survivor. She dragged herself out of a hellpit, and she was maimed and turned into something horrible in the process. But she fucking survived.

"In fact, that's why you're here." Lilia knows EXACTLY what Agatha is planning, she knows that she's here to kill and she knows why. She knew from the start.

agatha's face falling more and more

YES. FUCK YES. THE PERFECT DICTION TROUGH GRITTED TEETH. SHE IS NOT INTERESTED!! GIVE THIS WOMAN ALL THE MONOLOGUES BECAUSE SHE'S GONNA CRUSH THEM

I know, Billy. this is also the way I look at stage goddess patti lupone

SHE IS CRYING AGAIN! DO YOU SEE IT!!! DO YOU SEE THIS SHIT?!!?!? SHE'S CRYING AT BEING SEEN SO CLEARLY, BECAUSE SHE'S ALWAYS HIDING. AND SHE'S CRYING WITH RELIEF, TRIUMPH AND GUILT BECAUSE SHE'S FOUND THIS AMAZING EXTRAORDINARY WONDERFUL WITCH AND SHE HAS TO KILL HER SO SHE WON'T DIE HERSELF TONIGHT

DON'T TOUCH ME, I'M IN A GLASSCASE OF EMOTIONS.

that's a predator right there

nuh-uh babe, she's got your number. you are not going to win this one. (i'm drinking up all the details in her room. look at that old singer sewing machine, that's a 70s or 80s model - everything in the room is at least 40 years old. Is she making herself a quilt? is she cold at night? we know she doesn't have the money to pay her bills)

I KNOW, BILLY!!!

lol, you know when patti told joe locke something like, 'sorry you're stuck here with all these old ladies'?? and he was like, no you don't undeRSTAND

(I mean, Patti has met plenty of gay boys. she understands.)

Lilia jumps for a moment to episode 5 and hears the ghost of Agatha's mom yelling at her. (aw, her chairs are all mismatched.)

Billy is always so polite. and look at Agatha's body language, she's doing the same thing she did when torturing Wanda, kind of hugging herself. both predatory and defensive, because, once again, she is not as comfortable as she seem. she is not being sincere, she is out to manipulate lilia, and she's not happy about it

I live for lilia's rants about the commodification and gentrification of the queer witch community (look at those gorgeous italian plates!)

she actually did bite a kid once

"when I was chased out of every village I passed through for accurately predicting tragedy? NO, I do NOT. BEAT IT, harkness!" I adore her delivery. and also. ouch. ouch. my sweet lilia. so many years, so much pain

When watching this scene for the first time, you identify with Billy and just sit back and enjoy these two extraordinary witches and actresses working together. the first episodes are high on comedy but they all have a serious, upsetting undertone, and it's especially gratifying to see how both actresses work with voice, face and body language to express what they can't say explicitly. Lilia is an incredibly old, wise, experience witch, but also tired, alone, humiliated. She's been jumping through time and she's really frightened about it. And right now? She's quite literally going against the most dangerous serial killer of witches in known history. She can stand her own against Agatha and then some, but she is not confident enough to see it yet.

A question that reads ironic but is delivered without a hint of irony. Why are you dragging a child into this? You of all people. Why are you putting a literal child in danger?

an ironic answer also delivered with no irony. it's threatening, and it's also protective of Billy

agatha gambles: maybe she can get lilia mad enough later and get blasted anyway. maybe she has other means to steal (a kiss, mayhaps?) And Billy better not hear this, she's not gonna kill him or anything but, you know, keeping her options open. just in case.

lilia DOES NOT need to return to her clairvoyant glory. lilia is one of the most if not the most powerful seer. her isolation is self-imposed. agatha is completely out of her depth here.

case in point: agatha does successfully con jen and alice, but she does NOT con lilia. not even close. she had nothing. lilia was in control of the conversation the whole time, seeing through agatha the whole time, and she was always going to say no.

"Three of Pentacles." collaboration, community, singular voices waiting to harmonize. Lilia REACHES THROUGH TIME and MAKES herself join Agatha. How fucking heartwrenching is that???? Agatha never tricked Lilia into doing anything. Lilia is sitting at the tarot table in her Glinda costume, for the first time fully confident and fully aware in her power, and she just - she grabs herself in the past and says, this is your family. this is your coven. you have chosen it. go and reclaim it. that is why Lilia follows them to the Road. not because Agatha is powerful, but because Lilia is.

and present Lilia is just so scared. she knows this is going to kill her.

FUCK I love this show so much!

(and a quick shoutout to @sapphicjew, I'm loving your commentary!)

go to episode 2 part 3

[sherbertquake56]

okay I’m dropping some of my fable arcane au thoughts before the new episodes drop tomorrow even tho most of it is based on season 1 anyway—

so some basic taggings for you that I based the AU around:

1. Icarus as Jinx.

powder vs jinx is just the sherbert vs icarus name thing. toxic father. unhealthy relationship with sibling. a lil crazy and maybe evil. thinks that they are at fault for the things around them. lil bombs? nah- little SPLASH potions. hearing and seeing mylo and claggor? it’s Haley- it’s literally Haley—

2. Fable as Silco.

okay fable’s design WAS partially inspired by silco— they literally look the same— they’re both a man with two priorities: take over and make his own nation & care for child.

you know the ending scene of season 1? where they’re sitting at the table? THAT. With Jinx assuming that he’s gonna give her up to topside and him getting the first chance to talk and saying “her name is JINX!” i could write an essay on that for icarus. they’re so toxic and it’s so perfect. also that scene at the start of s2 ep2? YEAH THAT—

3. Centross as Ekko

This one is controversial and up to debate but i will die on this hill— SO THE S1 BRIDGE FIGHT. I am so willing to put aside any possible prison duo gay-ness in this AU for that rivalry/fight. they were friends!!! they were so good!! and now they wanna KILL EACH OTHER!! it’s great.

It’s also specifically thinking of Ekko’s tree home as solstice— older Ekko very much has the vibe of Violet specifically-

4. Arisanna as Sevika

I DONT KNOW WHY BUT IT MAKES SENSE TO ME. It’s specifically vexed Ari during the coworkers era but idk it just feels right— I look at her relationship with Silco and Jinx and go ‘hmmm this could be something’

[I will also say there is an argument here for swapping Centross and Ari tho— big tree city as Ari rebuilding the records goes hard, and angsty fighty toxic with jinx centross is also good— it’s like 50/50 for me]

5. Isla as Vander

LET ISLA BE A BADASS IN THIS AU. SHE DESERVES IT— something something raising vi and powder alone, something something the backstory with silco— there’s something there and it hits really hard in scenes where vi sees vander and helps her get back up— also I look at jinx and vander and I go “mmmm this is in fact how icarus sees Isla���

6. Rae as Vi

This was obvious given the above but LISTEN— in this ALTERNATE UNIVERSE OF EVENTS I think it would be fun- do I think that vi perfectly fits canon rae? no. But in this world it would KICK ASS. rae deserves to beat some people up— got kicked out of the overworld (zaun) by fable (silco) and had to go to the end (piltover) to get away from him?? rae end prince aus are already here so why not end rae also punching people huh??? also. gay people.

———

Okay— here’s where I need some help, thoughts, and opinions from you all…

1. Caitlyn.

POLYAMORY IS HARD TO TAG AND I DONT KNOW WHO FITS BEST?? For me, season 1 Caitlyn fits best as Caspian, but season 2 Caitlyn is more for Fenris— so I’m very stuck. yes absolutely give thoughts on this please—

2. Viktor as Aax (but how does that work)

Viktor absolutely should be Aax— mr. Scientist / lab experiment / turned religious figure vessel for god is CORRECT. But honestly the rest of Piltover gang is really hard with Rae as Vi— Jayce/Viktor/Mel is yelling at me to be the polycule but aGH— ya know??? very stuck on this so I instead look at the coworkers and go “mm good yes—”

Random other tags I think also make sense:

- Ulysses as that Telchin looking mf Stev— mans took out one lil medical device as his fish self and I said YUP

- The hexcore big orb thing underground as Quixis— big white glitch orb room make things go wack. couldn’t be easier than that.

———

Anyways that’s all— I’ve been rotating this in my mind for like a week and have had way too many thoughts about it thank you for your time—

[ckret2]

This is the first time I see someone saying that Filbrick kicked out Stan as primarily a protective measure. To me, honestly, he sees his children as investing to make money and found the perfect excuse to throw away the son he never wanted on the streets when a convenient excuse appeared. After all, he already had a bag full of clothes when he throwed Stan in the streets.

It's a cartoon episode that had 22 minute to pack in the entirety of Ford & Stan's backstory. He flung a duffel bag at Stan as a way to tell the viewers "he's serious about kicking Stan out" and we didn't see him pack it because that would've cost 30 seconds to animate a boring scene that's unnecessary to the flow of the story, and where else in the episode would that 30 seconds have come from?

The show takes tons of visual & narrative shortcuts to tell its story. We don't question how a digital clock appears on Stan's desk between one shot and the next in Boss Mabel. We don't question where Soos's Burrito Bites went before and after traveling into Stan's mind in Dreamscaperers. We don't question where the remains of Quentin Trembley's ripped pants vanish to in the crate after he tosses them aside. The only reason we question the duffel bag is because there's a way to weave it into the narrative to make a bad character look even worse; but I think it ignores the spirit and intent of the scene to treat that, and that alone, like it's indicative of Filbrick's character rather than indicative of the restraints of the cartoon medium.

I don't think he saw his kids as investments. I think, prior to discovering Ford could be worth a fortune, he saw his kids as his responsibility. It was his duty to get them to adulthood and make them into proper men. What we know about their upbringing is:

When he thought they were wusses, he sent them to boxing to toughen them up.

When he thinks Stan stole a gold chain from the pawn shop, he also berates him for stealing from other people, starting a crab-fighting ring, and "pickpocketing and monkeyshining." He's opposed to Stan committing illegal or dishonest acts even if they're profitable.

And when he kicks Stan out, yeah, he says Ford "was gonna be our ticket out of this dump," but he also says "All you ever do is lie and cheat, and ride on your brother's coattails."

Before Ford is revealed to be a genius, we have no evidence that Filbrick saw them as future moneymakers. And in fact, given how the show emphasizes how hard he is to impress and how newly impressed he is at Ford's genius, it seems like he DIDN'T previously see any such potential in his kids. This was a new development. Before that, we only know of two things he wanted out of his kids:

For them to be tough enough to protect themselves

For them to be honest, law-abiding, and hard-working

His dreams of making money off one of his kids lasted a few days tops—high school science fairs don't exactly last long. If he was hotheaded enough to kick out one of his kids for dashing some pie-in-the-sky dream that was only a few days old, then either they woulda been kicked out long before then, or they woulda almost been kicked out enough times that that would be their dominant impression of their dad that they'd report 40 years later, not "hard to impress." Yeah, he was mad he could've made a fortune and then didn't, but that alone wasn't the main motivation behind disowning Stan. He was taking out years of frustration with Stan all in one moment.

"All you ever do is lie and cheat" "This time you cost our family potential millions!"

You've been a bad kid and a troublemaker for a long time; this time, your behavior has impacted someone other than yourself—it's harmed your brother and your family—and I won't let you do it again.

(And this is pure headcanon/conjecture, so I'm keeping it as an aside—but I think there's something to his relationship with Caryn in all this. We know from how he treats Stan's lying that Filbrick highly values honesty. We know that Caryn is a pathological liar—it's one of the only things we know about her. We know from out-of-show interviews that Stan's "—the girl snuggles up next to you, next thing you know you gotta raise a kid, your life falls apart—" is him repeating something his father said. We know Filbrick sees their current living situation as a "dump," but lacks the financial means to get out of it. We know now the baby WAS intended to be Shermie, which makes a nearly 18 year gap before the Pines decided to have another kid. I think the twins were an accident, that Filbrick married Caryn out of a sense of duty to his sons and their mother, that he does love his family but still feels trapped; I think he hates that Caryn is such a liar, that it would have been a dealbreaker if there weren't kids involved, and that now he doesn't feel like there's much he can do about it because that's his wife; and I think that's a major motivating factor in his demanding honesty out of his sons—because he doesn't want them to turn out like their mother.)

To be clear—I don't think Filbrick is a good father. But in interpreting him as a bad father, I want to interpret him as the bad father he ACTUALLY IS, not make up some new, different bad father and paste it on top of his characterization. Sometimes fandom has a tendency to take a bad parent and stick entirely new bad parent traits on top of them, in a way that makes it seem like some fans think "well, if they're a bad parent, they MUST do THESE THINGS too, because ALL bad parents do that (and therefore, if they're not doing these things, they must not really be a bad parent)."

And at times I think it's important to hold the line. Based on what we know of him, Filbrick is bad enough to be a Bad Father even if he doesn't do XYZ that fandom assumes all bad fathers must do. Filbrick is bad enough to be a Bad Father even if he didn't see his kids as a way to make money.

I think he raised his boys the way he did because he thought that was the best thing for their future happiness—and he was wrong, and his ideas about manhood are outdated and toxic, and he was a bad father.

I think he saw them as his responsibility rather than as profit machines, and that he cared about their well-being—and his decision to express his caring through emotionally distant tough love was harmful and neglectful, and when he got angry he was verbally abusive, and he was a bad father.

I think he was devastated at the loss of potential millions not because his primary motive as a person is greed, but because his primary motive is being a good caretaker for his family, and his family was in a tough financial spot and that kind of money would turn all their lives around—and even though pinning his financial hopes on his son was a recent development, it was still an awful position to put his kid in, and he never should have done it, and he was a bad father.

I think he cared about his family MORE THAN their finances—but he still prioritized their finances too much, and in a moment of anger prioritized their finances more than one of his own sons, and he was a bad father.

I think kicking Stan out wasn't a consequence of thwarted greed, but of years of anger at Stan's delinquency, and that the issue wasn't the lost money but rather the fact that he thinks Stan deliberately harmed his brother for selfish reasons—and it was still a cruel thing to do and the man seriously needed some anger management classes, and he was a bad father.

He's a bad father even if his intentions are good. He's a bad father even if he cared about his sons. And that's why I'm insistent on maintaining his characterization that way—because it's worth remembering that a parent with good, caring intentions can still be bad, and their intentions don't excuse their actions.

[lurkingshan]

Japanese QL Corner

We are up to seven live airing QLs from Japan! Five of these are on Gaga and two are being generously provided via fansubs.

A brief interlude for me to climb on my soapbox: if you are a fan of Japanese queer media who is not based in Japan, you really should be supporting GagaOOLala. They are the sole international distributor of most of these shows and the only reason international fans can watch them as they release. They’re a queer-owned Taiwanese company specifically focused on providing international access to global queer media, and their monthly subscription is much cheaper than other streaming services. They’re not perfect but they are quite responsive to feedback about their catalogue and approach; please consider subscribing if you love these shows!

I’m really loving most of these shows and I highly recommend jumping in to the weekly watch!

Takara's Treasure

I fall more in love with these two every week. We finally got some answers on Takara's backstory, and as expected, it is the mother who abandoned him that has been harassing him. Taishin blazed in to give that lady a piece of his mind before even realizing who she was, and it only made Takara love him more. The revelation that Takara is holding back with Taishin because he doesn't want to be covetous like his mother sent me into a bit of a tailspin. I loved Taishin getting his moment to reciprocate Takara's care, as well as Takara's amusement that Taishin still hasn't pieced together what they are to each other. I'm excited for it to finally click for him soon.

Sugar Dog Life

I'll be honest, this first episode did not hit right for me. I always struggle with copaganda heavy romances, especially when the show is intentionally framing cops as benevolent and explicitly linking that to the romantic arc. But I liked the cooking parts of it a lot! We'll see how it proceeds. This one is being fan subbed, so if anyone is having trouble finding it feel free to hit me up in DMs and I'll point you.

Cosmetic Playlover

This one is coming in hot with two episodes a week, because Japan is trying to kill me. I like the concept and vibe but the execution is a bit all over the place; it feels like they want this to be a dark story but aren’t willing to fully commit to that, so dark things happen but then get treated too lightly. The pacing also feels a little wacky and we’re rushing through plot and relationship development in a way that leaves it all feeling a bit ungrounded. Sahashi went from harassing and threatening to out Natsume to kissing and claiming to be serious about him in the space of 15 minutes, and then suddenly in the next ep there’s a new villain and suspense plot. This one is just not clicking; I’m tilting my head with a furrowed brow.

I Hear the Sunspot

Sigh. I really didn’t need another arc about a third party interloper coming between the boys, but here we are. Maya is a throwback to the bad old femme fatale archetype steeped in misogyny and I don’t love it. She’s arrogant, manipulative, and mean for no good reason, and she doesn’t feel like she fits in this story about decent people trying their best. There was a way to do this plot with a more sympathetic portrayal of her, but unfortunately they didn't take that route. I’m disappointed that she’s with us for multiple episodes, and it’s hard to believe this rude little girl can really come between them. I said last week that it felt like they regressed Kohei and Taichi’s relationship in the time skip and I’m feeling that even more now. Aside from this mess, I really liked all of Taichi’s scenes with his friends this week as he continues trying to work out his feelings for Kohei. I hope we get back to Taichi and Kohei spending time together again soon; that’s the real heart of this show and I already miss it.

Ayaka is in Love with Hiroko

Sigh. Last week I was mad at the characters around Hiroko, but this week I am forced to be mad at the show for how it's dealing with this entire plot involving Hiroko's decisions about her privacy at work, Risa's inappropriate interference, and Ayaka's bizarre conclusion that she should announce her love for Hiroko to the whole office. This whole love triangle and forced outing plot was ill-considered and it's dragging the show down; we should not have had Risa being so wrong and manipulative or ventured into queer workplace politics at all if the show wasn't prepared to take it seriously. On the plus side, we finally got the backstory for Hiroko, and it was surprising in a good way. I hope this show can get back to the zany comedy it was doing so well before it got bogged down in all this mess.

Mr. Mitsuya's Planned Feeding

Episode 3 just went up on @isaksbestpillow's blog, and it's a fantastic one. I was howling watching Mitsuya wailing on his ex and poor Ishida trying to process this new rival on the scene. Shige continues to be the MVP and I loved the way he encouraged Ishida with a mix of sage advice and sexy sass (also loved that Mitsyua immediately knew that gossip ratted him out). And I screamed again when Ishida got worked up and confessed; I didn't expect that to happen so fast and it was excellent! This show feels so mature in the best way; I really feel like I'm watching adults who have lived.

Tagging @bengiyo to add the anime update!

[dollypopup]

"all the negativity is killing the vibe"

"just be grateful for what you got!" "was it perfect? no! but we got some good stuff!" "people are just being so down about season 3"

There is a reason people are displeased.

We are consumers of this media. We PAID for this media. With time, with money, with subscriptions. We bought the merch, we watched the promos, we paid in attention, we paid financially, we paid literally and metaphorically.

And they did not deliver.

So, yes, we have a right to complain because objectively speaking, it was a bad ending. It just was! It was poorly written and poorly edited, it did not leave viewers happy, and there is a REASON the engagement of part 2 is much lower than part 1. Polin is not the problem, sidelining Polin is the problem. Writing Polin poorly is the problem. Shoving Colin to the side (half of the pairing) is the problem. Inconsistent characterization is the problem.

the fact that we came in with high expectations and they were let down for us? makes it a bad ending. makes it bad writing. the fact that we waited 2 years for it and then another month in between and did not walk away feeling as though that time was worthwhile? makes it a bad ending.

the writing was disjointed, characters were underutilized, Colin was pushed aside in his OWN SEASON, they tried to do a #girlbossfeminism narrative and then threw Cressida to the wolves because she did a few things that hurt the main heroine's feelings, even after showing us as viewers we should (and do) empathize with her. I mean, for fuck's sake, there was literally a big speech and everyone clapped moment. stakes were defanged, there were threesome scenes that cut any and all tension building between Polin, Eloise's character was written inconsistently for the sake of swift forgiveness, they threw Babies ever After at us, momifying the one character who was said to be plus size representation at NINETEEN, there were more sex scenes for Benedict than there were for the main couple Polin. Lady Whistledown was a black hole for good quality because instead of writing a narrative that suited the couple's ending, they wrote a narrative to keep her as a plot device by any means possible. This season was a roller coaster that went up up up and then stagnated.

there are legitimate criticisms to be had about this season. as if we don't have a right to demand good quality from something we paid for.

and the worst part of it is that they set it up SO. WELL.

I ended Part 1 pacing my apartment, giddy and kicking my feet and rewatching the ending over and over. Part 2? None of that. And the reason people have been so negative about it is that IT SHOWS.

Yes, in part, some negativity is homophobia for Michaela, who I honest to god adore and am so happy to see on screen. Yes, in part, some negativity is for Polin from haters, a couple I love with all my heart.

But most of the negativity comes down to poor writing. Inconsistency. A lack of bravery for dropping a plot device (Lady Whistledown) that the show has held onto not for Penelope or for Polin, but for Bridgerton's story moving forward that writers do not feel confident portraying without a narrator so it might crutch them.

Stop licking a plate of crumbs and claiming it a meal. They had 2 years to deliver a fantastic season. They didn't do so. That is not at all on the actors, because they are FANTASTIC, it is on the writers, and on the production. Was it beautiful? Sure. Was it well acted? Absolutely. Was it good? Well edited? Well written? Meaningful? Fun?

No.

There are parts of it that are, but when you fumble an ending, it sours the entire experience. The reason people loved Part 1 so much was because of the ending of Episode 4, which was done beautifully. It felt satisfying. And then Part 2 felt like an entirely different beast. If you settle for mediocrity, that is all you will get. So yes, I demand better of this season. I demand that we get more than just one thirty second scene of Pen and Colin being intimate after their marriage. I demand more characterization and time devoted to the main couple instead of useless side plots. I demand better writing. I demand better EDITING. Cressida was done dirty, Colin was done dirty, Eloise was done dirty, Penelope was done dirty. And at the end of it, VIEWERS were done dirty.

There's a reason Part 1 had such glowing positivity and then Part 2 is garnering horribly mixed reactions. It's because one is better than the other. And if this show is CAPABLE of delivering content like Part 1, then yes, I will absolutely demand it of part 2. One day, Bridgerton will learn how to write a proper final episode, a proper closing to an arc.

That day was not in Season 3.

[canmom]

Animation Night 173: Takashi Nakamura

Hi everyone! It's that time of the week again~

The day that puppets bite their gloves off.

Tonight on Animation Night we'll be taking a look at the works of Takashi Nakamura (中村 たかし).

Nakamura is a director who flies under the radar a bit over here, but for those who know him, he's a unique director - one who we've actually encountered a couple of times before, actually! He directed one of my favourite shorts in Robot Carnival [Animation Night 158] Chicken Man and Red Neck, in which the machinery of a city comes alive to have a violently strange Bosch-like party led by a strange red-robed robot, witnessed only by one salaryman on a moped...

...and if you remember when we looked into the three adaptations of Project Itoh's novels [Animation Night 127], he co-directed Harmony with Michael Arias, a powerfully understated film about a high tech biopower future and people who reject its utopia through a suicide pact. We also saw him in the Japan Animator Expo, with the charming Bubu & Bubulina...

But let's give a fuller story...

As an animator, Nakamura entered the industry very young, signing on as a colourist and inbetweener at Tatsunoko in 1974 - at which point he was only 16, an aspiring mangaka newly arrived in Tokyo. Working in Tatsunoko's distinctive 'industry within an industry', he was introduced to Hirokazu Ishino's 'Anidō' association, in which he was introduced to not just many important animators but also had the chance to see animation from around the world, from Norm McLaren to Japanese independent animators like Kenzō Masaoka. The two films that got him most excited were Takahata's Horus, Prince of the Sun [AN41] and Disney's Fantasia [AN15], both of which contained incredible flexes of effects animation.

(Incidentally, it makes me happy that a lot of the films Watzky mentions showing at Anidō showed up on here! Following in the footsteps of giants and all that.)

Once Nakamura got the animation bug he put aside his manga aspirations and became a key animator, going freelance a couple years later. In 1979 he saw Galaxy Express 999, and got to witness the insane 'liquid fire' effects of Kanada, and he instantly became a devotee - soon enough getting a chance to work with Kanada directly.

And by the early 80s Nakamura was definitely making a name, already working in animation direction and solo-animating entire episodes of Gold Lightan for Tatsunoko. The next couple of years he'd end up working on Nausicaa, Macross DYRL and the with Rintaro [AN53, 134] on Genma Taisen. By now he was specialising hard in effects (not unlike Anno!), and his work had become terrifyingly elaborate, look at this building collapsing into every single element or the clothes coming to the life under the power of a psychic. His work also inspired another incredibly significant animator to enter the industry - Kōji Morimoto, future cofounder of Studio 4°C - and they ended up working together on Genma Taisen.

Meanwhile on Nausicaa, Morimoto handled some of its most memorable scenes like the opening sequence where Nausicaa is pursued by the giant Ohmu. Once again you see his fascination with effects and debris, like the shot where the Ohmu explodes out of the forest, sending stalks flying in every directions. In Macross DYRL he animated the scenes of the gravity flipping sideways and a street's worth of stuff tumbling down all at once, elaborating on a scene by Itano from the TV show.

In short, if there's lots of bits of stuff flying around in a mid-80s movie, there's a good chance that Nakamura was involved somehow.

Such a focus made him a perfect fit for the 'realist school' developing in the late 80s - whyat you might loosely call the Otomo circle. You see his work on both Manie-Manie/Neo Tokyo and Robot Carnival, and naturally enough he ended up part of the team for Akira. Given what he'd already accomplished, could he somehow step it up another notch? You bet.

Going by sakugabooru comments, Nakamura's role in Akira was mainly related to two things: explosions, and animation direction. Considering how iconic the explosions in Akira are, and how challenging it was to animate Otomo's very solid and 3D designs... the success of the film depended a lot on Nakamura's insane drawing skills. Further, he was a kind of 'teacher' to the rest of the staff, such as Morimoto. But this was apparently the 'limit' for Nakamura, and after Akira he turned from creating animation for others.

And this point marks a major stylistic turn in Nakamura's work. Starting with the World Masterpiece Theatre adaptation of Peter Pan, on which he worked as character designer, he adopted a highly stripped-down, simplified style. With all the Akira goodwill, he was able to pull in many of the new stars of the 'realist' school, from Okiura to Ohira. But his work became a lot less flashy, focusing more on a Disney-like approach where it's about creating a consistent sense of life rather than individual flashy sequences.

The Hakkenden [AN 122] was one of his first chances to experiment with the new style as a director, with Episode 4 really kicking off the series' trend of completely redesigning the characters according to the sensibilities of each director. He also worked on the kinda obscure but gorgeous realist-school film Junkers Come Here [AN 118] as his own film debut, Catnapped!, progressed.

So Catnapped! This is a weird movie. Many people see a Disney influence in its style, and it definitely broke the 90s trend with a younger target audience - but Disney could never make a movie filled with as much imaginative strange shit as this one. Watzky points out how much Otomo influence there is in the direction - dense environments and elaborate multiplane shots, in contrast to simple character designs which afford a lot of movement. These designs allow great animators like Okiura [AN139] (who animated most of the finale) to really go to town. There's a great para in Watzky's article on the different directions taken by the 'realist' animators.

Catnapped is a pretty short film at less that 80 minutes, a revel of visual imagination; Nakamura's next film A Tree of Palme is just as distinctive but in a different direction. It's another take on the Pinocchio story [c.f. AN138], but a very 'dark, metaphysical' one, with its biggest inspirations apparently being French - Moebius and René Laloux [AN71, 93], with Mutsuo Koseki coming up with art direction capable of comparing to Laloux. The three year megaproject pulled in animator legends from across the board - Inoue, Ohashi, Ando, Masuo, Matsutake, Umetsu! (Count how many directed part of Robot Carnival).

The character designs of Palme look simple in stills, but once you see them in motion, they're anything but - incredibly volumetric and full of life and movement.

In the 2000s and 2010s, Nakamura ended up working with Colorido and 4C a lot (naturally enough given the connection with Morimoto!), increasingly making effective use of CG in his projects. This led up to The Portrait Studio (写真館 Shashinkan) (c.f. AniObsessive) in 2015 - an almost solo short film, with Nakamura writing, storyboarding, designing characters and doing all the key animation, which is a kind of slice through Japanese history through the lens of a photographer who just wants to figure out a way to get his client to smile.

Much like Palme, The Portrait Studio combines simple character designs (in a stylised picture-book look) with very precise, realist animation on 2s and 1s to lend them a sense of density and 'existence'. Moreover, unlike most anime, it uses the raw pencils as finished lines instead of redrawing them clean on a computer. The style might call to mind Otomo's Cannon Fodder, and in fact the two films share a colour designer. 3D is integrated with an unusual degree of skill and subtlety. It makes for a fascinating combination, a very memorable and impactful film for all its apparent simplicity.

So, that's our focus for tonight! We'll be watching Catnapped!, A Tree of Palme and The Portrait Studio, and getting to find out what the deal is with Nakamura - one of the Very Important Guys in the history of anime, influential on so many of my faves... but all too often overlooked by people who aren't like, huge animation nerds.

If that sounds fun, come join me at twitch.tv/canmom - going live in just a minute! I've been wanting to do Nakamura for ages, and today I finally found energy for a writeup. See you there~

[midnight1nk]

PRESENTING:

THE OFFICIAL WOTFI 2024 BINGO CARD

Come one and all to Puzzle Park, where fun truly never ends...

:)

[BOX EXPLANATIONS & EMPTY CARD UNDER CUT]

BOX EXPLANATIONS (+CREDITS)

Mario Ruins The Show — me, @sardix

No matter what Mr Puzzles does, Mario is the only character he can't control. The one who never obeys. The one who ruins the show. So, it wouldn't be the first time Mario would save the day.

Past Arcs Or Trauma — /sardix

it's bound to happen some time, right? :)

Karma

After what he did to Meggy, it makes sense that Mr. Puzzles will face the same demise. The fate that's popular within the fandom would be his death. But if he lives, he could turn into Leggy himself, his TV head with tiny footsies. Or just his head. Either way, he would end up harmless.

It also refers to Puzzles's defeat. He tried to destroy the crew multiple times, it's only natural that the SMG Crew will try to fight back.

Mr Puzzles having a grudge against SMG4 — /sardix

We already knew that Puzzles hates Four, jealous even. How did Four, a ridiculous YT shitposter, get more attention than him? His original ideas pushed aside for memes? To add salt in the wound, Puzzles's steaming service of 5 episodes only managed 4.5 stars at his highest while Four surpassed him with 5.5 stars within an hour. An hour. And then, Four had the nerve to destroy his perfect screen at the end of the Puzzlevision movie. Then, there's the Meme Factory arc. Four took his only friend away, it's only fair if Four gets what he deserves. Why don't we have some fun with it while we're at it? :)

Park Destroyed — @34saveme34

By the end of WOTFI, Puzzle Park gets destroyed similar to how the simulation lab crumbled by the end of Western Spaghetti, seeing that there are a lot of similarities between Wren and Puzzles with the whole wires thing going on.

It's Gotta Be Perfect — me, @time1srunout, and literally everyone

Interestingly, the show crew brings back moments/parallels from IGBP. After all, everything started at that arc. Perfection, the keyboard, the eyes, the goo, the Showgrounds, Puzzlevision. And of course, Four and Puzzles being Narrative Foils(TM). I mean, you gotta love it.

The reason why it's in its own box is because of how significant it is. And besides, many theories stem from this arc. For me, I'll be looking for eyes, Goop!Four, and absolute karma.

References, confirmed theories, motifs, flashbacks, it all counts.

Freak Show

Referring to the poster made by the SMG4 crew with Tari, SMG3, Boopkins, and Bob being labeled as freaks. Someone's gotta bring this into WOTFI somehow.

(Carnival-Themed) Rap — me, @porschas-palette

Just as a heist-themed WOTFI happened in 2023, an awesome carnival-themed rap will happen this year. And it will be a BANGER!

Puzzles' Backstory — me, @yullalightk

As much as Puzzles is an interesting character, we have yet to learn more about his past. We have already seen some in his Creative Control song and in the 'Mr Puzzles' Clubhouse' episode with his dad. There simply has to be more. The puzzle pieces of his past :) ...I'll see myself out

The Bell Tolls 🔔

For the past few weeks, Ben and Shadow have been trolling the SMG4 twitter with their ;) and the bell emoji.

Stop stop [*points at SMG4 twt*] they're already dead/ref

On one tweet, Ben posted a few lyrics of the song "For Whom the Bell Tolls", a 1984 song by Metallica that was apparently inspired by a book of the same name, which basically tells a scene in the story where 5 soldiers died in the Spanish Civil War. Exploring death in modern warfare. As for whom the bell tolls, it's all of us, being bounded together. It's all of them who the bell tolls for.

Any reference to the heavy metal song, signs of bells, or even death, it marks this box for sure. Sure, it may be trolling, but hey, anything's possible.

Not So Different

With Four and Puzzles being Narrative Foils(TM), I've been waiting for a scene of Puzzles telling Four:

"You and I, we aren't so different. You wished to make people happy. I'm simply doing the same..."

It also be in reverse with Four OR Three telling that to Mr Puzzles that they get where he's coming from but he doesn't have to go down this path. They know what it's like. Whether Puzzles accepts defeat/change, it'll be up to him.

(Ending) Twist — me, /porschas-palette

At the very end of WOTFI, Mr Puzzles finally came out in all this glory of a model, showing he also pulled the strings of WOTFI 2023. Aside from IGBP and Western Spaghetti, of course. It's likely to happen again. Old/new characters, foreshadowing, fake death. It all counts.

Merch

...I mean, it's pretty obvious, right? I'm gonna bet on a poster, shirt/hoodie, a keychain, and something related to the WOTFI ticket. 5 bucks, all in.

Star Rating System

This whole arc constantly comes back to the ratings. Mr Puzzles in the negatives in the "Lowest Point" episode, Mickey referring the single star as the power source in the Engine Room in "Mr Puzzles' Clubhouse". And no, we're not going to forget about the broken star Mr Puzzles had left at the end of Puzzlevision. With Mr Puzzles being THE power source, it has to come back.

Sacrifice — me, /sardix, /porschas-palette

"Character Death" and "Character Fake Death" were great suggestions. But then, when sardix stated "Mario saves the day doing something stupid/protects someone from dying", it made me realize something. That's right, each one of the Crew would do anything to protect the others. Even if it costs them their lives. But it's worth the risk if it means they're safe. Three technically did in the "Welcome to Puzzle Park" episode, trying to warn Four and Mario. I mentioned in my theories that someone will sacrifice themselves, so this might be it.

It could also mean in terms of the exchange of something else, not necessarily a life. It could be Meggy's physical condition, knowing that she was forced to become Leggy again. Based on all those screams, I think her body's not going to be the same. A loss of a limb or something. Or perhaps, after seeing what he's done, Mr Puzzles might admit defeat. The sacrifice of his dream for creative vision.

Tender Tunnel — me, Nicc

What other reason would there be to have the equivalent of the Tunnel of Love in Puzzle Park? Literally, why would they do that? They could've put anything else in there. Popping balloon stand, the horse racing game, any other ride. Why this? And not just that, they keep pointing the camera right at it as if they're like "hey, this is going to become relevant later, so remember it".

SMG4 Kids

This whole arc also revolved around the children. Karen's kids, Beeg4, Eggdog, JubJub. Like I said in my "The Unexpected Guests" theory, they could still be relevant here. Also, the whole Didney thing and their large kid audience and the carnival being fun for kids (and all ages ofc).

Puzzles Dies 💀 — Nicc

As much as some of us don't want it to happen, Mr Puzzles may die, similarly how Wren did. For how to defeat Puzzles, it seems like the Crew would have to destroy the power source that's currently controlling the park... aka Mr Puzzles

Meggy Confronts

By the near end of WOTFI, in the final showdown between the Crew and Puzzles, Meggy might be back to normal and might have a few words with him in regards to what happened to her. In song or pure dialogue, she might confront him about his wrongdoings.

Or perhaps, for the very first time, Leggy might defy him. The whole time, Leggy is like "Join the winning team, he was such a great boss". And what if something snapped in Leggy that made her say "no" to Puzzles? That, no, this is going too far. No, I can't let you do this.

"You Saved Me" 💫 💣 — me, /sardix

SMG4 x SMG3 shippers, we're all too familiar with this line. Ever since SMG3 redeemed himself, the two have constantly said this line, after one indeed does save the other. Actually, it kind of happens in every movie if you think about it. And it works just as well here.

SMG3 being in a horrible minigame trap might get saved by Four and Mario with Four pulling out of it,

Three: "You... saved me?" Four: "Why wouldn't I? You were literally in a trap, dude." Three, hitting the back of Four's head: "I... Augh, just forget it, baka."

OR in reverse, when Four thanks Three for trying to save him and Mario. They didn't exactly escape in time but Three really has grown to become a true friend.

This box also works as a "Four and Three moment that can be seen as romantic" box :)

Brand New Look

This could be new outfits, bringing back old ones (like Three's bunny ears or WOTFI '23 suits), a new Puzzle face, or a new look of the Puzzle Park.

Puzzles Tune

Puzzles' musical motif dubbed as "TV Time", the one we're all familiar with, could come back. Either in the background, as a new arrangement, or as part of the Rap(TM) instrumental. It did that for WOTFI 2023 to foreshadow his subtle involvement so I don't see why it couldn't happen.

Dynamic Change

After rewatching "SMG4 and SMG3 come up with an episode", I predicted that something would change in Four and Three's dynamic, for better or worse. (For better, hopefully). As I said, it could be Three's revelation. Sure, the episode is a silly one, it should not be taken so seriously. But it's also the same episode that "hinted" the idea of a carnival coming to the Showgrounds, so anything could happen at this point.

And it doesn't have to be between Four and Three, it could be anyone in WOTFI. Leggy and Puzzles, the Crew within, etc.

Leggy's Flag

As shown in the "Lowest Point" episode, Mr Puzzles kept Leggy's flag after all this time. It wouldn't be a surprise that it might be used for a turning point in the plot in some way. Maybe it could be used as evidence of Puzzles' humanity, or for Puzzles to realize the damage he has caused. That he lost himself. All for creative vision.

BLANK CARD

If you want to fill in your own card, I leave here a blank version for your use AND a marker png:

Also, feel free to post this on other platforms, the more the merrier. All I ask from you is to credit me.

.・-: ✧ :--: ✧ :-・.

Have fun with it, bring in your moots or discord server! But as always, enjoy what WOTFI has to offer. "Love always wins", after all.

I would like to give a big thanks to everyone who has given me suggestions, great job honestly!

And feel free to share your cards after WOTFI either by tagging me or using #wotfi 2024 bingo, I would love to see them! I'll see you all on the other side, my dear fellows.

[chiibinomonodamon]

WHO WANTS TO HEAR ME RAMBLE ABOUT GAY FURRY DEMON SEX? XD

(damn, there's a sentence I never thought I'd say....)

Okay...so I see some Stolitz confusion and bashing online and I need to type up a defense here because I won't be able to sleep otherwise lol

I consider myself to be a Ship Critic and someone who takes shipping rather seriously.

What I mean by this is, I like to analyze and break down romantic relationships between fictional characters because it's just interesting to write for me. I especially take delight in friendly debating with opinions that I strongly do *not* agree with.

Let me start off by saying I am NOT a "this ship is awesome because gay furry sex lol" type of girl.

FAR from it. I'm generally more passionate about hetero ships between human characters (because I can relate to them more) among other reasons. So if you wanna dismiss my defense as "shallow fangirlism", you can forget about that lame excuse.

I fell in love with Hazbin Hotel when it was finally released in February and suffered waiting for each new two-parts per week. During that time, I decided to watch Helluva Boss as well, after a friend showed me a particularly soul-crushing clip (Moxxie's childhood trauma about his mother).

Yes, I like funny sex jokes as much as the next goofy adult but scenes like this, scenes that carry a very heavy emotional weight are what really get me in the end, even moreso when VERY little dialogue is exchanged. I knew I had to watch the entire episode run after seeing that the creators had a talent for this.

I saw people asking:

"How did Stolas go from using Blitz as a sex toy to being painfully in love with him?"

Oh I can tell you. I can tell you the EXACT moment this is revealed. But it's not spoon-fed to you; it's quite subtle actually and this is why lots of people miss it.

See, one of the strongest talents Vivenne has shown me is that she REALLY knows how to get her characters to communicate their feelings to the viewers JUST from their expressions and body language. These can be 'blink-and-miss-it' teeny little scenes and it may require a couple rewatches.

But since people demand time stamps for all information others post here, I'll rewatch a few scenes from S1 E7 'Ozzie's' as I'm typing this.

'Ozzie's' remains to be not just my favorite episode of HB...but probably my favorite episode of any adult-targeted animated show outside of Japan (aside from S2 E7's Mid-Season Special)

It has this huge reveal for both Blitzo and Stolas.

We'll first address Blitzo's irrational, stalkerish behavior of Moxxie and Millie.

He's obsessed with them. He finds both of them very attractive, fantasizes about threesomes with them and is constantly inserting himself into their personal lives.

Why?

Because they have everything that he badly badly wants for himself.

They have the perfect marriage and he is trying to live THROUGH them.

This was hilarious to me at the beginnning of the show but it's slowly revealed that it's one of the most tragic and depressing things I've ever seen. And it's scarily realistic too.

But you know this already so let's move on...

Blitzo follows the couple to Ozzie's but he can't get in without a date. So he calls up Stolas and yes, this is very low but he doesn't realize how much this means to Stolas (hell, I'm not sure even Stolas realizes it himself!) but the owl man is giddy with joy, he rushes over and they enter Ozzie's.

When Ozzie and Fizz mock Moxxie for being so sappy towards his wife, this strikes a chord with Blitzo (because they're his IDEAL relationship) and he speaks up to defend them.

NOW PAY CLOSE ATTENTION; THIS IS THE IMPORTANT PART:

Fizz, still holding onto his past grudge turns on Blitzo to humilate him:

"Some nerve you got commenting on a relationship"

Time Stamp: 11:37

As Fizz says "-ship", Blitzo VERY QUICKLY makes eye contact with Stolas who has a look of panic on his face. Blitzo is seeking VALIDATION from Stolas in this sharp, subtle second of screentime, as if to ask

"Well, ARE we in one?"

And then what happens next...Stolas remains silent, Blitzo's ex joins in to announce how selfish Blitzo was in bed with her, tearing him down further. Stolas stands up like he's going to put a stop to it but then Ozzie notices him and interrogates him about sleeping with Blitzo.

Blitzo looks incredibly ashamed and guilty as Stolas blushes with similar feelings...and hides his face behind his menu; HIS BIGGEST MISTAKE IN THE SERIES SO FAR.

Time Stamp: 12:24

The look on Blitzo's face as he grits his teeth and darts his eyes away basically says

"Yeah, I should have known...boy am I an idiot for trusting him to stand up for me".

(look how SHOCKED he is...wow, this hurts fr ;_;)

This is a silent betrayal on Stolas's part. Afterall, his reputation is on the line, so if he were to defend Blitzo, it confirms they are in fact, dating. He chose his pride over Blitzo and Blitzo is crushed by this betrayal.

Moxxie finishes his song and kisses his wife tenderly. Stolas watches this and also wants to have an affectionate moment with Blitzo (who is rightfully glaring daggers at him) and tries to reach for his hand.

Blitzo rejects his touch and suggests they leave. As they do, Blitzo still looks furious and hurt. Stolas is now realizing how badly he screwed up with a "What have I done?" face (13:41)

He even looks disappointed with himself.

After Blitzo drops Stolas off, he thanks him and tries to smooth over the awkwardness with sweet talk but Blitzo just rolls his eyes in disgust and pulls on his face like "I don't want to hear this bullshit".

He responds coldly and curtly, "Yeah." Stolas makes more suggestions to spend time with him, which just makes him even angrier and he snaps

"I'm not fucking you tonight, okay!

I'm really just..." (14:28)

he pauses to wipe a tear because at this point he can barely hold it together (top notch voice acting and animation directing btw)

"...not in the mood, Stolas."

Stolas still tries to talk him into doing couple things unrelated to sex.

Blitzo's face switches back to anger and frustration because Stolas isn't getting the message so he goes for the blunt tactic;

"Stolas, don't act like what we have is anything but YOU wanting ME to fuck you, okay?"

(14:42)

"You make that really clear all the time."

(again his voice sounds like he's about to break down)

"But I-I just can't do it tonight, okay?"

(Finally meets his eye)

"...I'm sorry."

I believe this is code for "I'm sorry we're even in this situation and how your reputation got damaged. " Or, more painfully, "I'm sorry I'm such an embarrassment to you".

Stolas replies "Okay" and takes a deep breath to compose himself. They say goodnight and depart.

An important note here is that Stolas calls him "Blitzo" instead of "Blitzy" to show more respect.

As Blitzo zooms away coldly, Stolas looks up at the sky with tears in his eyes, surprised at how much it hurts.

He then sits down with his head in his hands in anguish...because he's getting that

"Oh...no. These feelings are real" epiphany.

And as if this wasn't enough angst, Blitzo collapses onto his couch at home, goes through the memories on his phone and starts sobbing.

I'm going to be real with you; this is the most heart-breaking shit I have ever seen in an adult show of this type. It's also the first time a show of this type got me to cry.

The last six minutes have revealed so much information without spoonfeeding it to the audience because the show RESPECTS its audience.

To recap:

*Blitzo takes Stolas on a first official date to use him

*Stolas is extremely happy about it

*Blitzo gets humilated and looks to Stolas for validation

*Stolas betrays him and breaks his heart

*Blitzo snaps that their relationship is nothing more than lust-driven sex

*Stolas realizes he's actually in love with Blitzo and it's a huge problem because (he believes) that it's unrequited.

*Blitzo breaks down because the ONE person whom he thought would protect him didn't do so.

So these two are convinced that neither one loves the other...while the irony is, it's quite the opposite.

Because if Blitzo REALLY didn't feel anything towards Stolas, he would not have gotten this emotional.

Yes, they are both lonely...but I really don't think that's all there is between them.

So..........we know WHEN they started falling...now the question is why;

I think the answer's quite simple; single-target affection.

It was mentioned in S2 that Stolas and Stella did sleep together ONE TIME...but Stolas didn't enjoy it at all. He is stuck with a wife who hates him so much that she put a HIT on him...and a daughter who thinks he's a loser. Blitzo is pretty much the one person in his life who is able to make him happy. That one small, bright spot. He enjoys the sex with him but he also simply enjoys his company, as shown in Ozzie's episode. He is thrilled to simply talk to him about his day...and do anything else that couples do. They're complete opposites. Stolas is an intellectual but naive and sheltered. Blitzo is poorly educated but cynical and street-smart. Opposites attract...though this is likely more from Stolas's POV than Blitzo's.

In other words, Stolas is into bad boys xD lmao

In Blitzo's case, Stolas is the only character who shows him physical affection which he desperately craves. He's pretty tsundere about it most of the time...but I think he actually does enjoy that attention...especially when he's always getting disrespected by Moxxie and Loona..and quite a lot of people around him. BUT he's too scared to get serious with anyone because of past trauma and he also believes that no one could possibly love him as a person. :(

Reasons I Think This Love is Real

Aside from what I pointed out in the Ozzie's episode...there's quite a lot of evidence, esp from Stolas's POV.

After he realizes he's in love, he goes to Asomodeous for an ALTERNATIVE method for Blitzo to use so they will no longer sleep together. He wants to set Blitzo free. Which means he DOES truly love him because love is about being generous to the other person. He COULD be totally selfish about it but he isn't.

Asomodeous mentions how against love potions he is and Stolas agrees. He thinks that's out of the question.

'Look My Way' music video. Lol I don't have to say anything more.

In S2 E6 OOPS

This exchange at 16:57

Fizz: Seems your taste has gotten more 'regal', lately?

Blitz: Yeah, well unlike you, I fuck who I want WHEN I want. I'm not gonna be tied down to some big blue-blood asshole.

Fizz: You coulda fooled me the way Prince was cozying up to you at Ozzie's.

Blitz (gets very defensive) HEY! Stolas only cares about have a rugged peasant raw-dog him into his mattress, okay!

It's nothing...(gets hesistant and looks away)...you know...

(Fizz gives him a 'bitch please' look xD)

"it's nothing else."

Fizz: Then why were you even there?

Blitz: OTHER very important reasons of course.

Fizz: Whatever. I don't actually care.

Blitz: Stolas is just a loud, thirsty BITCH!

(Fizz is rolling his eyes again)

Blitz: He loves feeling the thrill of getting dicked by the lower class.

It's a novelty to him.

Fizz: LITERALLY just said I don't care!

Blitz: And then he'll call me and try to see how my day was!

And he'll pretend to care about me and comment on my photos laugh at my jokes...

Fizz: (Smirking) OH! That's definitely your clue right there that it's all bullshit!

Blitz: I KNOW, RIGHT??

Fizz: (Making a 'What in idiot' expression, shaking his head)

Blitz: HE'S JUST A FAKE, PRIVELEDGED ASSHOLE...

Fizz: Sounds like you just hate him for being a prince!

No one (laughs) and I mean NO ONE pretends to care that much just for a cheap lay.

All right. IF ANYONE knows what real love is like, it's Fizzaroli...who is in a very HEALTHY relationship with Asomodeous. He recognizes the signs because he's IN that place. He sees it...and he's annoyed that Blitzo keeps denying it and brushing it off...yet clearly can NOT stop talking about Stolas (amusing irony)

To sum up (this freaking essay lol) 'Stolitz' ABSOLUTELY has the potential to be pure and true...these two just need to communicate...or Stolas has to PROVE to Blitzo that he's serious about his feelings in another way.

There is no doubt that this ship is 100% endgame and is a case of the 'Earn Your Happy Ending' Trope. I look forward to the rest of the journey. Ron is putting my feelings about Stolitz in a perfect phrase:

[secriden]

love sea episode 2 rewatch thoughts:

in hindsight, this opening should've clued us in that this episode was going to be horny as fuck.

ok so if episode 1 was about establishing mahasamut, i think the purpose of episode 2 is really to give us a much more nuanced introduction to tongrak. what's fascinating is that the show chooses to impart this insight to us through a rather unusual medium: sex (and, specifically, tongrak's attitude about sex).

we open with kinky kinky beach sex and it tells us that tongrak is impulsive, hedonistic, and tends to give into the emotions of the moment (something that, as the series develops, he does with increasingly self-sabotaging results; eg. when he lashes out at mahasamut after the 1st run in with prin or when he runs off to appease jak when he gets fearful in episode 9).

it also tells us that tongrak is very comfortable with his physical wants and needs. sure, mahasamut kinda flusters him because he awakens desires that are more intense than he's is used to, but tongrak's still grounded enough in his sense of self that he can roll with it pretty quickly and becomes an active, willing, even enthusiastic participant. (it's not going to be his physical desire that drives a wedge between them; its going to be the emotional connection that ends up being terrifying to tongrak.)

this episode also lays a ton of groundwork to set up why and how intensely mahasamut and tongrak are drawn to each other.

a lot of it, early on, is purely physical.

mahasamut and tongrak clock that they're compatible in their (D/s) kink immediately and they embrace this with gleeful abandonment. other people have made this point a lot more clearly than i could ever hope to (see @williamrikers excellent analysis of mutrak's kink dynamic), so i won't belabour the point, but i would like to point out how thoroughly the show wants the audience to know that these two are a perfect match physically and sexually (specifically with their particular kinks) and that they are incredibly comfortable with that.

(an aside: one thing i adore about peat's portrayal of tongrak's submissiveness in the beach scene is the way he starts out being the initiator in the kiss - in the gif above, it's tongrak that grabs mahasamut and yanks him into the kiss at first - but once its clear that mahasamut is on board, tongrak is almost constantly angled up, head tipped back, responding to mahasamut's cues but making no attempt to direct whats happening. there's so much surrender in the pliant way peat holds himself as they kiss and the way he goes from pulling mahasamut into the kiss to just clinging to his torso as he lets mahasamut take control. even when he reaches for mahasamut's dick, the second mahasamut pins him down and gives him an instruction, tongrak makes no attempt to redirect and just goes with what mahasamut wants. there's just such great detail in this portrayal of surrender.)

but what makes this encounter different (from the many, many other ones they've both had) is going to be how neither of them were able to keep this connection as purely physical for very long. (this is what episode 3 is for, though, so lets put a pin in that thought.)

back to insights into tongrak's character: we also get an escalation/confirmation about how tongrak views sex (and relationships) as purely transactional. tongrak's entire backstory is grounded in the idea that 'everybody has a price' because that's what his parents showed him. to tongrak, every human interaction is about finding the right things to give (usually money in his case) to get what he wants and this has allowed him to rationalise that feelings and emotions (both his own/the other person's) don't matter.

tongrak firmly believes that as long as he's offering something of sufficient (monetary) value, he's perfectly within rights to demand what he wants without consulting mahasamut's feelings, wants, or thoughts about the matter. in fact, he thinks of mahasamut as kind of an object for his sexual gratification and/or convenience. this is why he feels no remorse about kicking mahasamut out after they have sex even though mahasamut clearly wants to cuddle/come down from the physical high together. the next morning, it never pings to him that he should be guilty about how he treated mahasamut.

(look at his face. he's such an entitled diva. i love him so much.)

not only is this attitude - in reality - a very inaccurate way to view human beings (because as a species we are creatures very much led by our emotions), but it is the source of tongrak's own dissatisfaction and unhappiness. he never acknowledges any of his own emotional needs and so cannot manage or address them in a meaningful or healthy way.

so to summarise tongrak understands and is comfortable with his physical desires but does not know how to even acknowledge his emotional ones whilst impulsively being led by them in the heat of the moment: already we can see that this is a recipe for disaster and tells an unspoken story of pain and trauma.

(i also want to mention how well mahasamut continues to respond to tongrak's specific brand of caustic entitlement. he doesn't bother making a big deal about tongrak throwing money at him, but he also never names a price for his 'services' either. he blatantly refers to tongrak as his "owner" but also makes it clear that it's not tongrak's money that's keeping him around, but rather mahasamut's own desire for tongrak. it's like he'll act in tongrak's play but he won't quite stick to the script either. its so, so effective because he doesn't trigger tongrak's fight or flight response but he's still undermining and proving tongrak's assumptions wrong at every turn. this is what allows mahasamut to worm his way behind tongrak's walls whilst simultaneously chipping away at them.)

one last little bit of (this time non-sex-adjacent) insight into tongrak: he has a great capacity for compassion. (which will, eventually, turn into love.)

mahasamut, at this point, is mostly just an incredible lay to tongrak. but already he shows care and concern for mahasamut that's separate from what he can offer tongrak. he's concerned at a (relatively minor) hint that mahasamut has been mistreated in the past and then again concerned that mahasamut will suffer the repercussions of any hit to his reputation. [note: this is informed by a backstory regarding homophobia on the island that's from Khom/Connor's story in Love Sand, but even without that insight we can see tongrak's concern is for mahasamut.] (again, this is something the show is setting up to callback to later when tongrak gets offended on mahasamut's behalf when he thinks the waiter made fun of mahasamut.)

these little glimpses give us such a contrasting perspective on tongrak compared to episode 1, where he was mostly just a rich, entitled, and fairly unlikable character. we're being shown that what we've seen so far is really a mask as tongrak's true character slowly starts bleeding through as he has more interactions with mahasamut.

and then the episode closes on heartbreak: You're aware aren't you? Love is just a figment of our imagination.

tongrak's expression right before he says this is filled with resignation and disappointment. he hates that he has to say it but he feels its his duty to burst mahasamut's bubble. he genuinely believes this and so to him he's just doing mahasamut a favour by telling him a Truth about life. for us, this is the final crack in the mask and we see just how lost and fragile and hurt tongrak truly is.

(and the way peat sells this part - the cold almost clinical look in his eyes when he says the line. the tiny pout of his lips like tongrak can't help but feel sad about it, even though he accepts it as reality. the cold, flat tone peat uses to deliver the line when tongrak's usually quite expressive and uses lots of inflections and intonations in his speech. ugh <3)

but this is also really important because this is why we, the audience, start to care about tongrak. mame takes us on this journey, sets us up to wonder why tongrak's the main character when he starts out kinda of awful and then shifts the ground out from under us by showing us his soft, wounded underbelly. we can't help but want him to be loved, now, and this is why we become invested in 'tongrak mahasamut'.

[thegirlwhorideslikeasamurai]

"... and then he casts aside the coach he seduced and moves on to the judges..."

In the context of the latest chapter of my YOI novelisation, I subjected the scene in which Yuuri flaunts a big portion of extra sass by blowing that kiss at the start of his short programme a closer examination.

There are two ways to interpret that move. Each one has different implications for the plot as well as for Yuuri's characterisation and motivation. And one is more plausible than the other.

Let's take a closer look at each interpretation!

1. Yuuri blows Viktor the kiss

Such a move would neatly join the ranks of past performances of Eros. What strikes me here as unusual, however, is that how anticlimactic the blow-kiss feels compared to the sensual lip-licking Yuuri did at the Cup of China because so far, he became flirtier with every performance of Eros. One would naturally expect him to double down on that as an escalation to an even lewder gesture.

In a continuous escalation of the Eros intro, the blow-kiss would happen after the flirty nod and before the lip-licking. But that doesn't happen. A blow-kiss for Viktor at this point in the story would thus imply that Yuuri no longer needs to seduce Viktor because he accomplished that at the Cup of China and focuses on keeping the love alight. However, the flippancy of the move contradicts the current stage of Yuuri and Viktor's relationship as them being madly in love and only days away from Yuuri blurting out a proposal at the airport reunion. It also contradicts Yuuri's intention to form a bond with Viktor because it stands in stark contrast to the committment Yuuri has been showing regarding his relationship for the last couple of episodes.

Just by looking at Yuuri's characterisation, this scenario seems not that likely to me.

2. Yuuri performs to the judges

Yuuri's short programme at the Rostelecom Cup has one main theme:

Before the crowd can intimidate me in enemy territory, I must intimidate them.

Skating in Viktor's homeland and in front of the people whose hero he has stolen, puts immense pressure on Yuuri that forces him to skate better than ever. Flirting with Viktor is no longer enough, Yuuri must seduce convince the audience that Viktor didn't waste his time on him and that includes seducing convincing the judges. He is freaking out internally over the possibility that this might be the last competition with Viktor as his coach. Unlike at the Cup of China where his inner monologue during his skate revolved around his prowess of seducing Viktor, his thoughts are centered around the audience. Every skater knows that an excited crowd generates power that motivates them to perform even better, and the effect of that is not lost on the judges, either. By flirting with the judges, Yuuri can increase his chances for a high placing and gets rewarded with a new personal best. Figure skating is a crazy sport and athletes can be quite eccentric, but a direct flirt probably isn't on the list of things the judges see that often—and if they did, they rather saw it from the likes of Chris. (Performing to the judges has become popular in the 2023/2024 season, but only a small part of the skaters bold enough for that move, actually used it to flirt with the judges. Right now I can only think of Loena Hendrickx in her free programme.)

It really takes guts to flirt with the judges like. Yuuri is known to show guts in the most desperate situations and when the stakes are highest, and the Rostelecom Cup puts him to the test. He has grown so much that he no longer needs to rely on performing to Viktor to deliver a perfect skate. He now has the confidence to achieve with his skating any goal he sets his mind on and by doing so in episode 8, shows the world that coaching him wasn't a waste of Viktor's energy and time.

However, at the same time, Yuuri is sending a certain message to his coach and boyfriend. Paying no attention to Viktor in a moment in which Viktor anticipates to be the centre of Yuuri's attention is a small but sweet revenge for Viktor ignoring Yuuri earlier when he was supposed to send him off. This little gesture of saying "I can flirt with the audience, too" has the power to stoke Viktor's desire and make him even more devoted to Yuuri than he already is. It makes me wish that Makkachin was less greedy.

In a way, Yuuri's flirting with the judges is also a reference to the story he used in the beginning to get an idea of Eros: "...and then the woman casts aside the playboy she seduced and moves onto the next man." Not that Yuuri would ever cast Viktor aside for another man, he just knows how to pay him back in kind and get the message across. Beware, Viktor! This extra-large serving of katsudon his spicier than you can take.

Like Yuuri, Viktor has come to Moscow with a goal "I want everyone to focus on Yuuri" that is supplementary to Yuuri's goal to convince the audience of himself. Except for that one time when Viktor greets his fans like an overexcited puppy, all his words and actions strictly adhere to his motto, starting from the interview in the beginning, to lacing Yuuri's boots and kissing his blade. But he didn't reckon with Yuuri's eros that is quick to remind Viktor and the world that Yuuri made this man his. (How fortunate that Viktor forgets his coaching duties when Yuuri needs him most!)

These two kinky dorks absolutely deserve each other.

That Yuuri blows the judges a kiss is more in line with his characterisation and the themes in this episode than Viktor being the recipient of that kiss. The cut towards the judges right afterwards supports this theory from a technical viewpoint. The Rostelecom Cup SP is the first time that we get a glimpse of the judging panel during Yuuri's performance. We've not been shown the judges' shocked expressions right after Yuuri blew the kiss because that move was so scandalous. Yuuri has been more scandalous in the past and the creators didn't bother to show us the judges then and preferred to show us a blushy Viktor and a stuttering commentator instead. The cut towards the judges seems to be a deliberate choice to drive home whom Yuuri was flirting with.

It's amazing how much meaning the YOI creators poured into even these couple of seemingly insignificant but hilarious seconds. And that deepens the love and appreciation I feel for this beautiful show.

A personal note below...

If you like this meta, please consider supporting me by reblogging it or giving this blog a follow. You might also be interested in checking out my canon works on AO3.

[consoledacup]

There is a hell of a lot to say about mirrors. Aside from Colin and Penelope's perfect love story, I love how their romance is completely intertwined with identity.

Mirrors are everywhere this season. Penelope's staring at herself with Genevieve behind her, outwardly prioritizing her career over love. And her transformation is only skin deep and smartly subverted at the ball.

Varley is encouraging Penelope's new look, saying, "the looking glass does not lie." Such a sweet thing to say! But she says it during the Whistledown voice over. So the looking glass doesn't lie, but Penelope sure does. And at the end of the episode, after that captivating gossip scene at the Osterley Ball, Penelope simply reflects what the rest of the ton is saying in Whistledown.

Colin's brief reflection in the mirror behind Penelope at Stowell House highlights how he is never far from her thoughts.

Love the little moment Colin has with Violet where she comes to see him in the study, and he leans into the light when she brings up friendship and love, and you see his reflection behind her. The mirror play in the Fuller Library was so great. The thin persona Colin is projecting to the toxic lord squad is so not reflective of who is actually in his heart. And I really love Penelope's resigned little vanity mirror shot, readying herself for Debling's proposal and convincing herself she has no need for love.

The mirror intimacy scene is the sexiest, rawest, most revealing, most tender love scene I've ever seen. I personally think that the vulnerability of the mirror scene alone makes this season the most intimate it's ever been. I love that it starts with the mirror. I love that the mirror was all over in promos and was the third character in the teaser trailer. I love that the song that plays is "p.o.v."

And then we have the parallel of Genevieve behind Penelope in front of the mirror once more, this time with Penelope surrendering her career for love.

What makes the mirror intimacy scene so well-written and angsty is Colin believing that they were completely baring themselves to one another in that moment, mind, body, and soul. And while Penelope had found no other moment with him more special, she was still holding back parts of herself. And that is why it is so heartbreaking when Colin tells her the reason they'll still marry is because they were intimate. He's struggling to get the words out, as he reflects on their time together. He feels betrayed. He was honest with her inside and out, and she wasn't. And once again, Genevieve is an incredible support when she reminds Penelope that true love comes from loving each other, and themselves, fully.

When we see Colin battling with himself after admitting defeat to Penelope's team, there is a brief shot of him in the mirror as he openly lusts after his wife, frozen in conflict. And Penelope's reflection is shown as she's made the firm decision to unmask Whistledown, leading to the public reveal of her identity.

These characters are not just stepping into the light this season, but they're also forced to confront their own reflections. And as they examine all aspects of themselves, even the parts they used to hide from, they can't help but fall that much more deeply in love with each other. It really is such a beautiful message!

[missaccuracy]

We all know canon Zuko has little to no empathy for Azula's pov, but the way he tells her "Those summers we spent here seem so long ago. So much has changed..." in "The Beach" makes me wonder if he actually does have some consideration for her, and knows she can relate to his nostalgia for the better, happier days they shared. If he didn't believe she could understand, I don't think he would voice his thoughts out loud to her in the first place.

The problem is that this leads nowhere. Despite Azula's further efforts to get along with her brother, Zuko exerts zero retrospection in his relationship with his sister. He still needlessly snitches on her to their father. He still doesn't thank her for everything she's done for his since Ba Sing se. He still leaves without saying a word (which he does for Mai). He is still more comfortable with having her as an enemy. He still doesn't as much as try a diplomatic approach with her before Agni Kai.

The fact that it takes Azula almost falling to death and seeing her sobbing uncontrollably on the ground to evoke some emotion for her well-being out of him, should say everything about what kind of sibling Zuko is.

That scene in the Beach episode is a really interesting moment of communication between siblings. I truly believe that Zuko felt comfortable saying this because he knew Azula would understand. But I think the reason for Zuko's lack of interest in her well-being is pretty simple. Aside from the fact that Ozai pitted them against each other, the rivalry, and all the bad blood between them, Zuko has internalized the idea that Azula is perfect and therefore doesn't need any help.

Which is why it literally takes Azula's breakdown for Zuko to start realizing that she can be hurt, too.

But I wouldn't blame Zuko for not realizing it sooner. Would you expect Zuko to be a perfect brother, given the trauma he went through himself? It makes sense that his own abuse didn't let him see Azula's.

And that's also part of Azula's tragedy, Azula got used to acting perfect because she was afraid of Ozai's anger, but it made everyone think that she really WAS perfect and never afraid of anything, which is why no one thought she needed help.